The Photographic news : a weekly record of the progress of photography

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PHOTOGRAPHIC

NEWS:

A WEEKLY RECORD

or THE

PROGRESS OF PHOTOGRAPHY.

VOLUME XII.

EDITED BY G. WHARTON SIMPSON, M.A.

yulla recordanti lux est inijrata. — Martial.

LONDOxN :

PRINTED AND PUBLISHED BY PIPER AND CARTER,
15 & IG, GOUGH SQUARE, FLEET STREEP, E.C.

1868.

LONDON :

PIPEK AND CARTER, PRINTERS, GOUGH SQUARE.

f(2 , V .

THE GETTN center
UBHARY

PREFACE.

The remarks which stand in the position of “ Preface ” to a volume consisting of the
aggregated numbers of a weekly journal, forming a year’s issue, are necessarily the
last words written in that volume, and afford the Editor opportunity, if need be,
for observations, explanatory or qualifying, in regard to the work of the year. In
the Volume just concluded we have, fortunately, nothing to qualify or explain. Our
record of a year’s progress in the now comprehensive field of photography, and the
aids we have furnished to that progress — by the pens of our contributors and
correspondents, and by our own — are before the reader, and furnish their o^vn
best explanation.

It would be now somewhat late in the day to enlarge on the aids to
photographic progress furnished by photographic journalism. The unprecedented
rapidity of the progress of the art, the universality of its practice throughout the
world, its singular fecundity of application, and the rare perfection to which — in
many respects, at least — it has attained in little more than a quarter of a century, are
due, it cannot be doubted, in a great measure to the fact that greater facilities and
inducements for the communication and interchange of ideas and for the diffusion
of information, by means of a special press, have existed in connection with this
art, than have, perhaps, ever existed in connection with any other art or science. In
writing the final word.s of the Twelfth Volume of the first weekly journal devoted
to photography, these reflections naturally occur. During the period of time
which has elapsed since the Photographic News was established, photographic
journalism has become more extended and active : many other journals devoted
to the art have sprung into existence, and, after flourishing a short time, liave
passed away and been forgotten ; whilst this journal — the Editor makes the assertion
with much gratitude as well as modest pride — has steadily progressed in influence
and recognition, and in the success consequent upon the possession of these. Notwith-
standing the various phases through which photography has passed as a commercial
enterprise, and the different aspects it has assumed as a science and an art, the
PiiOTOGRAPinc News has steadily acquired and accumulated friends, influence, and

preface.

- if

popularity, and at no period were its friends, correspondents, and contributors more
numerous or more active in its interests than they have been during the progress
of the present Volume, as its contents bear witness. We make these remarks rather
in grateful recognition of the valuable aid we have received from all quarters, than
in any spirit of vain-glory ; we make them because silence in relation to the zealous
interest of so many friends would be insensibility.

All these things proved long ago the need for such records of progress and
such aids to progress as we have endeavoured to furnish ; and they prove that
hitherto we have not entirely failed. For the future, this is not the place for
entering at large into promises or pledges. We intend that whatever has been found
worthy of recognition and approbation in our programme during the past shall be
retained and amplified in the future. Our own work will be the same, only conducted
with augmented experience. We aim to bring under the attention of our readers
everything which can in any way, intimately or remotely, affect the interests of the
art or its devotees ; but we also aim to aid their judgment in relation to all that
requires consideration and examination before acceptance, that they may “ prove
all things, and hold fast that which is good.” We are assisted in this work by a
larger staff of regular and occasional contributors than we have before had the good
fortune to possess, an augmentation of power of which our readers will continue
to reap the advantage.

Thanking our numerous correspondents and contributors for the valuable aid
which, during the past year, we have received in an unusual and unprecedented
degree, we wish them, our readers, and the art, a very prosperous new year.

December 31st, 1868,

January 3, 1868.]

was an hour and a quarter from
pared till the development.”

It will be seen that in this
times the exposure he jr
the time generally judgcr’
plates ; but we may rer
exposure is permissible
nitrate of silver is no
aiming at extreme d
to risk any degree <
sent us a day or
as follows : — ■

HOTO0»PHIC NEWS.

Veil. XU 3, 1858.

CONTENTS.

PlOB

tt Past Year 1

I'ocess 2

3

3

“DeAE SlE,— I BT Old Photographer 5

morphine solutioiBy Vr T. BoTey!ii......."."..i!.iii!!."!."."!! 7

and in no way irP**s in America 8

although kept t

a valuable qua' '

lovers of albu

of nitrate silR^pjjY- DURING THE PAST YEAR,
course, amtr

acetic acid, bich is just closed can scarcely be said to
i many special facts to the sum of our pho-

As a si, progress could only be

koeDintr record of discoveries made, or novelties

in coir'^^’ might not unnaturally be regarded

• ignant and profitless one. Such an estimate would,
^ ,r, be unjust, for notwithstanding the existence of

that is depressing in the commercial condition of the
ice, and much that is unsatisfactory in its practice, the
ital activity which has prevailed during the last twelve-
Sntlis, the anxiety which has been manifested by many to
fevate the art, and to improve its results, are all illustrations
f a healthy vitality in the photographic community, and
ndications of a promising future for the art.

There has been no change made in the ordinary negative
rocess with wet collodion, although a better understanding
>f some of the conditions of success has been attained.
An important aid to the preservation of plates during long
exposures has been introduced by Mr. Valentine Blanchard.
One of the chief difficulties arising during the long keeping
of wet plates |has arisen from the concentration of the free-
silver solution on the plate, caused by evaporation. The
concentrated solution has at times tended to crystallize
on the plate and cause stains ; at other times it has com-
meneed to redissolve the iodide of silver already formed in
the film, and so cause stains. Jlr. Blanchard has met the
difficulty by employing a collodion with a larger share of
bromide than usual, and allowing the plate to remain in the
nitrate bath only a short time, so that a portion of the
bromide in the him remains uneonverted into bromide
of silver. The result is that the free nitrate of silver solution
left on the plate, instead of becoming stronger or more con-
centrated by evaporation, is really becoming weaker by the
process of double decomposition which is going on between
the silver and the unconverted bromide left in the plate. A
two hours’ exposure in hot weather has produced no evil
results where this method has been adopted.

Matt silver stains, pinholes, and streaks, have still con-
tinued to trouble some photographers. As regards the first,
besides the above means of prevention, the remedy we
indicated a year or two ago is now generally recognized as
meeting a large number of cases. We suggested the use of
collodion which did not give a repellent film, the addition
occasionally of a drop or two of water to each ounce of
collodion, and the use of iodides with bases forming in
the silver bath hygroscopic salts. With these conditions
and usual precautions as to cleanliness of the inner frames,
little risk of matt silver stains will be incurred. On the
subject of pinholes, little or nothing has been added to our
knowledge during the year ; but known remedies meet the
majority of cases. Streaks in the direction of the dip — a

PAGB

The Magic Lantern and Photography. By James Martin o

Stereoscopic Micro-Photography lo

Lectures on Art 10

Correspondence— India-rubber for Mounting — Making a Bellows

Camera ii

Talk in the Studio n

To Correspondents ii

simple trouble which has puzzled many experienced photo-
graphers to get rid of — have made their annual autumnal
appearance ; but it is now generally found that the rapid
vertical or lateral movement of the plate in the bath imme-
diately on immersion, instead of allowing it to rest for half
a minute as usual, completely removes the evil.

The importanee of using a ripe collodion has excited some
attention. Witt a freely bromized collodion, and one in
which the iodide and bromide of cadmium is solely or
largely employed, it is found that the collodion loses nothing
in sensitiveness, and gains in many other good qualities by
months or years of keeping. The experience of Mr. Eng-
land, one of our ablest landscape photographers, verifies this
practice.

In dry collodion processes the year has been more rich in
good results than in any other branch of the art. Simpli-
city, sensitiveness, and certainty have been attained in
several processes in a higher degree than had before been
secured in dry plates. A simplified collodio-albumen process,
by Mr. England, in which the preparation of the plate is com-
pleted at one operation and with one bath, has been found in
his own practice sufficiently trustworthy to be employed com-
mercially instead of the wet process ; and during the summer
he obtained by it upwards of 400 negatives of Rhine scenery.
Mr. Bartholomew’s acetate of morphine process is, perhaps,
more simple and sensitive still, the exposure being less than
double that of dry plates. Its only drawback is uncertain
keeping qualities. Mr. R. Manners Gordon has worked out
a modified gum process, which in keeping qualities and
excellence of result leave nothing to be desired. A modifi-
cation of Mr. Sayce’s collodio-bromide process has been
reduced to something like absolute certainty, and plates
prepared by it and sold commercially at Liverpool appear
to be, from many reports, uniformly excellent and trust-
worthy. Little difficulty need now be experienced by dry-
plate workere, since dry plates suited to almost any condition
may be readily bought or easily prepared.

'i’here has been but comparatively little progress in enlarg-
ing processes. The most important novelty in this direction
is the application of a well-known principle to a compa-
ratively new purpose, by which very excellent enlargements
are easily produced. An enlarged transparency is taken in
the camera, toned to a suitable tint, and transferred to plain
paper ; tbe result, if well done, is a picture resembling
an albuminized print. There are three definite advantages
to recommend this method of enlarging : it is simple,
and does not require either fresh apparatus or fresh ex-
perience out of the usual range of a portraitist’s practice ;
the delicacy of the image on collodion largely compensates
for the loss of sharpness consequent upon enlargement ; and
there is considerable hope of permanency in a developed
print on collodion, as it has, in fact, the same bases for
stability as a negative.

2

TII3 PHOTOGRAPHIC N3 .

In prin ing processes generally but little change has been
made. S\'an’s carbon process has steadily progressed in
commercial use, hut has not been so generally adopted in
this country as we hope to see it. In America and on the
Continent it is coming into use, M. Braun, of Uornach,
having hitherto adopted it most largely and successfully.
Mr. Woodbury’s process has not yet been commercially
practised, but probably will be very shortly. There appears
to be no inherent reason why it should not at once be
generally adopted for many purposes. Involving, as it docs,
entirely new principles of printing, requiring new and costly
plant, and newly trained workmen, it has laboured hitherto
under commercial disadvantages which have delayed its
application. Mr. Woodbury has been busy in working it
out in various directions, and has during the year produced
10 by 8 pictures in all respects equal to silver prints.

Silver printing remains much as it has done for some
years, its practice in skilled hands having attained a high
state of perfection. Some slight attention has been given
to methods of eliminating the last traces of hyposulphite
from the print, but chemical modes of effecting this do not
seem likely to come at any time into general practice. There
is little doubt that a carefully produced silver print, fi.xed in
plenty of strong, fresh, neutral hyposulphite solution, and
then thoroughly washed, will be as permanent as an image
formed of reduced silver can be ; and tliat, kept under favour-
able conditions, it may have a long tenure of stability. The
chief difficulty is, that however perfectly produced, the very
nature of an image of finely divided silver renders it liable
to change ; and hence the importance and desirability of
using a carbon process. Hence also the desirability of a
method of protecting silver prints from the action of the
atmosphere and the agencies of change which are present in
it. Mr. Blanchard’s method of coating the print at both
sides with collodion seemed very hopeful ; but some expe-
riences during the year, which have been described in our
pages, have somewhat dashed that hope. The matter still
requires further testing, however ; the process has too many
elements of promise to bo abandoned without very full trial.
The method of using varnishes for the same purposes is less
desirable for general use, because of the unsuitable glaze it
gives the picture. The use of wax is gaining ground, as
improving the appearance of the print, whilst it makes it
less pervious to injury.

The use of sugar in the printing bath, specially brought
under the attention of photographers in our pages by Mr.
Bovey, promises to be of great value in permitting the keep-
ing of paper without risk of discoloured prints, and also,
under some circumstances, communicating increased sensi-
tiveness and intensity. The use of a toning bath of sulplio-
cyanide and gold has received some attention during the
year, and, for certain purposes, has been found to possess
good qualities. Our collodio-chloridc process has come into
more common use on the Continent, and M. Obernettcr has
prepared a stable sensitive paper by a modification of our
process, the prints from which appear to be very excellent.

Photo-lithography and photo-engraving have not made
much progress, especially in this country. The process of
phototypie by MM. Tessio du Motay and Mareschal gives
the most perfect results wo have seen. Tlie method of pro-
ducing photo-engraved plates of reproductions has received
some attention on the Continent, and we have seen very
good results. This branch of photograpliy, which ought to
have many valuable applications, has received singularly
little attention in this country.

Much interest has been excited during the year by
the accounts of the photography at the International Exhi-
bition in Paris, in which this country, from a variety of
causes, presented a much worse appearance than the con-
dition of photography in England justified. Whilst we
excelled in landscape, it was clear, however, that wo were
behind some continental countries in the art excellence of
our portraiture. The magnificent portraits by M. Salomon,
of Paris, took the [photographic world by surprise, and, by

their boldness and vij,

delicacy and perfect mou

freshness in composition, ^ contributors HlOrO
photographic excellence were . ,, nrnarPSS

dreamed of ; and a new impulse prOgrCi .

less been given to photographic p j^emarks rather
of these pictures.

An exhibition of photographs luquarterS, than
cess heyond anticipation. It had r
rate the new session of the PhotograjtO the ZGalOUS
an exhibition meeting, photographeri.
in examples of recent progress in the.

In the course of one evening, contribut ,

of such excellence were forthcoming TOgrCSS and.
desirable to prolong the exhibition for ^ fEnf

respects it was the best photographic ex?^®^® tnai>
been held in London, and exhibited a tjIqqo fQp
activity and state of progress and improl
photographers. on found

Professional photography has continued ,
depression, but there are symptoms of improlh^'H OG
cabinet portrait, to which we endeavoured to gi, j . i
last year which should aid in establishing it, lia.dUClGU
and on the Continent become a great succes
country it is progressing towards success, but h;‘
yet attained that position. With increased cc tllG
prosperity in the country at large, and with increat ^
and excellence amongst photographers, who should lat
a higher opinion of their art, of its possibilities, and
worth of its results, revived commercial prosperity w,'^®
doubt not, prevail amongst portraitists. As a contempo ,
has well remarked, “ The art cannot die ; it must advar.'
and already there are signs of a revival.” That revival me.
not equal the prosperity which attended the card manir
hut it will bring success to those who deserve it. ?'

Death has been busy amongst the ranks of vet
photograpners during the year. M. Claudet, the c
professional photographer in London, — one who P
laboured with love and earnestness for the promo. .ii.
of the art for upwards of a quarter of a century, — is
gone. Mr. J. F. Goddard, another of the oldest workers, is
also dead. Mr. Mawson, a name long familiar in connection
with the preparation of photographic chemicals, was lost to
the art by an untimely death. The Due de Luynes, a name
long associated with the promotion of permanent printing,
and the prizes he offered to stimulate the production of such
a proce.ss, he also is gone. Jlr. Malone, an early worker in
conjunction with Mr. Fox Talhot, is also amongst the men
that are gone. The melancholy thought presses itself on
the mind that the time is coming on when the names of the
pioneers of our art will pass out of the field of action into
the domain of history.

Let us all strive to do some work for the art first, and let
us work while it is called to-day. In conclusion, we greet
readers, friends, and correspondents with wishes for a
happier and more prosperous new year than that has been
which has just closed.

THE MOIST MORPHINE PROCESS.

Some further accounts of the moist acetate of morphine
process for keeping plates a few hours are very promising,
and the simplicity of this mode of preparing plates for long
exposures, or to be carried a distance, without the delay in-
volved in using dry plates, possesses many advantages, Mr,
Burgess writes, a few days ago : —

“ I took out with me a plate prepared by thorough wash-
ing and dipping in one grain solution of morphine. I gave
two minutes’ exposure with Dallmeyer’s stereo lenses. No. 4
stop. 1 should have considered thirty seconds sufficient for
an ordinary wet plate. Developed with iron and gelatine,
the result was a well-exposed, perfectly clean negative, about
the same colour and density as an ordinary negative. It

January 3, 1868.]

TliE PHOTOGRAPHIC NEWS.

was an hour and a quarter from the time the plate was pre-
pared till the development.”

It will be seen that in this instance Mr. Burgess gave four
times the exposure he judged necessary. This exceeds
the time generally judged necessary for the dry morphine
plates; but we may remark that considerable latitude of
exposure is permissible with most processes in which free
nitrate of silver is not present, and Mr. Burgess, always
aiming at extreme delicacy in his results, is not likely
to risk any degree of under-exposure. Mr. Bartholomew
sent us a day or two ago a further hint on the process
as follows : —

“ Eyham, Dec. 20th, 18G7.

“ Deae Sir, — I hud that one-fourth part glycerine in the
morphine solution perfectly effective to keep a plate moist,
and in no way interfering with sensitiveness or development,
although kept twenty-four hours after preparation. This is
a valuable quality on an emergency in hot weather. The
lovers of albumen should try the acetate morphine in place
of nitrate silver in the albumen coating of the plates. Of
course, ammonia must not be present, but, if anything,
acetic acid, in the albumen. — I am, dear sir, yours faithfully,

Wm. Bartholomew.”

As a simple method of preparing plates for a few hours’
keeping is one of the wants of photography, we have pleasure
in commending this use of acetate of morphine to our ex-
perimental readers.

THE LATE M. OLAUDET.

We closed our last volume with the record of the death of
one whose name had long been familiar to photographers,
and we have the melancholy task of ushering in a new
volume with a similar chronicle. Antoine Jean Francois
Claudet, F.R.S. and Chevalier of the Legion of Honour,
died suddenly at his residence in Gloucester Road, on
Friday last, in the 71st year of his age. He had been active
and vigorous and well up the time of his death. A recent
accident in getting off an omnibus had confined him to the
house for a few days a short time ago ; but he had recovered,
and had himself assured us, recently, of his perfect vigour.
About a week before his death he called upon us and left a
message asking us to see him shortly, as he hail an interest-
ing novelty to bring under our attention. The day before
Christmas Day he made various appointments, and planned
various duties at the studio in Regent Street, for the Frid.ay
following, on which day he suddenlj’ died.

Tile labours of a life so devoted to photography as that of
M. Claudet demand a more extended notice than we can
give now ; but a brief note of the prominent events, chiefly
within our own recollection, may be interesting here. Al-
though, as is well known, a Frenchman by birth, M.
Claudet had been upwards of thirty years in this country,
about eight and twenty of which had been devoted to pho-
tography. At the time when the discoverer of the Daguer-
reotype process was liberally pensioned by the French
Government, in order tliat the art might be as free to the
world as the sunlight by which the results were produced, a
patent was secured in this country, and M. Berry, the agent
in the transaction, had this patent for sale. !M. Claudet —
then engaged in the glass trade, as the partner of Jlr.
Houghton, a partnership which has since continued — became
the possessor of a part, which consisted in the right to use
three cameras in practising the then undeveloped art, por-
traiture not having at that time been attempted. Mr. Beard
soon afterwards bought the patent, or the remainder of it,
and commenced, in 1840, the production of photographic por-
traits. About the same date, but a little later, M. Claudet com-
menced the practice of portraiture in the Adelaide Gallery,
where his studio remained for many years. Mr. Beard, not
being aware of the nature of the rights in the patent pre-
viously acquired by M. Claudet, was not prepared for those
operations in portraiture, infringing what he conceived to be

his solo rights, and applied for an injunction to restrain M.
Claudet from the practice of photography. The latter
genlleman, however, made good his claim, and has con-
tinued the practice of portraiture to the present day.

Having once entered into photography, he devoted himself
ardently to its improvement and development, and has been
always one of the most zealous workers in its promotion and
elevation in all respects, as science, art, and profession.
During the firet year or two of operations in portraiture, a
single achromatic meniscus lens was used, the diameter being
about one inch and the focus three inches, the size of the
plate being that known as the sixth size, or by 2£- inches.
For years it was the practice to place the sitter in the open
air to secure the most uninterrupted light. Much has
changed since then, at least in the appliances of the art,
although a serious question may be raised as to whether
improvement in results has kept pace with improvement in
means and appliances.

The earliest of M. Claudet’s contributions to the art was
a mode of obtaining increased sensitiveness by using chlo-
ride of iodine, instead of iodine alone. The use of bromine,
however, superseded the use of chlorine, and M. Claudet
availed himself of it, using a mixture of bromine and
iodine as his second coating on the silver plate. The paper
on the use of chlorine in the Dagueri'eotype process was read
before the Royal Society in 1841, and his communications
to the scientific progress of the art since that time have been
constant. Although it is to the Daguerreotype process his
experiments have been mainly confined, he took up the
Talbotype process at a very early period, and was one of the
earliest in the production of photographic portraits on
paper. With the Daguerreotype process he was especially
enamoured, and was the last to discontinue the practice of
Daguerreotype portraiture in London. We are not certain
that he did not up to the present time occasionally practise
this process.

Of his multitudinous labours we cannot speak in detail
now. His name is associated with so many inventions that
we cannot in a brief obituary notice recall all. His dynac-
tinometer, his photograpliometer, his focimetcr, his stereo-
monoscope, his experiments in connection with binocular
vision, his system of unity of measure for focussing enlarge-
ments, his moving focus and focus equalizer, his system of
photosculpture, and many other results of his experimental
researches, arc familiar to most of photographers.

His contributions to photographic literature were copious
and interesting, the idiomatic excellence and elegance of his
Engli.sh being remarkable. Although the scientific aspects
of the art claimed his first attention, he was ever the ready
and eloquent champion of its art claims. In controversy he
was able and acute, but free from bitterness or acerbity, all
his communications being eminently courteous and concilia-
tory. For many years he was a member of the Council of
the Photographic Society, and frequently contributed to
the proceedings. He had attained high recognition of his
many labours, and, in addition to many medals, was a
Fellow of the Royal Society and a Chevalier of the Legion
of Honour.

Although he had attained the age of three score years and
ten, he was still active and energetic in his experimental re-
searches into the science of the art, literally dying in
harness.

Cntifdl

VIVIEN AND GUINEVERE. By Alfred _ Te-vnysox,
Poet Laureate. With Eighteen Photographic Illustra-
tions, from Drawings by Gustave Dore. (London :
Edward Moxon and Co.)

The notion of Dore’s illustrating Tennyson seems at first
sight altogether incongruous. What, it is naturally asked,
can the exuberant and bizarre genius of the great French

4

THE PHOTOGRAPHIC NEWS.

[January 3, 1868,

artist have in common with the essentially English idyllic
poetry of Alfred Tennyson? In giving form and life
to thoughts of the wits and humourists of his own country,
in depicting the grotesque situations of Don Quixote, in
becoming co-creator with Dante of some of the scenes of the
Inferno, and even in giving pictorial embodiment to some of
Milton’s grandest imaginings, we can understand Dore’s suc-
cess. But the unexaggerated sweetness and simplicity of Ten-
nyson’s style, even in dealing with English legends of heroic
deeds in a period in which history and fable arc undis-
tinguishable, are the last qualities which it might readily
have been said were suited to the pencil of Gustave Dore.
Yet there are few, we imagine, who have seen his illustra-
tions to Elaine, who will not look with eagerness for those to
Vivien and Guinevere,” and regret that they must wait for
twelve months before his illustrations of Enid will be
issued. Few who have once seen it will readily forget the
solemn grandness of that picture of “ the dead steered by the
dumb” which formed the frontispiece of the first volume of
his illustrated Idylls.

On second thoughts, few, even of those disposed to deny
Dore’s fitness for illustrating Tennyson, will be disposed to
deny that something more is needed in the illustrations to a
great jioem besides moderately well drawn but slavish render-
ings of the text. These add nothing to the work of the poet,
but often rather enfeeble it, and render it commonplace.
AV orthy illustrations to a groat pioem should excite the imagi-
nation in the same manner, if not in the same degree, as the
poet has done. It is of less importance that he should servilely
depict what the jjoet has described, than that he should catch
the spirit of his author, and clothe upon it after the fashion
of his own genius. In the works of M. Dore this mode of
dealing with illustrations must inevitably be the case ; the
individuality as well as the originality of his genius is per-
petually manifested, and if he fails at times in embodying
what Tennyson describes, he always produces a grand
picture which is imbued with the spirit of the scene to
be rendered.

In “ Vivien and Guinevere” M. Dore has entered more
fully into the spirit of Tennyson’s poetry than he succeeded
in doing in ‘* Elaine,” and we have some of the most
exquisitely tender and beautiful scenes which he has ever
drawn. The Dawn of Love in “Guinevere” is an admirable
example of this. The scene depicted is that in which
Launcelot and Guinevere ride together in Maytime towards
Arthur’s court,

“Under groves that looked a paradise
Of blossom, over sheets of hyacinth,

That seemed the heavens upbreaking thro’ the earth.”

Nothing can exceed the sweetness of this springtide land-
scape, the fullness of colour, and the glad beauty of every-
thing which surrounds the knight and the lady in the
dawning time of that unfortunate love. In “Vivien” we
have examples of the half-grotesque, half-weird grandeur of
Dore’s pencil in the scenes in the wood, between Merlin and
the lissome Vivien. AVe might point to almost every
picture as having its especial point of excellence well worthy
of the attention of the art student for lessons in composition,
as well as of the admiration of the general reader.

The especial claim of this edition upon the attention of our
readers is the fact that M. Dore’s drawings are here rendered
by photography, instead of by means of wood engraving, in
which form his drawings arc most familiar to the public ; or
by steel engraving, as in another edition of this work
issued by Messrs. Moxon and Co. The drawings of Dore
essentially demand the truth of photography if it be desired
to see him in the original, and not in translation. The
broad washes in which they arc executed, the free use made of
body colour, give a character too often lost in any method of
engraving. _ Mr. AV. Jeffrey has done the fullest justice to
the artist, his reproduction leaving little to desire^ Even by
means of photography it is easy to miss the spirit of a
picture in reproducing it. Under-exposure or over-exposure,
under-inteusifying or over-intensifying, over-hardness or

lack of vigour in the negative, or lack of judgment in
the printing, would alike tend to mar the result. In the
reproductions before us the photographer has done full
justice to the artist, and we have rarely seen a scries of more
uniform photographic excellence. The work is one of which
poet and artist, photographer and publishers, may alike feel
proud of a share.

TELE LANDS OF THE BIBLE. A Series of Stereographic

Pictures, by Frank Good, 47, Minories.

Mr. Frank Good has, during the last two or three years,
been rapidly winning a position as one of our first landscape
photographers, and the series of stereographs before us will
go far to render that position unchallengeable. AVe have
iu most of these pictures something more than good pho-
tography, although that characterises the series throughout
in a degree rarely attained in Eastern photographs. Espe-
cially noticeable throughout is the artistic feeling which
pervades the treatment of every subject admitting of choice
or discretion, such as the careful selection of point of view,
the judicious lighting, and the degree of tenderness and
delicacy, or vigour and brilliancy, imparted to each picture,
as the nature of the subject may have rendered desirable.
Here is Nazareth (No. 41 of the series) : a distant view of a
town or village is rarely a picturesque subject, however
interesting its associations ; bat wo have hero a bold, effective
foreground of upland and stone and bush, with well-
placed figures; the town occupying the distance and middle
distance, and an effective sky and clouds giving harmony
to the whole. The Sea of Bethsaida (No. 4G) is another
charming picture, well composed and full of atmosphere, a
calm beauty pervading, such as might fitly have been given
by a painter as a poetic treatment of a scene associated with
such sacred memories. Of Jerusalem we have many views, all
fine, and some very full of meaning ; in one we have Turkish
tombs and Arab shepherds as the leading feature ; in another,
Latin monks ; whilst in a third the fine Hebrew masonry of
the AVcll of Wailing has survived the changes which time
has effected on the fortunes of the once holy city. Of Sinai
we have also several excellent views ; one of the best of
which gives a view of Mount Iloreb, with three Eastern
figures seated on some stones in the vast amphitheatre
formed by the hills.

The judicious introduction of figures harmonizing with
the spirit of the scene and aiding the eff’ect of local colour
is a distinguishing feature of Mr. Good’s pictures. At
times it is made valuable in increasing the eff’ect of desola-
tion and of space in a gigantic ruin ; and at other times
is effective in giving the effect of the modern life of
an ancient city. Of the former eff’ect we have a striking
example in the two or three figures, looking like pigmies,
in their comparative littleness, in the remains of the vast
amphitheatre of the Temple of Bacchus. Of the eff’ect of
moaern Eastern life we have many instances, both in the
town and desert : here is a crowded street scene in Cairo,
and here are European travellers on dromedaries led by
Arabs.

The presence of skies with fine clouds, and the feeling of
space and atmosphere, is more apparent here than iu the
majority of Eastern pictures. Nothing that we have seen
of its kind exceeds in this respect a General A^iew of the
Temple of Jupiter at Baalbek (No. 66). Standing alone
amid the ruins of its broken columns, splendidly lighted,
with an admirable sky, this is a subject of rare grandeur,
a fine example of breadth of treament, and altogether a
charming picture. Scarcely less effective is a view of the
Sphynx and Great Pyramid (No. 97), taken under a blazing
Eastern sun and cloudless sky ; yet still a perfectly har-
monious picture, giving a satisfactory sense of the solitary
grandeur of the head which has for so many centuries
been

“Staring right on with caim eternal eyes.”

The Caryatides at Athens (No 84) is a very fine example

THE PHOTOGRA.PHIC NEWS.

5

January 3, 1868.]

of lighting, a slanting cast shadow, from tho entablature
resting on tho figures, playing an important pictorial part
in slide. We might multiply examples of distinctive
excellence, but our space forbids. We have said enough to
point out the presence of fine artistic taste and definite
design and understanding of the work which characterizes
these pictures, and which we have pleasure in noting is
a growing feature in photography, of a very hopeful
character.

SUNSET ON THE SEA. Photographed by II. Sampson,
Southport.

This is one of those rarely beautiful examples of nature’s pic-
torial eflect which only instantaneous photography can render.
The sun is hid by a grand mass of cloud, the edges of
which are fringed with light. Immediately underneath, and
in the track of light which the sun’s rays form on the dark
face of the sea, is a small sailing-boat, the only object
visible, except the sea and sky and sun-fringed cloud, all of
which combine to form an exceedingly charming picture.
The print is with much taste cut into a circular shape,
mounted on iudia-tiuting, and is altogether very effective.

A VIEW OP NEW YORK, from Hoboken. Photograidied
by J. C. Bkowne.

This is a charming photograph with which we have been fa-
voured by one of our American readers as an illustration of the
working qualities of Zentmayer's lens of 5J inches focus,
the picture being eight inches on the base-line, and the
amount of angle Included, therefore, upwards of 70°, the
definition being satisfactory throughout. This is attained,
however, by the use of a smaller stop than we think de-
sirable for any purpose where a satisfactory effect of relief
and distance is to be obtained, the aperture here having
been one-fiftieth of the focal length of the lens. The value
of small thin lenses is, however, illustrated by the fact that,
notwithstanding tho smallness of the aperture, the expo-
sure in this instance was not more than forty-five seconds.
As a picture and an example of photography this photo-
graph is most charming. Notwithstanding the unpromising
effect of a subject consisting of a distant view of a city,
with a river and the two parallel lines formed by its banks
for the middle distance, these are so broken up by taking
advantage of some shipping, and even by the aid of such
unpicturesque objects as telegraph poles, that a very fine
composition is secured, the well-placed figure of a girl in
the foreground very materially aiding the effect. The pic-
ture is full of space and atmosphere, and is altogether
charming.

STEREOGRAPHS OF AMERICAN SCENERY. By
Professor Towler, M.l).

OoR friend. Professor Towler, with whoso name and
writings all photographere are familiar, favoum us with
some pleasant transcripts of the beauties with which America
abounds. These chietly consist of rock and cascade scenery
in the neighbourhood of Seneca Lake, the scenes all
selected with an artist’s eye, and photographed by a master
hand. Our friend kindly invites us to spend a few weeks
photographing with him in camp next summer at the
Niagara Falls, and gives us his address as a tent on the
College Grounds near the Rapids! How we should enjoy
the trip, and the company, and the occupation, if the rendez-
vous were not just a few miles too far distant to permit us
to discharge our duties on the News at the same time 1

ECHOES OF THE MONTH.

BY AN OLD PHOTOGRAPHER.

Men that are gone — The Status of Photographers —
India-rubber for Mounting — Simple Method of En-
largement— Societies.

Another year’s requiem has been sung, a year of some
depression and of many sad memories, the last of which is

the loss to photography of an old knight and a true,
Antoine Claudet. He was a middle-aged man when photo-
graphy was in its cradle, and has watched it grow into
a giant spreading its arms over the civilized world, shedding
the light of its countenance in every spot where human
affections find a dwelling-place, in camp and cabin, palace
and cottage. He had seen this growth, and gallantly aided
it. Few men ever gave such a whole-hearted devotion to an
art. He was ever studying the subtleties of its scientific
phases ; he was actively alive to anything affecting its
artistic character, and one of the readiest and ablest of its
champions when its art claims were brought into question. In
the late dift’usion of focus question we did not all agree with
him as to the best means of securing a given end; but few
could deny that he ably pointed out a very definite lack in the
art character of most photographic portraits, and that by his
earnestness and energy be secured an amount of attention for
this phase of the subject which it sorely needed ; and in the
discussions whic’a arose on the subject he showed how it was
possible to conduct a scientific controvci-sy with firmness and
decision, and maintain at the same time the perfect courtesy
of a gentleman. Peace to his memory, which will live in
the history of the art.

Others, too, are gone, and tho echoes still vibrate with the
sad story. But enough : it shall not be repeated here.

A topic which has always interested the “ Old Photo-
grapher ” has been the subject of two papers, some corre-
spondence, and much talk during the month : How can the
status of photography or photographers bo raised? it is
asked. Perhaps a question might fairly follow. Is the status
of the art or its adherents lower than it deserves to bo ?
What is the status ot the art ? It is practised by every class
in the kingdom : royal fingers arc occasionally found en-
gaged in it ; noble gentlemen and ladies are found amongst
its amateurs ; it is practised with zeal in what are termed
the learned professions, the church, the bar, and medicine ;
and in the army and iiavy it is a favourite accomplishment.
No art, in fact, can boast a wider popularity by amateur
practice amongst all classes of the community, the most
lioble ns well as the most plebeian. The status of the art
itself, then, cannot well be complained of. It is true its
position as a fine art is not as thoroughly recognised as some
of us could wish ; but that is not quite unnatural. In tho
fii-st place, the art is young, and elder sisters are proverbially
slow to admit to terms of equality the young chits of girls.
Photography must undergo her period of probation, and
make good her claims, before she can be unhesitatingly ad-
mitted into the sisterhood of the arts. The more guarded a
circle, the more a position within it will be valued ; and it
must be admitted that much that has been perpetrated by
photography has not been of a character to qualify her for
a position in tho sacred circle. Still, in the status of pho-
tography itself there is little to complain of.

But it is the status of professsional photographers which
is to be raised, and this, I must confess, is a far more diffi-
cult question. But again, I would ask, is the status of
professional photographers lower than they merit? I shall
be the last person to ask this question offensively. I shall
be the first to commend any effort to raise their status and
to increase their prosperity. But it is as well to be honest
in dealing with such a question. Is the social position and
recognition of photographers as a body lower than their
education and character entitle them to occupy, or than
they would have occupied if they had been engaged in some
other mode, possible to them, of making an ineoine? And,
further, is the income derived from the professional practice of
photography less than would have been made by the same per-
sons by other modes of making an income possible to them ?
I do not attempt to dogmatize, but I think that both these
questions must be answered unhesitatingly in the negative.
Further, I think that, in many instances, photography has
been the means whereby many have aequired much larger
incomes, and have risen to a much higher status, than they
would otherwise have secured. Doubtless they were the men

G

THE PHOTOGRAPHIC NEWS.

[January 3, 1868.

who possessed naturally the element for rising. But to rise
two conditions are necessary ; the ability and the opportu-
nity. The men who have risen possessed the ability, and
photography afforded the opportunity ; and to photography
many of them have much reason to be grateful as a means
of better income and higher status than they might other-
wise readily have acquired.

That photography, as a profession, should have a high
conventional status is scarcely possible. The bases of con-
ventional status in professions arc qualification and limita-
tion or exclusiveness. In the learned professions only the
limited number can enter, who by means and education can
acquire the qualification and the prescriptive rights apper-
taining thereto. To belong, then, to these professions not
only confers status, but is prima facie evidence of possessing
fitness for it. In the practice of the liberal arts an a.spirant
has to make his own status, win his own spurs ; and a
painter or a sculptor who, either in virtue of great genius
or careful education and earnest culture, cannot produce
works of art, will not only never acquire any status in these
professions, but can scarcely acquire a recognized position
in their ranks. But how is it in photography? How are
the qualifications for practising it obtained? Whence come
the men who practise it professionally? The very fact that
they spring from all conditions in life is one circumstance
which must deprive the profession as such of any especial
status. The men who, educated for other positions, have
adopted photography and succeeded, who have won their
spurs by natural aptitude and careful culture, do acquire
status, and have no need to complain. Men of less skill
and culture, however, clothed with privilege or dignified by
diploma, could not command status or recognition if they
produced inferior work. In short, the argument resolves
itself into a nutshell ; every photographer can make his own
status. If his work be good and bis mind cultivated, he
will secure both profit and position. Public recognition
alone can confer status, and good work alone can secure
public recognition ; and in proportion to the number of
skilled ailists and cultivated gentlemen in the profession,
so will the general status and recognition of the profession
stand in the public mind. To secure the desired improve-
ment in this respect the process of natural selection, referred
to in your pages last week, must take place. I agree with
the writer, who remarked, that “ the strongest will excel,
and excellence will succceed, and the weakest will go to
the wall.”

1 have noted with some interest a slight tendency amongst
some photographers to revive, or rather to introduce as a
novelty, the use of india-rubber for mounting prints. It is
really one of the oldest materials which have been used for
the purpose. I have used it a longer time ago than I care
to say. For mounting prints in dibums, and avoiding
cockling, it is of undoubted value ; but I fear that much
disappointment will be experienced if it be much used for
ordinary mounting purposes, as many of the prints will,
unless I am mistaken, leave the card. The adhesion cannot
be so perfect as that secured by paste or glue. I imagine,
however, that the cost will effectually check its general
adoption. If the claims made for it — of adding to the per-
manency of the print— be verified, I shall be glad, however,
to see it again tested.

I have been much pleased with a sight of some enlarge-
ments produced by the simple method recently described in
these pages. Is it not surprising that a method so easy and
BO obvious should have so long remained neglected ? Any
photograper who has or can contrive a camera extending
two or three feet may produce such pictures with little
trouble ; and, if managed with skill, the effect is really
beautiful. The question of toning seems to present some
difficulties, as most of the specimens I have seen are too
cold : but that is a difficulty which will doubtless be over-
come if the method come into practice as much as it
deserves.

At the Photographic Societies the most important topic

has been the status of photographers, to which I have
already adverted, and which has been discussed at two meet-
ings,— those of the Parent Society and the South London.
At the latter an interesting paper on clouds was read by
Mr. Howard, illustrated with some capital examples. I
take it that when a photographer can conveniently secure
clouds in his landscape negative he assuredly will do so ;
but as there are many occasions on which good pictures can ,
be obtained in which there are no clouds in the sky at all,
and many occasions when none that are in the sky come
within range of the lens, few photographers, caring for
pictorial excellence, will neglect the valuable aid to har-
monious composition which double printing offers them,
and the advantages of which Mr. Howard so well illustrated.
At the North London Mr. King again introduced architectural
photography, — a hobby which he likes to ride, and which he
rides well. His advice to photographers to study a little of
architecture to enable them to photograph with judgment
and select the objects and parts of things worth rendering,
is worthy of hearty endorsement ; the more so that most men
who commence to study architectural art with an ulterior
purpose will continue it for its own sake, finding in it
its own exceeding great reward, as opening out pleasures
and the perception of beauties of which the uninstructed
little dream. At the Manchester Society Mr. Winstanley
read a good paper on enlargements. In the coui-se of the
evening the subject of india-rubber mounting was discussed,
and from some of the examples exhibited my opinion of
the imperfect adhesiveness appears to have been confirmed.
At the Edinburgh Society a capital address was delivered
by the President, who rightly enunciated the Horatian
maxim, that as neither gods nor men can tolerate mediocrity
in poetry, it ought not to be tolerated in photography.
Mr. Slight also read an excellent paper on Societies. The
South London Society held its annual dinner, which was a
pleasant social meeting, and the community which exists
amongst the arts was illustrated by many of the members
giving tastes of their high quality as musicians, and some
as humourists and lyrists, three origin.al photographic comic
songs having been sung on the occasion.

In conclusion, the “Old Photographer” wishes to the
numerous friends and readers of these pages the happiest of
happy new years and all prosperity.

o

J'omfsu

At the last meeting of the Paris Photographic Society, held on
the 6th December, M. Despaquis invited the inspection of the
members to some specimens of carbon printing upon sheets of
mica. Although the material used was by no means of tho
finest quality, the prints, when viewed as transparencies, pre-
sented no apparent defects to tho eye, but were of surprising
fineness and delicacy.

At tho same meeting M. Davanne exhibited, in the name of
M. Manillier, a very simple piece of apparatus designed for tho
purpose of facilitating tho mounting of photographs. It is
composed of two sheets of cardboard put togctlier in tho form
of the cover of a book. The inner surface of one of these
boards is covered with white varnished paper, on which are
traced horizontal and vertical lines dividing tho surface into a
large number of squares of equal dimensions. Tho two lines
crossing the middle of the card in the direction of length and
breadth are numbered from the centre, where they bisect one
another at right angles, tho numbers being repeated on
each side. A print which has been coated with mounting
material is placed face downwards on this species of draught-
board in such a manner that the centre of tho picturo exactly
covers tho middle of tho cardboard (where the two central lines
cross one another) ; this is easily done by placing tho extreme
corners of the print upon such squares as bear similar numbers.
The mount is then fitted over the squares in tho same manner,
the margin’ being allowed for and calculated from the number
covered by the print ; the two boards aro then pressed firmly
together, and the picture is mounted in a very prompt and
accurate manner.

Jaxuarv 3, 186S.]

THE PHOTOGHAPHIC NEWS.

1

M. I’Abbo Labordo read a paper on the causes which, beyond
the action of light, tend to alter tlie blacks and whites of
photographic prints. He attributed a great deal of the altera-
tion to the deposition upon the print of a small quantity of
mobile silver, which during the treatment of the print in the
diftereut operations is moved from one portion of the picture to
another. To remedy this inconvenience M. I’Abbe Laborde
recommends flic employment of a bath, after the prints have
been fixed, composed in the following manner, viz. : —
Bichromate of potash ... ... 3 grammes

Perchloride of icon ... ... ... 1 gramme

Water ... ... ... .. 150 grammes

In the Moniteur de la Pholographie, M. Leon Moock reports
progress with regard to the formation of an association of ope-
rators and others connected with the art of photography in
Paris. By combining together, M. Moock is in hopes that the
position of photographic employes will bo notably improved,
both from a moral and pecuniary point ot view ; ho asks for
immediate and energetic co-operation, both on the part of
masters and assistants.

La Science pour tous makes the following statement with
regard to foggy baths : — “ Sometimes when the plate is removed
from the bath it is found to have become fogged, and when the
image is developed the latter is found to be quite useless. M.
Terry, who has carefully studied the question, asserts that
fogginess is never met with excepting in baths containing im-
purities, and that it is an error to suppose that old baths are
the cause of fogging, for experience has shown that baths of
this description always furnish clear negatives. Old baths
lose their sensitiveness, but have no disposition to fog.

“ The real causes of this inconvenience are ; firstly, the pre-
sence in the bath of small quantities of developing agents
derived from the hands of the operator when coating a plate
previously to its immersion in the silver bath ; and, secondly,
the emplo3'inont of alkaline collodion. It is well to prepare
one’s own collodion, as all collodions of commerce are of an
alkaline n.ature, and are incapable of furnishing negatives of a
very transparent character. To prevent the apparition ot fog
in negatives, it is merely necessary, therefore, after having pre-
p.ired a bath of the greatest purity, and renounced the use of
alkaline collodion, to see that the hands are perfectly clean
during the operation of coaling the plate, and to take care that
the bath is always properly covered, so as to ensure its preser-
vation from any impurity.

A correspondent of the Moniteur extols the beauty of the
glazed leptographic paper, but rccomrao.ids the coating of prints
prepared from the same with a preservative solution after they
have been toned and fixed, as during the operation ot mounting
the prints are not unlikely to bo injured. When, therefore, the
prints have been washed and dried, they are coated with albu-
men (halt water and half white of egg) by means of a tuft of
wool dipped into the mixture and drawn slowly over the surface
to prevent the formation of froth and air-bubbles. After drying,
the surface cannot bo injured by friction, and the pictures gain
considerably in brilliancv.

M. Thomas writes in the Archiv that he has been making a
careful trial of Professor Towlcr’s nitro-gelatiue developer, Imt
has been unable to obtain successful results. Ho believes that
probably Prof. Towler has used a descri[)fion of gelatine which
he is unable to obtain, or possibly there may have been an error
in the formula.

The rhotographische Correspondsm contains an exhaustive
article, by M. Alois Nigg, on the best method of building photo-
graphic studios. JI. Nigg goes fully into all details, and ex-
plains his ideas by means of well-drawn diagrams.

The Arc hiv recommends the lacquering of all zinc vesssls
used in photographic operations, as pictures manipulated there-
in are apt to contract yellow stains when allowed to remain in
contact with the metallic surface.

In the M ilthedungen, M. Weber communicates a formula for
obtaining a good negative varnish. It is as follows : —

Best yellow shellac

. 1 lb.

Alcohol

2 lbs.

Ordinary resin

z

Venetian turpentine

1 oz.

The shellac does not dissolve entirely, and the thick, turbid
solution is filtered through coarse blotting-paper, a little more
alcohol being added if necessary. To clarify it, the mixture
must be allowed to stand for some time. It is poured over the

plate in the usual manner, the latter being slightly warmed
previous to the operation.

M. Weber likewise makes known (in the same journal) a
very simple means of copying and enlarging cartes-de-visito
and other small photographs. By the employment of a very
simple piece of apparatus he is able to prevent — at any rate to a
very great extent— the mealiness and granular character
generally presented by a copied or enlarged photograph. The
apparatus he uses is a kind of box — or, more strictly speaking, a
tray or trough of cardboard — the four sides of which slope
inwards towards the bottom at an angle of 135“, and are
covered with tin-foil ; the picture to be copied is fixed at the
bottom of the apparatus, and the whole hung up in the front of
the lens. A photograph is then taken in the ordinary manner,
when it will be found that the reflection obtained by means of
the tin-foil from all sides will have the effect of securing a
picture almost perfectly free from grain.

At a recent meeting of the Berlin Photographic Society,
M. Linde, of Gotha, exhibited a camera constructed to open and
close by mechanical means, so that the period of exposure
might be regulated with the greatest nicecy and precision.
When the time of exposure has been fixed upon, a hand is
moved to the desired figure on the second dial, the camera is
opened, and the clockwork set iu motion ; the apparatus then
closes of itself at the prescribed moment. The apparatus,
which can be used with lenses of different sizes, can be con-
structed for £3.

FIRESIDE MUSINGS.

BY W. T. BOVEY.

Ko. 3.

Education and Quackery.

Ne.xt to Fenianism, the question of education has become the
sensational topic of the day, and the way to set about the
serious task of reformation is a problematical nut that the
teeth of no statesman have as yet succeeded in cracking ;
although, judging from the startling predictions that seem
to be borne on the wings of every passing blast, the position
is critical, and the quicker the kernal is withdrawn from its
hiding-place the sooner will the fears of trembling Albion
be dispersed. Why did that fussy French Exhibition so
ruthlessly tear asunder the veil that concealed from the eye
of egotism the near approach of the “ tortoise ’’? Why ha.s
it so unceremoniously dispatched the grey-bearded notion
that education for the masses were broad-swords, barricades,
and revolution concealed in sheeps’-clothing? Above all,
why have our Coutinentarneighbours so conclusively shown
that popular instruction yields new vigour to skill, strength-
ens the arm of state, and extends, whilst improving, the
several fields of human industry ? To those who have en-
jo}'cd the advantages of superior tuition it doubtless appears
a mystery that England's bo.ast, a cheap press, which, with
untiring energy, continues to send forth daily newspapers,
weekly journals, and monthly periodicals by tens of thou-
sands ; that creates mountains of volumes on every conceiv-
able subject, and consumes as much paper annually as would
carpet a continent, should, iu spite of its Herculean efforts,
have failed in making headway against the stream of ignor-
ance. But to the laborious few who.se secret yet resistless
impulses have enabled some of the formidable difficulties
that accompany efforts at self-culture to be surmounted, the
problem is one that admits of ready solution. For, startling
as the statement may to some appear, the greatest clog on
the mental labours of those “ who consume the midnight
oil ” is a lack of teachers. True, of a certain class, they
have preceptors whose name is legion, but how few among
them who are qualified to occupy the important positions
they assume ! llow limited the number who strive more to
smooth the path of knowledge than to create “mountains
out of mole hills,” that their own superiority, magnified,
might hurl a shaft of timid awe into the breast of the plod-
ding student ! IIo ! for teachvrs whose hearts arc large
enough to hold the spirit of philanthropy, whose armour of
modesty and common sense is sufficiently stout to enable its
wearers to do battle with those hydra-headed monsters, pre-

8

THE PHOTOGRAPHIC NEWS,

[January 3, 1868.

tention and ignorance ; and who are honestly bent on adopt-
ing as their motto and guide, No quackery ; genuine instruc-
tion. Not self-bepuffing and self-glorification. We want
teachers who can make straight the barbarous and crooked
jargon that mystify the laws we are, under pains and penal-
ties (held in terrorum), bound to obey. Teachers who can
set their backs against a nauseating nomenclature, and im-
part to the outside world a clearer knowledge of that won-
drously wrought creature man ; and sounder information
concerning the pills, potions, and bitter draughts adminis-
tered to him in his hour of sufifering. Teachers who trample
under foot the veil of quackery that conceals from the mil-
lion their Maker reflected in every flower. His power dis-
played in every blade of grass. Teachers who, in the words
of Sir John Herechell, can boldly declare “ that everything
which, to keep up an appearance of superiority in its pro-
fessors over the rest of mankind, assumes an unnecessary
guise of profundity and obscurity, should be sacrificed with-
out mercy.” Teachers who are not afraid to attack the
stronghold of scientific humbug by scattering to the winds
those ponderous, long-winded words and mystified sentences
that mean just nothing ; and so lay bare the truth in all its
nakedness, that knowledge, at its be.st, is very ignorant indeed.
Teachera who are not for ever thrusting their pupils over
the fathomless precipices of metaphysics and false logic.
Finally, as a turning-point to our musings, we ask
teachers of art principles, for the sake of British photo-
graphers who, lacking such knowledge, have sunk into a
slough of despond ; for have they not been teachers of their
foreign brethren ? The public press has driven the nail of
conviction, and “ a London Photographer ” has clenched it
home.

Reader, have you not of late felt more than usually in-
clined to deep thought when sitting at your own tire-side ?
And have you not poked the fire in wrath as the significant
sentence recurred to your mind, “ English photographers
must kneel ” before the superior skill of the foreigner? Of
course you have, and your proud English blood has tingled
in each vein as you scratched at your locks to give some
degree of vent to your vexation. Friend, cease to wonder;
the reason why of your discomfiture can he briefly told.
You are without art-knowledge, and are afraid to seek it.
You have been so lectured at, and scolded at, by quack
teachers, that in your innocence you have been led to regard
art principles as something akin to alchymy and art-
teaching. You can scarcely believe them mortal ; nay, in
your more nervous moments you are wont to fancy that
artists are spiritual essences who breakfast off rosebuds and
sup on moon-leaves. Pshaw! whisper! We have seen
artists nursing cross babies, and have increased the family
consumption by joining the artist papas to a bout of beer
and bread and cheese.

If this true statement does not bring your ideas earthwards
your case is hopeless indeed. Seriously, you are deficient
in art-knowledge, and require teachers, not charlatans.
Apart from the occasional crumbs extracted by the over-
taxed editors of your journals from an ocean of froth, the
lessons on art subjects you have received have in most in-
stances proved indigestible and fruitless. Such frizzings
about feelings, the philosophy of aisthetics and arts gran-
deur ! Such whizzings of glowings and raptures ! Such
stringings of sparkling poetry and metaphysical profundi-
ties, and such a bang ! bang ! bang ! of learned quotations
to show the amplitude of the teacher's marvellous range of
erudition.

The Exhibition, taken as a whole, may be likened unto an
effort of pyrotechning that dazzles for awhile, but the last
thunder that dismisses the climax makes night more black,
and darkness more intolerable. “Poetry”! “feeling”!!
“mystery”!!! Fiddlededee; time enough for raptures when
the student can finger his instrument. Example : Music and
painting are twin sisters. The first seeks sympathy through
the medium of the ear; the second, from that swift messenger,
the eye, chief guardian of the brain ; and both awake sensa-

tions generally recognized as emotions or feelings. Ad-
mitted! Well, place a flute into the unpractised hands of a
novice (one who scarcely knows which end of the instrument
is intended to be blown into), and, in the most eloquent and
flowery language you have at command, bid him produce
music that will draw angels down to listen. Describe to him
the glories concentrated in sound, and request that ho will
endeavour to imitate the heaven-born harmonies of Handel.
Speak to him of the wondrous “ Messiah,” the wonderful
“ Creation,” the sublime thunders of the great Hallelujah
Chorus, and when you have puzzled your pupil, and glori-
fied yourself to your heart’s content, place before his be-
wildered gaze the music of some grand oratorio, and bid him
play on.

“ Squeak — pshew — foo-foo-foo-oo-ooo-o.” “ Pearls thrown
to a certain animal.” You would perhaps feel disposed to
exclaim. Stop! Of the two the pupil is the most rational.
He did what he could, modestly, and tailed. The pre-
ceptor, in his anxiety to polish his own person, lost sight
of the fact that, in addressing his sublimities to a learner he
succeeded only in making himself ridiculous. The pupil
needed teachings that would lead him hy gently progressive
steps from the A B C of notation, through the difficulties
attached to “ time,” up to a complete acquaintance with his
instrument, and the grand science of harmony, leaving
feelings to develop themselves at their own good time and
pleasure. Sound tuition might impart a perfect know-
ledge of mechanical music, but all the preachings and teach-
ings of the universe could not create an emotion in a torpid
soul. Feelings are inborn, and are but echoes to sensations
that vibrate within the more mysterious recesses of the
brain. They are the spiritual telegraph wires that connect
mortals with heaven. As with music, so witn art ; the
student must climb progressively, beginning at its ABC,
and following the track until he obtains a perfect know-
ledge of principles, and confidence in submitting them
to practical duties ; then, if there is any feeling in him, it
must out. Photographers are far in advance of our model flute
blower. They can do something better than a “squeak;”
but in too many instances we are wont to produce “ discord”
through having to play by “ rote.” Our ears require train-
ing, and we need a skilful hand to guide our studies. Our
impression is, that progressive lessons would prove effectual ;
and we feel convinced that art knowledge bereft of its
mystic mantle of jargon would assume a very attractive
shape indeed. So much so, that the time would be nigh at
hand when it would no longer with justice be said, English
photographers must kneel before the superioritj' of foreign
skill. On, then, for a large hearted art teacher ! N.B. — No
quack professor need apply.

o

PRICES OF PHOTOGRAPHS IN AMERICA.
Amoxost our trans- Atlantic brethren, as in this country, a
feeling has long been prevailing that over-competition and
low prices are tending to destroy portraiture as a profession.
In New Orleans a meeting of photographers has been held,
at which a step in imitation of trades'-nnionism has been
attempted. According to our esteemed Philadelphia con-
temporary, it was unanimously agreed to advance the prices
of photographs, as it had been ascertained that at the low
rate wo have been charging it is impossible to give good
work and live thereby. The resolution on the subject
runs as follows : — Therefore, it is mutually agreed that
we will, from and after November I, 1867, charge the fol-
lowing rates as per schedule below, binding ourselves not
to deviate from the same under the penalty of being dis-
honoured and forfeiting the confidence and esteem of the
fraternity. In future our aim shall be to excel and advance
our beautiful art, instead of, as heretofore, cutting down
prices and giving poor work. All lovers of the fine arts
will sustain us, and we ask the public generally to encourage
us in our laudable efforts :

January 3, 1868.]

THE PHOTOGRAPHIC NEWS.

9

Schedule of Prices for First-class Galleries.

Cards, original, jicr dozen, . $5 00

„ „ ,, half dozen . 4 00

,, duplicate, per dozen . 4 00
„ „ „ half dozen . 3 00

Whole-plate, original, each . 5 00

,, duplicate, each . 2 00

11 X 14 plate, original, each . 10 00
„ „ duplicate, each . 4 00

Schedule of Prices for Second-class Galleries.

Cards, original, per dozen . . $4 00

„ „ „ half dozen . 3 00

,, duplicate, per dozen . . 3 00

,, ,, ,, half dozen . 2 50

Whole-plate, original, each . 4 00

„ duplicate, each . 1 50

11 X 1 1 plate, original, each . 9 00

„ „ duplicate, each . 3 00

Signed by all New Orleans photographers.

The dollar is, as our readers know, equal to four shillings
and sixpence ; we do not enter into the question of the rate of
exchange or the relative value of gold and greenbacks. A cor-
respondent of the same Journal remarks : — “ I believe there
arc many who grumble at low prices, who have no right to
work a camera at all, and who would do better to first take
your Journal and study it and the examples in it, and make
their work worthy of a good price before they complain. It
is my experience that the better work 1 do the more I can
ask for it. If my fellow artists will strive to improve their
work, good prices will surely follow, and only those who do
badly will have cause to complain.”

THE MAGIC LANTERN AND PHOTOGRAPHY.

BY JAMES MARTIN.

No. 3.

Holders may contain a scries of circles, the number being
according to their length. 'J’ake a piece of wood, planed up,
of the length, breailth, and thickness required ; make a pen-
cil line right along its centre; on this line mark off a space
of half an inch from one end, then the width required for
the diameter of the picture, then another space of half an
inch, and repeat until the proposed number of circles and
spaces are registered, taking care to have an half-inch
space at each end. Having set your circular guage to the
semi-diameter of the circle required, thrust the bradawl point
into the long line at the proper place, mark out the circles,
cut out the spaces with the keyhole saw, then, having marked
off two pieces of veneer on the same plan, proceed to finish
the back and front, making the same allowance for the
rebate as for a single circle. Oval openings would look well
for portraits, and be a novelty. The picture need not be
cut to that shape, as the receptacle behind may be square.
4 here is one more holder that is easily made ; it is merely
an oblong frame, having a groove round its inside face to
receive the picture. The groove may be formed by a wide
saw cut, or by cutting its sides with a cutting guage and then
taking out the centre strip by a small chisel; this is best
done in one long piece before attempting to put the frame
together; one side of the groove must be thin, that the pic-
ture may be placed as near as possible to the condenser.
The proportions of the frame are governed by the size of
the lantern and the picture to be fixed in it ; its principle
is like thi>t of a boy’s slate frame, and the corners may
be put together after that plan. There are also the double-
action rotating holder for chromatropes, the single-action
ditto for showing smoke, moving clouds, mill sails, &c.,
with brass rack-and-pinion action, but can be made of wood
on the principle of cord and pulley. To make these would
require a skilled mechanic, well versed in the use of the
lathe, and hard and well-seasoned wood. Lastly, there is
the lever slide holder, with rim and handle of brass.

Now supposing that the transparencies have been made
of proper size, clear, bright, and without blemish, and the
holders ready to receive them, we will proceed to prepare to
colour them. For this purpose I will describe the proper
instruments and colours, and how to use them. The glass
easel, as being the sine qua non, 1 will speak of first. To
make it, hinge together two frames about fourteen inches
square, one inch and a half wide, and half an inch thick ;
now consider its hinged side the bottom side. Hinge also
two supports same width and thickness as the frame, six
inches long, one to each of the two sides of one frame on its
face, so that when it is raised at the end opposite the hinges
the supports will rest upon the lower one ; cut a rack in that,
to prevent the supports slipping, place a piece of glass of
sufficient size to cover the frame before it, and the easel is
made.

It is, however, as well to add a movable bar in its front,
for the purpose of raising or lowering the glass as required ;
therefore bore a row of holes along the centre of the two side
fronts of the frame to be raised by the supports, opposite each
other, make a slight bar of wood of sufficient length to reach
across the frame, having a hole at each end so bored as
to come opposite to the poles on each side the frame ; now,
having two brass pins, place the bar across the frame at such
a height as may be convenient, thrust them through the
holes of the bar and into corresponding holes in the sides of
the frame, and fix the bar tightly on; rest your plate of
glass in it, and against the frame, having first raised it to a
convenient angle for painting upon. The next requisites
are a gla.ss .slab and muller (its face to be unground) ; a sheet
of white paper ; a clean rag ; a few small, clean, dry glass
bottles with corks; some camel-hair or sable pencils of various
sizes, fixed on sticks'; a small T square (which will be more
useful provided it has a bevel, working on the crosspiece by
a sere w in a collar) ; a pen-knife having a lancet-shaped point ;
a small palette-knife ; a few pieces of glass one-sixth size ; a
small straightedge, to rule lines by ; amahl stick (which is only
a light stickor cane of sufficient strength to rest the arm upon,
to steady the hand whilst painting) ; also a dabber or two,
made thus, — cut out a piece of an old kid glove where there
are no stitches, put sufficient cotton-wool into to make
it look (when tied up) like a ball, about as big as a boy’s
marble, having a little handle, or perhaps more like an
artist’s bladder of oil colour ; a paper stump, a few common
sewing needles of various sizes, fixed in small handles — broken
ones will do — using the pointed ends to work with on your
painting. If circles are to bo painted, an oblong holder
should be made of mahogany about one-eighth of an inch
thick by an inch and a quarter wide; its extreme length may
be seven inches and a half and five inches and a quarter in
width; its outer angles must be truly square; the inside
measure will be five inches by two inches and three-quarters.
Now cut away the sides of the inside space equally, so that
they may form a diagonal one of four inches by two inches
and three-quarters, the bottom and top remaining uncut.
Supposing it finished, place it flat on the table, place a
circle in the larger end, push it smartly towards the lesser
end ; now raise up the whole together, and you will find that
it can be handled in any way without danger of the circle
falling out. With the T square placed on its outer edge, as
required, upright or horizonal lines can be drawn with the
greate.st truth at any part of the circle ; and with a bevel,
diagonal lines also. The size of the holder as now given is
intended for circles about three inches and a half diameter ;
for larger or smaller ones, the inside dimensions must
be altered accordingly.

114, High Street, Ilfraccmhe, North Devon.

Errata in No. 2. — For “muller and tone” read
“ muller on his paintstone,” line 22, paragraph 3 ; for
“ screw ” read “ screen,” line 7 from top, right hand column ;
for “ three-fifths ” read “ three-eighths,” line 12, 2nd para-
graph, right hand column; for “ keyhole-frame saw" read
“ keyhole or frame saw," line 32, 2nd paragraph, right hand
column ; the word “ under ” misplaced, read " and only

10

THE PHOTOGRAPHIC NEWS.

[Jandary .S, 1868.

under,” line 5, page G08. In a few copies of the News a
printer’s accident misplaced some letters, which will not lead
the reader into error.

STEREOSCOPIC MICRO-ITlOTOGRAPIlV.

The Quekett Microscopic.cl Club, the successful progress
of which we have recorded from time to time, has just issued
the first number of a Quarterly Journal of its proceedings,
under the editorship of Mr. llislop. Amongst other inte-
resting papers we find some good remarks on microscopic
photography, and on the illusionary effect of relief, at times
produced in viewing flat surfaces in the stereoscope. The
writer remarks : —

“ Every one who has dabbled in photography, and at the
same time possesses a microicope, must at some time or other
have been impressed with the extreme suitability of the pro-
cess for producing precisely what was wanted in the delinea-
tion of minute objects. Pictures can be produced by this
process so extremely minute in detail as absolutely to re-
quire a hard surface and the use of a magnifying power to
bring them out ])roperly. Many have experimented in this
direction, but foremost amongst them all must be reckoned
Dr. Maddox, whose exquisite ])hotographs of microscopic
objects have far surpassed anything that has been published
in Europe. Dr. Maddo.x favoured us with a visit at one of
our recent meetings, and exhibited there some of his latest
productions, which were most admirable, both in pictorial
effect and faithful representation. Some of these pictures
were of the markings on diatoms, such as Plcurosigma For-
mosum and V. Angulatum magnified 3,000 diameters, and
were exhibited as tending to solve the question as to whether
they are in relief or not. For this purpose Dr. Maddox views
them stereoscopically. when most certainly this effect of relief
is produced. Some stereo-photographs of Pleurosigma For-
mosum exhibited by him, when placed under the stereoscope,
showed the dots as hemispheres standing in closer proximity
to the eye than the surface of the frustule upon which they
appeared to be set ; in fact, presenting the appearance of so
many minute ivory balls. Attention was also drawn to the
fact that some of the diatomaceous discs, when viewed stereo-
scopically, are seen to be composed of two surfaces, an outer
and an inner one, with a certain amount of structure between
them. Mr. Bockett drew attention to an experiment of ilr.
Beck’s, in which that gentleman photographed a portion of
a glass tumbler, on which the pattern was produced by
hemispherical protuberances ‘ like so many plano-convex
lenses on a convex surface,’ in which photographs there was
a tendency to exhibit those hemispheres as hexagouals,
according as their tops or bases were focussed by the lens.

“ We very much fear, however, that the stereoscopic test is
hardly reliable. Very considerable apparent modifications
of form are produced by varying the condition of binocular
vision. Apart from the fact that if you cliange the pictures
from one side to the other you will find the relief become
depression, and vice versa, it will be observed that if a per-
fectly flat picture be examined by a pair of short focussed
stereoscopic lenses, it will appear to stand up precisely like
the field of a binocular microscope. Take a negative of a
black disc, for instance, and print two copies of it either on
glass or paper, place the two side by side in a stereoscope,
and, although pictures of a flat surface, the effect will be that
of a convex one.

“ Apart from these considerations altogether, there can be
no doubt that Dr. ^laddox deserves well of the scientific
world for his arduous labours in delineating minute forms.
Alany of his beautiful productions may yet be seen at Mr.
How’s, Foster Lane, Cheapside, although wo very much
regret to say that, considered commercially, they have not
met with the success which they merit. More than this,
after seven year's’ labour in one direction, this zealous worker
finds his sight is injured, and, for want of the successful
publication of his works, is compelled to give up the further

pursuit of his experiments, without having realised that
pecuniary reward which his unwearied efforts so eminently
deserve.”

LECTURES ON ART.

The Cantor lectures on art recently delivered bcfoi'e the
Societj'of Arts by Mr. R. Westmacott, R.A., F.R.S., although
referring especially to sculpture, contain much of interest
and instruction for all art students. We append an abstract
of some portions, condensed from the Journal of the Society.

In the first lecture, after expressing the pleasure it afforded
him to accept the invitation of the Council, and some com-
ments on the want of general education in art, he remarked
tliat the fallacy of the opinion that any one unacquainted with
the true principles of art can be a competent judge of works of
art was gradually gaining ground. It was admitted that to
judge of the merits and value of any of the ordinary products
of industry required some education in the particular branch
of science or skill to which the object belonged ; but in the
matter of art every one tliought himself capable of forming a
correct judgment. It appeared to bo the opinion of some that
if a picture or statue afforded pleasure to or satisfied its ad-
mirer, a id possessed qualities that hit liis peculiar liking or
fanc}% such a work was to him a work of beauty and merit.
There could not be a greater mistake. It was a distinct ques-
tion. It was one of liking, not of merit or beauty. A vulgar,
commoii|ilaeo work of art couhi not bo other than vulgar, how-
ever and by whomsoever it might bo admired or preferred.
But knowledge added to enjoyment. For instance, a musical
work might be performed in a mixed company, and nearly all
would listen to it with a certain amount of pleasure ; but how
much greater would bo the gratification, and how much higher
the enjoyment, to educated musicians, who could not only
listen to the melody, but enter into the train of thought, and
appreciate the power of combination, evidenced by the com-
poser, in producing a work of character, expression, and beauty.
If this were true of music it must bo equally true of painting
or sculpture ; for what words and rhythm were to the poet,
and sounds to the musician, colour and lines were to the
painter, and form to tlie sculptor. To attain to anything like
a just appreciation of art required education ; and none but
true artists (ho meant those who really understood the true
principles of art), whether professional or amateur, could bo
considered as trustworthy judges and guides in matters of art ;
for it was not suflicient that the object should afford pleasure
to constitute it beautiful or worthy. This was illustrated by
the affection of a mother for her child, which was utterly irre-
spective of its beauty. No one could look around him and see
the mu titudo of miserable little objects, which were so natu-
rally the objects of affection to their parents, and say that,
because they were loved (or, as in art, liked and admired), the
poor, afflicted children were therefore beautiful. It was not
ouly the deficiency of art education in this country, but the
want of efficient encouragement for ttie production of liigh and
noble works of art, that was to bo regretted. Artists in
England did not seem to aspire to anything heroic and noble
in their works, ns did those of Greece ani the great artists of
Italy in times past, bat they appeared rather to work down to
the present low standard of public taste. In England how few
works showing really high aspirations were to bo mot with
among the thousands of pictures produced every year. This,
doubtless, was in a great measure due to their non-appreciation
by the public when produced. In Greece and Italy the reverse
was the case. The people had the natural sensibility which
made them capable of appreciating the noble, the beautiful,
and the heroic in conception ; and the artists of those countries
were obliged to work up to the standard of public knowledge
and public taste ; and the result was tlio great works which
happily h.ad been preserved, not ouly for our instruction and
study, but also for the delight of cultivated minds through all
ages. The lecturer adverted to a feeling some persons enter-
tained that wo had no subjects calculated, like the myths and
poetry of the Greeks, to afford opportunities for high and
beautiful art. This ho denied, and spoke of the splendid
sources of inspiration to bo found in the Bible, both in the Old
and New Testaments ; grander, ho thought, than anything in
the mythologies of ancient Greece and Rome ; and he hoped
that as the pubiic taste improved, those subjects would become
more and more studied by the higher class of artists. One

January 3, 1868.]

THE PHOTOGRAPHIC NEWS.

11

adyantago to be derived from education in the principles of art
would be to enable people to judge for themselves, and to free
them from the dictation of self-elected critics, too often very
incompetent to act as guides of public taste. They would then
not feel bound to believe a thing to bo good or bad simply
because they had seen it so stated in print ; but, having know-
ledge themselves, they would understand the true principles
upon which to judge the works produced. lie was glad that
the wish to possess such knowledge appeared to bo a growing
desire on the part of the public, and ho hoped to assist those
who favoured him with their presence to attain a knowledge
of why some of the works of the great masters, particularly in
sculpture, were truly beautiful, and worthy of the admiration
that had been so universally accorded to them.

{To be continued.)

♦

INDIA-RUBBER FOR MOUNTING.

Sir, — I have been much surprised at the recent fuss made
in some of the journals on the subject of mounting photo-
graphic prints with india-rubber. In your article last week
you rightly state that its use for mounting is no novelty ; it
has been used for many years, and if it had possessed any
advantages for general purposes would long since have come
into use. But the fact that, besides being very expensive,
it eventually perishes, is tolerably well-known amongst old

hotograpbers. I have seen albums in which the prints,

aving been mounted by india-rubber, became all detached
in a few yearn, the adhesive gum have changed into a dry,
brown powder which crumbled under the finger.

The best material I know for mounting prints on thin
boards, without cockling, is glue, used with as little water as
possible, and very hot. I always test glue for acidity before
using it. — Yours, truly. Ax Old II.v.nd.

December 20, 18G7.

MAKING A BELLOWS CAMERA.

Sir, — In answer to “ W. L. R.’s ” (Raepore) inquiry re-
specting the making of a bellows to a camera, let him
make a hollow tube of some thin boards, just nailed toge-
getber, the width, depth, and length he requires the bellows,
procure some twill calico, sew it up the edge on the tube,
take the calico off again, and reverse as you would a coat-
sleeve, and place on the tube again with the seam under-
neath the calico ; cut some strips of cardboard, half or
three-quarter inch, according to size of bellows, and a little
shorter than the sides of the tube across, with the corners cut
slantways, so as to make each piece a section of a pyramid.
Then glue them on the calico which is on the tube, alternately,
as you see the points in a bellows. I find it better to put
one slip on at a time all round the tube than till one side
and turn round to another. When filled the whole length,
eitlier paste or glue another piece of calico over the slips and
other calico ; when dry, take off the tube, and, with the
assistance of his fingers at the corners, ho will find the
bellows to fold up quite easy, as required.

The first bellows I made I did without the box or tube to
make it ; but I find it much easier with it. I do not send
this as the proper method, but as a way that will answer in
practice.

If you think the above of any service, insert what you

think suitable ; if not, give it to the printer’s d to light

the fire. — I am, sir, one who is always willing to contribute
his mite, A Country Bumpkin.

Macclesfield, December 18, 1867.

m tbc Stubio.

Photography and Brigandage. — A comic opera recently
introduced to the public, tho libretto of which is written bv

Mr. F. C. Burnand, revives tho recollections of the seizure of
Mr. Moens by tho brigands. “ The Contrabandista”— tlio name
of tho piece — represents the doings of a set of ferocious Spanish
b.'igauds who have just lost their leader, and, in accordance
with one of their laws, tho stranger who crosses their path must
bo elected captain, and marry the late captain's widow. A
luckless photographer, wandering in search of the picturesque,
falls in with tho brigands, and, to his horror, is required to give
up tho camera for tlio carbine, and his lenses for a lady. Much
of tho humour of tho piece arises out of these incidents. Tho
piece is performed at the new “ St. George’s Opera House,”
Langham Place, under tho superintendence of Mr. German
Reed.

Photographs in an Exhibition of Paintings. — The
hedge of exclusion which has hitherto prevented tlio recog-
nition of photography as works of art appears to be breaking
down. In tho Exhibition of tho works of female artists, which
will open shortly, wo understand that a large number of
Mrs. Cameron’s photographs will bo comprised.

Cyanide again. — A ladj- poisoned herself in New York, a
short time ago, by taking a dose of cyanide of potassium in mis-
take for rhubarb. A pliysician was sent for, but before ho
arrived she died. — riiiladelphia rhotograplier.

A photographic amateur had occasion to use cyanido, and
made a solution in tho mug used in his bath-room, and out of
which it was tho custom of his children to go and drink when
thirsty. Forgetting it, ho left it standing full of the colourless
poison, returning just in time to prevent his child from drinking
it. Will people ever learn to bo careful? — Ibid.

Still another Application. — A subscriber, who is also tho
leader of the choir in his church, needing duplicate copies of a
certain hymn and the music, soon produced them by aid of his
camera, and sends us a proof quite as good as the original. A
first-rate idea. What next ? — Ibid.

Another Cause of Spots in Prints.— Photographers are
not unfrequentlv troubled with black and yellow spots appearing
in card pictures which were not apparent before. The following
cause is assigned by Mr. Fordos, and confirmed by M. Pavanne :
Sulphuret of tin is employed frequently in applying gilding
to the cards, and particles of this left on the surface of tho
mount, on coming into contact with tho print, will cause spots
of sulphide of silver.

Lectures on Light.— Tho “ Science of tho Sunbeam ” wa«
tho title of a very able lecture recently delivered by Mr. Jabez
Hughes, before the Isle of Wight Philosophical Society, which
was illustrated by photographic experiments. We regret that
wo have not space at present for some eloquent passages wo had
marked. A lecture on a similar subject was delivered a few
evenings ago before the Church of England Christian Young
Men’s Association, by Mr. George Warrington.

Photographic Conundrums. — Wo have received tho
following photographic conundrums as being, wo presume,
suited for a festive season. No correspondent’s name ac-
companies them, but tho writer has appended the phrase,

“ made by our own idiot out of his own head.” Of tho
idiotcy we leave our readers to judge, but wo disclaim tho
ownership What photograph should a young lady never
give her intended? — A negative. But if he gets a negative,
what should ho do? — Take a little sigh an’hido (cyanide).
What photographic prints are like tho heir apparent? — Tho
Prints of Wales. When is a collector of customs like a photo-
grapher?— When ho takes port-rates. Why should a photo-
grapher use a rolling-press ? — To make his portraits flatter.
What chemical is like a concealed donkey ? — An ass hid. Tho
pliotographic pirates; what is their little game? — Cribbage.
At whist, how do hope to win? — By tricks, and not by honours.
What are their winning cards ? — Knaves. When is their little
game up ? — When somebody plays the deuce with them.”

Mig. — In arranging blinds in such a room as that of which you
send diagram, we should make those for the skylight slide with
rings from side to side, so that you could liave any lateral por-
tion you choose covered or uncovered. We should make tho
blinds for side-light to slide in like manner, always, however.

12

THE PHOTOaKAPHIC NEWS,

[January 3, 1868.

Bliding from front to back ; a cord running through the rings
attached to each, and hanging down from the higher end, to be
either attached to a hook to hold the blinds in position and pre-
vent them sliding down the rod, which, of course, must bo on an
incline, or to be furnished with a counterpoise weight for the
same purpose.

Camera. — “ The Photographer ” is an amateur magazine, as we
described in our last, and is only circulated amongst the con-
tributors and their friends. Anything of interest it may contain
will be published in our pages.

W. Bartholomew. — Of course the character of the sitter mate-
rially afiFects the possibility of producing pleasing portraits ; and
the more graceful, striking, or beautiful the model tlie better
will be the picture. The more plastic the model the more easily
will the capable artist produce good results ; and the more awk-
ward and intractable, the greater will bo his difficulty. The
more skill and knowledge a photographer possesses the more
control he will have even over ungainly and intractable sitters.
We have seen many of M. Salomon’s portraits of Englishmen,
all very excellent pictures. Two of the five gentlemen’s por-
traits we exhibited at Conduit Street were Englishmen. We
shall be glad to hear more of the idea to which you allude.

Waterloo. — We are glad to learn that you have found the partial
obscuring of your top-light by stippling with white paint pro-
duce such a marked improvement in your pictures.

Non-Chemicus. — .V combination of o.side of gold and ammonia
forms fulminating gold, which is highly explosive and
dangerous. Whether any trace of this may have been formed
in precipitating your old toning baths with ammonia-sulphate
of iron is difficult to say. You may obviate all risk by avoiding
drying by heat. A trace of moisture left in the black precipitate
will not be a disadvantage in making it into chloride of gold by
means of nitro-hydrochloric acid. You will only need to add a
little less water with the mixed acids.

Thomas Stothard. — The addition of gelatine or of iodine to the
developer will not prevent the over-action of light in a window
directly opposite your lens in a dark interior. If > on cannot
cover the window for a time during the exposure, the best
remedy will be to paint the back of the plate with red paint, or
press a piece of damp rod blotting-paper at the back. This will
prevent the spro-vling of the light over the edges of the window.
2. In crystallizing after evaporating by lieat, sot the solution in
a state of super-saturation in a coot place to crystallize ; then
pick out the largest crystals as they are formed, and repeat the
process.

An Old Subscriber. — Pure gelatine (Nelson’s, for instance) is
nearly free from colour, and, in thin layers like varnish, or in
tolerably thin solutions, it is practically colourless ; but when you
speak of a sample “ perfectly colourless,” we cannot say that wo
have ever seen such a sample. 2. Chrome alum you can best obtain
by writing to Mr. Swan, Mosley Street, Necastle-on-Tyne.
The exceedingly minute trace of it used to render gelatine in-
soluble renders the colour inappreciable. Common alum, or
sulphate of alumina, will render gelatine insoluble.

X. Y. Z. — Enlargements by the enlarged negative process can
be obtained as sharp as enlargements by the solar camera.

2. Various fluxes may be used with chloride of silver. Mr.
Hart’s plan of adding half the weight of i)owdered resin and a
little borax is good. Tliat moat commonly used is a mixture of
the carbonates of soda and potash, twice the weight of this being
added to the chloride of silver. It is not very important that
every particle of filtering-paper should be picked out. 3. There
is no method of saving the gold better than tliat described by
Mr. England, which you will find in our Year-Book for 1867.
It consists in precipitating with sulphate of iron, and boiling the
precipitate with nitric acid.

Kent. — It is well, for keeping purposes, to preserve your albu-
minized paper quite dry ; but the stock for immediate use may
be kept in a dampish place, as over-dessication is attended by
many troubles. 2. Waxing prints should bo effected after
mounting. The wax should be used in a state of thick paste
made with an csseniial oil, such as that of lavendar or rosemary.
It is roughly applied in places over the print, and then rapidly
spread by means of friction with a clean piece of woollen cloth.
It is not necessary to have a perceptible coating of it on the face
of the print ; but if you leave half a print undone, you will
quickly perceive the additional richness in the shadows of the
part treated. An enamel or encaustic paste for the purpose is
prepared by some houses. Newman’s have a very good article.

3. in excess of water, chloride of silver is apt to remain sus-
pended a long time. Use as little water as possible, and now
and then add a little hydrochloric acid, as chloride of silver is
partially soluble in solutions of alkaline chlorides. 4. The
decomposition which you describe in the gelatino-iron developer
is due to lack of acid, or, possibly, to the use of an impure
sample of acetic acid. See Mr. Spiller’s article in our Year-
Book in reference to testing acetic acid. Thanks.

W. F.— Your phrase, an “illuminated photograph,” is scarcely
sufficiently definite to enable us to advise you, and your account
of the purpose for which it is intended is not sufficiently clear.
An illuminated photograph may either consist of positive trans-
parency on glass, or of a positive on paper, made transparent
by wax or varnish, and brilliantly coloured. We should fancy
you want the latter. 2. The question as to enlarging must
depend on the size of the negative and of the print required.
3. In any case, if used by artificial light, it should be placed
facing the gas, and be screened a little from light on the side at
which it is examineil.

W. J. A. G. — Hyposulphite will keep in solution before it has
been used ; but when once it has been used for fixing prints it is
liable to change, and should not be used afterwards. 2. You
can take open-air groups with your Ross’s single lens ; it will
give you perfectly good and sharp results. For interiors, all
single lenses will, however, give curved lines; a double or
triple combination is necessary. 3. For interiors or architec-
ture we should prefer No. 2 ; for landscape and general purposes
No. 3 would be better. 4. We prefer a bellows camera. 5. In
making or renewing the acetate of soda and gold toning bath
no carbonate of soda should be added. 6. Both the samjiles of
cloth are poor, thin, and open. It is possible to get both the
twill and the yellow calico closer and better, so that a thickness
of each would bo opaque enough for a tent. If these are of
the ordinary width (that is, three-quarters of a yard wide), they
are worth, perhaps, half the price you quote. 7. As a rule, less
acid is required in a strong iron developer, because its action
being less prolonged, less restraining agency is necessary. If it
were necessary to force development by prolonged action of
a strong developer, then it would require more acid in proportion
to its strength.

M. G. — little thought will satisfy you that when you are using
an artificial light to illuminate any single object you waste
a large quantity of light, unless you use a reflector, as the light
radiates in all directions, only a small portion falling on the
object. By using a suitable reflector you concentrate the chief
part of the light on the object to bo illuminated. To succeeil
satisfactorily with the magnesium wire you undoubtedly should
use some kind of reflector.

G. G. G. — The changes which take place in the production of
a print by the oiy-hydrogen light are the same as those which
take place in the same operation by sunlight. When iodized
paper is brought into contact with the bath of nitr.ate of silver, a
process called double decomposition takes place, and iodide of
silver is formed in and on the surface of the paper. The action
oflightupon this sensitive paper is to set up incipient reduction
of the iodide of silver, which reduction is completed, in the
ratio in which light has acted and commenced it, by the gallic
acid, which is in itself a reducing agent, or an agent tending
to reduce salts of silver to their meUillic form. The object of
immersing the print into the hypo solution is to remove all un.
changed iodide of silver, which, being still sensitive to light,
wouhi, if not removed, cause the whole of the paper eventually to
become darkened. The quantity of hypo necessary to fix a print
depends, of course, on the size and upon the quantity of silver
salt to bo dissolved. Speaking roughly, about two sheets of
paper may he fixed with one ounce of hyposulphite of soda in
five ounces of water. The time of immersion depends somewhat
on whether the paper bo thick or thin, and the weather cold
or hot; but from ton to twenty minutes will generally suffice.

W. r. — The diagr.am E indicates the saucer containing chlorhle of
calcium. Gutta-percha g.'ooves might do, but if much heat were
applied they would soften and lose form. Plates should be well
drained before placing in a drying box. Thanks.

James Andrews. — The mistake is doubtless a very troublesome
one. The only thing you can do is to get it rectified as early as
you can, and avoid using as far as possible the incorrect cards.

A Dabbler in the Art. — We published all the particulars of
the Chassis-Cuvette in our possession. It is not, that wo are
aware of, made or sold in this country.

G. M. (Amsterdam) — The firm you mention sells colour for
colouring transparencies, and the work contains hints for colour-
ing glass positive.s. We do not consider the second work
you name trustworthy, especially on the point in question.
2. So far as evidence reaches us, the second you name is us good
as the first. Yes; wo think so.

Received, “ Loaf Prints, by C. F. Himes, I’h.D.”

Some Articles and Critical Notices are compelled to stand over until
our next.

Several Correspondents in our nexf.

*,• All photographs forwarded to the Publisher for registration receive
attention at once ; but the pressure on our space sometimes compels us
to defer the acknowledgment in this column. It should be borne in
mind, therefore, that non-acknowledgment at once does not necessarily
imply non-receipt or non-registration.

THE

NEWS.

Vot, No. 488. — Janxmv^\^^ 1868.

CONTENTS.

rinB

A Few More Words on India-rubber for Mounting and Transfers 13

The Use of a Second Studio 14

Preservation of Paste, Qlue, etc., for Mounting 14

A Novel Hint for Double Printing 14

The Old Toning Hath of Uyposul|ihite of Soda and Gold 14

Leaf Prints by Photography 15

Critical Notices 16

Another New Dry Process. -^oap in Collodio-Uromide of Silver 17
Against the Use of Distilled Water for Photographic Purposes.

By Nelson K Cherrill 18

Recent E.xperimcnts with ColloJion 18

Artistic Pictures Photographically Considered. ByE.Dunmoro I'J
Resuseilation of the Old Toning and Fixing Solution. By Prof.

John Towler, M.D 21

Studio Hints. By a Practical Man 23

i’roceedings of Societies— North London Photographic Associa-
tion 23

Correspondence— Carbon Printing — Sugar in the Printing Bath.

India-Rubber Mounting- Explanation 23

Talk in the Studio 23

To Conespondents 24

A FEW MORE Y/ORDS ON INDI.V-RUBBER FOR
MOUNTING AND TRANSFERS.

Some further c.xperlincnts with india-rubber for mounting,
and some communication.s on the subject, suggest a few
further hints of importance.

In the first plaeo, on the India rubber. Wo find that the
solutions formed by various samples of india-rubber diiVer
considerably ; some give a solution which always remains
semi-opaque and turbid looking ; others, no matter how
dilute, the solution always retains a dark brown colour.
The best result we have obtained was from a piece of india-
rubber wc received from Mr. Woodbury, which had been pur-
chased, we unde-stood, in Paris. It is apparently prepared
expressly for the purpose of solution, being useless for any
other purpose in the shape it is kept. It is termed macerated
india-rubbtr, and is, in the rough sheet, almost like a piece
of coarse wooTen frieze. It dissolves somewhat slowly, and a
ilocculcnt insoluble deposit is left. After standing, however,
to wttle, the solution is very clear and light-coloured, a ten-
grain solution being of a straw colour, a twenty-grain solu-
tion of a deep amber colour. We find that, cut into shreds
and just covered with essential oil of rosemary, about a
drachm to twenty grains of the india-rubber, a pasty mass is
formed, which is readily dissolved on the addition of benzole
or highly rectified naphtha. After shaking at intervals for a
few hours, the solution should be left to stand to settle, and
in twenty-four hours it is perfectly clear. The mixed odour
of the benzole and rosemary is far from unpleasant, and the
latter, being the most persistent, overpowers the other, and
remains longer than the other.

With some samples a twelve-grain of india-rubber solu-
tion will be found apparently sufticiently adhesive ; but we
do not recommend for use a solution containing less than
twenty grains to the ounce. Some prints mounted with the
twelve-grain solution, in which the surfaces seemed to cohere
perfectly, curled up at the edges after lying a few hours in a
warm room, and it was found very easy to sepanate the
riiit from mould. With a twenty-grain solution the co-
esion is more perfect; but the attachment is never so firm
as with paste or glue. To secure the best adhesion with
india-rubber both surfaces should possess a very definite film
or varnish of the gum. We have seim it stated that the
print and mount, after having been coated and dried, present
no change in appearance. This is the case when a very
dilute solution Is evenly applied, and it is po.ssible to secure
some degree of cohesion with such a film, but the attachment
is very slight, and easily destroyed. We strongly recom-
mend, therefore, the use of a solution of not less than twenty
grains to the ounce ; and this should be freely flowed over
the surface, not spread as thinly as possible. A thin solu-
tion has, in some cases, the defect of sinking into absorbent
paper, and produces a mottled appearance.

It is comparatively useless for any one to attempt mount-
ing with india-rubber who has not a rolling-press. Although
the coliesiou of the two surfaces of india-rubber may be
secured by rubbing the print well down, the effect is very
unsatisfactory and unfinished-looking. When paste or a
similar material is used, the paper becomes softened, and by
the contraction in drying, a smooth even surface is secured.
When india-rubber solution is used no such result is ob-
tained : the print is not softened, but retains its harshness,
nor is there any contraction ; the consequence is that any
crease, crack, or slight rumpling which may bo in the
unmounted print shows very definitely in the mounted
print, unless by heavy pressure in rolling it is removed.
The rolling is, therefore, imperative to secure even a tolerable
ap])carance as well as perfect cohesion.*

The stability of india-rubber as a mounting material
must still, however, be considered doubtful. Dr. Diamond
recently called our attention to an album in which pho-
tographic prints had been mounted with india-rubber a
good many years ago, and which had recently been examined
since the idea was revived of using this material. A la.go
number of the prints had become entirely detached and
were loose in the book, the adhesive quality of the india-
rubber being entirely gone, a dark brown powdery
resinous substance remaining on the mounts. In some cases,
where a thin solution had been used and had permeated the
print, its surface was mottled with irregular brown stains.
The prints mounted with india-rubber appeared in no
respect more stable than others produced at the same timo
and mounted with other materials.

A correspondent mentions a recent recommendation, in a
contemporary, to use the india-rubber solution as a trans-
ferring agent for collodion films, and asks if it can be used
with advantage in the simple method of enlargement wo
recently described as a means of transferring the enlarge-
ment transparent positive to paper. India-rubber would
have, we fear, a serious defect tor any transferring process.
The fact which we have mentioned, that it darkens under
the action of light and eventually changes into a resinous
substance without cohesion, would be fatal to its utility.
Few samples are, even at the outset, so perfectly colourless as
not to degrade the purity of white paper, and the high
lights of the transferred enlargement would necessarily
suffer. As an aid to lifting the film for temporary purposes,
in any case where the qualities to which wo have referred
would not be important, india-rubber will doubtless be use-
ful ; but we cannot recommend it as the permanent support

* Since writing the above we notice a letter in a contemporary recom-
mending, in the absence of a press, rubbing down with the edge of an ivory
paper-knife. This is a good suggestion, and is of value with a perfectly
smooth unbroken print ; but if, from curling in drying, Ac., there is any
rumpling of the paper, nothing but rolling will give smoothness and even-
ness to the mounted print which the softening effect of the paste and the
contraction in drying gives to prints mounted in the ordinary way.

14

THE PHOTOGRAPHIC NEWS.

[January 10, 1 8C8

for either collodion, negative or positive, as in either case it
must necessarily be exposed to the action of light, which
produces discolouration, and facilitates the change which
destroys its coherent qualities.

THE USE OF A SECOND STUDIO.

Mr. Notman, of Montreal, speaking of the production of
pictorial studies by means of photography, recommends all
who would excel in this direction to have a second glass-
room as a private sanctum for study, in which he may be
free from interruption in his special work. Addressing our
excellent contemporary, the Philadelphia Photographer, ho
says : —

“ One of the greatest luxuries a professional photographer
can have, so thinks the writer, is to own a well-lighted
sanctum or studio, to which he can retire, and in which he
can carry out, without fear of interruption, any fresh ideas
which may suggest themselves from time to time. It is not
advisable to disturb the studios or rooms in every day use,
which, if well appointed, ought not only to be carpeted, but
abound in suitable pieces of furniture and choice ornaments,
such as are usually seen in drawing or sitting rooms. If
possible, let such be real, and so arranged that sitters may
have somewhat of a home feeling. The sanctum above
referred to need not bo carpeted, but be covered with some
such stuff as Kamptulicon, which looks so brown and shabby
to begin with, that you never fear spoiling it, but as occa-
sion requires, with perfect freedom, pile cordwood on it,
build cottages, form sandy beaches with boats drawn up,
erect tents, plant trees, crowd solid blocks of ice, form snow-
wreathed plains, or, as in the case of the picture for this
month, introduce a frozen lake or stream, on which the
skater may appear to glide. All this, if it does not afford
a change of air, at least gives a change of scenery, and by
leading you out of the every-day rut invigorates and re-
freshes the mind. Do not think that carrying out such
ideas involves an outlay of money without any return. In
most cases it will bo found a very profitable branch to add
to any photographic business.”

PRESERVATION OF PASTE, GLUE, ETC., FOR
MOUNTING.

O.NE of the chief dangers to the permanency of a photograph
which can arise from the nature of the mounting material is
duo to the process of decompositon or fermentation incident
to such materials by which acid conditions are generated.
Starch and flour-paste and solutions of gum readily ferment ;
gelatine and gum ate apt to decompose. But there is an
efficient preventive of either form of decomposition, which,
although tolerably well known, is rarely made available by
photographers. A trace of carbolic acid prevents decompo-
sition in albumen, gelatine, glue, and similar substances,
and will also effectually preserve from any tendency to fer-
mentation paste of wheat flour or starch ; and it effects this
without in any way altering the qualities of the material, or,
like corrosive sublimate and similar agents formeily used
for preserving paste, introducing anything injurious to the
photograph.

If a few drops of a lO-grain solution of carbolic acid be
added to paste or glue when prepared for use, no fear of
change or putrefaction need be entertained, as it at once
destroys the germs upon which fermentation and decompo-
sition depend. If glue be used it should bo tested at the
outset for acidity, and a little ammonia added if any trace
of acid be present. Most samples of glue and gelatine in
the market are more or less acid ; the only article of the
kind which we have reason to believe to bo free from acid is
a fine sample of glue prepared by a special proce.ss by
Bevingtons, of Bermondsey, which doubtless might be
brought into the market which supplies photographers, if
the deiUAud ^ycio created for it.

A NOVEL HINT FOR DOUBLE PRINTING.

The charming card pictures of Mr. Edge, especially those
with a natural pictorial background, printed from a .separate
negative, have given rise to a considerable amount of specu-
lation as to their mode of production, and various ingenious
theories have been advanced as to how such effects might
be produced. Whether Mr. Edge has some secret method
of working, or whether the result is due to the skilful appli-
cation of known methods, we cannot sa)'. In answer to an
inquiry on the subject, Mr. Edge stated that his method
could not well be described in writing, but requires to bo
seen to bo properly understood. We published a few weeks
ago some excellent suggestions from a correspondent as to
the best mode of producing similar effects. We now append
a letter from a correspondent in Guernsey, which contains
an exceedingly ingenious suggestion for a mode of obtain-
ing accurate masks to aid in double printing wherever
delicate and careful joining is required. We will print
this letter and then add one or two observations on it.

Dear Sir, — Do you think that pictures might bo
produced by the following method, similar to those of
Mr. Edge ? — •

1st. Let the portrait be taken with any suitable fore-
ground, but the background must bo very light in colour.

2nd. Let a view be taken from nature, or otherwise, upon
a dry plate, and, before developing, print the portrait, fore-
ground, &c., upon it, to such an extent as will form a mask,
which will, of course, be of the exact form and shape of
both figure and foreground, while the part intended to bo
used as a background will be protected by the light back-
ground of the portrait negative, according to its intensity.
It may bo necessary to retouch the high lights through
which the light has not been able to penetrate. Great care
will bo required in fitting the paper upon the second
negative after having printed from the first.

1 have not had the pleasure of seeing any of Mr. Edge's
pictures, but from what I have read in the News this
appears to me to be the best way to do pictures of that
description. — Yours faithfully, N. 0. Marquand.

Fauvert Street, Ouernseg, Dec. 30, 18G7.

The hint here given appears to be an admirable sugges-
tion for the production of masks. The most careful scissor’s-
work in following the undulations of a fine outline must at
times fail ; but here we have a means of printing a mask
of the figure on the background negative itself. The dry
plate containing a latent image, either of natural scenery
taken direct from nature, if convenient, or from a trans-
parency taken from an ordinary landscape negative, or
otherwise, as may be desired, is still sensitive to Tight, and
when thi portrait negative is superposed upon it and exposed
to light it will receive another image. The light background,
representing the part to be subsecjuently tilled up with a
landscape, is in the portrait negative sufficiently dense to
protect that part of landscape from further action of light.
When the dry plate is developed the landscape will come
out without change where it has been protected from light ;
but where the figure in the negative has permitted the light
to pass through, there will be a dense deposit from the
double action of light super-imposing one image on another.
Where it is insufficiently dense it will 'oe easy to touch
upon it with black paint or black varnish, the great difficulty
of getting a perfect outline having been already overcome.
A perfect mask so obtained, the manipulations in double
printing are then reduced to simple matter of mechanical
skill and care.

THE OLD TONING BATH OF HYPOSULPHITE
OF SODA AND GOLD.

The prevalence of faded prints during late years has led
to the not unfrequent enquiry. Have we really gained any-
thing in jiermanency by adopting the alkaline toning
system ? And there have been some high authorities — Mr.

Januakt 10, 1868.]

THE PHOTOGRAPHIC NEWS.

16

Hei.sch amongst the number — who have maintained from
the first that theoretically there was nothing in the present
system of toning and fixing more conducive to permanency
than in the old system, conducted properly. We believe
that prints produced by either system, if properly treated,
have a fair tenure of permanency ; but we believe that the
present system is safer, that there is less ri.sk of sulphur-
toning and imperfect fi.xation, than in the bath in which the
toning and fixing functions were combined. The fading
prints, of late so common, are chiefly due to careless or
ignorant treatment in fixing and washing, especially to the
repeated use of the same fixing bath after decomposition has
commenced.

We are not about to enter into the question in detail,
however, now, but simply to call attention to an interesting
article by Professor Towler, which we reprint on another
page. Our American confrere bespeaks for the old bath
of hypo and gold reconsideration, as posse.ssing in some
respects undoubted advantage in results over the present
method. Alkaline toning processes have the tendency
to bleach the prints sometimes in an excessive degree,
whereas in a bath of hypo and gold this bleaching process
is exercised in a much slighter degree. We wish to suggest
to experimentalists who may be disposed to try toning on
the old principle, that to be safe the solution should be
neutral, and that a subsequent immersion for a short time
in strong, fresh solution of hyposulphite is desirable. If
freedom from bleaching be the chief advantage desired, that
can be perfectly obtaine<l by the use of the toning bath of
sulphocyanide and gold, in which no appreciable reduction
akes place.

It is to be admitted that the subject of sulphur-toning
remains to the present time very imperfectly understood, and
that from general experience, rather than from theoretical
necessity, it is held in dread. Sulphide of silver is usually
of a fine black colour, and very permanent ; but the form of
it with which photographers are unpleasantly familiar is of
an unpleasant yellow, or greenish tint. That this is not
necessarily the case we all know : we are familiar with fine
black prints, produced many years ago, which remain un-
changed now. We have before us at this moment some
prints we received from Carl Meinerth, of New Hampshire,
U.S., five years ago. They were described as having been
toned by immersion for eighteen hours in an old toning
bath of hypo and gold made eight months before ; and that
after fixing they were only washed for one hour. The prints
were some of a rich purple, and others a pure neutral blaek
with perfectly pure whites, the prints being vignettes. They
were toned just five years ago, and they present no change
now : the whites remain pure, and the blacks rich and deep.
The permanency seems, indeed, beyond challenge. This is
one of many such facts familiar to old photographers, and
which render further examination into the causes of such
permanency desirable.

LEAF PRINTS BY PHOTOGRAPHY.*

The sun has been both draughtsman and painter from the
time when " the morning stars* ang together and all the
sons of God shouted for joy and “ leaf-prints” have been
amongst his most favourite works. It was not, however,
until the present century that he entered into the service of
man to work to order as a draughtsman and printer, and
leaf-prints were amongst the earliest specimens of his powers
when he entered upon his task under man’s guidance.
Some of the earliest experiments in securing images on
chloride of silver were produced by superposing leaves, lace,
and similar objects on the prepared paper, fac-similes of
which, in white or a light tint, were obtained on a black
ground. Singularly enough, although such a mode of pro-
cedure might have many interesting applications, it has re-
ceived since but slight attention or further development.

* Leaf Prints : or, Qlimpses of Photography, by Charles F. llimes, Ph. D.
(Philadelphia Benerman and Wilson).

Professor Hime.s, in a handsome little volume, introduces
this mode of working to the public as a valuable aid in the
study of botany, pointing out the beauty of its application,
and giving detailed instructions for putting it into practice.
In an introductory chapter he points out the great value of
leaf-prints as an aid to the student. “ One great object,” he
remarks, “ of the study of botany is to enable the student to
recognize readily the individuals of the surrounding of flora,
to call them by their names, and to arrange them according
to their degrees of kinship. The number and distinctness
of the characteristics of a plant, often concentrated in its leaf,
and the comparative ease with which the story written in
the leaf can be deciphered, m.ako the study of its morpho-
logy peculiarly important and interesting to the beginner
in botany.” The photographic image obtained by printing
by superposition — using the leaf as a negative — renders the
character of the leaf most perfectly, clearly indicating not
only the general formation, but tracing accurately its vena-
tion and detailed structure. An admirable illustration of
this is given in the photographic plate published in the
work, containing a leaf of the Acer dasycarpum, one of the
common maples of America ; a leaf of the Polyyonatum mul-
tijlorum, or Solomon’s seal ; and an example of the maiden-
hair fern, or Adiantum pedatum, all printed on one piece of
albuminized paper. On the value of the study of leaf-
structure, and the facility which photography offers for
assisting such study, Profeseor Himes further remarks, —

But the fronds of the ferns reward in the highest degree the
study of leaf morphology. Almost all specific and generic charac-
teristics are found in them, when the nature of the fructification, the
shape of the sori, their position, &c., is considered, all of which
can be perfectly represented by the photographic method used for
the illustration, in which the marginal fructiheation is beautifully
rendered, 'flius the plate of this, one of the lower orders of vege-
tation in our earth’s flora in pre-Adamic times, is written in the
impressions of its leaves upon tho rocks. They tell that during
the carboniferous era, when the vast beds of coal were stowed
away for tho subsequent use of man, the ferns which at present
seem only to serve to relieve, by their freshness and beauty, tho
waste and gloomy places, preponderated in number of species and
genera, and in some of their representatives, even in our zone,
aspired to the dignity of treehood, as they now only do in tho
tropics.

One of the most important points in commencing the pro-
duction of leaf-prints is the selection of suitable leaves to
act as negatives, and on this subject Professor Himes gives
apt instructions. To secure the most definitely marked re-
sults in printing, vigorous leaves gathered late in the season
answer best, those gathered in the spring being least in-
tense. The dried leaves of a hortus siccus may be used, the
specimen-plate having been printed from such ; but freshly-
gathered leaves give the best results. Here are some hints
for the selection and treatment of the leaf negative : —

In g.athering leaves for photographic purposes, some care should
1)0 taken to )>rocure perfect and char.acteristic specimens. Tho
margins should bo kept a.s free from overlapping as possible
when tho leaves are placed in tlio printing-framo or pressed.
Some are more easily managed if very slightly wilted, but genc-
rallf the sooner they are subjected to a slight pressure tho better.
A portfolio or ordinary atlas, supplied with sheets of printing-
p,aper, should be taken to tho woods, in which tho most delicato
one — as tho maiden-hair, fine-haired mountain fern, &c.— can bo
placed as soon as plucked. Many leaves can be printed from with-
out pressing or drying, as forest leaves, many ferns, columbine,
anemone, black currant, &c. ; but when the pines of tho leaf may
bo expressed by the pressure used in printing, and stain tho sensi-
tive paper, it will be necessary to subject them to some pressure
between the folds of bibulous paper. They should not, however,
be dried as for an herbarium.

The ribs and veins in prints made from undried leaves appear as
sharply-defined dark lines, and the whole appearance of the prints
is superior to those made from dried leaves in which the ribs and
veins are represented by comparatively ill-defined white lines.
The maple leaf of the accompanying illustration can therefore be
easily surpas.sed by any reader by printing from a freshly-plucked
leaf.

The reason of the difference alluded to lies in the fact, vhat tho
ribs and veins, whilst filled with the fluids which they convey, are
transparent, and allow the light to pass through and make a record

16

THE PHOTOGRAPHIC NEWS,

[Januauy 10, 1868.

of them in ihirk lines. Wlien dry nnd empty, they nre opaque,
and, hy preventing tlie aetion of liglit, produce white lines.

Dried leaves may be made to give prints in all resjieots equal to,
and sometimes even superior to, those obtained from freshly-
gathered ones, by soaking them for several hours in water until
the veins become expanded and filled. They must then be pressed
between the folds of bibulous paper until dry enough superficially
to print from. After this treatment they will only remain in good
photographic condition several days, but the operation can bo
repeated ns often as desired. A little glycerine added to the water
will cause the veins to remain transparent longer, nnd a little
hydrochloric acid will facilitate the filling of the veins in some
cases.

When it is desired to print from several leaves upon the same
piece of paper at the same time, it will bo found convenient to
fasten them to the glass by means of dilute gum-water. Imme-
diately after being fastened to the glass in this way they should
be subjected to the pressure of the clothos-clip as in printing from
them. In some cases it is best to place the Ic.aves — especially
dried ones — between folds of writing-pa])cr, and subject them to as
great a degree of pressure as can be obtained by means of an ordi-
nary letter-press, before fastening them on the glass. If the
loaves are not of the same intensily, the most intense — those that
require the longest time to j)rlnt — may bo bleached as much as
necesK.ary by means of l.abarraquc’s solution, or those least intense
may be stained light yellow by means of turmeric. Small plants
with flowers that preservo their sha])e somewhat in pressing —
as violets — can be iihotographcd entire.

As all prints taken from the leaves thcniselves must consist
of a light image on a dark background. Professor Himes
suggests that for many purposes an improved efl'ect will be
produced by using the print first obtained as a negative ;
first treating it with wax, to render it transparent. The
following is the method recommended : — Melt some pure
white wax by placing it in a shallow dish placed in a pan of
boiling water. Immerse in the melted wax sheets of blotting-
paper. As these sheets will absorb much iiior.* wax than is
required, a pile is to be made of (say) half-a, dozen of these
with half-a-dozen clean sheets of blotting-paper, placing
alternately waxed paper and clean blotting-paper, a few
extra sheets of the latter being placed at top and bottom.
The whole pile is then pressed with a flat-iron heated
to about the temperature of boiling water. By this tieat-
ment a scries of uniformly waxed sheets of blotting-jrapcr
will be obtained. When a print is to be waxed for use
as a negative it isj)laccd upon a sheet of blotting-paper, and
then upon its face is laid a sheet of the waxed paper; this is
then covered with two or three sheets of blotting-jiapcr, and
the whole pressed with the hot iron. The negative is thus
uniformly waxed, and made sufficiently transparent for print-
ing purposes.

Lucid instructions are given to enable the amateur who is
not familiar with photographic operations to print from the
negatives so obtained, either by the ordinary silver processes,
by the ferrideyanide of potassium process or the bichro-
mate of potash process. With each of these processes most
practical photographere are familiar. We may, however,
brieflyjmention here the formula for the two latter. The first
of these gives blue prints. Prepare, —

Ferrideyanide of potassium (red prussiatc

of potash) 100 grains.

Water ... ... ... ... ... 1 ounce.

Apply the solution with a tuft of cotton to a piece of Saxe
paper pinned to a board. This will give paper of a uniform
yellow tint. This, on exposure to light, becomes blue ; the
only fixing process necessary being copious washing in
water until all trace of yellowness is removed. A saturated
solution of bichromate of potash produces brown images by
similar treatment; excess of washing having a tendency to
decompose the image of brown oxide of chromium, and
leave a pale green image of sesquioxide of chromium.

This volume opens out to amateurs in various studies
a new means of preserving examples and patterns, and
to botanists especially, suggests a method of study elegant
in itself and invaluable as an aid to systematic progress.

O

Critinil

THE PHILADELPHIA PHOTOGRAPHER. Vol. IV.

18G7. (Philadelphia: Bexerman and Wilson.)

There is no contemporary photographic journal which we
take up with so much pleasure as the Philadelphia Photogra-
pher; none in which we arc so certain to find something
which will well repay reading ; it is, in fact, altogether a
model of what a monthly photographic journal should be.
The energetic and able editor, Mr. E. L. Wilson, is already
assisted by many of the ablest writers on various depart-
ments of photography, and we note that ho has just
strengthened his stall’ by the accession of Professor Towler,
formerly editor of Humphrey’s Journal, who will now con-
tribute regularly to the Philadelphia Photographer. Amongst
the writers whose valu.ablo articles have aided in giving
iiiterest to the volume just closed, we find, besides that of
the Editor, the nanu s of Carey Le.a (whose researches gene-
rally first appear there) Dr. Vogel (who is German corre-
spondent), the Rev. J. II. Morton, the Rev, A. A. E. Taylor,
Professor Henry Morton, Coleman Sellers, J. C. Browne,
F. A. Wenderoth, C. W. Hull, (J. Malhiot, Professor
0. N. Rood, J. Zeutmaycr, J. Q. A. Tresizc, Dr. Liesegang,
and many others, all of whom contribute excellent original
articles. A very interesting feature of this journal is the
publication each mon*h of a photographic picture illus
trating some point of interest. A number of very capital
cabinet pictures a]>pear, amongst other subjects, in the
present volume, ami have, wo doubt not, helped to popu-
larize its picture ami secure its success. The question has
at times been a.skcd by some of our correspondents as to
whether we could not occasionally issue examples of pro-
cesses in our pages, and we have had to regret its impo.ssi-
bility, as the cost of almost any form of mounted photo-
graph would exceed the wholesale price for which a copy of
the PiioTOGR.uMiic News is sold. In America a difi'erent
state of things prevails. Photographic literature is not there
nearly so low-priced as in this country. Here the standard
price for a manual of instructions in photography is one
shilling ; there it is one dollar, or four times the amount.
The price of each number of the Philadelphia Photographer
is half-a-dollar ; but we consider it cheap at that sum, and
commend it to any of our readers who, in addition to excel-
lent information, would like to see a good example of pho-
tography every month by a first-rate man.

We may add here that our esteemed friend, the Editor, has
made arrangements to send us advance proofsofany important
original articles which appear in his pages, so that our
readers will have the earliest access to any interesting mat-
ter in connection with photography transpiring amongst
American photographers.

ON THE PRODUCTION OF PHOTOGRAPHS IN
PIGMENTS : Containing Historical Notes on Carbon
Printing, and Practical Jdetails of Swan’s Patent Carbon
Process. By G. Wharton Simpson, M.A. (London:
Thomas Piper. Newcastle : Mawson and Swan.)

For obvious reasons we cannot enter into any notice of
this work beyond noting the fact of its issue, and briefly
mentioning its contents. After a brief resume of the history
of carbon printing from its origin until the present time, the
chief part of the work is devoted to a minute statement of
the practical details of all the operations in Swan's carbon
printing process. These instructions are based on a careful
observation of the operations in the Newcastle carbon
printing establishment, and upon observations during much
personal experiment and practice ; and they are moreover
made authoritative by having undergone Mr. Swan's exami-
nation for verification or revision.

There arc, also, chapters on the theory of the action of

January 10, 1868.]

THE PIIOTOORAPIIIG NEWS.

17

light ou chromic salts and organic matter ; upon the selec-
tion of the various materials used ; upon colouring carbon
prints ; upon Faults, Failures, and Remedies, and other
subjects of interest connected with the process. The frontis-
piece to each copy is a very fine example of carbon printing
from a negative, in some cases by Robinson, and some by
Faulkner.

THE YEAR-BOOK OF PHOTOGRAPHY
Edited by Q. Wiiauton Simcson. (Loudon:
Cabter, Gough Square.)

for 18G8.
Piper and

A YEARLY resume of the progress of ])hotography and
an epitomized statement of materials have grown to be
necessities amongst photographer, as the eager demand for
the Year-Book of Photography illustrates. We cannot, of
course, speak here of our own part in producing the work ;
but wo may speak with pleasure and pride of such an array
of contributors of original articles of current or permanent
interest, such as has rarely, if ever, been brought together in
one work. Besides a restatement of the principal processes
in constant use in the forms in which they are now prac-
tised by the ablest authorities, and synopses of the best
formulas, and of the new and modiKed processes of the year,
here are upwards of forty original articles by various con-
tributors, of the titles of the principal of which a brief
recapitulation may be interesting. Jlr. Francis Bedford
treats on landscape negatives and some hints for their im-
provement; and there are few men in the world whose
dictum would cany so much weight on the subject.
Mr. Mudd writes on art knowledge and photography, and
all the world knows that in writing of art and photography
he is speaking of something which his practice shows that
he thoroughly understand.s. Mr. Robinson points out, with
caustic force, common fallacies concerning photography,
in which both photographers and the public indulge.
Mr. Hughes describes a new method of reducing the inten-
sity of negatives, with a practical authority that carries
weight. Mr. R. Manners Gordon describes a dry process,
the plates by which, whilst very sensitive, and yielding
negatives of rare excellence, have perfect keeping qualities.
Mr. Blanchard has several excellent contributions, all on
interesting subjects, and valuable as arising out of his
own practice. Dr. Anthony describes a capital dry process.
Mr. Spiller gives a most useful chapter on the detection of
impurities in photographic chemicals. Mr Swan describes
a method of transferring carbon prints without the aid of a
press, which will be invaluable to amateurs. Mr. Dallineyer
treats on lenses ; Air. Fry on keeping negatives ; Mr. Cherrill
on photographing machinery, and on the sulphocyanidc
toning bath; Mr. Werge gives hints on copying Dagerreo-
types ; Mr. Bovey, the preservation of sensitive paper;
Mr. A. Keene, on dry plates ; Mr. F. G. Eliot, on a success-
ful method of reducing overprinted proofs ; Mr. J.
Eastham, on harmonizing contrasts and shortening expo-
sures, and, also, on retouching negatives ; the late M.
Claudet, on a unity of measure, for use in enlarging ;
Mr. England, on his experierice in commercially working
his new dry process ; Mr. II. Cooper, on preserving and
improving prints by parafline ; Mr. Woodbury, on trans-
ferring negatives; Mr. H. B. Pritchard lays down the con-
ditions of non-success; Air. A. Hughes gives a curious
experience in printing; Air. Alawdsley, a chapter of instruc-
tions for alkaline development ; a capital printing and
toning process is described by Air. AI. Whiting ; Air. J. R.
Johnson has some excellent hints on copying and enlarging;
Air. Cuthbertson gives some simple calculations, suggesting
a ready way of ascertaining approximately the angle of
view included by a given lens ; and Air. Burgess describes
a simple drying box. These are some of the subjects treated,
and may enable our readers to judge of the interest of the
work.

ANOTHER NEW DRY PROCESS.— SOAP IN COLLO-
DIO-BROAIIDE OF SILVER.

ATr. Caret Lea contributes to the January rhiladclphia
Photographer some interesting details of experiments in dry-
plate photography, which, by the courtesy of the Editor, we
are enabled to lay before our readers early. The object of
his researches is to secure the two valuable conditions of
greater sensitiveness and more simplicity in preparation;
the least complex of the dry processes in use involving, in
his experience, manipulations at least twice as much work
as the wet process. “ It was, therefore,” he remarks, “ with
a view of finding something simpler and more convenient for
my own use that I set to work to experiment. After some
consideration I selected Alessrs. Sayce and Bolton’s inge-
nious collodio-bromide procc.ss ns the best basis for experi-
ment, and set out to find whether it coulil not bo possible to
obtain a substance which, simply a<lded to the collodio-
bromide, would act as a preservative. If this could be done
the whole labour of preparing the plate would be reduced,
after the collodion was poured on, to a simple washing and
drying.*

‘‘ I soon found that a variety of substances would produco
the desired effect, AVith benzoic acid I obtained a tolerable
result. Aly next step in advance was in the use of shellac
varnish. I had previously observed that shellac in solution
gave a precipitate with nitrate of silver, and that this preci-
pitate was sensitive to light. I therefore added a few drops
of lac varnish to the collodio-bromide mixture, and obtained
a tolerable picture.

“ Gum guiacuin contains a considerable quantity of an
acid termed guiacic acid, which combines with silver. The
introduction of tincture of guiacum with the collodio-bro-
mide was found to give rather better results than the last-
mentioned substance, but, as a still better agent was obtained,
experiments with it wore discontinued.

” Several years ago it occurred to me that olcate of silver,
in view of its sensitiveness to light, might become valuable
in photography, and as far back as 1863 I made various
experiments with it, which are referred to in passing, in an
article I published in the Philadelphia Photographer for
Febru.ary, 1864. I therefore concluded to try this substance
in connection with the collodio-bromide, and found it to
give results much better than .any of the preceding, espe-
cially when used together with camphor. I obtained, in
this w.ay, very satisfactory results. Every part of the pro-
cess isca.sy and simple. As the preparing a solution of soap
in alcohol is somewhat troublesome, I .avoid this objection
by using an oIficin.al tincture, which can be procured any-
where, and is always ready. The details arc as follows : —

Collodion.

Alcohol J ounce

Ether it,

Bromide of cadmium . . .4 grains

Bromide of ammonium . , 3 „

C.amphoratcd tine, of soap . . 5 minims.

A supply of this should be made and put away for at least
a week to ripen.

“ Grind some nitrate of silver to a very fine powder ; it must
be, not like a fine sand, but like flour, perfectly imp.alpable.
This should be done in a perfectly clean mortar; an agate
mortar is best for all such purposes, and will be found a
useful adjunct to every experimental photographer’s appa-
ratus. Weigh out 40 grains of this p.alverized nitrate, and
add to it 3 ounces of the collodion. Shake up thoroughly
at intervals for about four hours, after which either filter
through sponge in a common collodion filter, or let stand
five or six hours to subside ; I prefer the former method
decidedly.

* At the time I made these experiments, I was not aware that Mr. Sayco
atone time had suggested the employment of t-annin in the collodio-bromide.
lie seems to have abandoned the idea, as in his communications for some
years pist he has not referred to it. My preservative agent is very different,
and my plates retain their sensitiveness after a thorough washing, thus
giving every reason to expect thoroughly good keeping qualities.

18

THE PHOTOGRAPHIC NEWS.

[January 10, 1868.

Mode of Operating.

“Edge the plate with 1-grain solution of rubber in ben-
zole, or with dilute albumen (white of 1 egg, 4 ounces water,
30 minims liquid ammonia, and filter through cotton or
paper). The former is the least trouble, because the plate
can be collodionized at once ; if albumen be used, it must, of
course, have time to dry. Collodionized in the usual way,
let stand about two minutes, during which time the next plate
is edged with benzole-rubber varnish, and then put the plate
right under the tap, provided with a rose to scatter the
water ; move it about till the water covers the plate freely,
and then leave it about five minutes to wash. A tube like
an inverted '^ifh a cork in the upper end, to slip over the
faucet, and holes punched underneath the bottom at both
ends, enables one to wash two plates at one hydr.ant. This
is very convenient for all wa.shings, but especially in the
present case, where the plates are so quickly made, and come
in so fast to be washed.

“ After washing, the plates need only to be dried, and are
ready. As to their keeping qualities I am not yet able to
speak, as 1 have tried none longer than a week ; but the.se
were not in any way impaired, and there seems every reason
to hope for at least an average permanence, or probably
more, as everything soluble is, in this process, removed from
the plate.

Development.

“ This is the regular alkaline development. The form
that I have used is, — Moisten with water, and, when equally
wet, apply a 1-grain solution of carbonate of ammonia,
adding to it a drop or two of a 10-grain solution of bromide
of potassium, and a drop or two of a GO-grain solutiou of
pyrogallic acid in alcohol.

“ As the image comes out, add more pyro, giving plenty
of time ; a little of a stronger solution of carbonate of ammo-
nia may also be added. If sufficient density is not obtained
in this way, wash off, pour on dilute acetic acid ; pour this
off after a minute or two, and add it to plain pyro, with a
little solution of nitrate of silver 15 grains, citric acid 15
grains.

“ This process gives plates rather more sensitive than the
coffee process, and has the advantage of being materially
less trouble.

“P.S. — Further experiments, made since the above was in
the printer’s h.ands, showed that an alcoholic solution of
aloes gave still better results. The best proportion has not
been ascertained. The aloes are boiled with alcohol in a
test-tube, and a few drops added to the collodion instead of
the tincture of soap. Probably commercial tincture of aloes
will bo found to answer equally well.

“ Further experiments are in progress, and the results will
be communicated. The exact determination of the relative
values of different’ sensitizers is laborious and troublesome.
The whole subject is one that gives a great opening for
experiment.”

AGAINST THE USE OF DISTILLED WATER FOR
PHOTOGRAPHIC PURPOSES.

BY NELSON K. CUERRILL.

I LOOK upon distilled water as one of the greatest mistakes of
the photographic laboratory. It is, I believe, quite useless in
all tne useful operations of practical photography. For the
purposes of scientific experiment, for elaborate comparisons
of the respective values of certain solutions, for a few unim-
portant dry processes, and for those who believe in hand-
looks and looks of instruction, distilled water may be found
an indispensable necessary ; but in the ordinary course of
photographic work I do not find any advantage gained by
its use, or any disadvantage to accrue from substituting for
it the ordinary water as it is “ laid on,” which is of course
much cheaper, and which serves every purpose.

The water which is supplied to me now contains, I doubt
not, a most delightful list of impurities, and these abound
in sufficient quantities to render it exceedingly nice to drink

(a sure sign of great impurity), and to throw down a great
milky-white precipitate with nitrate of silver ; yet I use it
for making nitrate baths, and for every other photographic
purpose, with great success.

For the nitrate bath, the most delicate of all the solutions
used by the photographer, nothing more is required with
this or any otlier sample of similar water than the addition
of a few grains of silver to a gallon or so, or an ounce of old
bath-solution may be thrown into a considerable bulk of the
water. The precipitate formed may be, if thought well,
collected on a filter, and the paper added to the silver-waste
box, or the precipitate may be thrown away ; the bulk of it
will fall to the bottom of the vessel in which the silver was
added to the water, and the slight amount which remains in
suspension may bo disregarded.

For the developer I never find the slightest difference in
effect between one kind of water and another. It does not
seem to matter at all about the precipitate formed by the
silver in the water ; indeed I am not sure it is formed
at all, the sulphate of iron decomposing the nitrate of
silver before it has time to effect the precipitation in the
water of which the developer is made.

I have never been able to see the lca.st use in washing the
film with distilled water after the hypo has been all removed
from the film. This is recommended by some as a means to
remove the impurities of the common water, and so to enable
the shadows of the picture to dr'y more clear and brilliant.
I have never found a negative print any the better for all this
extra trouble.

I find a bath for printing purposes may be made just in
the same way as that recommended for the nitrate bath ; i.e.,
the water cleared first with a little silver, and then filtered or
left to settle. I have never made a toning-bath w’ith dis-
tilled water that I can remember, and so I cannot speak from
experience of the differerce (if there is any) between com-
mon water and distilled for this purpose; but I never fin<l
the slightest fault with my toning baths ; they do their work
quite well, and that with common water.

I have thought much upon the use of common water for
dry plate wa.shings. I am convinced that distilled water is
not at all required in any of the best proce.s.ses. The preci-
pitate from water is only an insensitive silver salt, generally
chloride ; how should this hurt the film, which always con-
tains bromide and iodide of silver, and often chloride too?
It seems to me that the more a dry process depends on some
abnormal condition for success the more need there is for
using distilled water. I have noticed this particularly with
the tannin process. I have done some very good pictures
with tannin plates, but of all the proce.sses I ever tried it is
the most uncertain ; success seems to depend on some curious
abnormal conditions which no one understands, and the most
trifling disturbance, even one so small as that caused by the
minute quantities of foreign matter in common water, is
fatal to good results. Turn to the other extreme ; the most
certain of all dry processas — the collodio-albumen — to use
Mr. Mudd’s own words, “ distilled water is not necessary in
any stage of this process.” These things may not be fully
understood yet, but till they are, I say, give up those p o-
cesses which need distilled water, because they depend upon
uncertain conditions of success.

RECENT EXPERIMENTS WITH COLLODION.

The results of the experiments detailed by me in my last
paper were : —

1. That strongly-iodized collodion was more sensitive to
sombre rays than a weakly-iodized compound, and yielded,
therefore, more harmonious and softer pictures.

2. That weakly-iodized collodion gave harder pictures,
which were liable to become fogged by the employment of a
strong developer.

The conclusions which may be drawn from these results
re obvious. If softness and sensitiveness are required, a

THE PHOTOGRAPHIC NEWS.

19

January 10, 1868.]

strongly-iodized collodion should be used ; but if greater
contra-sts are desired (as in the case of dimly- lighted land-
scapes), a collodion containing but a small proportion ot
iodizing salt should be used, together with a weak developer,
in order to prevent fogging.

Many would conclude from these circumstances that, in
the reproduction of drawings or designs made up of minute
lines only (in which, therefore, there is no half tone), a
weakly-iodized collodion would be best adapted to the pur-
pose ; but this is not the case. ]\Iy experiments were made
with a strongly-lighted object (a white plaster bust), whereas
drawings are reproduced in such a manner that only a weak
image of the same is shown in the camera, the whitest
description of paper appearing in such pictures darker even
than black drapery in a photographic apparatus. It stands
to rcasron, therefore, that the collodion which is least capable
of yielding an image of the black drapery is not sufficiently
sensitive for the reproduction of drawings which depend for
their perfect formation chiefly upon the obtalnment of
opacity in the white of the negative. I have already called
attention to this fact, and have found by experience that in
the reproduction of poorly-lighted objects a sensitive collo-
dion gives the best results.

I will now continue the result of my researches. After
the institution of my experiments with iodized collodion of
a thick and thin consistence, I believed that similar results
would be obtained in working with thin and and thickly-
poured collodion films; two plates were coated, therefore,
the one very thickly and the other as scantily as possible,
and placed together in the dipping bath. A portrait was
taken on e.ach of the plates, and both developed as nearly
as possible in the same manner. The difference in the
results obtained, although not very great, was nevertheless
ob.scrvable ; both showed an equal amount of detail, but in
the thinner film the lights were a little more intense and
the shadows slightly weaker than in the thicker one, giving
the former negative a more brilliant appearance, witbout
any loss of delicacy. The result of this experiment affords
a reason why many portrait-photographers, who have a good
eye for gradations of light and shade, are in the habit of
using a collodion of a tbin consistence.

But how is the phenomenon to bo explained ? At first
sight, one would think that as a thick film of weakly-iodized
collodion no doubt contains about as much iodine and
bromine salts as a thin film consisting of strongly-iodized
collodion, the result in both ca.ses would be nearly identical.
That such is by no means the case is shown by the above
experiments ; for a plate prepared with weakly-iodized collo-
dion proved itself to be much less sensitive than a thin film
of the strongly-iodized material. The explanation of the
matter lies, most likely, in the proportion that the gun-
cotton bears to the iodizing salt ; this is obviously double as
large in the weakly-iodized material as in the strongly-
iodized collodion, and to this circumstance is, no doubt, due
the inequality which exists in the sensitiveness of collodions.

{To be continued.)

ARTISTIC PICTURES PIIOTOQRAPniCALLY
CONSIDERED.

BY K. D0NMOKE.*

The difficulty of selecting the title of a paper will, I trust,
be considered sufficient excuse for occasional digression from
it. The sweeping criticisms to which any photographic
picture is subjected that aspires to be something beyond an
ordinary matter-of-fact photograph is patent to all, and has
the effect, no doubt, of damping the ardour of many an
ingenious and artistic photographer. It is all very well to
say, “ Spare the rod ana spoil the child ; ” at the same time,
too much rod is a bad thing.

• Read before the North London Photographic Society, January 1st, 1S6T.

It would be disparaging the ability of a class of men
whose mechanical ingenuity is well known, to suppose for
an instant that there are not many perfectly able to do all
the necessary manipulations of, we will say, a composition
picture as well as it is possible to do it, and as well as it
has been done. This admitted, the other condition — un-
doubtedly the most difficult one, and may, perhaps, bo con-
sidered as the difficulty — is that of finding men sufficiently
artist to design, as well as po.ssessing the power of embody-
ing their ideas in the anything but plastic envelope of
photography. That there are great difficulties must bo
readily admitted, when we consider that the proper know-
ledge necessary to success includes the thorough acquaint-
ance with many arts and sciences which will dovetail as
they do so intimately one into the other.

How is it wo see so few good composition pictures when
many real artists are themselves photographers ? Is it be-
cause of the difficulty attached to the work, or that the
results do not repay the trouble, or both combined ? One
thing, as yet composition pictures arc but a beginning of
what will be when our attention is more especially directed
to the art rather than to the necessary manipulations, almost
tlic synonym for a photographer. Even now hundreds are
capable of making perfect negatives, when but a few years
back not one in a hundred could do so ; eventually but few
in the profession will be unable to produce perfectly-
manipulated pictures. Then photographers will not be judged
of so much by faultless workmanship as by the skill dis-
played in the design and composition. Tue foundation of
our pictures will then be ba.sed on the most solid princii>les
of art. The fashion with many, of planting their cameras
almost haphazard where there m.ay be pretty scenery, or
what not, will become obsolete, and outrages upon every art
axiom, now so plentifully scattered about, will, in a great
measure, cease to be, and photographic pictures will gain in
quality what they lose in quantity.

How shall he go to work to hasten this most desirable
state of affairs? I may say, “What shall we do to be
saved?” Keen competition and low prices are decidedly
adverse. It is not an inducement to spend one's time and
money upon what will be, after the most lavish expenditure
of care and skill, hawked about for a few shillings. One
great and good thing now, as far as we can determine, is
the possibility of rendering our pictures permanent, which
demolishes at once the most forcible objection — that of
fading away. Before we could do so few would be inclined
to invest their money largely in what, although a thing of
beauty, was not a joy for long, frequently but for a month
or two. Now it is different. Given the requisite negative,
a permanent impression can be made exceedingly beautiful,
and delicate as a refined painting. Why, therefore, should
not a photographic picture, skilfully composed (I say this
advisedly) and made permanent, be as valuable as another
monochrome drawing by another process? I feel confident
that were more attention given to the art qualities of pho-
tography, a greater number of composition pictures would
be the result, and truth would also more frequently be com-
bined with beauty. At the same time, I do not presume to
place photography upon an equality with painting, or as a
rival to other coloured works of art ; for we all know that
colour, judiciously applied, will of itself go a long way in
making a picture, as the inspection of many of the gems of
celebrated colourists will testify. Instance many of the
figures in Turner's pictures, which are wretchedly drawn, but
most skilfully and judiciously coloured, so much so that
the ill drawing is entirely overlooked, the colour and
general effect engrossing the whole attention ; therefore the
absurdity of placing them in comparison. As Opio observes,
in alluding to colour, it is the “ sunshine of art, that
clothes poverty in smiles ; ” but, unfortunately, we have to
apply sunshine in another manner.

The general depression in the photographic trade-profes-
sion is undoubtedly owing, in a great measure, to want of
novelty. One good photograph repeats another so much,

20

THE PHOTOGRAPHIC NEWS.

[January 10, 1808.

in general apearance, as to be monotonous, and the best of
them are slightingly remarked upon as “only photographs.”
That the family likeness is strong there is no disputing; and
if photographic pictures are to become intrinsically valuable
as works of art, it is evident that the true j)ictorial element
must bo more thoroughly amalgamated with them, so that
they will bo exponents of the thoughts as well as of the
manipulative skill of the individual photographer. Photo-
graphic pictures, broadly speaking, should be an assem-
blage of lights and shadows, so as to form large masses of
tints (vide Salomon) ; these, again, divided into smaller
masses, until every appearance of contrivance is lost, and
the whole together takes that harmonious and artless
appearance which so exclusively belongs to natural arrange-
ments. At the same time the whole picture should be sub-
jected to the first intention, that whatever impression or
sentiment was to have been conveyed is fulfdled in all
things in the picture working together for one end. Unless
the photographer docs this he had better leave composition
photography alone.

With many other professions periodical meetings arc
held, and regards, in some form or other, are given for the
best productions. The Sketching Club is an instance of the
successful working of this plan, and its anangements un-
doubtedly tend to increase a love of the art for itself.
Why could we not do something similar in addition to our
ordinary meetings, and let these be increased to every
mouth throughout the year ? I believe it has been suggested,
but nothing as yet has come of it. We arc certainly
dependent upon daylight for our work, and could not
manufaeture a pietuic by candle-light in an hour or so ; but
we could exhibit pictures made from some special suggestion
in the interval between the meetings. 1 am, of course,
presuming that the theoretical, and some practical, know-
leilgc of drawing would be p.art of the stock-in-trade of each
member, and who would be expected to contribute a picture
at each meeting, worked out from the suggestion given.
The details of such an association, of course, requires con-
sideration. I merely suggest, or re-suggest, the broad out-
line of a plan 1 believe would be attended with good
results, would be worth a trial, and give an impulse to
an unmistakably languishing profession, by making the
]>roduction of good pictures a matter of friendly rivalry and
love of art, rather than exclusively one of profit. The
profit would, however, be a natural consequence before long.
Again, a common idea is that photography can only achieve
as much as it has done — can, in fact, be no more than a
mechanical process. New apparatus can be m.ade and ap-
plied in new directions; we m.ay improve definition and
straighten the lines, but as to real advancement, from an
artist stand-point it is out of the range of possibility.

Composition pictures are certainly the most daring at-
tempts to buret the bounds of what is considered the limits
of a process, and arc attempts worthy of imitation by all.
It is not, however, to be expected that we could produce
lovely faces and figures as a skilful painter could imagine,
with all the lofty supernatural beauty denied to us mortals.
Fact, uncompromising fact, is what we have to deal with,
and we must confine our attention to material subjects, and
in the varied and beautiful forms of nature find employment
for our cameras. Being denied the ideal, and limited to
earthly subjects, we must make up by light, shadow, and
general outline for the deprivation. Much may be done,
quite enough to allow a wonderful advance upon the present
state of our particular craft.

Light and shadows are our sheet-anchors. A clever
arrangement of the chiaroscuro, and a few touches, will
n>ake a picture, when myriads of touches and bad lighting
will make a photograph the derision of everyone who knows
anything about art, perfect, perhaps, in its chemical aspect,
but horrible in its pictorial one.

It is evidently labour in vain to attempt to imitate
the beautiful faces and forms of a Baphael or a Guido ; but
we can make a picture full of sentiment and beauty from the

materi.al we have at our command. A difficulty certainly
exists in getting suitable figures, and in using them, when we
have got them, to the best advantage. Our landscapes are
always beautiful, and do not lack variety, and the time may
come when paid living models will bo as necessary to
the landscape photographer as to the painter.

If the production of high class clever pictures were so
easy, their value would of course be le.ss. The greater
the difficulty of production the greater the worth. When
we see a beautiful result we are apt to overlook the time,
care, skill, energy, and battling with alinust insuperable
dilliculties necessary to its prwluction : the result is all we
know, if it be good or bad, If good, no one can imitate it
without undergoing the same ordeal to procure the negatives.
The very difliculties enhance the value of the work, and, as I
have before said, I believe the fewness of really good works
causes the popular idea that photographers arc incapable of
doing better.

The productions of many of the'grcat painters supply to
us admirable studies of the proper balance of light and
shade to which I have before alluded as of the utmost im-
portance to the jiliolographer.

I may here mention that the ex tr.aord inary power which
the eye possesses of excluding all other things when bending
its greatest strength of vision on any particular object, or part
of an object, is highly interesting and may be considered
as the leading principle upon which chiaroscuro is based.
The contrast of light and shade by which both seem to bo
increased ii> intensity when in near proximity one to the
other is a qu.ality in the laws of vision most invaluable.
We may gain much by stinlying the activity of the eye ; its
conclusive mode of re.asoning, or rather the viist power it has
when cultivatiMl of forming true conclusions, apparently with-
out the necessity of re.asoning proceeding from th.at power, wo
m.ay call unconscious knowledge. 'I’he c.aieful study of tlics<i
things will confer much more real benefit than the coinmon-
])lace attentions they usually get, for upon these niceties of
light and shallow the picture has solely to depend for all
that is to give life and piquancy to that portion of effect
that comes under the head of chiaroscuro. Many pictures
will show, upon careful inspection, certain principles most
carefully observed by each master. Amongst those to whom
I would specially call attention as being most suitable for
the study of the photographer are works of Ileinbr.andt, Cor-
regio, Uubens, Van Steer, Tenier, Ostade, and Ruysdael.
Rembrandt, for instance, usually makes a great mass of
shadow serve as a foil for a sm.all qii.antity of light ; Claude
vice versa. We may recollect, in Rembrandt's works, clever
arrangement of the chiaroscuro constitutes one of the prin-
cip.al beauties of his pictures. Ruysdael, too, whose pictures
of Nature in her more sombre moods are most beautiful — you
cannot look at them without feeling their power and truth-
fulness : in fact, the study of our national pictures ought to
be the care of every photographer.

Photographs are representations of reality, frequently too
real to be beautiful ; but by well managing the light and
shade, and by the judicious introduction of figures, a work
may be produced that will bo the link between a drawing
by h.and and the more elaborate oil-painting — a source of
gratification to lovers of tnie art, and of profit to the artist.
We have numerous instances in which the drawing and
chiaroscuro arc sufiicient to make a notable work ot art even
when the colouring is but indifferent. This fact alone
proves wo h.ave the power of making pictures if we only
properly apply it. We must not forget that any one can,
by practice and attention, produce perfect chemical results ;
but it requires a real love of true art, and a just apprecia-
tion of the beautiful (qualities that may be obtained, more
or less, by study), to be able to make a picture. This is the
real secret of successful picture-making. This is the quality
that can never bejbrought to such a degree of perfection as
to be unimprovable ; the more it is elaborated the wider
seems the scope for improvement ; each stage of advance but
seems to unfold others before unthought of ; and, to quote

January lO, 18G8.]

TIIK PIIOTOORAPIIIC NEWS.

21

an old-fashioned rhyme, perhaps a trille vulgar, but appro-
priate,—

“ Kach big (lc.a has a little flea
U|>oii hia back to l>ite ’un ;

K ich I'ttle flea has 1-saer fleas,

And so ad inOuitum.”

Intimating that each little knowledge not only adds to the
general store, but begets other knowledge before hidden and
uuthought of. We should therefore give our attention more
particularly to the .art of picture-making, and not lot the
manipulative part monopolize quite .so much of our thoughts
ns it has hitlierto done, but bring ourselves to consider the
means as inferior to the end ; and \vc shall yet produce
tangible proofs that pbotogiaphy is not only a mechanico-
clicmical curiosity, but tlie means of producing truthful,
beautiful, and artistic pictures ; and the year that we this
day enter upon will be to all, both ])hotographically and
socially, a truly progressive, prosperous, and happy new
year.

RESUSCITATION OF THE OLD TONING AND
FIXING SOLUTION,

Ano the Treatment oe this Solution when ExitAu.STEn
ou Satuuated.

IJY ruOEF.SSOB JOHN TOWLEl!, M.n.

It requires more than ordinary boldness and a daring dis-
position to give countenance to a condemned fashion, a cut
of coat out of date, or an ostracized actress. The same
boldness and daring will scarcely preserve us unscathed
when we assert that, in our humlrle opinion, the old toning
and fixing solution, consisting of hyposulphite of soda and
chloride of gold dissolved in water, is equal, if not supi-rior,
to any other toning anil fixing solution now in vogue. This
assertion is not founded on fancy, ou a mere desire for
change, on eccentricity, but on the result of numerous jirac-
tical experiments ; from these experiments we deduce (sub-
jeet, of course, to amendment, change, or revision, according
to the development of further results) that the toning and
fixing solution of hyposulphite of soda and cfiloiide of
gold is more economical, more certain in the production of a
given tone, and more easy of manipulation than any of the
other toning and fixing solutions. It remains to bo seen
whether, by the slight modifications introduced, theie are
no drawbacks in the way of the prints turning yellow, after
a time, by exposure to air or moisture; other faults or dis-
advantages we do not anticipate, nor do we regard the more
rapid exhaustion of the fixing powers of the hyposulphite
solution of any account or moment ; in fact, some puoto-
graphers never use this solution more then once; and we
have ourselves frequently made this recommendation. Let
this advice, however, be recanted, for we find that the solu-
tion can be used repeatedly before it becomes saturated with
chloride of silver ; and, until it is saturated, it is operative
of good and uniform results.

liefore we give the exact formula; for the preparation of
the toning and fixing solution, it may be well to discuss, in
a few words, the separate toning functions both of hyposul-
phite of soda and of chloride of gold (for the former is
just as much a toning re-agent as the latter), and then to
examine the results when the two arc combined.

In tbe first place, let a print, when taken from the
pressure-frame, be well washed in several changes [of water
(in the dark room, of course), and then immersed in a strong
solution of hyposulphite of soda. You are all familiar with
the almost iustantaucous change of tone produced on the

Erint, from whatever shade of colour it may previously have
ad, to a very light chestnut; this chestnut hue is the
separate and independent result of the hyposulphite of
soda, and it has been adopted by Beyse and Joss as the
fundamental flesh-tones in their patent* for producing
colours on prints by development.

If the print be not previously washed, but removed

directly from the pressure-frame to the soda solution, the
tone produced is somewhat darker ; it is still, however, a
chestnut hue — a dark chestnut. The soluble silver salts in
the print have combined to produce the slight modification
of hue from a light chestnut to a dark chestnut. But the
dark chestnut hue is not produced instantaneously; it
requires several minutes, probably a quarter of an hour, the
length of time required to fi.x the print; that is, to remove
the chloride of silver in the print that has not been modi-
fied by the action of light. During this quarter of an hour
the well-washed print retains the same light chestnut tone
which was produced the moment it was immersed. Hypo-
sulphite of soda, therefore, alone produces on a silver print
a chestnut-coloured tone, and at the same time dissolves out
all the unchanged chloride of silver: this is its fixing
property.

Now let us see if a solution of chloride of gold has any
eft'ect upon a silver print, cither on collodion, on albumen,
gelatine, or plain paper. Wo all know that this solution
has been recommended as a means whereby to intensify a
negative ; and whilst performing this operation we have
observed how the tone of the negative gradually changi!S
from the grey-white of the silver jiicture to an inky hue; if
the solution be strong, the change is very rapid, .almost in-
stantaneous. The intermediate tones, before the ink-hue
h.as been attained, are more pleasing, because more warm,
being a varied mixture of red and blue. The same result
is observed when a paper-print is immersed in the gold-
toning solution, consisting simply of neutral chloride of
gold. If carbonate of soda, ])hos|)hate of soda, citrate of
soda, acet.ate of soda, or chloride of calcium, be mixed with
the chloride of gold, we have the result of the two com-
bined, which is slightly dilVerent from that of the gold-
salt alone. But if we examined carefully, or observed
accurately, we must have seen that the gold-salt not cidy
changes the tone of the silver jirint, but seems also to
exercise a bleaching influence upon the colouring matter of
the print. This property is observable both on the negative
and ou the print; and it is to this pernicious effect that wo
attribute, or may frequently attribute, the improper and
umseemly contrast of excessive black and white on prints:
they have been bleached, the extremely line markings
have all disiippeared, the middle tones have become very
faint, and the inky blacks .alone piedominate. Wo are
inclined to think that, in every case of substitution under
similar circumst.ances, a part of the print must be lost.
Here gold takes the place of silver: and, where the markings
or shades are very fine or thin, it is natural to suppose that
the silver, as it retires all at once, carries with it, as it
were, in a vortex, the cause or substance that attr.acted the
gold. But we are beginning to theorise, which was not our
intention. The separate and independent action of chloride
of gold on a silver print, then, is two-fold : it tones tho
print, and bleaches it. The final tone is that of an inky
blue.

Let us now ex.amine the results of tho combination of
these two toning materials on a silver print. There are two
cases : the one is when the print is submitted to tho gold
solution first, and then to the hyposulphite of soda after-
wards : and the other is when the print is immereed in a
mixture of the two solutions at the same time.

It is a law in mechanics, that the resultant of two or more
forces is the same, whether the forces act separately or co-
sentaneously ; in chemistry it is very prob.able that the law
will not be always verified ; for one chemical ingredient, by
getting the start, may do dam.age, which the other may fail
to retrieve. In this way the gold toning solution acts ; that
is, when it is used separately and prior to the use of tho
hyposulphite toning solution ; for by its bleaching property
the fine and thin shades, or mezzotints, as well as the deli-
cate lines, points, and marks, are all more or less deteriorated,
and the print, if kept in this toning solution until the blue
or the violet tint has been arrived at — until, in line, the gold
has displaced the silver which originally formed the picture

The translation of this process will soon appear.

22

t'HE PHOTOGRAPHIC NEWS.

— 'will be very much impaired in vigour and brilliancy ; in
fact, it will be a feeble, a bleached picture. Now when this
bleached picture is immersed in the so-called fixing solution,
it is submitted to two actions — a toning action upon the
parts which form shades and middle tints, and a solvent
action upon the chloride of silver which has undergone no
physical change from light. Neither of these actions has
any power whatever to restore the parts that have been
destroyed by the gold toning solution, nor do they add to
the vigour of the print by increasing the contra.sts, because
the toning of the hyposulphite does not owe its efficacy to
accretion or deposit. Hence it is that such a picture leaves
the fixing solution as weak and bleached as when it was
placed in the same ; it has simply changed its tone and
been fixed.

Have we any reason to allege that the action is different
when the print is immersed at once in a mixture of the two
toning solutions? Let us see.

Suppose it is immersed in the hyposulphite first, until it
is toned to a chestnut hue, and fixed. It will be observed
that, in this case, it has undergone no deterioration such as
that which is produced by the gold toning solution ; in fact,
■we shall be constrained to come to the conclusion that hypo-
sulphite of soda tones and fixes without bleaching.

Secondly. We shall observe, furthermore, that ail attempts
to tone the print with the gold solution after it has been toned
and fixed in the soda bath are futile ; we can hence conclude
that thelatter solution must have somerestrainingaction upon
the gold solution when the two are mixed together. These,
then, are the only theoretical reasons at present known,
which ought to induce us to rely upon tlie mixture of the
two toning solutions, as preferable to the application of the
gold solution first, and hyposulphite afterwards. In prac-
tice, we find that the print is much less injured in the mixed
toning solutions than when treated by the modern method of
toning and fixing in separate baths. In the mixed bath the pic-
tures are decidedly more brilliant, and every tone that can be
composed of a chestnut hue and a bluc.black by the varied ad-
mixture of the two solutions that produced them can be ob-
tained in this mixed bath if the prints are allowed to remain
in it the proper length of time. Our readers may be in-
clined to think that the prints must be in some degree
injured if they are allowed to remain several hours in the
hyposulphite solution. Wo have not found this to be the
case, and oar experience is derived from the toning and
fixing of more than seven hundred stereographs during the
la.st month. Some of the prints remained in the mixed
solution over night, and were found the next morning as
black as an engraving; if kept in still longer, the tone
assumes a greenish tinge. But in all these cases there is no
difficulty in removing every trace of hyposulphite from the
prints by subsequent washing ; and when this is effected,
there ought to be no alarm about their keeping properly.
With these preliminary remarks, we will now proceed, and
describe our present toning and fixing process.

TONINO AXD riXINO SOLUTIOK.

Water 32 ounces

Hyposulphite of soda ... ... 8 ,,

Acetate of soda 4 drachms

Chloride of gold ... ... ... 15 grains.

Dissolve the gold previously in an ounce of water, .and
then add it to the stock solution. Keep the stock solution
in an open bath all the time, and add to it fresh gold and
hyposulphite when required. It is a good plan to dissolve
fifteen grains of the gold salt in two ounces of water, and
add a drachm of the solution to the bath each time or day
just before you are going to tone. Throw into the solution
also about half-an-ounce of hyposulphite of soda after each
day’s severe strain upon it. In this way it will work for a
long time, care being t.aken to supply fresh water as it
becomes exhausted by evaporation or convection with each
print when removed from the bath. The solution, too, is
always ready and in good working condition to receive the

[January lO, 1868.

prints direct from the pressure-frame, without any previous
washing. In this way the bath is seldom overcrowded with
prints at the same time, for, as one goes in, another, in
general, is ready to be removed to the water-dish.

(To le continued.)

STUDIO HINTS.

nr A PRACTICAL MAN.

Varnishing. — As this practice will be most extensively
adopted since Mr. Blanch.ard’s method of preserving prints
has been made known, all who wish to avoid vcx.ation and
trouble in regard to the brush should keep their varnish in
a wide-mouthed caper bottle, the flat brush fixed through
the cork ; and as the varnish gets used and lower in the
bottle the brush can be pushed further through the cork,
to be always in the varnish.

A cheap and effective substitute for a Glazing Press, and
admirably adapted for the new cabinet portraits, may be
arranged as follows : — A roller of beech or birch, from one
to two feet long, and of good proportionate thickness, must
be accunately turned and polished. The print is to be
placed on a sheet of plate gl.ass, or the top of a smooth,
hard, heavy table, or it may be placed between pressing-
boards. 'I'he roller is then to be placed on the top, and
worked backward and forward, mangle fashion, with a
heavy lithographic stone. This will give a highly-glazed
surface to prints at a small cost.

Graduated Backgrounds (che.ap, effective, and can be made
by any one). — Get six or eight feet of the 4-ft. G-in. wide
cartoon paper, or a very large sheet of brown packing-paper,
some of which is made in very large sheets ; damp it,
and strain against a w.all, or strain on a frame previously
covered with thin calico ; when completly dry and tight,
mark a circle in the centre, or about where the sitter’s head
would be ; then put some common lampblack in a saucer
or plate, and work it round the ce.itre circle that has been
left for the head, taking it up with a cloth as wanted.
Thi.s, with very little trouble, will give an admirably
graduated background, either from a dark centre to light
outside for grey, white, and light heads, or a light centre
to dark outside for dark heads. If the brown paper centre
is to, dark, bring it up with a rubbing of flake white. This
only wants tryin", to be universally adopted, as it is so
simple and so easily done.

StijipUng the Glass of Studios, so as to give a flat or
ground appearance. This is best done with pure, good,
bright and clear white load, so mixed as to be what de-
corators would call stiff flatting. This should be dabbed or
stippled on with the point of a new, good-sized sash-tool ;
an old worn-down brush is useless, and will only make dabs
and smears. There is also another way of regulating Lie
studio light ; viz., by the use of thin blue gauze mediums,
as used by p.anorama painters in producing some of their
soft and graduated effects ; the blue gauze used in theatres
for making the dresses of fays and fairies is the article to be
used. This can he arranged so as to cover any desired part
of the top or side lights in one, two, or three thicknesses, and
be the means of producing a variety of soft, artistic, and
satisfactory effects.

I'he Cabinet Background will be found useful. It is
fonned by hanging three frames together; to fold, open out,
or shut up like a large clothes-horse. This, judiciously
used, will give great relief and roundness to the figure, as
the light may be increased or diminished by merely splay-
ing or contracting the frame on the side nearest the window ;
a frame must also be arranged to soften the top light. The
frames forming the two sides and back must be skeleton-
frames, to be covered with open leno or blue gauze, and, by
their arrangement and modification, will produce a great
variety of pleasing effects.

January 10, 1868.]

THE PHOTOaRAPHIC NEWS.

23

frombing.? of Scffiftifs.

North London Photooraphic Association.

The usual Monthly Meeting was held on tlie evening of Wed-
nesday, the 1st inst., in Myddelton Hall, Mr. W. W. Kino in
the chair.

The minutes of a former meeting having hoon read and
confirmed,

Mr. E. Dunmore read a paper on Some Art Aspects of
Photography (see p. 19).

After a vote of thanks, it was resolved, as the meeting was
small, to adjourn the discussion on the paper until the February
meeting.

— '-0--

CARBON PRINTING.

Sir, — After my season’s work, which, I am happy to .ray,
puts me out of the position of joining in tlio dolorous
chorus which is being pretty generally sung by tlic profes-
sion of late (the more is the pity), I took a week’s holiday
to myself for the purpose of seeing what was doing away
from homo, determined to bag every wrinkle that could bo
turned to good account in future practice.

I have long desired to try my hand at carbon printing,
but, I dare say, like many more, was deterred from doing so
by the conflicting statements made regarding its practica-
bility. So, when out for my week, I one day turned my steps
towards Newcastle, and called on ilr. Swan, and, sir, if he
were a stranger to you, I would tell you of the kind and
gentlemanly manner in which I was received ; my only let-
ters of introduction being a few cartes, the backs telling
where I did them, and the other side showing how. lie
kindly requested me to accompany him to the printing
establishment, and there I saw the process gone through
with pictures of every size, from cartes up to whole sheets,
and in every variety of tone suitable to the subject, from
pure black to a warm brown, all equal, so far as I could
judge, to what silver prints would be from the same
negatives, and as regards uniformity in depth of printing
superior.

I was so thoroughly satisfied with what I saw that I
resolved that my first work on my return home would be a
trial at carbon printing, and the few cartes I enclose will
give you an idea of my success. I find the working of it
so simple and certain that I would have no hesitation in
adopting it for all my work ; and consider that ilr. Swan is
justly entitled to substantial remuneration for the skill,
painstaking perseverance, and time he must have expended
in bringing the process to such perfection.

I noticed lately that Dr. Vogel suggested the use of the
screw press for transferring — a good idea — but, I think, only
suitable for the first transfer. Where quantities were done the
screw press would be valuable, as the undeveloped prints
could bo neatly laid on the caoutchouc-coated paper (an
uncut sheet, if the press was large enough), and piled into
the press between sheet-brass or printers’ pressing-boards,
when one squeeze would do for hundreds of prints. The
re-transfer requires a much sharper nip to ensure perfect
adhesion, and for this a copper-plate or lithographic press is
better adapted. John Uknderson.

Perth, Jan. Otk, 18G8.

[The prints which Mr. Henderson encloses are excellent.
The question of screw pressure versus rolling pressure can
only be decided by experience. Mr. Cherrill, who first
proposed it, has succeeded very well with the screw press,
and Dr. Vogel confirms his view. Our own predilection,
theoretically, is in favour of rolling pressure, with which we
have succeeded. As yet, however, we have not tried the
screw pressure. — Ed.]

SUGAR IN THE PRINTING BATH.— INDIA-
RUBBER MOUNTING^

Dear Sir, — I beg to thank you and Mr. Bovey for the
hint as to the use of sugar in the printing bath. I tried it
some weeks ago, when you first mentioned the subject, and,
as no formula was given, I added one drachm of sugar to
each pint of a 40-grain silver bath. I have, within the
last few days, obtained prints with perfectly pure whites, on
paper which has been excited three weeks. I fancy that
the paper is a little more sensitive after this treatment, but
of this I cannot speak with certainty, as I have not tried a
sample prepared with and without the sugar side by side.

I have been trying the india-rubber mounting, but without
much success. I made a 20-grain solution in benzole. It
took some days to dissolve properly, but appeared all right
at last. I then mounted some cards, as I thought with
success, and after rolling they looked very nice. To my dis-
gust, however, when I looked at them some hours after, the
heat of a warm room had made most of them curl up from
the mount at the cornei-s, and in some, half the prints wore
off. Is there any remedy for this ? — I am, sir, gratefully
yours, Probatum Est.

[The tendency in the print to leave the mount is a common
result of using too thin a solution of india-rubber. A very
attenuated layer is comparatively useless. In using glue or
paste it is a maxim to apply the thinnest coating possible. 'A
carpenter will tell you that the best joint is made with the
smallest quantity of glue, and he will sometimes rub two
surfaces together to press out all superfluous glue. But it is
to be observed ho uses the smallest quantity possible of gluo
of the right thickness, not glue made as thin as possible.
It is possible to make glue and paste too thin to secure
adhesion. But the conditions in using india-rubber are
altogether different. It does not dry into a hard substance
binding the two surfaces to which it adheres. It continues
in the form of an elastic gum. a thin layer of which readily
yields to a strain which is greater than its own elasti ;ity. it
is necessary, therefore, that the layer should be thick enongh
to resist any possible tension to which it may be subjected.
A 20-grain solution ought to bo strong enough, but it has
probably been spread thin. — Ed.]

EXPLANATION.

Sir, — We shall be' obliged if you will kindly allow us
space in the News to declare that we have nothing to do
with “ A. B.,” who in your last advertises cheap printing,
and refers to Mr. Seeley, of Ware.

VVe think that surely competition in price has reduced
photography as profession too low already !

The effort should rather be to raise both price and quality.

A. and E. Seeley.

The Ferns, liichmond Hill, Jan. 8th, 18G8.

m tbi StubiJ.

The Meeting of the Photographic Society. — At the next
meeting of tho Society, to bo held on Tuesday evening, in
Conduit Street, Mr. J. Spillor, F.C.S., will read a paper, en-
titled, “ Researches on tho Hyposulphites and other Fixing
Agents. Part I.” Wo hope that a good attendance w’ill be
present to hear a paper on such an interesting subject.

Gun-Cotton and Nitro-Glycerine. — Professor Doremus,
at a recent inquest held in the United States on the bodies of
several men killed by a nitro-glyceriue explosion, stated that if
gun-cotton bo immersed in tho proto-chloride of iron it turns
into common cotton ; the same experiment was tried with nitro-
glycerine by mixing it with proto-chloride of iron, and it
reverted into common glycerine. If gun-cotton or nitro-
glycerine is not carefully washed to get rid of the acid, a
gradual decomposition will ensue, producing gases which, if
the vessel bo closed, will explode. Nitro-glyccrino carried

24

THE PHOTOGRAPHIC NEWS,

[Januaky 10, 1808.

about oxposocl cannot explode, even if you <lrop a coal of fire
into it ; if the liquid is confined, or is under pressure, then an
explosion will ensuo. If gunpowder or the fulminates of mer-
cury, silver, or gun-cotton bo ignited in a vacuum by a galvanic
battery, none of them will explode.

PlIOTOORAPHY AND THE KaILW'AY CARRIERS.— A CasO of SOme

interest to photographers in the transit of their productions
has just occurred at Penzance. It appears when the Science
and Art Department decided on allowing a series of their
framed and glazed photographs to bo sent to the West for
exhibition, in connection with the schools of design at Pen-
zance, the agent of the railway into whoso hands they were
jdacod for transit to their destination entered the cases con-
taining the photographs, &c., as books. Now, to mako the
transaction better understood by the general reader, it should
bo stated that the railway companies have throe scales of
charges : books, £2 per ton ; pictures, with glass, £4 per to i :
and plate glass, £6 per ton. It appears that by a littlo sharp
practice the person entered the pictures as “ books,” and got
thorn convoyed at the rate of £2 per ton, and then charged
those to whom they wore directed for plate glass, at £6 per ton.
Now tho foreman of tho Committee was sufficiently wise,
though he did not come from tho East, to know that this was
a very exorbitant charge, and refused to pay it, when another
account was handed to him somewhat lower ; but this ho
doomed too much, wont to the railway managers, had the
whole affair opened up and inquired into. The case was then
heard before tho Penzance magistrates, who inflicted a penalty
of twenty shillings on tho agent, at tho same time s.aying, that
had tho principals boen before them in tho case they would have
imposed tho full penalty of £10 and costs ; so that photogra-
phers in sending their goods to exhibitions, &c., must bo
careful, and see that tho cases aro properly entered and
properly described, as tho Act of Parliament gives the rail-
way companies great power in any case of wrong description
and entry.

Dishonesty. — Some weeks ago, wo reported the committal
of Walter Whitlow, for tho theft of negatives, prints, &c., from
his employer, Mr. Dufty, of Bath. At tho recent sessions ho
was found guilty, and sentenced to six mouths' imprisonment
with hard labour.

Photographs of Paintings. — One of tho most celebrated
landscape painters of Franco, who has just died, M. Theodore
Rousseau, has, by his will, instructed that all tho works remain-
ing in his possession aro to bo collected and photographed,
and, if circumstances permit, they aro to bo jiublished in a
collected form, after the manner of tho “ Livro do Vorit6 ” of
Claude Lorraine, or of tho “ Libor Studioruin ” of Turner.

^0 Corresgoubints.

A Subscriber. — There aro various methods of making a pl.iin
p.aper print transparent. Either wax or varnish will answer;
but if you require it to bo attached to glass tho uso of a varnish
will answer your purpose best. Tho print should first bo soaked
in hot water to removo the size as completely as possible. It
may then bo treated either with mastic, varnish, or a varnish
made by dissolving Canada balsam in turpentine. A strong
spirit varnish might bo used, but as it dries rapidly the manipu-
lation is not so easy. The print should bo saturated with
varnish, and tho glass surface coated with varnish, and the two
brought together carefully so as to exclude air-bubbles.

F. A. N. — The best plan for such a side-light as yours is to have
tho curtains sliding on a rod with rings, the whole curtain for
tho side, triangular piece as well, being in one piece. A cord
must run along the rod, being atUched to each ring, running
over a pulley at tho highest end, and hanging down. By pull-
ing this string the blind will slide along and up the rod ; the cord
by which it is pulled can then bo tied to a hook so as to hold the
blind in position, drawn just to such extent as may be required.
2. All the samples of albuminized paper you name are, wo
believe, good. We have, especially, heard No.s. 1, 2, and 5
praised ; but we have not made comparative trials of each, and
cannot speak absolutely from personal knowledge.

Am.ateur. — It is probable that the lens to which you refer, of the
maker you name, will answer your purpose ; No. 3 will be best
for tho size you require. For pure landscape, nothing will
answer yonr purpose bettor than tho first land.scape lens you
mention. Possessing these two lenses you aro right in con-
jecturing that the trijilo will be comparatively unnecessary,

A Beginner, — The copyrightof a photograph taken to orden and

for what tho statute terms a “ good and valuable consideration,”
does not vest in either tho producer, or tho person ordering,
without an agreement in writing made at tho time, stating to
whom the copyright is to belong. The producer of any photo-
gnapli ordered' and paid for by another has no right to sell tho
prints without tho consent of the person so ordering ; but neither
of them possesses a copyright without an agreement. The only
case in which the copyright vests in tho producer without any
agreement is where lie produces the photograph at his own
charge and for his own purposes. The coat of registration i.s
one shilling for the fee, and one penny for the “form” to be
filled up. Per.sonal attendance at the Registrar’s Office is neces-
sary. Our Publisher will superintend tho proper entries, and
pay the fee of a form properly filled up, if one shilling and three-
pence in stamps bo sent to him. A separate entry and separate
fee is necessary for every view of any object. One entry and
one fee only jirotects tho picture in one negative, and any other
negative with the slightest variation requires separate entry and
fee.

Twelfth Night. — The negative you forward is not well adapted
to the production of transparencies for tho magic lantern. It is
not dense enough and not clean enough ; the lights are feeble
and the shadows aro fogged. For copying engravings for such
a purpose you will find tho use of an orgauico-iron developer
well suited, as aiding in tho production of clean shadows. Yonr
exposure has been a little loo long also, and it is probable that
your collodion is new. Try adding a few drops of tincture of
iodine to your collodion until it is a deep sherry colour. In
copying an engraving be very careful to Lave it quite flat and
tho camera quite parallel with it. 2. The use of a background
painted in natural colours instead of in monochrome would not
impede manipulations, but would mako results uncertain and
often inharmonious, because of the varying photographic value
of colour. 3. If judgment boused, natural objects may often bo
introduced as accessories in portraiture. We have seen, at
times, very effective pictures produced by the introduction of
natural foreground objects in front of a painted landscape back-
ground scene.

G. Willis (Scarborough). — .As Mr. Swan’s carbon process is
protected by a patent, no one can, of course, work it without his
licence. The possession of our work on carbon printing carries
with it no right to practise the patent process, but will te.ach
those possessing the licence to practise the process. The ques-
tion of exclusive licences is one of a purely commercial character,
and will doubtless be governed by commercial consideration.

W. M. — The Year-Book of Fhotooraphy for 1868 was pub-
lished on tho 2~th of Docemlicr, and has not boen out of print
since. Any answer" not out ” or " out of print ” since that date
has been given in error.

Ajax. — We do not know of any agent for tho Loptographio Paper
in London.

F. A. Oakes. — See answer above.

R. N. D. — You require a thicker solution of india-rubber. Tho
15-grain solution with a large residue which you describe is prac-
tically much weaker, probably not more than 10 grains to tho
ounce. 2. The thin foggy image which you describe may bn due
to the condition of the bath, or of the collodion, or of the deve-
loper. Probably you are using a new and somewhat thin collo-
dion. Add a little more pyroxyline to the collod' jn, and a few
drops of tincture of iodine. 3. In copying a map, uso a portrait
lens or a triple to secure freedom from distortion, and a mode-
rately small stop. A view lens will curve tho lines in tho
margin.

R. 1). — Tho toning bath turning brown and ceasing to tone is
most likely the result of contact with some trace of hvposulphito
of soda. Possibly your fingers have been in contact with tho
fixing bath, and have then been immersed in the toning solution.
This will produce the effect you describe. There is no remedy
for it; yon can only recover the gold by precipitation.

Tyro. — Collodio-chlorido of silver properly jirepared will keep in
the dark a long time : how long wo cannot say. Tho first sample
we made was kept lor twelve months before it became decom-
posed. Wo do not counsel, however, keeping it for more than
a few weeks, as if free nitrate of silver be present, as it should
bo, it has a tendency to act upon the collodion, making the film
rotten. Tho film leaving tho paper is generally due to tho uso
of a very tough collodion.

Pickle. -LtIic first of the recipes for joining glass to which you
refer, if managed properly, will bo found to answer. A thick
solution of isinglass with a littlo powdered hydrate of lime made
into a paste will make a good cemeut ; or, quicklime and
cheese made into a paste with a little water holds well.

C. W. H. — Regarding tho subject of your strictures it is difficult
to say anything here, except that there are many and varied
tastes in existence. Thanks for your complimentary remarks on
the Year-Book.

To Correspondents. — Communications from Lachlan MacLachi
LAN, A. E. Scales, and others in our next.

Several Correspondents in our next.

NEWS.

THE

CONTENTS.

PARK

Silver Soap aa a Sensilire Agent

Hyposulphite of Ammonia for fixing

Another Sensitive Salt for Photographers— Fluoride of Silver... "0

The Use of Clouds in Landscapes. By Lux Graphicus 27

The Magic Lantern and Photography. By James Marlin 28

On Natural Clouds in I.andsc3pe Photography. By J. U. John-
son 28

Besearcbes on the Hyposulphites and other Fixing Agents.

By JohnSpiller, r.C.S 29

PACK

Resuscitation of the Old Toning and Fixing Solution. By Prof.

Towler 31

Procecding.s of Societies— South London Photographic Society

— London Photographic Society 31

Correspondence— Remarks upon tlio Chemistry of Photography

On the Use of Distilled Water— India-Rubber .Mounting

Soap in Dry Collodion— Edge’s Photos.— Double Printing

and Mr. Edge's Pictures S3

Talk in the Studio S.'i

To Corre.spondents 35

SILVER SOAP AS A SENSITIVE AGENT.

Notwitustandino the experimental activity wliich often
prevails in photography, it is singular how long a known
sensitive agent will remain little c.xaminecl and unutilized.
The oleate of silver is one of these substances. About live
years ago M. Quaglio called attention to its use in a method
of photo-lithography, of which we have heard no more. M.
Carey Lea, Dr. Liesegang, and others, gave some attention
to it about the same time. Dr. Phipson, in his Preparatcur
Photoyraphe, published four or live years ago, referring to
this substance, states that it is extremely sensitive to light,
blackening completely in an exposure of from live to seven
minutes, lie mentions that spread upon a jtieee of ground
glass, and exposed under a negative, it yields a print of a '
line black tint, which may be fixed by treatment with dilule
hydrochloric acid, followed by hyposulphite of soda. Some
time in the year 1800 we received a communication from an
ingenious correspondent, Mr. U. Courtenay, some line exam-
ples of instantaneous photography, accompanied by the
information that the accelerating .agent he employed in his
collodion, which at once gave rapidity and vigour, w.as
oleate of silver. We suggested at that time that this
organic salt of silver would probably prove of service
in the dry collodion processes, and, further, that in our
collodio-chloride process, which would probably prove
valuable in securing line prints. We commenced some
experiments with it for the latter purpose; wliich, from
the intervention of other important engagements, were,
however, never carried out. The simple experiment then
made consistetl in adding about three grains of Windsor
toilet soap, linely scraped, to an ounee of collodio chloride
of silver, and, after a few hour.s, trying it for printing. The
sensitiveness was enormously increased, and a consider.ablc
accession of vigour was secured. The results were full of
promi.se; but, as we have said, the experiments were pushed
aside by other matters at the time, and have not been
renewed. We sh.all resume the experiments at an early
opportunity.*

M. Carey Lea, to whose activity and ability as an experi-
mentalist photographers are already largely indebted, h.as
recently made a new application of silver soap, which
promises to prove of great value. He also uses it in a dry
collodion process, but in an cxtremclj’ simple and elegant
manner. Taking the collodio-bromido process of Messrs.
Sayce and Bolton, he forms in it oleate of silver to supply
the sensitive organic salt which is found necessary or desira-
ble in dry processes generally. The results are described as
very encouraging, which, d priori, we are quite prepared to
believe. The collodio-bromide jiroccss, under the manage-
ment of Mr. Mawdsley, at the Liverpool Dry Plate Com-

* We hAve, since writing the above, rep'Mted the experiraeat with similar
resulu. We shall have more to saj ou the subject shortly.

pany, gives plates .admirably stable and certain, with a
degree of sensitiveness c.xceeding that of most dry plates,
and it seems very prob.ablc that the addition of an agent
like oleate of silver will still further increase their sensi-
bility.

In his formula, which we published host week, Mr. Lea
recommends the use of an oflicinal tincture of soap, chielly
on the ground th.at, being employed in pharmacy, it can bo
purchased ready for use, and that alcoholic solutions of soap
are troublesome to prepare. As the tincture of soap to which
he refers is an American preparation, the argument of facility
in obtaining it is not available to the English reader, to
wlioin, therefore, .as the preparation of his own soap solution,
or his own oleate of silver will be necessary, a few words on
' the subject may be u.sefiil.

Oleate of silver is a yellowish white substance somewhat
rescmljling wax in texture ; it is not soluble in water, but
reatlily soluble in ctlier and alcohol, and therefore in collo-
dion. It is formed by mixing six parts of nitrate of silver
in concentrated solution with seven parts of Castile soap in
strong solution. The oleic acid and margaric acid, which
are united with a soda base, combine with the silver, and a
precipitate, consisting chielly of oleate of silver, with a little
margaratc of silver, is thrown down, leaving nitrate of soda
in solution. The precipitate is washed, and pressed dry
between folds of blotting-paper. It m.ay be added to collo-
dio-bromide or collodio-chloride of silver in this form, and
will readily dissolve in the proportion required.

A still simpler plan of operation would consist in the
preparation of an alcoholic solution of soap, to be used in
the preparation of the collodion. Most of the alk.aline
oleates, stearates, and margarates, are in some degree soluble
in alcohol, and will form a strong solution, if cut into
shavings .and digested for some time ; or the soap might
bo .added in fine shavings direct to the collodio-chloride or
collodio-bromide, without much risk of inconvenience. As
the soaps with a pot.ash base are most soluble in .alcohol,
they should be chosen. Common soft soap, which is an
oleate of potash, may with advant.age bo used for this
purpose. Two or three grains of this oleate .added to each
ounce of collodio-bromide or collodio-chloride of silver when
it is lirst prepared — having, of course, .about an equal weight
of free nitrate of silver present to combine with it — will, it is
prob.ablc, give a suflicient proportion of oleate of silver,
without leaving any trouble.some residue.

IIYPOSULPHITE OF AMMONIA FOR FIX ING.

In Mr. Spillcr’s interesting paper on Fixing Agents, rc.ad
before the Photographic Society ou Tuc.sd.ay evening, he
mentions that on using a bath of hypo.sul[)hite of ammonia
subsequent to the ordinary lixiug of the print, ho was

26

THE PHOTOGRAPHIC NEWS.

[Januakt 17, 1868.

enabled to eliminate all but a very minute trace of the silver
always left in the whites of the print after fixing with hypo-
sulphite of soda ; and expresses a conviction that if the
ammonia salt can be introduced cheaply into commerce it
will prove a great boon to photographers.

JNIr. Spiller proposes to prepare the hyposulphite of am-
monia, by double decomposition, from hyposulphite of baryta
and carbonate or sulphate of ammonia, the hyposulphite oi
baryta being formed by mixing, in nearly equal parts by
weight, chloride of barium with hyposulphiie of soda, in
concentrated aqueous solutions. The product is a pure salt
of hyposulphurous acid and barium : a sample before us, pre-
pared by Mr. Kpillcr, is in very fine, minute, and beautifully
lustrous crystals something like pyrogallic acid in appear-
ance, and something of the saponaceous feeling of steatite to
the touch. From its insolubility it is, however, useless to
the photographer, and is chiefly interesting from its fitness
for the use for which Mr. Spiller proposes it. The practical
extent to which hyposulphite of ammonia will prove a per-
fect fixing agent cati, of course, be only determined practi-
cally. Theoretically it should promise a solvent power
much more complete than that of other hyposulphites from
the behaviour of the base ammonia as well as the hypo-
chlorous acid towards salts of silver.

Our object now, however, is to mention that in the spring
of last year we received from an esteemed correspondent,
Mr. F. H. Rodin, Governor of Carlisle Gaol, and a skilful
amateur photographer, some excellent prints which had been
fixed with hyposulphite of ammonia. Tested with sulphide
of ammonium the existence of silver in the whites appeared
much less than is common ; but still it was manifestly pre-
sent. Mr. Spiller has used it as a second bath to eliminate,
if possible, the silver from the whites of a fixed, albuminized
print. If the use of a second bath be conducive to this end,
notwithstanding the extra trouble, many a conscientious pho-
tographer ;>'ill not hesitate to use it. When the old mixed
toning and fixing bath was in vogue, Mr. Lake Price used
to employ, and recommended in his useful book, a second
bath of a strong, fresh solution of hyposulphite of soda to
secure perfect fixation, applied when the print had acquired
a proper colour in the first bath.

At the time we received the prints to which we have
referred from Mr. Rcdin, he informed us that the hyposul-
phite of ammonia was prepared by a new process, by Mr.
Losh, one of 'the visiting justices of the gaol, and that he
was prepared to introduce it into commerce. We hoped to
have heard more of the matter, but it has not again come
under our notice. Now is the time, however, to bring it
under the attention of photographeis in a commercial way.

There is another question of importance introduced in
Mr. Spiller’s paper. One sample of hyjiosulphite of soda
he examined contained not less than sixteen percent, of im-
purity. The impurity was not necessarily injurious to the
photographs subjected to its action, but ^the fixing bath
would be weaker in just the proportion in which the impu-
rity was present. To all large consumers of hyposulphite of
soda this suggests the importance of testing each stock when
first purchased by the simple method indicated in the paper.
To smaller consumers, or those unable or unwilling to under-
take such tests, it suggests the importance of a liberal use of
the fixing salt, so as always to be on the .safe side. The use
of excess of hypo is only a little waste of a cheap salt ; the
use of too little is risking the permanence of valuable
pictures, and the waste of reputation.

ANOTHER SENSITIVE SALT FOR FlIOTO-
GRAPHERS— FLUORIDE OF SILVER.

Whilst all the^ haloid salts of silver have been for years
known as sensitive to light, the chloride, iodide, and bromide
only have been available to photographers. The fluoride of
bilvui, although cxticuicly bcntiitive, j)osi>cs.sed a peculiarity
which disqualified it fo^* the uses for which its congeners were

employed — it was soluble in water. The consequence was,
that when a fluoride was employed in collodion by Archer
and others, the fluoride of silver, formed in the film by
double decomposition in the bath of nitrate of silver, being
itself soluble, was dissolved by the aqueous solution, and
lost from the film as fast as it was formeA The insolubility
in water of iodide, bromide, and chloride of silver is the
quality which has made them especially suitable for manipu-
lative convenience, whilst the solubility in water of the
fluoride has prevented its utilization in photography.

In the course of some recent experiments by M. Prat,
another form of fluoride of silver has been discovered, which
differs essentially from the soluble salt which has hitherto
been known by chemists. The new salt is stated to be more
sensitive to light than chloride of silver, and, being in-
soluble in water, it is available for the operations of the
photographer in the same degree as the other haloid salts.

M. Prat’s paper. Fluorine and its Compounds, was recently
communicated to the French Academy, nut will not be pub-
lished at length until the chemical referees of the Academy
have reported thereon. Our excellent contemporary, the
Chemical Ncics, has, however, a full abstract of the paper,
which, as it will possess much interest for many of our readers,
we subjoin : —

“ M. Prat considers that chemists have hitherto been mis-
taken as to the composition of fluorides and the theory of
fluorine. He regards the fluorides as in reality oxyfluorides,
and the equivalent of fluorine as consequently much higher
than is usually supposed. He represents fluoride of calcium

2 equivalents of calcium 40 0

1 equivalent of oxygen 8 0

1 ,, the new fluorine ... 29'6

77-6

This accords with the known analysis of fluor spar, since it
contains 51 '5 per cent, of calcium.

“ By doubling the old C([uivalent of fluorine (19), we get
38 ; that is to say, nearly the sum of the equivalents of
oxygen (8), and of the new fluorine (29 6) = 37’6.

According to M. Prat, in order to obtain true fluorine,
it suffices to heat fluoride of calcium with chlorate, or, rather,
with perchlorate of potash, since it is only after the forma-
tion of this latter salt that the reaction takes place. Oxygen
is disengaged, and also a product which silver absorbs. The
compound so formed is fluoride of silver, insoluble in wa'er,
soluble in ammonia, from which it is precipitated by nitric
acid, and more rapidly altered in the light than chloride of
silver. Neither chlorine nor oxygen attack it even at the
fusing point of the fluoride. It is, however, decomposed by
potash at a dull red heat, and this reaction permits its ana-
lysis ; it contains —

Silver 0-785 1080 = 1 equivalent

Fluorine 0’2I5 29'6 „ „

Fluoride of silver 1-000 137'6

“This fluoride of silver, insoluble and very stable, and
having great analogy with the chloride and the other com-
pounds of this family, diflci-s essentially from the soluble
fluoride of silver of chemists, which, according to M. Prat, is
a compound of —

AgFl, AgO, HO, in the hydrated state;

AgFl, AgO, in the anhydrous state.

"Fluorine combines with chlorine. To obtain this com-
pound it is suflicient to pour a weak solution of the hydro-
fluoric acid of the chemists into a solution of hypocbloi-ous
acid : there form

Fill, HO + CIO = 2HO + FlCl.

“ Fluoride of chorine is gaseous, of a more intense colour
than chlorine. It converts silver into a mixture of chloride
and fluoride.

TllE PIIOTOCUU^IIlti NEWS.

27

.tANUARY 17, I8681]

‘•Fluorine may bo isolated, according to M. Prat, by
heating fluoride of lead of chemists (1 part) either with nitre
(5 parts) or with binoxide of manganese (2 parts) : oxygen
ancf fluorine are evolved. A platinum alembic must be
used. The oxygen is removed from the mixture by passing
over fragments of heated baryta.

“ Fluorine is gaseous, almost colourless, of a chlorous
odour, visibly fuming in the air, incombustible, and heavier
than air. It bleaches indigo, and reddens and bleaches
litmus. Ammonia produces fumes with fluorine, and will
thus detect traces or it. It immediately decomposes water
at the ordinary temperature. It combines with hydrogen
in diffu-sed light. Fluorine decomposes hydrochloric acid
gas, and eliminates bromine and lodino from their com-
pounds. It unitc'S with boron and silicium, and with alt
metals of the first five groups.”

THE USE OF CLOUDS IN LANDSCAPES.

BY LUX ORAPHICUS.

The subject of printing skies and cloud effects from sepa-
rate negatives having been again revived by the reading of
papers on that subject at the South London Photographic
Society, I think it will not be out of place now to call
attention to some points that have not been commented
upon — or, at any rate, very imperfectly — by either the readers
of the papers or by the speakers at the meetings, when the
subject was under discusfiion.

The introduction of clouds in a landscape by an artist is
not so much to fill up the blank space above the object
represented on the lower part of the canvas or paper as to
assist in the composition of the picture, both as regards
linear and aerial perspective, and in the arrangement of
light and shade, so as to secure a just balance and harmony
of the whole, according to artistic principles.

Clouds are sometimes employed to repeat certain lines in
the landscape composition, so as to incrca.se their strength
and beauty, and to unite the terrestrial part of the picture
with the celestial. At other times they are used to balance
a composition, both in form and effect, to prevent the pic-
ture being divided into two distinct and diagonal portions,
as evidenced in many of the pictures by Cuyp ; on other
occasions they are introduced solely for chiaroscuro effects,
so as to enable the artist to place masses of dark upon light,
and vice versd. Of that use I think the works of Turner
will afford the most familiar and beautiful examples.

In the instances cited, I make no allusion to the employ-
ment of clouds as repeaters of colour, but merely confine my
remarks to their use in assisting to carry out form and effect,
either in linear composition or in the arrangement of light
and shade in simple monochrome, as evidenced in the
engraved translations of the works of Rembrandt, Turner,
Birket Foster, and others, the study of those works being
most applicable to the practice of photography, and, there-
fore, offering the most valuable hints to both amateur and
professional photographers in the management of their skies.

Before pui-suing this part of my subject further, it may
be as well, perhaps, to state my general opinions of the
effects of so-called “ natural skies,” obtained by one expo-
sure and one printing. Admitting that they are a vast
improvement on the white-sky style of the early ages of
photography, they fall far short of what they should be in
artistic effect and arrangement. In nearly all the “ natural
skies ” that I have seen, their office appears to be no other
than to use up the white paper above the terrestrial portion
of the picture. The masses of clouds, if there, seem always
in the wrong place, and never made use of for breadth of
chiaroscuro.

No better illustrations of this can bo adduced than those
large photographs of Swiss and Alpine scenery by Braun of
Dornach, which nearly all contain “ natural clouds but,
on looking them over, it will be seen that few (if any) really
exhibit that artistic use of clouds in the composition of the

pictures which evidence artistic knowledge. The clouds are
taken just as they happen to be, without reference to their
employment to enhance the effects of any of the objects in
the lower portion of the view, or as aids to the composition
and general effect. For the most part, the clouds are small
and spotty, ill assorting with the grandeur of the landscajies,
and never assisting the chiaroscuro in an artistic sense. The
most noticeable example of the latter defect may be seen in
the picture entitled “ Le Mont Pilate,” wherein a bald and
almost white mountain is placed against a light sky, much
to the injury of its form, effect, and grandeur ; indeed, the
mountain is barely saved from being lost in the sky, although
it is the principal object in the picture. Had an artist
attempted to paint such a subject, he would have relieved
such a large mass of light against a dark cloud. An ex-
ample of a different character is ob.scrvable in another
photograph, wherein a dark conical mount would have
been much more artistically rendered had it been placed
against a large mass of light clouds. There are two
or three fleecy white clouds about the summit of the moun-
tain, but, as far as pictorial effect goes, they would have been
better away, for the mind is left in doubt whether they are
really clouds, or the sulphurous puff's that float about the
crater of a slumbering volcano. That photographs possess-
ing all the cff’ects required bj the rules of art are difficult,
and almost impossible to obtain at one exposure in the
camera, I readily allow. I know full well that a man might
wait for days and weeks before the clouds would arrange
themselves so as to relieve his principal object most advan-
tageously ; and, even if the desirable effects of light and
shade were obtained, the chances are that the forms would
not harmonize with the leading lines of the landscape.

This being the case, then, it must be self-evident that the
best mode of procedure will be to print in skies from separate
negatives, either taken from nature or from drawings made
for the purpose by an artist that thoroughly understands art
in all its principles. By these means, especially the latter,
skies may be introduced into the photographic picture that
will not only be adapted to each individual scene, but will,
in every instance where they are employed, increase the
artistic merit and value of the composition. But to return
to the subject chiefly under consideration.

Clouds in landscape pictures, like “ man in his time,” play
many parts — “ they have their exits and their entrances.”
And it is almost impossible to say enough in a short paper
on a subject so important to all landscape photographers.
I will, however, as briefly and lucidly as I can, endeavour to
point out the chief uses of clouds in landscapes. Referring
to their use for effects iu light and shade, 1 wrote, at the
commencement of this paper, that the engraved translations
of Turner aff’ord the most familiar and beautiful examples,
which they undoubtedly do. But when I consider that
Turner’s skies are nearly all sunsets, the study of them will
not be so readily turned to practical account by the photo-
grapher as the works of others, — Birket Foster, for instance.
His works are almost equal to Turner’s in light and shade ;
he has been largely employed in the illustration of books,
and five shillings will procure more of his beautiful examples
of sky effects than a guinea will of Turner’s. Take, for e.x-
ample, Sampson Low and Son’s five shilling edition of Bloom-
field’s “ Farmer’s Boy,” or Gray’s “ Elegy in a Churchyard,”
profusely illustrated almost entirely by Birket Foster; and in
them will be seen such a varied and marvellous collection of
beautiful sky effects as seem almost impossible to be the
work of one man, and all of them profitable studies for both
artist and photographer in the varied uses made of clouds in
landscapes. In those works it will be observed that where
the lower part of the picture is rich in variety of subject the
sky is either quiet or void of form, partaking of one tint
only slightly broken up. Where the terrestrial part of the
composition is tame, llat, and destitute of beautiful objects,
the sky is full of beauty and grandeur, rich in form and
masses of light and shade, and generally shedding a light
on the insignificant object below, so as to invest it with

28

TIIH PIIOTOGllAPIIIC NEWS.

[January 17, 18G8.

interest in the picture, and conneot it with the story l)eing
told.

Prom both of these examples the photographer may obtain
a suggestion, and slightly tint the sky of his picture, rich in
objects of interest, so as to resemble the tint produced by the
“ ruled lines” representing a clear blue sky in an engraving.
Hitherto that kind of tinting has generally been overdone,
giving it more the appearance of a heavy fog lifting than a
calm blue sky. The darkest part of the tint should just be
a little lower than the highest light on the principal object.
This tint may cither be obtained in the negative itself
at the time of exposure, or produced by “m.asking” during
the process of printing. On the other hand, when the
subject has little to recommend it in itself it may be greatly
increased in pictorial power and interest by a judicious
introduction of beautiful cloud ( (Teets, cither obtained from
nature, or furnished by the skill of an artist. If the aid of
an artist be resorted to, I would not recommend painting on
the negative, but let the artist be furnished with a plain
white-sky print ; let him wash in a sky, in sepia or india ink,
that will most harmonise, both in form and effect, with the
subject represented, take a negative from that sky alone,
and put it into each of the pictures by double printing.
This may seem a great deal of trouble and expense, and not
appear to the minds of some as altogether legitimate, but I
strenuou.sly maintain that any means employed to increase
the artistic merit and value of a photograph is strictly
legitimate ; and that wherever and however art can be
resorted to, without doing violence to the truthfulness of
nature, the status of o>ir art-science will be elevated, and its
professional disciples will cease to be the scorn of men who
take plea.sure in deriding the, sometimes — m.ay I say too
often ? — lame and inartistic productions of the camera.

THE MAGIC LANTERN AND PHOTOGRAPHY.

BY JAMES MARTIN.

No. 4.

The pigments or colours to be used in painting upon glass
must necessarily be more or less transparent, and therefore
must be chosen principally for that property ; nevertheless,
there are some exceptions for special purposes, which require
those that are opaque. In the general practice of painting,
other qualities are also required ; but, as such arc not needed
for our present purpose, I shall only point to tho.se mo.st
suitable for it. The water colours most generally used by
glass painters are, for yellows — gamboge, Italian ]>ink, gall-
stone, and Indian yellow; as reds — carmine, mailder lake,
and madder carmine ; as blues — Prussian blue, Chinese blue,
and Antwerp blue ; as orange— burnt sienna ; as browns —
madder brown, Vandyke brown, and copper brown ; as
black — lamp black. And the same for oil colours, except
that ivory black is used in place of lamp black.

As 1 may suppose that my readers will not bo having
their colours constantly in use, J think it necessary to warn
them, that some colours when ground as oil colours, such as
carmine, the lakes, and Italian pink, have the peculiar
propert}’, after being kept some time, of becoming viscid,
or what is termed fat, so that it is impossible to use them ;
therefore these and Prussian blue, also Chinese and Antwerp
blue, should be purchased in powder, and stored in the small
bottles before mentioned, a little being taken out at a time
as wanted, and ground well into a stift' paste, with a very
little nut oil, upon the glass slab, with the muller or palette
knife, and then moved to the pieces of glass before named,
each having it.s separate piece, or, at any rate, placed quite
apart from each other: they must be kept five from dust.
Ihe slab and muller must be well cleaned after grinding
each colour upon it. This is imperative for tliis reason, the
brilliancy of tints depends upon the brightness and purity
of the colours used to produce them. For example, gamboge
and carmine mixed produce a splendid orange ; carmine
and Prussian blue a magnificent purple. Mix the two

together, and a neutral eoloiir is produced ; again add
■some brown, .and you bave a dirty smudge of no
colour (properly speaking). Cleanliness, simplicity, and
decision are the best qualities for a beginner to aim
at ; softness and tone will be afterwards .acquired as the eye
becomes more educated. I’erhaps these remarks may be
considered somewhat beyond what is necessary for the mere
painting of a lantern slide, but not so if the student intends to
become excellent. I have seen slides that few landscape
painters could have equalled upon canvas, and he who painted
them must have possessed the education and feeling of a
talented artist. In commencing the painting of a picture, the
first thing necessary is the design or outline. If a photo-
graphic transparency is undertaken, this is, of course, already
done .as well as the markings of the shadow ; but if a copy of
any sort of iiicture in wbieli (such as a line cngr.aving or
wood-cut) the shailing woubl be inadmissible, in that case a
photographic transparency can be taken, reduced to the size
required, laid upon a piece of white paper under the glass
to be jiainted upon, on which an outline must be traced
with a lino camel-hair or sable pencil, taking great care to
keep the two gl.asscs exactly in the same relative position
until it is finished. It is a very good plan to fasten them
together by a piece of paper at the edge.s, which will insure
their remaining in the same position. Having secured a
true outline of the objects in the foreground and middle
distance, a groat deal of the outline of the extreme dist.anco
may be omitted, marking only the extreme contours and
most prominent objects. The outline is to be made with
lampblack water colour, used in such a body as to give a
black line wherever the brush is drawn upon the glass.
When the work is dry, proceed to pare down with tiie point
of the penknife any gouty or uneven lines, using the
straight-edge, T square, and bevel, also retouching them
with colour as required. Do not bo in too great a hurry
to remove the under picture, as it is ditlicult to replace it
exactly as it was at first ; but carefully persevere in getting a
clean and firm outline — which will repay all your trouble —
as, without that, paint it how you may, it will never prove
satisfactory. The outline is, iu fact, the plan of the picture;
by it you distinguish the tree from the shrub, the tall man
from the boy, an ape from a man.

ON NATGRAL CLOUDS IN LANDSCAPE
PHOTOGRAPHY.

BY J. It. JOII.VSO.V.*

At our bast meeting, on the occasion of Jlr. Howard’s paper
on clouds being rc.ad, I took the liberty of observing that
although the production of artificial clouds by means of a
second negative, taken at a different time from that at which
the view was obtained, was an undoubted improvement to the
photograph in place of the hard, white sky which it would
otherwise possess, yet that the process must be considered a
mere artifice or “ dodge,” and an imperfect substitute for the
real clouds, or “ atmosphere” of the landscape. I further
stated that we possessed means by which the natural
clouds, or, rather, the actual condition of the sky and
“ atmosphere,” could be obtained with perfect accuracy ; and
I proposed, at the next meeting of the Society, to bring
forward photographs to prove my allegation. I have come
prejiared this evening to fulfil my promise.

I pon the t.able will be found about forty photographs, by
JI. Braun, of Dornach, the eminent French photographer.
They are all from single negatives, and are taken by the wet
collodion process, by the Pantascopic camera, upon plates
twenty inches by nine. The .angle of view embraced is
about 125°, or more th.an one-third of the whole circle of
the horizon. 1 will, however, say nothing of the extent
of view, nothing of the general excellence of these pho-

• Read at a meeting of the South London I’hotograpliic Society, Jan. 0.
1868.

January 17, 18G8.]

THE PHOTOGRAPHIC NEWS.

29

tographs, but will nioroly call attonfion to one of their
qualities, viz., that quality which artists call “atmosphere,”
by which 1 uiulerstauJ the more or less truthful rendering,
not merely of the more obvious atmospheric effects, such as
cloud, fog, or sky, &c., but also that more delicate grada-
tion of tints by which the amount of air or space lying
between the observer and the more distant objects is indi-
cated, and which, to a certain extent, is an element in
the process by which the mind determines the distance
of those objects. In this quality these views arc unrivalled,

I believe I may say unequalled.

They have another merit which will, I am sure, be appre-
ciated by all professional photographers, and that is, tnat
they have proved themselves to be most excellent photo-
graphs in a commercial sense. They have been sold by the
producer at a very high price; yet in this country alone, I
am informed, that the public has purchased them to the
amount of nearly .C l, 000, that value being estimated at the
wholesale price. Such a fact furnishes, I think, a fair argu-
ment in favour of excellence, and to the prejudice of the
“cheap and nasty” style of photography, even when the
English “ Philistine” public is the arbiter of taste.

While these photographs are before us I am anxious to lay
down for our discussion this evening two propositions : —

l. I would assert that our photographic processes are capable
of rendering, with perfect tidelily, and in all their detail, the
natural atmospheric effects of a landscape. 2. That without
such real atmosphere the view produced must be imperfect
and untrue, whether regarded as an artistic study of nature, or
as a mere picture.

If these propositions be established, on a future occasion I
will endeavour to prove that this truthful rendering of
nature — that is, the production of cloud and sky — and the
perfect gr.adation of the landscape when no cloud is present,

m. ay be obtained at all times, and by all cameras, as well as
by the Pantascopic camera, provided that proper means for
regulating the exposure be adopted.

With regard to the first proposition, I apprehend that I
have only to assure the gentlemen present that all the views
shown are from single negatives to prove its truth. The
views with clouds speak for themsop.-cs at the first glance ;
those where there is an even tint in the sky have only to be
examined with a little attention to show that they also
possess in a remarkable degree the same quality. Look, for
instance, at the views of the Valley of Chamounix, in wdiich
no cloud is seen. See the extraordinary delicacy of grada-
tion of each successive peak. The foreground of many
of these views is fully defined, and of a mere grey tint, and
the sky and distant mountains arc not white ; yet what
an infinity of tones there arc between these two extremes !
Look up the centre of the valley and observe the beautiful
haze which veils, yet does not conceal, the distance. Had
these views been taken in the ordinary way — that is, by
giving equal exposure to the foreground and to the distant
horizon — the great mass of detail in the extreme distance
must necessarily have disappeared with such a light as
must have been present when these views were taken ; for, if
the results before you have been produced by giving twenty
times as much exposure to the foreground as to that dis-
tance, how could an equal exposure to each have succeeded ?

With respect to the second proposition, it is, I think,
almost equally self-evident with these views under examina-
tion. Take the lake scenes. Imagine that the beautiful
skies are removed, and replaced by a hard, white surface,
while the reflections of those skies in the water remain,
as they might possibly do, presenting less intensity of actinic
power than the objects themselves ; and what would be the
residt, whether we look upon our view as a study of nature,
or as a mere pleasing picture ? I need not reply.

Now, what is tnie of these lake scenes is true, more or
less, of all views in which the sky is lost, and has to be
added artificially. It is not only in lake or river scenes that
the influence of sky and cloud is witnessed ; it is in all
views. Look at any landscape extended before you, and

note its varying aspect ns the sky above changes. How
often we see, when wind exists, the shadows coursing each
other over the landscape. This is, of course, an extreme
case : but there is no'view of which the “ lighting” does not
vary infinitely ; and what is the “ lighting” but the greater
or less interception of the source of light by cloud ? In
whatever “lighting” we take our picture, then, the sky
should accompany it, or we have not all the conditions
present which nature presented to us when the view was
taken, and of which the peculiar a.spect of that view is the
consequence.

I will not further tresp.ass upon your time by any addi-
tional observations, but will leave the views to speak for
themselves, believing that they constitute the most powerful
argument which can be urged in favour of natural, over
artificial clouds.

RESEARCHES ON THE HYPOSULPHITES AND
OTHER FIXING AGENTS.

Part I.

BY JOHN SriLLER, F.C.S.*

Next in importance to the discoveries of Daguerre and Fox
Talbot may unquestionably be ranked the introduction of
hyposulphite of soda as a fixing agent by Sir John Herschel ;
and so long as photographers were limited to the use of
plain papers, or those sized with gelatine only, there was
never any difliculty experienced m the complete removal of
the silver from the white (unaffected) portions of the paper
composing the ordinary photographic print. At a later
date, when albuminous coatings came to bo applied to the
surface of the paper for the purpose of improving the sensi-
tiveness, and giving greater brilli.ancy and vigour to the
resulting print, the few practical difficulties which presented
themselves at the outset were believed to be susceptible of
being readily overcome. I refer particularly to the tardi-
ness with which the operations of toning, fixing, and wash-
ing the prints had to be conducted in consequence of the
repellent character of the sensitive surfaces of paper so pre.
pared ; and a grand improvement in the subsequent history
of albuminized paper was the separation of the fixing and
toning processes. Before this practice was adopted prints
with “ pure whites ” (as they were termed) were rarely met
with, for the protected portions of the paper were almost in-
variably tinged with yellow, and the darker shades in the
print had usually a bistre or greenish tone. These effects
were shown, by Mr. Hardwich and others, to be due to the
“ sulphuration ” of silver in the print as a consequence of
the liberation of sulphur from solutions compounded of
hyposulphite of soda and terchloride of gold. The normal
reaction of these sel d'or baths was acid — a condition which
proved unfavourable to the permanence of the fixing-salt —
and entire success was supposed to be guaranteed when an
alkaline gold-toning bath was employed, followed by im-
mersion of the prints in plain hyposulphite.

Whilst these difficulties were being gradually surmounted,
a hint was thrown out by MM. Davanne and Girard to the
effect that the so-called “ pure whites ” of the albumen print
still retained a small proportion of silver in an insoluble
condition, and most probably in the form of sulphide. No
notice appears to have been taken at the time of this im-
portant announcement, and the eminent French investi-
gators did not seem to appreciate the necessity of addressing
themselves to the discovery of a remedy.

At a later period, October, 1862, I was led to an inde-
pendent observation of the same fact, and at once applied
myself to an investigation of the circumstances attending
the formation of this silver compound, and the possible
means of removal. My experiments went to prove that the
metal was retained in the whites of the albumen print, and,
indeed, in all parts of the coating, in the form of an argent-
organic compound, colourless, inalterable by light, and

* Read before the London Photographic Society, Tuesday, January 14th

30

THE PIIOTOGKAPHIC NEWS.

[January 17, 1868.

comparatively insoluble in hyposulphites and other fixing
agents. It could not bo a simple sulphide, for the test by
which I discovered its existence in the paper was the pro-
duction of a brown stain upon moistening the white surface
with sulphide of ammonium. It is not my intention to re-
capitulate the numerous trials I made with a great variety of
chemical solvents in the hope of removing the whole of the
silver locked up in this form of organic combination; I will
merely state that tliese results were recorded in the Piioto-
uaAPHic News at the time, and that, as the practical result, I
recommended the addition of carbonate of ammonia to the
ordinary hyposulphite fixing bath, with the view of securing
the twofold object of preventing, by its alkalinity, any
chemical change or decomposition of the double hyposul-
phite : and, secondly, of directly aiding, by its special sol-
vent properties, in the removal of this organic compound of
silver. Since I had the honour of making this proposal, the
advantage of adding carbonate of ammonia to the fixing
bath has been practically tested and pretty widely endorsed.
It is only by availing oureelves of all the resources at com-
mand that we can venture to look for a protracted existence
of the rich and lustrous photographs upon albuminized sur-
taces ; for, with silver in the wliites, the print mu.st be open
to the attack of sulphuretted hydrogen gas diffused in the
atmosphere, in addition to being liable to alteration by sul-
phuretted bodies arising from the incipient decomposition
of albumen, gelatine, &c. employed in the preparation of the
paper, or used for mounting the print.

The use of sulpho-cyaiiide of aininonium was found to be
unsatisfactory when employed alone as a fixing agent, but
since I received the assurance of a manufacturer that this salt
could be produced at a cheap rate in the event of a great
demand arising, I determined to test the efficacy of an addi-
tion of the sulphocyanide to an ordinary hyposulphite fixing
b.ath. Since 1 have had these experiments in hand I notice
that M. Obenetter* has recently proposed the use of a com-
bination of ten parts of sulphocyanide of ammonium with
one part of hyposulphite of soda as a fixing agent applicable
to the new description of collodio-chloride paper prepared
by him. The proportions 1 have used differ widely from
these, — my object being to supplement the action of the
cheaper salt (hyposulphite,) — and I, therefore, adopted the
proportions already laid down for the use of carbonate of
ammonia, viz., 4 : 1 in ounces respectively, and dissolved
these salts together in a pint of water. As the result, I
remarked that, from the presence of a trace of sulphide
in the sample of sulphocyanide of ammonium employed, the
protected parts of the print were not so purely white as
usual ; but I regret to say that the amount of silver in these
portions did not appear to have been sensibly diminished.
Mr. Wliarton Simpson, Mr. Cherrill, and others, affirm that
the use of this salt in the preparation of a toning bath
is successful, so that its economic production on a large
scale is likely to have an interest for photographers as well
as for chemists.

lieferring to the use of cyanide of potassium for reducing
over-j)rinted proofs, and for removing silver from the whites,
Mr. Francis Eliot, in the Year-Book of PiioTOCRArur, just
published, suggests a renewed trial of this salt in aqueous
solution, mixed with one-fourth or one-eighth proportion of
methylated spirit. Used in this way he considers that
it may be safely employed, particularly for the first-named
purpose. This opinion coincides with my own experience,
and I find that the addition of alcohol induces a more rapid
and thorough penetration of albuminized papers subjected
to its action ; but it must be admitted that if a gold-toned
print be thus treated its brilliancy, and colour will become
somewhat impoverished. I have not, however yet tried its
action upon prints at an earlier stage, as when simply
wa.shcd from the excess of nitrate of silver. Upon the score
of permanence it is much to be regretted that the cyanide
cannot be employed for dissolving out the organic compound

♦ PnoTOORAPino News, December 20th, 1867.

of silver, for although it does this most effectually, it seems
impossible to prevent a flatness and general want of vigour
manifesting itself in prints so treated.

In the course of these experiments I deemed it desirable to
test the hyposulphite of soda employed, for the several impu-
rities likely to occur in it from its mode of manufacture. These
are particularly carbonates, sulphates, sulphides, and chlo-
rides. For the detection of the first I assume that the use of
red litmus paper would prove sufficient: and a small quan-
tity of this kiud of impurity, if present, would do no harm.
The samples tested by me did not contain any carbonaU.!.
The readiest test for the presence of alkaline sulphide
is probably the immersion of a bright silver coin in the
filtered aqueous solution. This I find by direct synthetical
experiments to be a very delicate test, and more readily
available than the addition of acetate of lead in small
quantity to produce the brown sulphide of that metal.
Although the sulphate of lead is nearly insoluble in water,
and is usually precipitated on mixing any soluble sulphate
with the acetate or nitrate of lead, I notice that this test
altogether fails in detecting sulphate of soda in the presence
of a fair proportion of hyposulphite. Neither is the de-
tection of this impurity by. chloride of barium so simple
a matter as we snould have expected. The facts arc :
Firstly, that hyposulphite of soda greatly interferes with
the precipitation of sulphate of baryta, and only when the
degree of impurity is considerable will there be formed any
precipitate, even on standing ; secondly, this t^st fails on
account of the gradual production of a crystalline precipi-
tate of hyposulphite of baryta, which would, of course,
mask any indication of the sulphate occurring in admixture
with it, unless by attending closely to intervals of time or
degree of dilution, which would not be possible in practice.*

For the detection of sulphate of soda, it is best to break
up the constitution of the hyposulphite by adding a mineral
acid. I find the following process answers well, and may be
employed quantitatively : — Weigh out 100 grains of the sam-
ple of hyposulphite, dissolve in about 5 ounces of hot distilled
water, raise the temperature to ebullition, and add half-an-
ouuce of pure coucentrated hydrochloric acid ; boil for five
minutes to expel the sulphurous acid and aggl^-tlnate the
sulphur, filter the solution, which will contain all the sul-
phate originally present in the sample, and add now chloride
of barium to estimate its amount. In carrying out this
process upon four samples of commercial hyposulphite of
soda, one proved to be perfectly pure ; two contained only
a trifling amount, not exceeding 1 per cent., of sulphate of
soda; and the last sample gave 16 per cent, of impurity
from admixture of Glauber salt.

Chloride of sodium was not detected in any of these
samples in quantity exceeding 1 per cent. A similar mode
of examination was followed, using, however, dilute nitric
acid to break up the hyposulphite, and nitrate of silver to
precipitate any chloride.

It will be important to notice the fact, that in using a
sample of hyposulphite containing altogether 17 per cent,
of inert matter in the shape of sulphate and chloride of
sodium, an additional one-fifth proportion of the fixing
salt should be employed to ensure a successful result. This
done, the simultaneous occurrence of these impurities would
not be deemed prejudicial.

I have already alluded to a crystalline precipitate which
slowly forms upon mixing in equal weights chloride of
barium and hyposulphite of soda, both in aqueous solution.

I have ascertained that this product is not a double salt, but
the pure hyposulphite of baryta, in beautiful pearly crystals
of small dimensions, heavier than, but somewhat resembling,
pyrogallic acid. This body is interesting, from the circum-
stance that it enables us to prepare the ammonium-salt of
hyposulphurous acid by double decomposition, with either

* The ))recipitation of the chromate of lead is not altogether preyented
by the presence of a soluble hyposulphite, but the chemical reaction is
so far modified that a hrick red precipitate, Instead of the ordinary chrome
yelloWf makes its appearance.

Januaiiy 17, 186b>.]

THE PHOTOGRAPHIC NEWS.

81

the carbonate or eulphatc of ammonia. From theoretical con-
siderations, this should, of all the alkaline hyposulphites,
prove to be the best tixiug salt, since it unites within itself
the two conditions I adverted to when speaking of the
addition ot carbonate of ammonia to the ordinary fixing
bath ; and from my limited experience of the hyposulphite
of ammonia, made in small quantity and by the above
indirect processes, 1 consider that its advantages in use,
if substantiated by furtlier investigation, would justify the
manufacturer turning his attention to the substitution of
ammonia for so<Ia in preparing a commercial article. The
facility of crystallisation, permanence, and other properties
of the new salt will have to be determined, and if it can be
introduced cheaply into commerce, it is likely to prove a
great boon tophutogiaphers. Using a bath of hyposulphite
of ammonia subsequently to the ordinary fixing solution, I
have succeeded in removing all but the last traces of silver
from the white portions of albumen prints without injuring
the biilliancy of tone for which these photographs are dis-
tinguished. 1 must, however, leave to a future occasion a
fuller account of my experiments in this direction.

Woolwich, Jan. lOtA, 1868.

RESUSCITATIOX OF THE OLD TONING AND
FIXING SOLUTION,

Axd the The.vtmext of this Solution when Exhausted
OK Satukated.

BY PEOFESSOK JOHN TOWLEK, M. D.»

WASHINQ THE PUISTS.

Thus is always an important operation, and must be thorough.
We need not dwell upon this part; all know how to wash
their prints, and have their own way and notions of doing the
work : do it thoi-oughly. Finally, wash or soak them in a
solution of common s.alt. which removes the last traces of the
hyposulphite of soda; wash them again in fresh water, and
then dry them. So prepared, the silver picture is more
brilliant and vigorous than when toned according to our
more modern plan ; it remains to be seen whether it is
equally permanent. Numerous yellow prints toned in this
manner some years ago attest to ttjc contrary ; but we
believe that in those days the same care in w.ashing was not
observed as is now observed ; for several prints before us.
that were toned in the mixed bath then, are still as fresh and
white in the whites as the best prints now when taken from
the wash-tub. If the fact of permanency can be proved to
be a fact, we have no hesitation then in pronouncing the
mixed toning and fixing bath as the easiest, the most econo-
mical, and the most reasonable of all existing toning and
fixing methods.

DISPOSITION OP THE EXHAUSTED SOLUTION.

We do not yet know any certain criterion or test by
which the solution can be easily shown to be saturated with
chloride of silver ; our plan is to reject the bath the moment
it begins to precipitate a deposit; this takes place after it
has been in continual operation for about three or four days ;
that is, after four or five hundred card-pictures have been
toned in about a quart of it. Even at this stage it will
continue to tone and fix ; but it is somewhat doubtful whe-
ther it is advisable to trust it much further. The question,
then, arises. What shall we do with the solution now?

There are several modes of treating it in order to extract
the silver from it.

First method. — Throw into the solution a quantity of gra-
nulated zinc; that is, zinc which, when melted, has been
poured from a height of three or four feet into a pail of
water. By this process the zinc is broken up into small,
irregular lumps, suitable for this purpose. Leave the metal
in for several days, and stir the solution several times during
this interim. The zinc in this operation takes place both of
the silver and gold in the solution, and precipitates them —

* Continued from p. 22,

the former as a fine silver-gra)' powder, and the latter as .a
black and a red powder. When the convenient time comes,
pour the solution from the metals ; add water to the latter,
and wash the remaining pieces of zinc well, and then remove
them back again to the same solution as before, in order to
see that all of the noble metals have been removed. Wash
the mixed powder first in dilute sulphuric acid, and after-
wards in several chan^jcs of water, and then dry it. Place
the dry mass or powder in a clean iron Ladle, and heat it in
an open fire-place to a low redness, and maintain it at this
temperature. In this way .any s.alt of silver, such as the
sulphi !e, sulphate, &c., will be reduced to the state of oxide.
Boil the powder which has been thus treated in about its
weight of nitric acid, diluted with an equal quantity of
water, until all is dissolved excepting a small portion of a
reddish coloured powder; this remaining powder is gold,
which may be dis.solved in a mixture of two parts of hydro-
chloric and one of nitric acid. The former solution is next
evaporated to dryness in a porcelain or glass dish ; the dry
salt is nitrate of silver.

We sometimes avoid the tiouble of oxidizing the silver
salts, and boil the gray mass at once in nitric acid ; but in
this w.ay there is some loss.

Second method. — Filter the old bath and employ it forg.al-
vanic plating ; it is in its present form in an excellent con-
dition for coating copper and brass instruments with pure
silver, either with or without the aid of the galvanic battery.
It is very possible that you may find a market for this
residual substance the moment it is known to be available
for the purpose just indicated.

Third method. — Add a quantity of sulphide of potassium
(liver of sulphur) to the old bath solution ; the silver in this
way is precipitated as sulphide, which may be sold as such
to the refiner.

N.B. — The silver, which has been precipitated both from
the old hyposulphite bath and from moist chloride of silver,
is sometimes in a very curious condition — its allotropic con-
dition, perhaps. This condition is shown by its difiicult
solubility in nitric acid. In consequence of this, we prefer
mixing the dry metallic powder with its weight of carbon.ato
of soda, and then fusing it in a Hessian crucible. The
button of metal thus produced is now in a very soluble con-
dition when submitted to the action of nitric acid — the gold
remains undi.ssolvod as a black powder, and may, after
separation from the fluid nitrate of silver, be washed first,
and then dissolved in nitro-hydroehlorlc acid.

|)r0mbhi0.<{ 0f S0nctu,'{.

South London PnoToonAPiiic Society.

The usual Monthly Meeting w.as held in the City of Loudon
College on the evening of Thursday, January 9th, Mr. Sebas-
tian Davis in the chair.

After the minutes of a previous mooting had been read and
confirmed,

Mr. J. It. .Tohn.son read a paper on Securing Clouds in Land-
scape Negatives (see p. 28). Mr. Johnson exhibited a largo
number of very fine prints taken with the pantascopic camera,
amongst which were many of Braun’s views of Swiss scenery
on plates 20 inches by 9 inches, many possessing very fine
clouds, and all having graduated and atmospheric looking
skies.

Mr. Wharton Simpson said that Mr. .Johnson’s remarks
for the most part carried conviction with them, and that ho had
stated so much of truth that it was difficult to attempt to discuss
or controvert anything he had said. All landscape plioto-
graphers would doubtless desire to secure in one negative the
clouds present in the sky as well as the landscape proper, and
the means suggested by Mr. Johnson would often bo etliciont
in enabling the photographer to secure such effects. But there
was one point which, although it had been touched upon ot
the last meeting, had not received so much attention, ho
thought, as it deserved. Mr. Johnson had referred to the
importance of securing, at one operation, the clouds and the

32

THE PIIOTOGRAPIItC NEWS.

[January 17, 1868.

landscape upon whicli Iho shadow of the clouds was cast. Hut
it should bo remcmlierod that in a very large numl)cr of in-
stances the clouds which cast their shadows on the landscape
were right overhead and quite out of the range of the lens
producing the landscape, and there was no violation of truth,
therefore, in the fact that the clouds seen in a picture were not
those the shadows of which were on the landscape at all. lie
thought that the only point which could bo insisted on in the
introduction of clouds into a photograph was that they should
he harmonious with the picture, and that they should not, by
their character and lighting, violate natural or artistic truth.

Mr. Bockett said that all photographers would of course
prefer getting the clouds in the same negative as the land-
scape, but for the great dilticulty of the clouds always being
overdone. He suggested the use of a mask inside the camera.

Mr. Simpson said that such a mask was used by Mr. Archer
and other early photographers, being made at the time of a
piece of brown or black paper torn to suit the horizon of the
landscape.

The CiiAiUMAN said the rapid movement of clouds caused
much of the ditiiculty of securing thoin in tho same negative
as the landscape. The fact that in instantaneous pictures the
clouds were often obtained with the same exposure as the fore-
ground showed that it was not that the former required so
much less light than tho latter, but that their rapid motion
destroyed their forms during long exposure. Mr .Tohnsou’s
suggestion was, if ho undersood rightly, to uso a graduated
diaphragm, which would, however, fail to meet tho ditiiculty of
tho moving clouds.

Mr. Johnson said that the aperture in the pautasco])ic
camera was gener.ally wedge-shaped, or, in some cases, the
sides were curved ; but alw.ays so graduated as to give a
gradually decretised amount of light from tho foreground to
the sky, in which tho zenith received less, of course, than tho
horizon.

A general conversation on tho subject followed, in which tho
Chairman, Mr. Werge, Mr. Taylor, Mr. .lohnson, and Mr.
Simpson, took part. Mr. T.aj-lor said ho tried various methods
of securing clouds, but had not succeeded satisfactorily by any
method except tliat provided by tho pantascopic camera.
Some members pointed out that tho graduated sky produced
by the wedge-shaped diapliragm was pleasing pictorially, but
not natural. Others suggested that where a spire or other
dark object projected beyond tho horizon lino would, with a
graduated aperture, be underdone ; to which it was answered
that practically this w.as not tho case, as such objects received
a larger amount of light than lower objects.

Mr. Booty stated that ho was in tho habit of securing clouds
by giving a gradu.ated exposure with a flap shutter, which was
gradually moved, giving finally .an instaneous movement for
tho sky.

After somo further conversation and a vote of thanks, tho
proceedings terminated.

London riiOTOCiKAPHic Society.

The usual Monthly Meeting of this Society was hold at tho
Architectural Gallery, in Conduit Street, on tho evening of
Tuesday, tho 14th inst., Mr. J. Gi.aisher, F.K.S., in the chair.

The minutes of a former meeting were read and confirmed.

Mr. Grioo exhibited a block for printing with letter-press,
together with tho original drawing of the “ Bowstring Hemp
riant,” the printing block having been obtained by photo-
grajihic moans.

Mr. Frank Good exhibited a desk-easel with reflector at tho
back, for enabling negatives and other transparent pictures to
bo readily retouched. Tho easel was provided with a series of
loose frames to fit plates of diflerent sizes.

Mr. J. 11. Johnson exhibited a multiplying camera with somo
excellent contrivances.

Tho Chairman said it was nearly a year and a-half since ho
had occupied that chair, his absence having been caused by
severe illness. Since then tho Society had changed its meet-
ing-room, and, as he noticed in tho minutes of tho previous
meeting that tho Chairman congratulated the Society on the
change, he hoped that there was cause fur congratulation, and
that tho Society would, in its new rooms, go on with increased
prosperity. Since their last meeting, tho Society and tho
science generally had suiVered a severe loss in tho death of his
old and dear friend M. Claudet. There was no man who had
done more to advance photography than ho, none more ardent

in its study, none more willing, at .all times, to give tho results
of his investig.ations freely to tlie world. At tho recent meeting
of the British Association at Dundee they had been much
together, and had much conversation on tho Society, and on
M. Claudet’s late work in connection with photography. Now
he w.as gone ; and ho felt that he could not take that chair
without a few words of kind remembrance of one whom they
had often seen, and never seen without pleasure. By his death
a vacancy was created in tho Council, and it was proposed by
tho Council that his son should be nominated for election, at
tho next meeting, to fill his place.

Mr. Spiller then read his pajxir entitled “ Researches on
tho Hyposulphites and other Fixing Agents, Part I. (seep. 29).

In the course of reading, he handed round for inspection
examples of several salts referred to in tho paper. These wore :
an example of hyposulphite of baryta ; an example of h)’posul-
phito of soda containing 17 per cent, of impurity, chiefly
sulphate of soda, tho aiipearance of tho hyposulphite not
suggesting adulteration ; au example of hyposulphite of soda
purchased many years .ago, when that salt was 2s. per lb., w.as
nearly quite imre. Ho .also exhibited two samples of chromate
of lead of tho same constitution : one tho usual chrome yellow,
and tho other of a rich red colour, tho difTereneo lieing that tho
latter was precipitated in tho presence of a hyposulphite.

At the termination of his paper, Mr. Spiller exhibited somo
examples of prints treatial in various ways to remove tho final
traces of silver from the whites of tho print. With cyanide of
potassium he had been enabled to remove every trace of silver
from the whites, hut not, unfortunately, without slightly
injuring the general brilliance of tho print. By tho uso of
hyposulphite of ammonia applied to a fixed print a considerable
])ortion of tho silver was removed, but not all. Adopting Mr.
Bovey's suggestion for Iho employment of sugar in tho prinling
bath, ho had tried whether tlio silver in tho albumen might bo
preserved in a soluble condition ; but although ho thought tho
whites contained less silver than usual, still it was not removed.
Ho also exhibited somo ]>rints. to show a uselul mode of mount-
ing prints employed at tho War Oflico. I’erspoctivo views of
machines were produced by photography, and reduced photo-
graphs of mechanical drawings showing the same machines in
section wore mounted on the same card, showing tho exterior
and interior of tho machine at one view.

After the Chairman had invited discussion,

Mr Allen asked if it would bo possible, instead of mixing
tho chloride salt witli tho albumen, to albuminize paper first,
coagulate the .albumen, and then apply tho sensitive salts so as
to keep them on tho surface. Ho thought such a course would
conduce to permanency.

Mr. IIuoHES said tho subject to which Mr Spiller had
devoted much attention — “ How can wo preserve our silver
prints from fading ? ” — was ono of vit.al importauco ; for,
whatever might bo tho advantages of carbon, it was tolerably
clear that silver printing must go on to a great extent for a
long time to come, and tho world could still bo supplied with
prints formed of albumen and silver. Tho question of securing
permanency in such prints was ono which Mr. Spiller had
made peculiarly his own, and had already done much to solve
tho difficulty. But still much remained. Tlio difficulty of
Wedgwood and Davy was in fixing tho imago they obtained ;
and it seemed that, after all, wo had but half conquered it even
now. The enquiry in which Mr. Spiller was engaged was one
in which photographers generally could take but little part,
they could only express their interest in, and appreciatian of, his
labours, but not discuss tho question or compare notes of
experience.

Mr. J. K. Johnson said that photographers wore much in-
debted to tlio labours of men like Mr. Spiller for such important
enquiries. But ho could not but feel that oven when all should
bo obtained that was now sought insilverprinting, they would not
bo much nearer to tho end sought; namely, permanent prints.
So long as silver was a metal peculiarly subject to the action of
sulphur, &c., in the atmosphere, and suffered discolouration, so
long pictures formed of silver, however perfectly produced, must
bo liable to deterioration and change. Mr. Spiller had given,
as tho best test for free sulphur, the immersion of a clean silver
coin into a suspected solution, and its discolouration would at
once reveal the presence of the smallest trace of free sulphur.
And it appeared to him, therefore, that permanency was a
quality to bo sought by avoiding silver altogether.

Mr. Hughes never intended to imply that absolute perman-
ency could bo obtained in silver any more than in carbon.

Januahy 17, 18G8.]

THE PIIOTOGIIAPIIIC NEWS.

33

Even engravings woiiM change hy the discolimration of (ho
paper. The whole question was one of degroo, as there wore
tlie eloinonis of destruction in overytidng. 'I’ho presonci of
silver in the whites of the print where it was not roquireil wa.s
one of their chief troubles, as it was there ready at once to
register the action of any agency acting injuriously on silver,
and show it in the most delicate jiart of the picture.

Mr. Johnson said that the question existed as to whether
the silver in the whites was more sensitive than the reduced
silver which formed the shadows of the jiriiit.

Mr. IIaut thought the groat drawback to photographs was
the lowering of the tone of the whites arising from the presence
of silver there ; and that if it could bo removed the chief cause
of fading would be got rid of. The reduced silver which
formed the dark parts of the print were coated with gold, which
would resist the action of the deteriorating agencies to which
Mr. Johnson referred.

Mr. Fkank Eliot said, that having already communicated
the results of some ex]>eriments to tlio I’hotoguapiiic News
Alm.vn.vc, ho would not enter further into the (piestiou than to
remark that the print which Mr. Spiller exhibited, in which ho
had removed the silver from the whites by cyanide, but had
also injured the brilliancy of the print, had been too perfectly
toned with gold to commence with. Probably, had it been less
toned, left in a rodder state, the result of the cyaniilo treatment
would not have been so injurious. Ho would ask Mr. Spiller if
ho had tried the etfect of a little cyanide mixed with the hypo
fixing hath.

Mr. Sl’lLLEU h.ad not, hut thought the suggestion worth
trying.

After some conversation,

Mr. Spillek, referring to the remarks of Mr. Johnson, said
that the gold toning upon tho silver print was an inportant
element not to bo overlooked, and if a silver coin were coated
with a very slight deposit of gold it would bo ofToctually pro-
tected from the action of sulphur. He quite agreed with Mr.
Johnson, however, that silver prints would always be subject
to deteriorating influences.

Tho Chairman, in proposing a vote of thanks to Mr. Spiller,
remarked that in his practice with tho photographic registra-
tion at the Observatory they adhered now to tho pr.actico of
twenty years ago, in using plain paper, in which tho insoluble
salt of silver formed in the albumen was avoided, and a better
chance of permanency obtained.

After a vote of thanks,

Tho Chairman, in calling attention to Mr. Goode’s easel for
touching negatives, described a similar one ho had in use at
Greenwich. He also mentioned a curious fact, to the effect
that having, in order to secure uniform temperature, removeil
their apparatus for photographic registrations into a room with
little ventilation, they found that when tho fire and gas had
consumed tho oxygen in tho room, tho action on the paper
liocamo much less perfect.

It was then announced tlmt at tho next meeting, besides tho
annual business, Mr. Johnson would read a paper on a now
system of landscape photography.

Tho proceedings then terminated.

Comsgffit&nirc.

REMARKS UPON THE CHEMISTRY OP
PHOTOGRAPHY.

Sir, — Photography may be compared to gambling, the
prizes being few and the blanks many. Yet there are good
and bad photographers, just as there arc good and bad card
players. Games of chance, by the observance of certain
law.s, often bring success. Pliotography has its “ lucky "
ones : so has the turf.

A friend of mine has just told me of a person whom be sup-
plied with instruments and chemicals ; and, although he had
never done anything before in the art, I am a.ssured that he
has taken in the first fortnight a number of very fine photo-
graphs. But my friend is afraid, as I am, that his success
will ultimately turn out to be his niln, for he is determined
at once to commence professionally. No advice can prevail
on him to wait ; and, unless a bad case of fogging, followed

by other jihotographic disea.ses, immediately afflict him, a
liunilri'd to one he will be ruined.

“Tip.-s" are not conliiied to the turf, for you can obtain
photographic information that will relieve you of all your
dilliculties for 2s. Gd. in postage stamps. If that be too
much to believe, why, you have only to send for that collo-
dion and developer which never fail to give perfection.
I need not say that if this were so, photographic failures
would be almost unknown.

Before proceeding with any further remarks, I think it
just to myself to state that this is a subject that I have un-
dertaken to write upon only at the reipiest of a number of
friends. There were many weighty reasons for my dilfi-
dence, not the le.ast of which was a reluctance to differ very
materi.ally with the first chemists and photographers of tho
day. This feeling amounted almost to a relinquishment of
any publication whatever of the results of my experience.
Selfish reasons have also had their weight ; for I admit that
it took some time toconsider whether I would be just to myself
by giving to the world what has cost me so much in money
and time. But, after taking everything into serious consi-
deration, I have determined to freely publish all that I
know, on certain conditions — which comlitions, if acted
upon, will accomplish more in every way than a discussion,
which would probably cud in nothing of real value.

The wet collodion process has been practised by me pro-
fessionally since its first introduction by Archer, and what I
am willing to communicate has been known to me and
tested for two years. 1 have read nearly all that has been
published in English on the subject ; but in no publication
can 1 get an insight into the principles of photography, only
a list of the different materials affected by light, and the
numerous different formula; for putting them together —
some better and some worse, but all very imperfect, inasmuch
as the very best seldom give the highest possible result,
and when they do they cannot be depended on for any
length of time.

The same failures which were inherent in the process on
its firet introduction belong to it yet. Whatever succe.sa
some have attained can only be attributed to good manipu-
lation, long practice, and, perhaps, quite as much as any-
thing else, to an almost unlimited choice of material to mix
and doctor as experience points out will suit different cir-
cumstances. 'I'his much is admitted by the majority of
leading photographers, as they tell us they have nothing
new to communicate.

Photography, as an art, has made giant strides; as a
science, it lags behind. Better knowledge of its laws would
enable us to enter new fields and gather richer harvests than
any yet reaped. From my first connecMon with photography
I have striven earnestly and constantly, sacrificing wealth,
health, and comfort — in fact, most things a man values have
have I counted as nothing in comparison to success in realis-
ing an idea of certain chemical combinations that, in my
opinion, would throw a new light on the foundations of the
science, which idea I had formed before 1 was in practice
twelve months.

Reason told me that what I was working for was quite
possible, yet my innumerable experiments so disappointed
mo, as to often take away all hope of success; but still I perse-
vered, and in time a certain success has rewarded my efforts.
But there is much to be done yet, and the knowledge I have
already gained has given me the master-key that is certainly
destined to unlock every secret.

I will now endeavour to distinctly state what I have and
what I can accomplish. First, — I can prepare my chemicals
so that I can with certainty produce, consecutively, a great
number of the highest class of negatives entirely free from
every kind of imperfection ; their production can be abso-
lutely relied upon for a lengthened period, and quite out
of all proportion to what can be accomplished by any pub-
lished formula. For instance, I have .’produced from two
ounces of nitrate of silver four hundred half-plate negatives.
The chemicals were not altered in any way by me ; worked

84

THE PHOTOGRAPHIC NEWSi

[January 17, 1868.

every day without giving a single failure. This work I set
myself to do, and when done, everything remained in good
order, and plenty of silver solution left.

To come at once to the object of this article : I will under-
take, before any committee specially appointed, to produce,
consecutively, 1,000 half-plate negatives, and, as before
stated, perfectly free from imperfection. 1 will also point
out the true cause of every failure, as well as remedy the
following defects, viz., streaks in the direction of the dip,
j)inholes, fogging, hard, patchy, and thin negatives, needle
points, greasy streaks, brain markings, marbliugs of various
kinds, &c. 1 feel quite certain that 1 have a knowledge of

the kind of change that takes place when light acts on iodide
or bromo-iodide of silver; and I am not without hope of
being able to demonstrate this, as I am fully persuaded it is
a chemical one.

I am prepared for criticism that may not be favourable,
especially as I have not published my process. Mere publi-
cation, without the demonstration I propose, would not
settle anything, and would not be satisfactory, more particu-
larly believing, <as 1 do, that no published process that
I have seen could po.ssibly accomplish what I have asserted.
r«ut, should I be mistaken, I would like to have my error
pointed out to me.

Now I must guard myself against being told of some one
who has done as much before, and if their proc?ss be not
published this will give them the first opportunity ; for I
have neither the time, talent, nor disposition to enter into a
paper war to defend what I believe to be quite original.

As a proof of my sincerity, 1 am willing at once to commu-
nicate my process in strict confidence to any two or three
scientific men acquainted with, but not professionally en-
gaged in, photography ; and, should they report favourably,
it might sufficiently encourage those interested to appoint a
committee, before which I would practically demonstrate my
assertions — my only conditions being good light, in (say)
July or August, as my engagements will not allow an earlier
period. If, after proof, due credit be given to me, then
1 will give freely to the world all 1 know. This I will
do regardless of Burns’ advice —

“But still keep something ta yoursel.

Ye scarcely tell to ony."

Nothing sh.all I keep to myself, but be guided by the Arab
proverb —

“ Speak the truth, if the heavens should fall.”

Lachlan ^IcLaculan.

Stamp Office Buildings, 9, Cioss Street,

Manchester, Jan. 1, 1808.

r.S. — Should my offer be considered worthy of attention,
I will enter into an arrangement at anytime for putting my
statements to the proof ; but I will not take part in any’
discussion, further than to explain anything that may
not aj)pcar clear. — L. McL.

ON THE USE OF DISTILLED WATER.

Dear Sib, — I have just read ilr. Cherrill’s article in flic
current number of the News, entitled “ Against the Use of
Distilled Water,” and am, from my experience, compelled to
disagree with him. If I were a.sked to state what I con-
sidered to be one of the chief causes of three-fourths of the
failures in photographic manipulations and processes, I
should unhesitatingly say, the neglect of obtaining abso-
lutely pure w.ater ; and I may add, that so far from con-
sidering distilled water unnecessary', I am compelled to con-
clude from historic evidence that even that of the ordinary
kind is mostly unfit for the chemist’s use. It will be obvious
to any one, after a moment’s consideration, that the water of
any locality contains traces, and sometimes more than traces,
of the soluble organic and inorganic matters that abound
in the soil through which it has to force its way; and,
although it might be possible to find some spot where the
water would contain no really noxious element, photographi-

cally considered — as Mr. Cherrill, perhaps, has done — yet I
cannot deem it anything short of imprudent to advise pho-
tographers generally to disregard the use of the still, and
employ the water nearest at hand.

Especially in the admixture of the negative bath is the
various effects of undistilled water seen ; and it is certainly
" like straining at a gnat and swallowing a camel,” to ask
and pay for pure photographic silver and other chemicals,
and then mix them with the unknown impurities obtained
from the town reservoir or the local pump. In my own
practice I have found it to be most profitable if, on adding
a few crystals of nitrate to the quantity of distilled water
selected for a new bath, there be the slightest milkiness, to
wit! hold the remainder of the silver until a newly-distilled
supply be obtained, in which this addition shall make no
alteration to the bright and sparkling look of the water.
In every case, I believe I may say, in which I have attempted
to use a sample of water showing the slightest turbidity,
the bath produced has had more or less of streak, fog, or
other marking and deposit as the result. Hence my earnest
advice to those whose successive failures have not made my
words unneccs.sary, is, on no account trust your silver to any-
thing but the purest distilled water ; indeed, so far do I
carry out my own injunctions, that not only in bath, deve-
loper, redeveloper, and other solutions is it used, but the first
wa-shing of prints is invariably that of uncontaminated
water. To do this, of course, a still and appliances were
necessary ; but I conclude that no outlay has been of more
benefit to me in the matter of creditable pictures, few
failures, and comfort in work. I quite coincide with your
correspondent, that no process which depends upon “ uncer-
tain conditions of success ” ought to be, to say the least,
preferred. I trust he will excuse me if the foregoing seem
like “ a hoist with bis own petard and I am sure that as
we become more and more familiar with our work wo can
aft’Ord to dispense with many things once considered indis-
pensable on the authority of the “ hand-books ” ho men-
tions ; and that the fluttering expectancy and hope and fear
of the novice is replaced by the quiet assurance of mastery
in him whose theories have been nicely balanced and
judged by his daily experience. — I remain, sir, yours truly,

R. H. P.

INDIA-RUBBER MOUNTING.

Sir, — Seeing that several of your correspondents have had
some difficulty in the use of the india-rubber mountaiit, I
think it will be found that they have used the solution too
thin : it should be of the consistency of golden syrup. The
print and mount should be well coated, and t ho benzole
allowed to evaporate thoroughly, before any attempt is
made to mount the print. If the solvent has not quite
evaporated before the print is pressed or rolled down, blisters
will be almost certain to appear on some parts of the picture.
I have used with success, for rubbing down the print, one
of the globular glass-paper weights, passing it over every
part of the print with considerable pressure.

I do not tliink the rubber mountant will ever be much
used by professional photographers. It is better suited to
the use of amateurs, who often keep their photographs in
albums, and therefore always under a certain degree of
pressure. I have given up the use of the india-rubber
mountant since 18CG, for on one occasion, not having time
to send a series of large prints to bo mounted by a pro-
fessional mounter, I did them myself most carefully with
india-rubber, but was much vexed at having them returned
in a few days, they having blistered up from the mounts
badly. I also had, until recently, in my possession some
drawings which were mounted with india-rubber about the
year 1850. These drawings had got loose from the card-
board, and there remained on the mounts a brown friable
sub.stance, as described in your article last week. I am, sir,
yours obediently, A FuoTOORAPnER.

Plymouth, January Uth, 18C8.

January 17, 1868.]

THE PHOTOGRAPHIC NEWS.

35

SOAP IN DRY COLLODION.

SiB, — I see in your last number that M. Carey Lea has
invented another “new dry process,” which consists in
adding tincture of soap to Sayce’s collodio-bromide of silver
I beg to state that 1 have used soap in collodion for dry
plates for some time, having adopted it in accordance with a
suggestion of your own given nearly two years ago, when
you recommended the addition of Castile soap to collodion
to form oleatc of silver as a suitable organic silver salt for
dry plates. At the same time you recommended its use in
collodio-chlorido of silver ; but that I have never tried. I
have added two grains of Castile soap (sometimes I used
soft soap) to each ounce of collodion, dissolving it first in
the iodizer. It did not all dissolve, but there was sufficient
to make a marked differencc*in the sensitiveness of the col-
lodion when used wet, and also great increase of vigour. I
have got good dry plates with simple wa.shing, without any
preservative. I gave it up, however, as I fancied it |madc
the bath give foggy plates. — Very respectfully yours,

Thomas Harding.

P.S. — What is an “officinal tincture” which Mr. Lea
says he has used? And does the novelty depend upon the
use of this tincture ?

[An officinal tincture is a tincture prepared according to
the instructions of a recognized pharmacopeia, and generally
kept ready for use by all pharmaceutical chemists. The
tincture to which Mr. Lea refers is probably one known in
America, but it is less certain whether it is usually kept in
this country. We have a few remarks on the subject in
another page. The novelty of the process consists in em-
ploying a new combination of known substances, and one
which it appears produces a good result. — Ed.]

EDGE'S PHOTOS.

Sib, — Seeing so many trying to solve the problem as to
how the above-named photographs of portraits, with land-
scape backgrounds from nature, are taken, I, with your per-
mission, will state how I think they may be done.

In the first place, take three pieces of pivtent plate glass,
and get them finely ground at the edges until all are of one
exact size. Next get a printing-frame that will open both
back and front; at the back put in an ordinary hinged
shutters, but leave depth enough of rabbet for thin piece of
wood, round which I would double the sensitive paper, to
keep it in its place ; the front of the frame should be com-
posed of a brass rabbet exactly the size of the patent plates
(deep enough to bake two pieces of the patent plates with
spring fastenings to the four corners). So much for the
printing-frame.

Now, with regard to photographing, in the first place
take one of the three pieces of glass, and produce an ordinary
stcro view, finished and varnished ; with second glass take a
portrait negative ; with the third glass prepare a dry plate.
When this is done, place it in the printing-frame with
negative of portrait on the top, and produce a»transparent
positive over-exposed. In the next place, take your stereo
negative, and prepare the face of it as a dry plate ; when
that is done, place it in the printing-frame, take your
transparent positive, and print upon it negative, which will
form a mask ; any part that may be transparent to admit
the light can be easily blotted out. Pwiit the figure the
proper depth ; when that is done, remove that negative,
and replace it by the stereo negative with photo mask. By
this means I think the masks will exactly fit. — Yours
respectfully, A. E. Scales.

Hartlepool, Jan. Sth, 18G8.

PS. — I also think that a thin solution of gelatine and
bichromate of ammonium made very black with indian ink,
and flowed over the face of landscape negatives, after being
exposed under transparent positive, would ma’ko a very good
mask : the shadows might be over-piinted by means of a lens.

[It will be seen that there is an analogy between the plan
suggested here and that described in our last. It is only
just to our correspondent to say that this letter was received
before the publication of our last, but just too late for
insertion in that number. — Ed.]

DOUBLE PRINTING AND MR. EDGE’S PICTURES.

Dear Sib, — In the method of double printing described
in your last, I am sorry that I omitted to state that it will
not do to print the negatives face to face, as the mask
would bo reversed ; but some contrivance must bo used to
print the dry plate on the buck, through the glass. — Yours
truly, W. I. Mari^uand.

Vauvert Street, Guernsey, Jan. Wth, 18G8.

[Camera printing would meet the difficulty. — Ed.]

Mfe itt th

M. Adam-Salomon. — A rumour has received some currency
that M. Salomon is about to open a studio in London, having
taken for the purpose the premises in Regent Street lately
occupied by the United Association of Pliotography. Wo aro
in a position to state that there is no truth in this rumour.
Tlie premises in question have been taken by the proprietor of
M. Ken’s est.ablisliment in Paris. M. Salomon, as he recently
stated in a letter in our columns, intends, during tlio coining
spring, to visit London, but, in a recent letter, wo aro informed
that the visit will, from press of business, not lake place just
at present. Whether his visit will be connected with any idea
of opening a studio hero, or not, we cannot at present state ;
but, in any case, he will bring with and place on view a collec-
tion of his portraits, both prints and negatives.

Lithoobaphic Tuansfer Paper. — Our contributor, “ A
Practical Man,” sends us the following, in answer to a recent
enquiry by a correspondent ; — “ The preparation of paper lor
transfer in the lithographic process is now very much simplified,
amateurs and others being supplied with a peculiar kind of ink,
invented and made by Iladdon and Co., of George Yard, Lom-
bard Street. It has great advantage over the old ink, which
was diflicult to manipulate with. This new preparation is easy
of use, cheap, and quick. Any can use it, and prepare circulars,
forms, or outline designs for the lithographic printer with groat
readiness and certainty, no prepared paper being required, any
good smooth fiat-faced paper answering well.”

Exhibition of Medallists at the Crystal Palace. —
The directors of the Crystal Palace aro inviting all persons
who received medals at the Paris Exhibition to contribute tlio
articles for which they received medals to an exhibition to bo
held in the Palace. Photographers who received medals, in
responding to this invitation, will, in many instances, have an
opportunity of improving on their Paris contributions.

More Piracy.— A few days ago, at the Birmingham Police
Court, a man named Robson, a wholesale photographer, carry-
ing on business at the Green Lanes, near Birmingham, was
summoned by Messrs. Graves, of London, on a charge of
pirating registered photographs, the property of the complain-
ants. Having reason to suppose that pirated copies of their
photographs were being disposed of w’nolesale, Messrs. Graves
sent a young man named Cattermole to Birmingham. Ho
assumed the name of Milner, and, on the pretence of desiring
to purchase, ho got introduced to Robson, who sold him, as it
was alleged, pirated copies of “ The Piper and the Nutcrackers,”
“ Ordered on Foreign Service,” “ The Accpiittal,” “ The First
Sermon,” “ The Second Sermon,” “ Waiting for the Verdict,”
and other pictures. The defence set up was that the pictures
sold were photographs of engravings, not copies of the com-
plainants’ photographs. The Bench, however, were satisfied
with the evidence for the prosecution, and lined the defendant
j£G5 — that is, £5 in thirteen cases — with the option of going to
prison for twenty-six months.

3^0 d0rrts;j0u&ints.

Cvi.l.oMPTON. — As your queries require answers which may be
intcrcstinu- to others, wc print them in full, with their answers
1. In making the colloaion for the new dry proce.ss (soap in
collodio-bromide of silver) is no gun-cotton to be u.scdi' I
thought all collodion was made with that substance. — Tho

SG

THE PHOTOGRAPHIC NEWS.

omisnion of any mention of Koluble cotton in Mr. Lea’s for-
mula for coll'jdio-bromidc is doubtless an inadvertency. Add to
each ounce 5 or 6 grains of cotton. The exact quantity must
somewhat depend on the quality of the cotton. 2. In making a
solution of india-rubber in benzole, for edging plates, icc., is any
particular kind of rubber necessary i for I put 2 grains of good
india-rubber into an ounce of benzole, about a week ago, and
hardly any change seems to have taken place, except that the
piece of rubber is larger in look and thinner — more transparent in
fact. — Samples of india-rubber vary much. Old samples which
have been much e.xposed to light become comparatively insoluble.
Some samples of benzole also are bad solvents. It is wi.so to
adopt the recommendation wo have given, to macerate first ft a
small quantity of chloroform. 3. In using the old hypo-toning
and fi.xing-bath, docs it imply, when it .says: “the .solution, too,
is always ready and in good working condition to receive the prints
direct from the pros.sure-frame, without any previous washing,’’
that it is better not to wash the prints before immersion, or merely
that the prints need not be washed 1' — The custom used to prevail
of immersing the print in the old toning bath of gold and hypo
without washing, but wo do not recommend the practice. 4.
When making up the sulphocvanide of ammonium toning-
bath, as soon as I put in the g-old solution, a yellow-coloured )>re-
cipitatc was formed, and still remains at the bottom of the bottle :
is this usual, and does it interfere with the toning S'— 'I’he orange-
coloured precipitate is sulphoeyanido of gold, which is insoluble
in water, but it is soluble in excess of the alkaline sulphocyanide.
If you add, therefore, more of the sulphocyanide of ammonium
the precipitate will lie re-diss<dved. Unless you re-dissolve it you
waste the gold. o. I have in my possession a earte-de-visite lens,
4}-inch focus, 2 1-tentli in diameter, and about 10 feet from sitter ;
is this a thoroughly good lens to u.se and keep, or ought I, to ob-
tain perfectly good results, get one of longer focus — A lens of
longer focus is desirable for card pictures, especially for standing
figures. 6. AVhy is it that portraits can’t be, or are not, taken
with a large single lens ? Is it mendy because it requires a longer
exposure \ Groups I ran take well with a 3-inch Iloss single
lens ; why not take one jicrson 'i 1 have not triisl yet except in my
studio, where it was too dark. — Portraits can bo taken with a
single lens, but if taken with large api'rture, to secure rapidity, the
definition is not good ; and if the aperture l>e redueisl to get gixiil
definition, the exposure is long. You can take single figures, of
course, just ns well as group.s, with your single lens. 7. Might J
make and copy a registered lent for my.sclf and private u.se with-
out inclining any risk of breaking patciil.s, Ac. — Ilegisiralion
docs not protect the design of a tent, but a patent does. If you
copy a patent tent you break the law, but this is not the case with
registration. 8. I have rcccntlv had a quire of albuminized paper
from a surplus stock of . 1 find that it prints a curious pur-

ple colour, not a brick-brown, as is usually the case : is this
peculiar to some paiiers:" I send you a piece Just out of the
pressure- frame ; some jiieces are much more purple — indeeil,
almost a nice tone — but the ciicIosihI is hardly pleasant. — 'The
colour of the untoned prints enclo.scd is not uncommon, and is
very good ; such prints generally tone well. 1). Do you know any

thing of 's albuminized paper, whether it is a good saiiqde i

— The paper of the maker whose name you mention is very goml.

W. II. J. asks if any of our correspondents have tried coli'ee dry
plates developed with iron and silver, and intensified with aeiil
pyro and silver, and adds that he has had fair success with some
plates so treated. We have not heard of cases, but shall have plea-
sure in recording the results of any of our readers. 2. Mr. 11.
Planners Gordon considers the gum procc.ss, as described in our
Yeau-Uook, the most perfect dry proexjss, equal in scn.silivcnc.s.s
to any other he has tried, superior in results to most that he has
tried, and superior in keeping qualities to all that he has tried.
Being an ardent dry-plate exiierimentalist, he has got good re.sults
by many of the known proee.sses, and has found the honey pro-
cess useful for many puqiose;’, especially where simplicity rather
th.an keeping qualities is required ; but fiis yciaiict, on examining
all, is that which we haye just giyen. The reason for his abandon-
ment of the modification of the collodio-albumen process was its
imperfect keeping properties.

K. M. D. — The Yeau-Book is not out of print. AVe haye scon the
prospectus to which you refer. You are right in supposing that
it reaches you without our sanction. After copies of the Yeak-
Book or ?^EWS leayeour publishing- office we haye noconli-ol over
them, and they may be made the means occasionally of surrepti-
tiously conveying documents of which we have no knowledge. It
is possible, as yon suggest, that it is an attempt to take advantage
of any little prestige belonging to the amateur publication we have
recently noticed. It is purely a trade .speculation, its projectors
being men of no iiosition or reputation, and whose names would
carry no weight in the iiholographic world.

HlLl-EUSPox. — Much deiiends on the colour, character, and general
tone you prefer. We described the mode of toning traii.sparencies
on do' plates in an article which ap^)eaI■ed a few weeks ago. You
will also find an article on the subject in our la.st Yeau-Book.
Any di-y procc.ss of which you are master will answer. .-Vs a rule,
the addition of acetic acid to the pyro develoiier will tend to the

[January 17, 18G8.

production of a brown tone; the use of citric acid, to a bluish black
tone. It not unfrequently happens that dry plates receiving full
e.xposurc have a trace of an image before development, especially
if the preservative used contain-s a reducing agent, as in this
instance.

PiiOToouAi’iiEii. — If you have any rco-son to suppose that any trace
of a gold salt remains in solution, you may, instead of pouring
away the solution, add chloride of lime to it, taking care to add
surticient nitric acid to give an acid reaction. This will combine
with the lime, and liberate the chlorine and hypochlorous acid.
The chlorine will combine with the gold in a fine state of subdivi-
sion, and also with any oxide of gold which may bo in solution. A
solution of Inqiochlorite of lime is made by adding common bleach-
ing powder to water, shaking, and then filtering. You obtain
in the water chlorine and hyixichloritc of lime, and leave a residue
of hydnite of lime. A gentle heat will promote the solution of the
gold, and the hypochlorite solution is to be added, a little at a time,
until all is dis.solved. 'The subscHjuent boiling is to get rid of ex-
cess of chlorine. In a toning bath made with carbonate of soda,
the bath often becomes inert before the gold is thrown down, a
little oxiilc of gold remaining in solution, which is eventually
thrown downi as metallic gold. We do not quite understand what
you moan by the spongy precipitate formed in mixing a neutral
silver bath. 'There should be no precipitate at all. Wo cannot
recommend special lenses by name in this column. If you will
make a list of the lenses you contemplate selecting from, distin-
guishing each by a figure or a letter, wo will give you our opinion
as to which is most suitable to your purpo.se.

A Five Yeaus’ SrnsciUHEU. — Professor Fowler is an American
gentleman contributing to American journals. AVc generally re-
print such of his articles as appear likely to interest our readers,
but we h.ive no knowledge of the subjects upon wliich he will
write, and when. We have published all that we know he has
written on the .subjects you name.

0. F. Otto. — .V minim in lluids is equivalent to a grain in solids,
ISO minims forming one measured ounce. As a somewhat rough
rule, minims and drops have lieen regarded as sufiicicntly o<{uivulent
to be used in many cases. The rule is, however, obviomsly very
unsafi', as drops of different lluids vary considerably, not only in
weight, but in volume. A drachm-glass measure is generally
graduated for minims.

J. II. S. Stanley (Te.xas). — 'Tliero arc various tiuKles of priKlueing
the effects to whieli you refer, but the following method will, when
well-managed, give excceilingly fine effeet.s, elo.sely re.sombling
ivory painting. Take a jierfect jirint of somewhat warm tone, clean,
sharp, and not too deeply printed, but still suHieieiitly made out.
Instead of mounting on board, stretch the ]iriut on a frame made
by cutting out a piece of millboanl, attaching the print at the
edges, colour in water colours, using all the lints considerably
inoi-e vivid than is required in the finishixl picture. When
completed, melt a little white wax or jiaratHno, and apply it at
the back of the picture, using just sufficient to make it semi-
transpjirent and no more. A piece of pure while paper, or cream-
coloured paper, is then placed at the back of the print, which very
closely resembles an ivoiy miniature. A few touches of high light
may be jiut in body colour on the face with advantage.

IIenuy II. IIele. — Elementary works on art suitable for photo-
graidicrs are not very pb-ntiful. One of the simplest and cheapest
we Know is Howard’s Sketeher’s Manual, published by Darton
and Co., at about .5s., we believe ; but wo fc.ar it is out of print.
Burnet on Composition is a capital book, but a little exjiensive,
the price being bis. ; published by lAiighton, Brewer Street, W.
But to acquire a satisfactory knowkxlge of the art principles which
govern pictorial effect, e.specially as jiossible in photognqihy, re-
quires the study of many bixiks, and much study. We have had
for some time in prejiaralion a series of lessons on the jirinciiiles
of art asappliisl to phologra|)hy, contributed by more than one of
the most celebrated artists as.soeiated with photography. These
will commence in our pages very shortly. “ Leaf Prints,” by
I’rofessoi' Himes, has no imbli.sher in this country, but could,
doubtless, be ordered by your l>ook.selh>r through a lyindon house.

R. 11. P. — The article on M. Salomon’s studio and manipulations
will appear in our next. Of course the luldition of sugar to the
printing bath would nullify the value of an argenlometer basetl
on the spei'ilic gravity of tho solution. Wo saw the groups of
which you speak, by M. .Viigeng, in tho Exhibition, and iiotid the
excclleneo. We rather infer the skill of the arti.st, however, than
any special (piality of the lenses employe<l, in.ismuch as whilst tho
len.ses are accessible to all, tho excellent groups are only produced
by one or two artists. I-'orthcr, M. Angerer, to our knowlodge,
employs for much of his work the len.ses of one of our best London
opticians. For tho gnmp.s, wo have no doubt that lenses of long
ttK'iis are used, and I he figures are adminibl y airatigi'd to suit tho
exigencies of the lens. Doubtless the light at Passy is excellent.
The card enclo.sed is very rich and brilliant.

James Ingi.is. — Tho cards and cabinets duly received. Thanks.
AVe shall notice them shortly.

Received. — “ Monckhoven’s Photographic. Optics.”

Sevenil articles in type and completisl st and over until our ne.\t.

•Several Correspondents in our next.

THE PHOTOGRAPHIC NEWS

Voi«. !XI. No. 490. — January 24, 1858.

CONTENTS.

PA6I!

Enlarging by the Magnesium Light 37

Important ('opyright Case 37

The late C. Thurston Thompson 3S

An Art Gritic on the Touching and Lighting of M. Salomon’s

Portraits 3S

Pictorial Effect in Photography 41)

Faraday as a Discoverer 41

Cyanide of Silver in Collodion 41

A Simple Method of Double Printing. By Walter M’oodbury... 42

PA

Visits to Noteworthy Studios 42

Photography as a Profession. By S. Thompson 44

Knnel’s Hints 45

Correspondence— Hyposulphite of Ammonia for Fixing— India-
Rubber for Mounting : Distilled Water — The Discovery —

Carbonate of Ammonia in the Fixing Bath 4R

Talk in the Studio 47

To Correspondents 47

ENLARGING BY THE MAGNESIUM LIGHT.

Mr. Solomon has recently called our attention to his appa-
ratus for producing enlargeiuents by means of the magnesium
light, and given us an opportunity of witnessing its prac-
tical application, the results of which, wo must confess,
decidedly exceeded our anticipations. From the experi-
ments we have witnessed it appears that nothing can bo
more simple, certain, successful, or economical, than the
operation of producing enlargements by the appliances thus
provided.

The instrument employed in the experiments at which we
were present is the smallest provided for this purpose. It
consisted of a camera with a portrait lens for enlarging,
of about four inches focus ; behind this a groove for holding
the negative to be enlarged ; and behind again, a magic-
lantern condenser, the combination consisting of a double
convex and a meniscus lens, the combined focus being three
inches and a half. The magnesium lamp, with a clock-
work arrangement, to maintain a steady delivery of tlie wire
or ribbon for three minutes, is attached to the back of
the camera, the ribbon passing through a tube into a wide
metal tube or chimney inside the camera ; an opening in the
tube, the back of which serves to some extent as a reflector,
permits the light to reach the condenser. The chimney
projects beyond the camera, and a tin pipescives as a flue to
conduct any smoke into the open air. The whole arrange-
ment is compact, neat, and easy to manage.

The firet picture we saw produced was from a card nega-
tive, the head and bust of which were enlarged to fill a
whole sheet of photographic paper, the amount of enlarge-
ment, estimating without actual measurement, being about
ten diameters. The mode of preparing the paper, which was
used nearly dry, was an experiment, and it was not anti-
cipated that the exposure would be short. A single piece of
ribbon w.as burnt for about two or three minutes, and the
image, a faint indication of which was visible, was then
developed with gallic acid containing acetic acid. A very
good picture was obtained, with a trace of under-exposure,
but fully equalling the average of solar camera pictures we
have seen.

In the next experiment all the conditions were well
defined, and the results very perfect. The p.aper was salted
by floating on a solution containing 15 grains of iodide of
potassium and 5 grains of bromide of ammonium in an
ounce of water. The silver bath contained GO grains of
nitrate of silver and 10 minims of acetic acid to each ounce
of water, and the paper was used immediately after floating
on this bath, and whilst it was still wet. The amount of
enlargement was about six diameters ; that is, the head, in
the negative of which the head and bust were produced was
about half an inch long, was enlarged to about three inches
long. The exposure was exactly thirty-five seconds, with

the light from one piece of ribbon. No trace of the picture
was necessary in the process ; but on applying a hot solution
of gallic acid the imago rapidly appeared, and, after about
three minutes’ development, was fully out, at once soft, round,
and vigorous, clean in the lights, and deep in the blacks, and
an exceedingly good enlargement was produced.

The ribbon used in these experiments runs about fifty yards
to an ounce of magnesium, one yard burning for three minutes.
Thus, at twelve shillings and sixpence per ounce, each
minute’s light cost one penny. A small portion of the
ribbon is burnt in illuminating the negative during the
process of focussing ; but this, together with the exposure ou
the sensitive pajicr, did not exceed one minute, so that
in this instance the cost of the light for an enlargement of
about six diameters was about one penny. For an enlarge-
ment to life-size, which, as a rule would be effected from a
negative not rc:|uiring more than an enlargement of ten
diameters, the combustion of wire would probably not exceed
one yard, costing threepence.

The results produced, so far as the light was concerned,
leave little to be desired. A certain degree of unsteadiness
and flickering, which belong to the magnesium light, at
times produced much less difficulty than we had anticipated,
only serving to make exposure a little uncertain, and re-
quiring the exercise of judgment in the operator, much the
same as exposure in a landscape, with rapid alternations
of sunshine and diffused light.

We were, as we have said, altogether unprepared foi such
a degree of excellence, and at such a comparative economy
in the cost of light. This method of enlarging is well
worthy of the attention of all whoso wants will bo met by
means of development printing.

IMPORTANT COPYRIGHT CASE.

A RECENT decision of the Lord Chancellor in a case of pho-
graphic copyright brought before the Court, is most im-
portant and interesting to photographers and all interested
ill the publication of works of fine art. The number of
singular decisions which have been given by police magis-
trates where, in accordance with the provisions of the statute,
a remedy has been sought against jiiracy hy summary pro-
ce.ss, and the indisposition which has been manifested on
many such occasions to recognize copyright in a photograph,
has led many photographers to regard the Act of 1802,
so far as it concerned their art, as little better than a
dead letter. In a suit instituted iu a higher Court it is
refreshing to find an entire absence of the petty iceliug
which seems to have governed the decisions in many of the
cases to which we have referred, and in its place a straight-
forward administration of the law in accordance with the
evidence brought forward.

88

THE PHOTOGRAPHIC NEWS,

[January 24, 1868.

The reports of the daily press of the case to which we
refer — Strahan v. Graham — have already appeared in our
pages. We have recently been favoured with a perusal of
the short-hand writer’s notes of the case, and as the recent
decision of the Lord Chancellor for the first time strictly
defines and authoritatively lays down the law of fine arts
copyright, we shall now lay before our readers such a state-
ment of the facts and the decision as will clearly set forth
the position of photographers in relation to copyright in
their works, and in relation to any assignment of such copy-
right to others for publication, either of the pictures them-
selves, or copies of them produced by any process.

Court of Chancery, Dec. 20, 1867.

(Before the Lord Chancellor.)

STRAHAN V. GRAHAM.

This was an appeal by Mr. Strahan against the judgment,
in February last, of Vice-Chancellor Sir R. Malins. On the
20th ult., after two days’ hearing, tlic Lord Chancellor
affirmed the decree of the Vice-Chancellor, and dismissed
the bill with costs.

In November, 1864, Dr. MacLeod, the editor, and Mr.
Strahan, the publisher, of “Good Words,’’ purchased from
the defendant, Mr. Graham, for the purpose of illustrating
in “ Good Words” Dr. MacLeod’s Travels in the East, some
of the photographs taken by the defendant in the Holy
Land. In making this agreement, which was verbal, the
defendant reserved to himself the copyright of these views,
and the right of publishing them as photographs, or other-
wise, in any other publication. At settling in August,
1865, the defendant refused to sign the receipt as prepared
by Mr. Strahan, which was “for the photographs used in
‘ Good Words,’ but signed the receipt on its being altered
to “ for the use ot photographs in ‘ Good Words,’ as per
account rendered, (defendant) reserving all rights to issue
the .same, either as photographs, engravings, &c., in any
other publication.”

On 31st January, 1866, Mr. Strahan published Dr. Mac-
Leod’s “ Eastward ” as a fourteen shilling volume, containing
the same illustrations from tlie defendant’s photographs as
had appeared in “Good Words,” 1865. Thereupon an
action was instituted by Mr. Graham in the Court of Queen’s
Bench against Mr. Strahan, suing for damages, and for an
injunction to restrain the sale of the book. N.L. It was to
stay that action, and to compel the defendant to grant Mr.
Strahan a licence to use his engnavings of the defendant’s
photographs for any purpose he chose, that the Bill of Com-
plaint was filed by Mr. Strahan.

On 18th and 19th February, 1867, this Bill was discu.sscd
before Vice-Chancellor Sir R. Malins, and dismissed with
costs. Thus the licence craved was not granted, and the
sale of the book was restrained.

Mr. Strahan appealed to the Lord Chancellor. On the
19th and 20th ult. the case was heard, and, at the close of
the arguments, the Lord Chancellor affiimed the judgment
of the Vice-Chancellor, with costs.

It is therefore now ruled —

That the copyright of any photograph or other work of
art remains in the artist, or author of such work of art, in
so far as he docs not part with the same.

That the blocks from which wood engravings are printed
do not carry the copyright of these engravings ; in the same
way as the types or stereotype plates from which a book is
pr'nted do not carry the copyright of a literary work.

T.hat every sale of arts copyright, or licence of user, must
be in writing, and cannot be construed to extend further
than is expres.sed in that writing.

It may be important here to remark that the copyright of
any photogr.aph, or other work of art, only vesta in the
.author or producer in cases where the picture h.as been pro-
duced l>y the artist for himself, and not as a commission for
which a definite consideration is paid. The professional
photograjiher, in taking a portrait or view to order, does not
.acquire a copyright in such photograph unless ho reserye it

by a memorandum in writing, signed by both parties, to the
contract at the time. But any portrait or view taken by
the photographer by his own choice secures, on registration,
an absolute copyright in the photograph, of which he can-
not be deprived by any sale of copies, or of a limited right
to copy for any specific purpose, except by an assignment
made in writing. On this point the juagmentof Vice-Chan-
cellor Malins was very specific, observing that if Mr. Strahan
had “ proved a verbal contract, the objection would have
been as fatal here (in the Court of Chancery) as at common
law ; that the statute requires to be in writing.”

Another point of interest to our readers, of a non-legal
character, is worth observing, as illustrating the value of the
copyright in good photographs. Under the contract with
Mr. Graham Mr. Strahan bought the right to engrave
seventy or eighty photographs for use in “Good Words,”
only at the rate of three guineas each ; and rights to copy
the same photographs for other works had also been sold to
Mr. Murray, to Mr. Longman, Mr. Bentley, and Mr. Day.
The photographs were very fine and rare ones, and the price
was reasonable ; but amid the general prevalence of a ten-
dency to produce photographs at disgracefully low prices, it
is pleasant to contemplate cases in which examples of pho-
tography are regarded as works of art, and are valued in
such a spirit in the market.

THE LATE C. THURSTON THOMPSON.

It is with very deep regret that we chronicle the loss to the
ranks of professional photography of another of its dis-
tinguished ornaments, and a very estimable gentleman.
Mr. C. Thurston Thompson died on the 20th instant, at
Paris, after considerable suffering. He had been out of
health for some time, gall-stones, causing jaundice, being the
final form of illness.

Mr. Thompson was the son of the well-known wood-
engraver, Mr. John Thompson, whose name is a.ssociated
with much very excellent work, and especially with the
engraving of Mulrcady’s design for the first penny postage
envelope. Mr. Thurston Thompson was brought up to his
father’s profession ; but early in the history of collodion
photography he became a pupil of Mr. Bingham's, of Paris,
and has in subsequent years devoted himself largely to the
same cla.ss of work as Mr. Bingham. As a photographer,
Mr. Thompson had, in his especial vocation of reproducing
works of fine art, very few equals, his refined taste and ex-
tensive knowledge of ;irt peculiarly fitting him for the
duties which, as photographer to the Department of Science
and Art at South Kensington, for many years devolved
upon him. His photographs, recently produced, of historial
architecture of Spain, also for the Department, are
amongst the choicest examples of architectural photo-
graphy in existence.

Mr. Thompson was a man of extensive and varied art
culture, possessing a most discriminating taste and judg-
ment ; but, withal, modest and unassuming. As a private
friend he was a rarely amiable man, possessing an unusually
winning and conciliatory deportment. He was for man}-
years a member of the Council of the Photographic Society,
where, when at home, he was found in regular attendance.
His residence for some time in Spain and Paris, during the
last year or two. has caused his absence from the delibera-
tions of the Council for some time, an absence always
regretted, and which it will cause a deep sorrow in all
his colleagues to know will never now be broken. He died
in the full prime of life, his age, we believe, little exceed
ing forty years.

AN ART CRITIC ON THE TOUCHING AND
LIGHTING OF M. SALOMON’S PORTRAITS.

The Art Critic of the Illustrated London Xews, a gentleman
whoso sound remarks on art and intelligent appreciative
comments on photography weal ways read with pleasure, has

January 24, 1868. J

THE PHOTOGRAPHIC NEWS.

39

some recent remarks on the subject of the touching and the
lighting of M. Salomon’s portraits which, as our statements
on the subject are referred to, demand from us a few words
of explanation. We will quote the paragraph in its en-
tirety, so far as it relates to the question of touching. Our
contemporary says : —

We are informed tliat M. Adam-Saloraon, of Paris, who, it is
generally conceded, is the best portrait photographer in Europe,
intends shortly to visit this country, bringing with him examples
of his art. Apropos of this annonneement, we remark that a con-
troversy as to whether the portraits by M. Salomon in the last
exhibition of the Photographic Society were or were not “ touched ”
has been maintained with some animation. It may be remembered
that, in reviewing these marvellously beautiful works, we expressed
ourselves morally' certain that several of them had been touched,
some of them extensively ; and we did so notwithstanding that the
Photographic News had expressed itself convinced, after minute
scrutiny of negatives and prints in Paris, that both “ were alike
guiltless of any touch whatever from the pencil of the artist.” At
the same lime, we were careful to insist, lest British photograiihers
should delude themselves by attemiiting to extenuate their defeat,
that the essential merits of M. Salomon’s productions were inde-
pendent of adventitious aid from the pencil. Our opinion on the
c]uestion of after-touching has been confirmed in many (luarters ;
and even the Photographic News says, in a subsequent number,
“there is in many prints the retouching common amongst all
photographers, such as the strengthening of the iris or pupil of an
eve, See. ; on some there is here and there a boldly-hatched line, to
give force or form to some portion. . . . Individual parts —

such as an eye, a hand, or a look of hair — have been often improved
by clever touches.” Now, we had always understood that the only
admitteillv legitimate “retouching common amongst all photn-
grai>hcrs ” was merely stippling out accidental spots or blemishes ;
Imt that any tampering with “ individual ]>arts,” tc. give “ force or
form," was deemed higlily (dijectionahle, us diminishing the acen •
r.icy, and therefore the, so to speak, doenmentary value of the ]mre
photograph. .Moreover, as the Photographic N ews now acknow-
ledges that many parts have been “ improved ” (?), may not an eye
familiar with every recourse of water-colour painting detect that
more extensive blending of the gradations in the flesh which we
believe to exist in .several of the exhibited specimens ? .After all,
however, where the retouching is so exquisitely artistic, it might
almost appear as justifiable, regarded solely from the artistic point
of view ; and in any case we are quite prepared to believe that some
of M. Salomon’s finest works are virtually untouched.

Our contemporary — we are satisfied, unintentionally —
somewhat mistakes the tenor of our remarks upon M. Salo-
mon’s portraits. In speaking of individual pictures, and these
often the best, we have said that they were guiltless of any
touch from the pencil of the artist ; but speaking of M. Salo-
mon’s pictures as a whole, we have said and repeatedly re-
terated, that some of them were considerably touched, some a
little touched, and some quite untouched. We unhesitatingly
agree with our contemporary, not only that, in some cases,
there is the bold and indisputable touch which removes
some fault or gives force to some beauty, but that there is
also, in some eases, “ the more extended blending of the
gradations of the flesh ” of which he speaks. We have said
more ; we have expressed our conviction that M. Salomon was
too much imbued with the feeling of an artist to neglect the
application of the pencil in any case where he could remove a
fault or add a beauty to his pictures. The point upon which
we have insisted is just that in which we ai'e confirmed, and is
so well expressed by our contemporary, that “ the essential
merits of M. Salomon’s productions were independent of
adventitious aid from the pencil.” AVe have aimed con-
stantly to impress upon photographers the fact that it was
to art knowledge applied photographically that the excel-
lence of the pictures was due ; that art knowledge and
artistic feeling in the pose, arrangement, and lighting,
rather than in the application of the pencil, were the sources
of superiority. We felt it necessary to insist upon this
becau.se it was tolerably freely rumoured amongst photo-
graphere that the photographs themselves were entirely
overlaid by the pigments of the miniature painter ; and that,
therefore, they did not enter the lists honestly when they
competed with photography proper. As such an impression
was unfair in i»ilf, and mischievous in its operation, because
it deprived English photographers of the valuable lesson

that they had a higher excellence to attain by means legiti-
mate to their art, we have persistently insisted on the fact
that the pictorial value of the portraits was not due to re-
touching, and that where it was employed it was only used
to supplement photography, not to overlay or supersede it ;
and having seen both negatives and prints in every stage of
their production, we were able to do this with some show of
authority for our statements.

On the question of the legitimacy of “ improving ” a
photograph by retouching, opinion amongst photographeis
has undergone considerable change of late years, and the
fanatical faith in the photograph pure and simple has under-
gone much modification. Tlie oldest photographers, both
in landscape and portraiture, do not hesitate to apply the
pencil to either negative or print to remove a blemish or
give additional force to a fine point in a picture. The only
conditions necessary in adding such supplemental touches
arc honesty and skill to avoid the falsification of nature or
the violation of artistic truth ; and success in improviug his
picture within these conditions is the touchstone of the
legitimacy of the operation.

On the subject of the mode of lighting, our contemporary
made some remarks, in his criticism of M. Salomon’s pictures
at the late exhibition in Conduit Street, to the effect that
tliey were manifestly produced by means of a light from a
confined source. In regard to many of the pictures this state-
ment is indi.sputably true ; the strong cast shadows present in
many of them were evidence of this. In a “ Lesson Learned
in Paris, by a Lomlon I’liotographer,” the writer, describing
what he saw in Al. Salomon’s studio, expres.ses liis conviction
tliat lie did not work with a concentrated or confined liglit.
Noticing tills, our contemporary s.ays : — ■

The writer in question says that, contrary to our opinion, M.
Salomon does not employ a confined area of light ; and yet, forth-
with, the writer proceeds to prove that we were perfectly right in
our conjecture. He .says that M. Salomon “carefully kept all the
light in one direction (for he has carefully excluded it on one side,
up to the ridge of his roof). ... lie has stippled down com-
])lotoly tlie violence of the top-light.” Eurther on, the superior
results of the foreign portraits are attributed to the Continental
photographer’s superiority in the management of lighting. And,
again, the writer adds, “ the superior rendering of light textures
is due, I feel assured, to their superior light, which enables them
completely to moderate the intensity of the top-light, and to em-
ploy the pure liyht from the side, and only sujficient of it to pro-
duce those masterly touches of brightness we all so much admire.”
It is evident from this that M. Salomon resorts to various expe-
dients to subdue all light relatively to the ray he wishes to be
paramount ; ergo, may it not be said, without fear of misconstruc-
tion, he works with a confined light? Otherwise, he could never
secure the eft'ects we all admire. So much, as an artist, M. Salo-
mon well knows ; so much is absolutely certain from, as we before
remarked, the definition of the cast shadows in his portraits.
Once having secured a principal and comparatively confined light,
it is of course for photographers to decide what further area of light,
provided always it be of secondary intensity, may be necessary for
their operations.

lu this matter both gentlcmeii are right. M. Salomon
unquestionably frequently works with a concentrated light,
or a light from a confined area. His principal light is a
high side-light. This is obtained through the only clear
glass in his studio, the space it occupies being twelve by six
superficial feet ; as much of one-halt of which is frequently
covered by blinds. The only skylight possesses about double
that area of glass, the whole of which is obscured by stippling
with white paint, and a portion of the soft light admitted
by this is occasionally cut off by blinds. When the “ London
Photographer ” saw the studio, it was in November, and, as
may be naturally supposed, the area of light admitted was
less limited than usual, and the pictures produced at the
time, whilst in nowise inferior in excellence, were not dis-
tinguished by the brilliant contrasts of light and shade pre-
sent in some of M. Salomon’s portraits. Nevertheless, the
“ London Photographer,” who described his own experiences,
is one of the ablest and most conscientious exponents of our
art ; and the difference between him and our contemporary
is one rather of words than facts.

40

THE PHOTOGRAPHIC NEWS.

[January 24, 1868.

A word on another subject, and we are done. The Art
Critic of our contemporary calls attention, “ for the sake of
literary fairness,” to certain garbled quotations from his
former remarks, made by the ” London Photographer ” in
question, lie says: — “For example, we spoke of spotty
lights, not frothy lights ; we spoke of the light an artist
chooses for his studio, not for his shades (!)” Wc hope it is
scarcely necessary to assure our coiitemporarj' that the errors
in question arc either clerical or printer’s errors, most pro-
bably the latter. Our contributor is utterly Incapable of the
meanness of an intentional misquotation, which would
here, moreover, be not more mean than purposeless and
foolish.

PICTOPtlAL EFFECT IN PHOTOGRAPHY;

Bein'q Lessons i.n

Composition and Ciii.vkoscura fob Piiotogbapiiebs.

Intboductouy Remarks.

** All arts having the same general end, which is to please ; ami add ress*
ing themselves to the same faculties through the medium of the senses ; it
follows that their rules and ]>rinctples must have as great afTinity as the
ditTerent materials and the different organ.s or vehicles by which they pass
to the mind, will permit them to retain.’^

“ As our art is not a divine gift, so neither is it a mechanical trade. Its
foundations are laid in solid science ; and practice, though essential to per-
fection, can never attain to that which it aims unless it work.s under the
direction of principle.**

Every opportunity should be taken to discountenance that false and
vulgar opinion that rules are the fetters of genius ; they are fetters only lo
men of no genius ; as that armour which, upon the strong, is an armament
and a defence, upon the weak and mis-shapen become a load, and cripples
the body which it was made to protect.’*

“It must of nece sity be that even works of genius, like every other
effect, as they roust have their cause, must likewise have their rules; it
cannot be by chance that excellences are produced with anv constancy or
any certainty ; for this is not the nature of chiiice.’' — Diicourses of Sir
Joshua Reynolds.

“ In a word, every art, from reasoning to riding and rowing, is learned by
assiduous practice ; and if principles do any good, it is proportioned to the
re.idiness with which they can be converted into rules, and the patient con-
stancy with which they arc applied in all our attempts at excellence.” —
Dr, Thompson^ Outlines of the Laws of Thought.

It has often been asserted that the artist, like the poet, is
born, not made; and, within certain limits, the assertion is
doubtless true: without a natural capacity for pictorial per-
ception no study and no amount of industry would produce
an artist. “ Patience and sandpaper,” lluskin remarks,
“ will not make a picture.” Rut, no matter bow great the
natural capacity, or how undoubted the genius, certainty in
excellence, and permanent success, cannot be attained with-
out a knowledge of the rules aud a study of the principles
upon which pictorial effect depends. No mistake is more
fatal than a reliance upon genius instead of effort, upon
“inborn taste” instead of culture and the application of
recognized and certain laws.

It has been often alleged, that except in its lowest phases,
and in its most limited degree, art can have nothing in com-
mon with photography, inasmuch as the latter must deal
with nature, either in landscape or portraiture, only in its
most literal forms ; whilst tlie es-sential province of art is to
deal with nature in its ideal forms, rendering that which it
suggests as well as that which it presents, refining that
which is vulgar, avoiding that which is common-place, or
transfiguring and glorifying it by poetic treatment. Pho-
tography, it has been said, can but produce the aspects of
nature as they are ; and “ nature does not compo.se : her
beautiful arrangements arc but accidental combinations.”
Blit it may bo answered, that it is only the educated eye of
one familiar with the laws upon which pictorial effect
depend who can discover in nature these accidental beauties,
and ascertain in what they consist. Burnett obscives,
“ Nature unveils herself only to him who can penetrate her
sacred haunts. The enquiry, ‘ What is beautiful, and
why ?’ can only be answered by him wdio has often asked
the question.” The same writer, speaking of Turner’s early
efforts, describes them as something like very common-place
photographs ; they were water-colour landscapes, “ aspiring
only to topographical correctness, the unadorned represen-

tations of individual scenes.” It was only subsequent study,
aud a higher knowledge of the resources of art, which “ gave
him a hint that selection of a situation, and clothing it with
effective light aud shade, ennobled the picture and placed
it more in the rank of a composition than a plain tran-
script.” The same is equally true of portraiture. Although
likeness is the quality of first importance, artistic arrange-
ment is scarcely second to it. In some cases, indeed, art-
excellence po.s8esse8 a wider and a more permanent value
than mere verisimilitude. The portraits by Titian, or Ve-
lasquez, or Reynolds, live rather as pictures than as like-
nesses, and the Gervartius of Vandyke excites the admiration
of thousands who scarcely be.stow a thought on the identity
of the original. Art-cnlturc, however, materially aids in
securing likeness by teaching the eye rapidly to seize the
salient features, to determine the most suitable view, and to
arrange the light so as to bring out the eft’ect of character ;
at the same time giving force and prominence to natural
advantages, and concealing or subduing natural defects.

It is unnecessary however, to enforce here the value of
art culture and the advantages of a study of such part of
art as can be reduced to rule and law, or stated in broad
principles. A growing appreciation of the importance of
the subject exists amongst photographers, and an increasing
desire to be put in pos.session of the means of studying pic-
torial science. The enquiry h.os constantly been reaching
us of late, “ How shall we begin to study art? Where shall
we find instructions’?” Of course it was easy to give the
answer that the same sources of information, the same aids
to stud}', were open to the photographer which were avail-
able to the painter. But this scarcely meets the cose : the
training in drawing and other elementary portions of the
painter’s art brings with it a gradual familiarity with
higher art study, whilst the chemical and mechanical nature
of the photographer’s technical training does not nccc.ssarily
bring him into contact with pictorial effects. Schools of
art, academy lectures, &c., do not exist for him. Works on
art of course there arc, and many of them very excellent
aids to tlic student ; but they are all written with a direct
reference to other modes of expression or application than
those possible to the photographer, whose tools and materials
arc less plastic than any hitherto familiar to the artist.

In photographic literature there has been much frag-
mentary treatment of art, and some of it by blind leaders
of the blind. In an c.xcellent paper once read before the
Photographic Society of Scotland, a writer once well remarked
on this subject, “ Loose talk about art has never been a
very scarce commodity, I am afraid ; but it has certainly
always been a mischievous one.” There has been talk
enough about the mysteries of art, and no lack of rhap.sodies
on aistlietics and the poetry of pictorial expression ; but no
systematic teaching of what may be termed the mechanical
bases on which pictorial effect must be built. Poetry there
is in art, and mystery also ; but it is little use prating of
these to one who has not learned its alphabet. Instinctive
perception of fitness and proportion will sometimes mate-
rially aid the artist in producing pictures, no matter wliat
the tools by which they arc produced ; but no steady or
progressive success can bo hoped for that is not based on
knowledge. The grammar of art must bo learned before
the student can expect to succeed in composition.

Wc wish here to speak very soberly : let us not be mis-
understood in tlius speaking of art and of its application to
photography. Wo here make no extravagant claims for
photography. Wc know well how ncces-sarily limited is its
range compared to painting; but we also know, within its
range, how perfect are its delineations when guided by the
trained hand and cultivated brain. Wc know its power in pic-
torial expression from the many wondrously beautiful things
it has given to the world ; and we feel assured that when
a sound knowledge of art principles shall be more extensively
applied, its powers will be developed, producing still more
varied forms of beauty. Nor do we overrate what of art can
be taught. Much of art which can be acquired by study

January 24, 1868.]

TUB PHOTOGRAPIIIO NEWS.

41

cannot well be taught in books. Yet much may be taught
by explanation of rules and elementary principles, and by
examples of th« application of these rules and principles.

This is what we propose to do for our readem. Some
years ago a very excellent series of papers on composition
and chiaroscura, by Mr. Lake Price, appeared in these pages.
Admirable, so far as they went, wc have since discovered
that, for many photographers, they scarcely went far enough,
lacking something of the photographic application neces-
sary to give lessons their full value to photographic students.
The material for a more extensive series of lessons, and of
more especially photographic suggestion, has been for some
time in preparation, contributions and suggestions for such
a series having been offered by various of the ablest exponents
of the art capacity of photography. Feeling that these
lessons would acquire much additional value by being rc-cast
throughout by a gentleman whose education as a painter, and
whose reputation and successful practice as an art photo-
grapher, would give weight and authority to his teachings,
and by the original suggestion which such practice brings
with it, we have induced Mr. U. P. Robinson to under-
take the task of preparing the series of papers on art
which we have for some time promised our readers,
lie will take the accumulated materials from published and
unpublished sources, and, bringing to bear his extensive
practical knowledge of what belonging to pictorial effect is
possible in photography, and how it may be best compassed,
we believe we can promise our readers that which has been
so long a desideratum — an essentially practical scries of
lessons in art as applicable in photography. The series
will be illustrated by examples, selected either from the
works of painters or photographers, and will be produced
by wood-engraving, photo-engraving, or any other process
which shall be found best fitted for illustrating the purpose
immediately in hand. The lessons will be commenced in
our next.

FARADAY AS A DISCOVERER.

O.N Friday evening last. Dr. Tyndall delivered the first of
two lectures upon the above subject to a very crowded and
distinguished audience, at the Royal Institution in Albe-
marle Street. From the position occupied by Dr. Tyndall
as brother professor at the Institution, and from his very
intimate connection with Faraday during the later years
of that philosopher’s life, no better or more suitable lecturer
could have been chosen to do justice to the subject.

The learned doctor prefaced his remarks by stating that,
as the memoir he had prepared was a somewhat lengthy
one, and it would be imposssible for him to read the whole
of it in the two hours allotted to him for the task, he should
be compelled to omit some considerable portion of it ; the
whole would, however, be printed and placed in the hands
of the members in a short time.

On Faraday’s parentage the lecturer touched but slightly,
merely mentioning that he was decidedly of Carlyle’s opinion
that a really able man was never born of stupid parents,
lie told the story of Faraday’s apprenticeship to a book-
binder, of his attending the lectures at the Royal Institution,
of his making notes of these lectures and sending them to
Sir Humphrey Davy, requesting employment in the labora-
tory of the Institution, of his engagement by Sir Humphry,
and subsequent promotion to be assistant in the laboratory ;
of his constant and unwearied investigations into the science
of electricity, ending, in 1831, in his wonderful discovery
that an electric spark could be produced from a magnet.

In later years, when Faraday had arrived at the zenith of
his fame, when he had followed up one discovery by another,
and had achieved a series of the most glorious successes, the
great man still liked to look back upon his earlier life, and
delighted to visit the little workshop where, once upon a
time, he toiled as a poor bookbinder’s apprentice. Although
naturally of a sweet and gentle disposition, Faraday’s cha-
racter was by no means of a quiet and inexcitable nature,

for his mind sometimes displayed an extraordinary amount
of fire and energy, qualifications which were put to good
use in the prosecution and elaboration of his laborious
researches. After his triumphant discovery of the possi-
bility of deriving electricity from magnetism, — a discovery
at present applied to many of our telegraph systems and to
the production of the electric light, — Faraday turned his
attention to the voltaic pile, and commenced a series of
investigations producing results the novelty and unexpected
character of which cxcib'd great interest in the scientific
world ; pursuing his studies further, ho sought to simplify
the terms and symbols used in connection with electricity,
and to lay down the theories deduced from his numerous
experiments. Turning next to the subject of gravitation
and cohesion, he occupied himself with investigating and
following up the ideas of Newton, and in this branch
of science he was not less successful in arriving at important
results than heretofore. In the year 1840 Faraday’s health,
which for many years had not been good, broke down com-
pletely, and he was compelled to seek relaxation from his
labours m a visit to Switzerland ; in that country he resided
for several months, and his diary kept during that period
shows how pleasantly he passed his time, and how delighted
the great yet simple philosopher felt when surrounded by
the grandeous beauty of the Alps. The results of the
researches undertaken by Faraday on his return to England
will form the subject ot the lecture this (Friday) evening.

CYANIDE OF SILVER IN COLLODION.

Mr. Bell, Photographer to the Army Medical Museum in
the United States, communicates to our contemporary, the
Philadelphia Photographer, his plan of using cyanide of
silver to collodion for the double purpose of preserving it
and preventing pinholes in the negatives, having used it
long enough, ho states, to be certain of its value for the
purposes indicated. His method of working is as follows : —
“ Dissolve in 2 ounces of water 100 grains of cyanide of
potassium ; add to it a solution of nitrate of silver, 50 grains
strong, until precipitation ceases ; pour the precipitate into
a filter, and wash well with water by percolation. Dry and
bottle for use.

Collodion.

Ether

Alcohol ...

Iodide of ammonium ...
Bromide of sodium
Cyanide of silver
Gun-cotton (Pary’s)

IG ounces
10 „
100 grains

Mode of Preparation — No. 1.

Take 8 ounces of the alcohol, dissolve in it 60 grains of
the iodide of ammonium, add the cotton, shake well, then
add the 10 ounces of ether, and shake until all are dissolved.

No. 2.

“ Into a mortar put the G4 grains of bromide of sodium,
adding just enough water to dissolve it; then put in the
5 grains of cyanide of silver, granulate well together ; add
the 100 grains of iodide of ammonium, granulate, and
finally add the 8 ounces of alcohol, granulate for ten
minutes, then filter the solution into No. 1.

Nitrate Bath.

“ Forty grains of silver to the ounce, acidulated with nitric
acid.

“ The developer I prefer is Anthony’s, with a little
modification : —

Water ... ... ... ... 52 ounces

Protosulphatc of iron 3 „

Dissolve and add, drop by drop, a 10-grain solution of
tannin in alcohol, until the iron solution is quite blue
now add acetic acid 3 ounces, and 1 ounce of the gelatine
syrup, and copper solution. Filter, and it is ready for use*

42

THE PHOTOGKAPHIG NEWS.

Should the nitrate batli be old, the acetic acid must bo iu-
creascd until the developer flows smoothly. With a fresh
nitrate bath make no change, as it is all one could wish.

Gelatine, Sraur, and Copper Solution.

Water 8 ounces

Gelatine 10 grains

Golden syrup ... ... ... 1 ounce.

Dissolve by heat, then add 1 ounce of acetic acid ; saturate
the whole with oxide of copper, made by precipitating a
solution of nitrate of copper with a solution of caustic
potash, washing and drying the precipitate.”

A SIMPLE METHOD OF DOUBLE PRINTING.

BY WALTER WOODBURY.

Since attention has been called to the fact that very fine
composition pictures may be obtained on card negatives, by
the beautiful pictures lately produced by M r. Edge, of
Preston, allow me to lay before your readers a plan which I
adopted some years ago, in Java, for producing tlie .same
result, by which very good efi’ects may be obtained.

The negative of the figure, with the leaves, stones, or
whatever may be used to form the foreground, should have
the background carefully filled in with an opaque black ;
and from the negative in this state a transparency must be
printed on a thin film of mica, by any known dry process,
which may be done by damping the mica and placing it on
a sheet of glass and preparing it as in the ordinary way, but
giving such an exposure and development as will give
a very strong black image, which may be gone over without
much care, with an opaque material. The negative is then
printed, giving, of course, a perfectly white ground. The
talc mask may then be carefully placed so as to cover
exactly the part already exposed, and the background
negative then printed in ; if this is carefully done it is im-
possible to detect any joint in the composition. The back-
ground should be lightly printed from a weak negative, but
full of half-tone, and may in some cases be improved by
allowing the light to fall on it after removal of the negative.

VISITS TO NOTEWORTHY STUDIOS.

W e have often endeavoured to impress upon our readers our
conviction that success in photography depended rather
upon the man than the method of working ; upon the
amount of knowledge and culture possessed by the photo-
grapher, rather than upon the process he selected or the
material appliances he employed. Nevetheless, it may be
safely affirmed, as a pendant to the first proposition, that the
method selected “ oft proclaims the man being, as it is,
the result of his knowledge and culture. An acquaint-
ance with the methods employed by eminent photographers
is, then, of the utmost value, not simply as instruction, but as
instruction commended by the prestige of success, and as
example possessing the stamp of authority.

We propose, therefore, to bring before our readers a series
of papem on the mode of working employed by men who
have distinguished themselves in various branches of our
art-science, either by their artistic, scientific, mechanical, or
commercial success. We shall describe their studios, their
processes, and their operations ; their modes of working, the
places in which they work, and the results they produce.
We have already' accumulated much material for these
sketches, and shall avail ourselves of every opportunity of
visiting noteworthy studios in which we may find matter
of instruction or interest for our readers. And as we have
the good fortune to possess the acquaintance or friendship of
the majority of the most able and the most successful photo-
graphers, a class we have ever found least reticent and most
ready to communicate the results of their experience for the
benefit of their brethren or the advancement of the art, our

[January 24, 18G8.

readers may rely on obtaining in this series of papers a
faithful epitome of the practice of those who, by excellence,
have acquired distinction and success, and an indication of
at least the material elements which have conduced to that
success. Turning in a direction in which public interest
has travelled much during the last few months, we shall
commence with

The Studio of M. Adam-Salomon.

M. Salomon’s studio is pleasantly situated at Passy, a
suburb of Paris, in the neighbourhood of the Bois dc Bou-
logne. After an agreeable drive through the Champs Elysees,
passing under the--irc de Trioinphe, aud trending to the left, we
reach the Hue de la Faisandcric, and enter the pretty Maisoii
de Campagne, or villa residence, where M. Salomon resides
and produces those wonderful portraits which for many
months past have excited so much admiration, so much
envy, aud so much discussion amongst photographers, and
have won such high encomiums for the art and the artist
amongst people of culture outside of photography.

On entering, we find no pretentious display of specimens
in various styles and sizes, but, in a very pleasant little salon
distinguished by elegance and taste in every appointment,
a dozen or two examples of the one size and stylo of por-
tiaits to which M. Salomon devotes himself. These are not
spread about or hung up, but are quietly piled in two or
three heaps on a side table. The size of the portraits is I0|
inches by 8^ inches. Each portrait is placed under glass,
and bound round the edge with a narrow slip of white
paper ; but none are upon mounts having any margin
whatever. There are no coloured photographs exhibited,
and very few persons, we apprehend, would dream of apply-
ing colour to the admirable examples of photography before
us, which seem, indeed, the very perfection of monochrome
portraiture.

Passing out into the garden, and neglecting for the
present the sculptural atelier, we find the most recently
erected photographic studio, which was used in summer,
but is now abandoned for the old studio in which the
majority of the pictures at the Exhibition were produced.
The summer studio, as we may designate it for distinction,
has been not inaptly described as simply a shed, with a
glazed lean-to roof, facing south. But it is to be noted
that there is not an inch of clear white glass in any portion
of the studio. Immediately over the head of the sitter is a
row of panes of dark blue glass, and all the rest of the glass
is stippled with white paint to produce the eftect of ground
glass. As, at the time of our first visit, his studio was not
erected, and at the time of our last visit abandoned, we can-
not give any detailed account of the management of light
in it. From the even Hood of subdued light which entered
the room when we saw it, we should have imagined it diffi-
cult to secure vigorous contrasts of light and shade and the
fine relief aud modelling which characterize M. Salomon's
pictures generally ; but as one of the finest examples of his
portraiture which wo have seen — we refer to the portrait of
Dr. Diamond, which we exhibited in Conduit Street — was
produced in this studio, we conclude that the artist finds
means to govern the light to produce the result he requires.

We may remark, before mounting into the other studio,
that in the garden is a canopy, underneath which is a back-
ground placed ; and, we learn on inquiry, that on occasions
when extremely short exposure is required, or when, from
the lateness of the hour and the badness of the light, opera-
ting in the glass-room is impossible, aud the production of
a portrait is very important, M. Salomon operates in the
open air. One of the results which we saw, taken very late
in the afternoon of an October day — the sitter being a gen-
tleman who left for India the same evening — was in many
respects a very fine portrait.

\Ve now mount to the studio in which M. Salomon
usually operates. It is a rectangular room about 2G feet
long by 10 feet wide, with a ridge roof about 13 feet high
at the ridge, and from to 8 feet high at the caves. Both

January 24, 1868.]

THE IMIOTOGRAPIIIO NEWS.

43

ends and the south sides and roof are opaque, the nortli
side only open to a fine expanse of light. At the north
side the roof is of glas.s throughout, but the whole of the
skylight is stippled in imitation of ground glass. This
skylight of obscured glass is, from ridge to eaves, nearly 10
feet in depth, and in length about 20 feet; consisting in
length of 16 panes of 18 inches wide, and in depth of 4
]>anes about 30 inches long. At the north side, about 6
feet at each end of which is opaque, the light extends 12
feet laterally, and is a little more than 0 feet deep, reaching
from the caves to within 18 inches of the floor. It consists
laterally of 8 panes 18 inches wide, and in depth of 2 panes

36 inches long. Thus it will be seen that the total amount
of clear glass iu the studio is 72 supcificial feet. Curtains
sliding on a rod at each end serve to contract, at will, the
amount of the side-light, and also to modify its direction
more or less in advance of the sitter.

The design subjoined, which we draw from memory, gives
a view of the interior of the studio, showing the disposition
of the light, and the relations of the camera and background
to it. Some points of detail, &c., are omitted, to avoid con-
fusion in the general presentation of the interior.

As we have said, the room is about 10 feet wide; but the
operations are chiefly confined to the 10 feet of space

nearest the window, 5 or 6 feet of the width being
occupied by a chair, tables, and other accessories of varied
and excellent design. The floor is covered with a somewhat
dark felt carpet, and the walls with the same material,
which give an effect of extreme warmth and cosiness,
especially pleasant in winter weather. Although JI. Salo-
mon can operate at either end of the room in his usual
practice, the camera is placed in the north-east corner,
whilst the position of the sitter is somewhat in a diagonal
direction, and at a further distance than the camera from
the side-light.

We must reserve an account of M. Salomon’s mode of
working for our next ; but before concluding a brief descrip-
tion of the material appliances, we must refer to certain
mechanical conveniences in the accessories, upon which,
although trifling in themselves, much of artistic success
depends.

The use of a column has been in this country so often
absurdly misapplied that many of our best artists have
discarded it altogether as an unnecessary conventionality.
One of the common enormities in using the column has been
the Procrustean practice of many photographers. The same
column was used alike for short and tall models : a short
man leaning against the base of a column, with his elbow
raised higher than his shoulder ; whilst a tall man leaning
his elbow on the same base was compelled to stoop awkardly,
in order to find a resting-place.

M. Salomon uses the column, and often very efl’ectively ;

but he provides for the difliculty wo have indicated. The
plinth of the column is moveable, and can be elevated
by means of an Archimedean screw like a camera-stand, so
that the cornice of the plinth, upon which the model
usually leans, can be placed at any height which con-
venience or pictorial conditions may require. In like
manner the table, which often forms an accessory in sitting
portraits, is provided with a similar means of elevation, and
is readily accommodated to the height reqnired by the
sitter.

For standing portraits of ladies a convenient rest is em-
ployed, which we have not seen before. It consists of a
piece of wood about a foot wide and three feet long, upon
which the lady is invited to stand, and rest the back against
a narrow upright piece of wood which is fixed in the
centre of the baseboard, and kept firm by a strut extending
between the top of the upright and the hinder portion
of the baseboard. Great firmness and comfort are obtained
by this simple body-rest ; and which, supplemented by the
head-rest, generally secures steadiness in the model.

M. Salomon appears in all things to require the ut-
most mobility and ready applicability — we had almost
said, plasticity — in his accessories. Everything must ac-
commodate itself to the position of the sitter, instead of
the sitter accommodating himself to rigid and immovable
appliances. The curtain is not, as is usual, attached to a
fixture. On a cross-piece, attached to a rod placed in the
base of a head-rest, the curtain slides on rings, and is

44

THE PHOTOGRAPHIC NEWS.

[January 24, 18G8.

readily lifted about to accommodate the position in any part
of the room of the sitter, or to occupy any required relation
to the background, which is also not only movable, but is
constantly moved to produce varied effects of light and
shade in the picture. The canopy over the head of the
sitter is in like manner readily movable, and when the
sitter is once placed in position, he is no further worried
with experimental changes to suit the light or existing
arrangements. Tire position of curtains, light, background,
tables, chairs, column, or camera — all, or any — arc quickly
changed if required, to suit the model and produce the
pictorial effect which the artist has conceived.

In our next we shall describe M. Salomon’s mode of
operating : his mode of arranging the light and managing
his sitters. In the meantime we conclude our account of ap-
pliances by quoting some details from a description* by our
friend, Mr. Pollock, an American photographer, who passed
some time in M. Salomon’s studio during a visit to Europe.

“The lens used was a double combination portrait, by
Ilermagis, carefully selected, after trial, from six others by
the same maker; no diaphragm was u.sed, and in three
sittings exposures varied from eighteen to thirty seconds,
according to strength of light. The collodion fdm, previous
to development, appeared semi-opaque, creamy, neither very
thick nor thin, indicating a full proportion of iodizing, with
probably a liberal supply of bromide. The developer
acted slowly, considering length of exposure, but brought
out a full, dense imago, requiring but little intensification,
which latter was secured by tlie addition of a modicum
of silver to the developer, and applied, in one case, before
washing or fixing ; in another, after both operations were
concluded. The plates were not fixed in a bath, but held
in the hand while a solution of cyanide was poured over
them, which acted with energy, cleaning off everything like
tendency to deposit on the shadows. The result in each
case was a negative yielding prints without retouching, with
the characteristic brilliancy of those issuing from this
establishment; a marked feature of all M. Salomon’s work,
visible alike in negatives and prints, being the granulated,
flesh-like texture of the skin, closely resembling line india-
ink stippling.”

rilOTOGRAPIIY AS A PROFESSION.

BV S. THOMPSON.

A man’s productions in art, or photograph}', are the cumu-
lative result of his whole culture. Their excellence — if they
possess it — is the joint rcsultof natural artistic capability and
careful cultivation. It is idle to pretend to coach him up in
art-knowledge by means of any number of discursive
lectures, labelled, “ On Taste,” “ On Feeling,” &c., &c.
There are no “short cuts” to art-knowledge any more tnan
to other fields of human learning. Once, and for all, that
fact may be accepted as an axiom, lie must possess the
artistic faculty or temperament, emphatically, to begin with,
for the want of which nothing can compensate, and then it
must be fostered and developed by a lifetime of untiring study;
much of it in the form of careful, thoughtful observation.
The best lessons are often, not those the teacher gives,
but those the pupil learns. Such an one is always learning,
even unto the end of his career. Every picture he looks at,
every shop-window he passes, all he reads, all he sees, that is
practical, helps to feed the sacred fire. This long education
of the eye — the chief portal through which art-knowledge
enters — combined with the artistic nature, at length results
in that cultivated art-power we call, in all-confusing terms,
taste, feeling, and I know not what besides, but which
includes them all.

The same in kind, with every artist, though widely
differing in degree and in its manifestations, it guides him in
the instinctive rejection or acceptance of what is good or bad
in his work, and is always ready, and always at hand, and is.

^ * In a letter in the Philadelphia 1‘hotograjiher.

*n short, himself: a finely-polished edge, like a Damascus
blade that severs the Gordian knot of difficulty in the
endless combinations of circumstance that come before him
in his daily practice.

At once abov'e and beyond rules, though not despising
them— for rules are for our aid and guidance, not for our
abject bondage — he is not fettered by them, but gets above
them by outgrowing them, even as musicians often forget
their notes by name, and authors the rules of grammar
except in practice. Weaker men get entangled and lose
themselves in petty theories about parallel lines, and a
great deal more ; get little rules by heart, that serve them as
a straitjacket would. Thus “clinging to some ancient
saw,” or “ mastered by some modern term,” the result
of culture founded on a b.asis so narrow is often something
that perhaps has no glaring faults, but, somehow or otlier,
is not a picture.

In such a spirit Gainsborough painted his famous “ Blue
Boy,” in half playful, half contemptuous disproof of a
dictum of Reynolds, that “ the masses of light in a picture
should be always of a warm, mellow colour, and that the blue
or green colours should be kept almost entirely out of the
masses.” Gainsborough’s instinct kicked at such rules.
He felt that every great painter makes his own laws of
colour : so here he chose to show that whether blue should
tell in the principal light or not, depended on how the blue
is used ; and by mellowing and breaking the tint, as !Mr.
Leslie has pointed out, has succeeded perfectly. Still, Sir
.Joshua’s is a sound general rule. But rules in art are not
intended to be strait jackets.

A want of art-knowledge among photographers has now
come to be an admitted fact; but it is much to be feared
that it is not the means of culture that are so much wanted.
They often lie at the very door ; and there is a musty adage
that says, “ The tools will always come to the hand that can
handle them.” All that books can teach may be found in
those pointed out by Mr. JIudd in the Year-Book. It
is very muck to be feared that a want of that natural bias
towards art in so large a number of those who have taken up
the practice of photography is at the bottom of it Many
are now beginning to discern in themselves a want of some-
thing, they scarce know what, but by reason of which they
have not advanced in excellence beyond the standard they
reached some years ago, and eagerly run after anyone who
assumes to teach or coach them up, and arc swayed back-
ward and forward by any pretender who offers a course of
his elixir vitae that is to do the business. This invariably
ends, as it must do, in disappointment and desertion to some
fresh teacher, again ending in disappointment, blank puzzled
faces, spherical aberration of ideas, and universal fog!

Nor can it be alone ascribed to the undoubted fact that
the majority were originally designed for altogether different
pursuits. It is an equally indisputable fact that many of
our most distinguished painters, psist and present, including
some of the most eminent of the R.A.’s, began life in other
trades and professions, some of them in the humblest pos-
sible callings. But all of them had an irresistible bias
towards art, which made them gravitate to it as naturally as
water finds its level. It is also well known that a large
number of photographers have entered the lists, attracted by
the fact that photography was a very profitable pursuit, and,
without deliberating about whether their own abilities lay in
that direction, took it up in a purely commercial spirit. On
the other hand, whoever heard of a painter who became
such influenced only by the same reasons? The hope of
making a respectable living, and the chance of sometbing
more, may have had its due weight, but the same end might
be attained in countless other pursuits. No ; they became
painters because they could not help it, nor strangle their
impulses, even as the poet sings because “ he cannot choose
but sing.” It is no disparagement to a man to say that he may
have excellent abilities, and many gifts, but not those which
peculiarly fit him for this pursuit. Did he ever ask himself
seriou.sly if he had in him the raw material which might bo

THE PHOTOGRAPHIC NEWS.

45

January 24, 18G8.

manufactured into artistic stuff : that question of questions,
of more vital importance to himself than anyone else ? If he
has mistaken his vocation, photography is not responsible..
Better for himself and his own future that he should seek
“ fresh fields and pastures new” now.

Dis.sentieiits maj’ perhaps triumj)hantly instance men of
this class who have succeeded. Perfectly true ; but the day
has now gone by, and wo arc entering upon another era in
photography.

That there will always be a steady demanil for anaveragc —
if fluctuating — amount of good work is as certain and indis-
putable as the fact upon which it is based, vis., that photo-
graphy is altogether unrivalled in some of its aspects and
capabilities. But during the cartc-de-visite campaign, the
art, in military parlance, was ])ut upon a war footing, and a
much larger number entered than can be maintainecl on the
establishment in time of peace, much lose in time of universal
depression.

There is a fatal facility in photography by which one may
reach a certain standard. Beyond that it is not so easy. As
soon as this standard is carried still further, which it un-
doubtedly will be. and the goal becomes more difficult
of achievement, so will the competitors in the race fall off;
and it follorvs as a natural sequence that the practice of the
art becomes more profitable to those who can raise them-
selves to the lofty argument. While the standard is a low
one, the remuneration will be a low one, because the compe-
titors who can reach it will be so numerous. Does tliis
inflict any hardships upon anyone? No ; as soon as photo-
graphy has reached a greater altitude on that mount

“ Where Fame’s proud temple shines afar,”
men will cease to enter it so readily, but will ask themselves
as thoughtfully as if they were proposing to themselves a
career which might passibly end in an 11. A. ’s diploma,
whether they have the special talents and bias for|succcss in
an art-science like photography.

The ultim.atum of what can be attained in art by photo-
graphic means is certainly not yet arrived at. nor can be with
safety predicted. Some extensive art-fields are at present
limited only by the cost of duplicates. In all other modes
of multiplj'ing pictorial matter for trade, book, and other
purposes, from stone, wood-block, steel-plate, or other me-
diums, though the artist’s work costs incomparably more, the
duplicates cost very much less. Thus, when very large
numbers are to be produced, publishers and others resort to
the above means. Whenever the production of duplicates at
all approximating to those from stone or wood in cost
is made pos.sible, a price which now seems fabulous can be
afforded, and would be willingly given by publishers for
original or special negatives by first-rate men.

Far be it from my purpose to discourage the aspirant after
art-knowledge, whileendeavouring topointout howbroad and
wide and beautiful a thing it is, and to caution him against
the fallacy of ‘‘short cuts” and injudicious teaching. Tliat
knowledge, though it will never compensate for the want of
the artistic nature, will, to some extent, enable him to conceal
it. In closing that series of masterly articles in the Times
on the pictures at the Great Exhibition 1802, their author
(Tom Taylor) says that the more he saw and thought about
art, the more diffident he became, and that “ reference from
art to nature is not enough. There is nothing more difficult
than to see and know nature. To tell the bulk of people
that they may trust to their notions of nature for their judg-
ment of art is simply to mislead them. It requires the
labour of a life to apply this standard.” Still, he commends
the study, and says that while pursuing it, it is hard indeed
if we do not gain a stronger sense of that persistent life with
which art clothes itself so variously, pursues so many tracks,
manifests itself in such various countries, and at times
so diflerent from each other, and yet is still art — the adorner
of life, the glorifier of use, the dispenser among the labours
of men of that beauty which God has everywhere stamped
upon the face of His creation.

ENNEL’S HINTS.

Tins being the time for p.aying Chiistmas accounts, T am
reminded that 1 owe you various items, and I now hasten,
after a long delay, to discharge my obligations.

In the first place, I owe you thanks for the kindly spirit
in which you invariably receive my communications. 1 am
actuated by a desire to dissemin.ate among our brotherhood
of the “ liglit-art science,” (I object to the hackneyed and
current term “ black art,”) whatever may be, to the best of
my knowledge and belief, useful to them. You meet me in
a kindred spirit, and I thank you for it.

Secondly, I owe you an answer to your comments upon
my last (p. 570) ; and thirdly, I owe you a grudge for having
misinterpreted the meaning of some points in the same.

Ilowsuch a debt as the third can be satisfactorily settled
may be a question for Punch, or metaphysicians, to decide ;
but you will, perhaps, help me out of my difficulty by
owing me a grudge for entering into a sort of controversy
with you. We shall be quits then.

To return to your commentary. IIow, and where, have
I mistaken the purpose for which certain modes of obscuring
the glass is recommended”? Believe me, 1 know the pur-
pose, and I have never, directly or indirectly, denied it.
But you will .admit that light is not every day alike, nor at
every part of the day. On this axiom my proposition
is founded : — “ Put not a permanent obscurer against an
occasional intruder.”* You yourself suggest blinds of
tracing cloth, or double sashes, evidently preferring movable
to permanent ob.scurers, and I am glad we agree. I am also of
your opinion that Venetian blinds and calico are too dense in
many cases. I never recommended them, as would appear
from your remarks, but “ light, white blinds, on the Venetian-
blind principle,” i. e., wide flys of (say) tracing cloth on
light frames instead of narrow wooden bars. Our climate is
such that frequently we cannot afford to lose even that little
light which starch obstructs. A movable thin screen is
therefore the best of the two. I enclose a sample of starched
“ book muslin.” Photometrically it is far less dense than
the accompanying tracing cloth. ^Manufacturers of the
latter would do well to treat muslin stuffs in the way of their
tracing cloth for photographic purposes.

To tell truth, the greatest majority of photographers,
though they talk a great deal about light and lighting, yet
grope in the dark in this respect. They are mostly “ shade
blind,” to use a term analogous to colour blind. They can-
not appreciate a delicate shade, technically half tones, in a
sitter’s face, but a downright dark shadow. The clumsy
means to which they have recourse in trying to attain at
a desiied effect are truly ridiculous. Not to speak of the
mechanical means, they seek it in collodion, developer, and
intensifier, according to this or that advertisement, and,
these helps failing, as of course they must, if the lighting
is wrong, they at last believe it. And now how to set
about it is the question. Well, A. Salomon produces good
effects ; ergo, they say, we must adopt his mode of lighting.
He has a frosted skylight ; therefore, we must have it too.
Verily, I say, his skylight requires something additional —
chiefly judgment. And we must not forget that our clim.ate
is not that of Paris. Slavishly following a given example
through thick and thin is neither art nor science. What is
wanted is a practised eye, and judgment to select appro-
priate appliances to suit particular circumstances.

Have 1 allowed myself to be carried away? Well, snip
away with your editorial scissors as much as you please.

* Our correspondent still regards the use of storcli as intended to keep out
an occasional intruder, and implies that because the intensity of light is
constantly varying, a constant veil of any obscuring material is an error.
But the relation between clear glass and obscured glass does not vary, and
some photographers prefer as much pure light as they can get through
clear glass for direct and principal lights, and a relatively equal proportion
of softened or subdued light for illuminating the shadowed parts slightly,
and so producing harmony, and avoiding black opaque shadows. No
matter what the condition of the light, the relation between that through
clear glass and that through obscured glass will be much the same. For
shutting out occasional direct sunlight, moveable blinds are doubtless best.
The book muslin enclosed would probably be very useful.— Ui).

46

THE PHOTOGRAPHIC NEWS.

[January 24, 1868,

Allow me to make another observation. In your article
aforesaid, you speak of the slope of the roof as if I had
mooted that question. I only spoke of this or that inclina-
tion— i. e., flat roof, ridge-roof, &c. — as the context will show.
The same as regards the height of the roof. It was the
height of roof, -per sc, particularly in relation to Mr. Blan-
chard’s observation at page 525, to which 1 referred. Mr.
Blanchard wields the pen of a ready writer : let him, pro hono
publico, explain his meaning.

I will turn to another subject. On reading J. Q. A.
Tresize’s article on Stereographs, quoted by you, p. 588,
December Cth, 1867, from the Philadelphia Photographer, a
thought momentarily struck me that, after all, the numerous
“ hints ” which are scattered broadca.st in your valuable
Journal, are, in a majority of cases, only thrown away. In
that article the old mode of transposing stereoscopic prints
is still prescribed ; whereas my modus operandi, as exhibited
last year at a meeting of the South Loudon, was quoted
fully in the very same Philadelphia journal. But, on the
other hand, 1 know that some photographers have adopted
my plan here, on the Continent, and in America, so I may
rest and bo thankful.

In endorsing almost every word of my esteemed friend,
Mr. .J. Hughes, read by him at the late meeting of the
London Photographic Society, I would nevertheless pick a
hole, a very small one, in one remark of his. “ When a
man calculates closely . . . how many cartes he can
get out of a sheet . . . such a man is sure not to
succeed, for he ignore.s all the other elements,” &e., &c.
In the face of this remark I am not a.shanit'd to own that 1
do .always get forty carte.s out of a sheet instead of thirty-
two (gaining 25 p.n' cent. — how tradesmanlike !), and every
one whom I have shown the method thanked me for it. I
cannot see, for the life of me, how thereby “all the other
elements are ignored.” I have heard many a one state as
an axiom, that there must be no economy in photography.
Why? If they mean it in the sense of stinginess, I agree
with them. But then it applies equ.ally to all transactions
of a rational being.

Perhaps some of your reader-s may wish to know how I
cut out ten cartes from a queavter sheet. Well, here is the
plan : — By a flat, parallel gauge, 2.J inches wide, cut off
longitudinally two strips; e.ach yields three cartes. The
remainder m.ay be used for two cabinets or four cartes.
Faulty bits I use up for chess problem p.apers.

Being on the subject of the depressed state of photogra-
phy, I agree with your view of the case, viz., that the late
money crisis has a great deal to do with it. Nearly every
trade or profession tells the same tale, and the Government
returns of this month would seem to point in the same
direction.

Erkata. — Page 574, second column, line 2, for "con-
tinued ” read “ continuous line 23 from top, read “ Vene-
tian-blind principle”; line 19 from bottom, read “ 45° ” for
“ 5°."

o

Comsponi&tnrc,

HYPOSULPHITE OF AMMONIA FOR FIXING.

Dear Sir, — I am indebted to you for calling my attention
to the short editorial article that appeared in the Photo-
ORAPHic News of 10th May last, in which you reported the
nse of hyposulphite of ammonia as a fixing salt by Mr. T.
11. Redin, Governor of Carlisle Gaol ; and at the same time
mentioned the circumstance that, if further trial should
establish its superiority over the soda-salt, a method of
preparation devised by ^Ir. Losh was available by means
of which it could be cheaply manufactured.

Since reading my paper “ On the Hyposulphites ” at the
Photographic Society 1 have gained more experience re-
specting the preparation and properties of the ammonia-
salt, and find that it is very soluble in water, somewhat
difficult to cry.stallize, and that the crystals arc deliquescent.

I have not yet definitely determined what form the hypo-
sulphite of ammonia takes ; whether, according to Sir John
Herschel, it crystallizes in small needles, or, as Rammelsberg
states, in rhombic laminai ? *

Here is an interesting allusion to the hyposulphite of
ammonia, and to its property of dissolving the chloride of
silver. I quote from an early chemical treatise, by Colin
Mackenzie, entitled “ One Thousand Experiments in Chem-
istry,” fifth edition, dated 1825.

“Exp. CCCVIIf.

“ Action of Hyposulphite of Auuonia on Muriate
OF Silver.

“When hyposulphite of ammonia is poured on muriate
of silver, it dissolves it; and if into the saturated solution
alcohol bo poured, a white salt is precipitated, which must
bo strongly expressed between blotting-paper, and dried in
vacuo. It is very readily soluble in water, and is extremely
sweet to the taste. Its sweetness is untnixed with any other
flavour, and so intense as to canse pain in tlie throat. One
grain of this salt coniinnnicatcs a perceptililo sweetness to
32,000 grains (i. c., nearly half-a-gallon) of water. If the
alcoholic liquid be evaporated, thin, lengthened hexangular
plates are sometimes formed, which are not altered by
keeping.”

The writer was evidently acquainted with the pure hypo-
sulphite of silver, and its proneness to decomposition, for
he appends to the above the following observation : —

" When the liy|)Osulphite of ammonia refuses to dissolve
more muriate of silver, if an additional (piantity be added,
it is rapidly converted into a white crystallized powder. It
is extremely insoluble in water, but ii'adily and abundantly
in ammonia, forming an intensely sweet solution, from
which an acid precipitates it unaltered, even when copiously
diluted. Dried in vacuo, and kept in a closely stopped
vessel, it blackens and undergoes spontaneous decomposi-
tion. The phial, whenever opened, is found full of sul-
phurous acid ; and when (the decomposed substance i.-<)
washed with ammonia, a considerable residue of sulphuret
of silver is left. Heat effects the same change at once.”

Modern chemistry seems to have added but little to the
information here given, beyond supplying the analytical
proofs of the several decompositions here mentioned. — I
remain, dear sir, yours truly, John Spillbr.

Woolwich, January 18t/i, 1868.

INDIA-RURBER for mounting.— DISTILLED
WATER.

Dear Sir, — In discussing the durability of india-rubber
cement for mounting, it seems not to have been remarked that
the pure rubber is much less liable to oxidize into a resinous
powder than gutta-percha, or even than many of the varie-
ties of mineralized rubber. You must have noticed that
both gutta-percha and some sorts of elastic rings, after being
put away for some time, are found quite brittle, and some-
times of the consistency and elasticity of cheese-rind ; but
do you recollect anything of the kind happening to the
pieces of bottle-rubher, or even to the manufactured squares
used for erasing pencil-marks. Such pieces are occasionally
found in desks or drawers where they have been lying for
years, and in their original good condition. I have an old
pattern-book, manufactured in 1855, with a rather thick
solution of rubber round the edges only of the prints. They
are now quite firm, and not easily removed without tearing.
No doubt the prints which have been referred to as separating
from the mounts — sometimes in a day or two — had too thin
a coating. I have lately tried the solution sold for Swan’s
carbon process. It answers very well if three or four coats
are given to the print, and one or two to the mount ; but
even then seems much thinner than what I used before.
The dark colour of the cement shows a little in the pattern-
book, and would be an objection to so thick a solution.

• UineliD’i “Handbook of t'Uemiitrj,” Vol. II.. p. 4o4.

January 24, 1868.]

THE PHOTOGRAPHIC NEWS.

47

With regard to the protection afforded by india-rubber
against injurious substances in the mounting-board or
paper, it seems to be forgotten that, except in the case of
single and framed prints, the face of one will usually be in
close contact with the back of the neighbouring mount.

Whilst I am writing, let me confirm Mr. Cherrill’s state-
ment that for ordinary photographic operations distilled
water is quite unnecessary. I have not used such a thing
for upwards of ten years. For the negative bath the water
requires purification with oxide of silver ; but for all other
purposes Thames or New River water will do, just as it comes
from the tap. — Yours truly, Russell Sedgfield.

[There is, doubtless, as we have before observed, great
difference in samples of india-rubber ; but we think we have
seen the gradual deterioration by air and light of very good
and pure samples; and the thinner the layer, of course, the
more readily it becomes completely oxidized. — Ed.]

THE DISCOVERY.

Sir, — Having heard that, by dint of study and perse-
verance, Mr. McLachlan had come across a valuable method
of working, I read his letter in your last with delight.
When, however, I studied over that portion which describes
the large quantity of perfect negatives from so small an
amount of silver, although not desiring to be sceptical, I
felt that an immense boon would be given to the “ cheap
Jacks ” were this found to bo so.

I am at once an enemy to the race there has lately been
for cheapness ; I know, also, Mr. JIc Lachlan is an enemy to
the five shilling per dozen cut. I therefore think those who
have kept up their prices are worthiest to be benetitted by
Mr. JIcLachlan’s generous offer; and it occurs to me that
if Mr. McL. can devise some way of letting only the worthy
into the secret, he will get as much credit for his skill and
generosity, besides punishing the low lot, and will also do
an act that will tend to raise the quality of photography in
respectable jilaces where, at times, difficulties occur.

I fancy 1 hear some of the “ Jacks ” cry out, “ Selfish
mortal ! ” My only answer is, that they have done all in
their power to disgrace photography, and have erected
barriers to the progress of cultivated taste in this depart-
ment of the pictortal world which will take years to break
down. — 1 am, yours, Lito.

CARBONATE OF AMMONIA IN THE FIXING
BATH.

Sir, — Allow me, who, by bitter experience, has acquired
some right to speak, to protest against the use of carbonate
of ammonia in the fixing bath.

Along with many others, I believe, I adopted it because
recommended by many who I thought ought to know.
But a variety of failures have driven me to give it up again.
Yellow spots would form in the pictures for which I could
find no cause, and those which had no spots turned yellow
after a comparatively short time, especially if exposed to
damp, or closely confined, which, perhaps, may explain some
of the failures of varnished prints.

Increased precautions were tried with only a slight benefit.
So, bothered and disappointed, I gave it up, and got pictures
ns good as those I used to have.

When using the ammonia, the bath (especially if used
twice) had an unpleasant sulphur smell ; but I think it was
not the same as the addition of an acid causes.

I trust some of your correspondents will be able to throw
some light on the subject. — Yours obliged, Htpo.

[We shall be very glad to receive accounts of the expe-
rience of our readem on this subject ; but we must caution
our present correspondent and others against the post hoc
propter hoc form of argument. That it has happened that
whilst using carbonate of ammonia he has also, from some
cause which, without knowing more about the operations, we
U.ijpnot explain, met with yellow spots, &c., we do not doubt ;

but ho might almost as well attribute extreme redness in his
prints to the use of gold in his toning bath, as sulphuration
and yellowness to the use of an alkaline fixing bath. The
cause and the result he describes have no affinity. — En.]

in the ,^tnbio.

Preservative Nitrate of Silver. — A new form of
nitrate of silver, under the name of “ Sel Clement, or Preserva-
tive Nitrate of Silver,” has recently been introduced to our
notice by Mr. C. E. Elliott, who states that it is a French pro-
duction. It is especially intended for printing purposes, for
which the prospectus states that it is equal, and in some things
superior, to ordinary nitrate of silver, whilst it is much loss in
price, being only 2s. 9d. per ounce. The very unsatisfactory
weather which has recently prevailed lias prevented our under-
taking comparative trials with it. A hasty examination shows
that it has, as might be expected, a largo portion of foreign
matter, not nitrate of silver, mixed with it ; but practice alone
will determine whether, all things fairly considered, it is an
economical article to use.

To Stipple the Glass and Subdue the Light.— We
are favoure<l with the following by a correspondent, who
describes it as an excellent method • — “ Take patent dryers
and add one part of boiled oil, two parts of turps, and a very
small quantity of ordinary house decorator’s varnish, which will
give it a tacky nature, and will cause it to work much bettor :
it must be much thinner than ordinary paint. The dryers are
of a transparent nature, and if you want a greater body, add a
little white lead. The white lead should not bo used alone.
Now for the way to work it : lay it on as even as you can with
a painter’s brush or tool ; then let it remain a short time to let
part of the spirits evaporate, and stipple it with a new pound-
brush or dust-brush, and then, if you want a better finish, take
a piece of cotton wool and cover it with a fine piece of muslin,
and carefully press it all over.”

1^0 ®0rrcsgou5futs.

Corre.spondcnts vill save some trouble and confu.siun by adopting
signatures more specific and destinctive than “A Sub.scriber,”
“A Constant Subscriber,” “A Constant Reader,” &c.

Constant Subscriber. — In producing stereoscopic transpivrencies
in a copying-box you must use a pair of lenses, one for each half
of the stereoscopic negative. Your attempt to copy both halves of
the negative by means of one lens must necessarily be a failure in
two ways ; fii-st, you will have difficulty, unlc.ss you use a very
small stop indeed, in producing equal sharpness throughout ; and,
second, if you succeeded, the halves of the slide would require
transposing after the tnin-sparcncy was produced. By using a
pair of lenses both the.so difficulties will be removed : you will
have no trouble in getting each picture of the pair properly
defined ; and each being reversed by the operation of copying, no
transposition will subsequently be required. So far as the question
of .sharpness is concerned, by using the lens you mention you may
get a sharp copy of a large size by employing a small stop, a con-
dition generally ncccs.sa^ in copying.

A Subscriber. — M'e believe that a letter addrc.s.sed to the geutle-
m.an in (jucstion, at Birmingham, will reach him, without more
detailed address.

AV. S. (Cromer). — AVe do not remember the juice of a good book on
coins, but will make some enquiiw, and, if we ascertain, will let you
know. You will obtain information by UTiting to J. 11. Smith,
Bookseller, Soho Square, who publishes works of that class.

AA^a.sp. — The rhiladdphia Fhotographer can be obtained of Trubner,
Paternoster Row.

J. AA'. II. A. — See answer above. You can order it and receive it
monthly. 2. Tracing cloth or tracing linen is the best material
we know. Sec “Ennel’s Hints” in our- present number.

3. Much dejwnds on circumstances, and whether you can afford
to stop out a considerable amount of light permanently ; if not,
blinds will answer best. 4. Stippled gla.ss obstructs a large
amount of light, but, with the studio you describe, the amount of
side light would probablv be sufficient at all times for your
principal light, and the ligfit from an obscured skylight probably
bo .sufficient to illuminate the shadows and give harmony.

Ignorance. — Bce’s-wax is not perfectly .soluble in ether ; but, by
cutting into shreds and macerating, you will get a saturated solu-
tion. Benzole, or an essential oil, like that of lavender or rose-
mary, is a better solvent.

48

THE PHOTOGRAPHIC NEWS.

[January 24, 1868.

This Way. — There are various works on “Mesmerism,” but in
most of them there is a eonsidcrable mi.\ture of imperfectly under-
stood science, delusion, and luimbug. That an occult natural
power, desijrnatod “Animal Maft^icti-sm,” exists, there can bo little
doubt ; but the knowledge of it has not been reduced to a definite
physical science, and what is known is largely mixed with
(juackery and charlabinry. Dr. Teste’s “ Manual of Animal
Slagnctism,” published by Ballierc, Regent Street, is a tolerably
complete book on the subject. The “ Zoist,” which used to be
issued periodically by the same publisher, is devoted to the subject.

2. There are a variety of modes of making ice in summer. You
will find several recipes on page 396 of our last volume.

D. — We are not familiar with the art educational facilities to bo
obtained in Scotland, but it is tolerably certain that in Edinburgh
and other large Scotti.sh cities such facilities exist. In Edinburgh
there is a Scottish Royal Academy. Should we be able to gain
the infonnation for you, we will give it on a future occasion.

R. M. — The silvery foggy deposit itr your shadows is most probably
due to the use of damp glass, aird is most commorr in cold damp
weather, whetr the coldness of the glass rapidly cattscs a deposit of
the moisture on the atmosphere oir the glass, even drrring the
operation of coating the plate. It is generally under the film, and
shows most at the back of the negative. Very slightly wanu
your glasses before coating the jrlatc. Sonretimes the use of impure
acetic acid will cause a similar defect.

F. M. Youxo. — The lenses you mention arc the best for stereoscopic
landscape work of any we ktrow. You will not get any equal to
them, we believe, at a less cost. 2. Mr. Mawdsley’s method of
alkaline development, described itr the Yeak-Book, is appliciible
to any process in which alkaliire development is suitable. 3. The
especial clainr of the gum process, as described by Mr. Gordotr in
tire Year-Book, is the superior keeping qualities of the jilatcs.
We cannot, from personal experience, give you an estimate of the
relative adv.antagos of this jiroce.ss and the coffee process. We
have had several private communications recently, speaking in very
high terms of the latter, and thoroughly endorsing Mr. Jocelyn’s
statements. Wo hope for some further communication on the
subject from that gentleman and from one or two others who have
promised to state their experience in the matter.

A Subscriber. — Messrs. Marion & Co. publish a large number of
photographs of the architecture of Spain. M r. Thurston 'I'liompson
has recently taken a large number, also, for the Science and Art
Department at South Kensington ; whether they are yet pub-
lished or not we are uncertain.

II. W. (Croydon). — Much depends on the thickness of the collodion
you obtained. Many samples will work well without any further
addition of alcohol, "if, on trj’ing, you find it too thick, then you
may add (saj-) half the amount of iodizing solution indicated by
the makers. If the collodion bo not too thick, you will require a
larger proportion of iodide, and also, for some puiqio.scs, of bromide,
than you have added. For ordinary purposes, 4 grains of iodide
of cadniium and 1 grain of bromide of cadmium (per ounce) will
serve ; for subjects having much contrast half a grain or a grain
more bromide may be used. 2. Collodion bottles are better kept
upright, so as to secure perfect subsidence of any residue. Those 1
not in use should be carefully corked or stoppered and tied down.

3. We believe that both samples you name will answer for trans-
parencies.

W. J. A. G. — We .advised the use in a tunnel glass-room, with a
sloping front light, of blinds sliding from side to side, for the
following reason : — We .should generally use the blind placed so as
to cover something more than half the skylight, the sitter being
under that portion ; the portion uncovered to join the side-light
uncovered forming a continuous high side-light. The plan you
suggest also is good : by h.aving two blinds on rollers, running
from top to bottom, one might bo kept down altogether to secure
shadow, and the other as much withdrawn as you choose. This
plan, in conjunction with the lateral sliding jdan, would give great |
control over the light. The tunnel is not an evil per sc ; but the
sloping front light, which used to be recommended in conjunction .
with it, is so, unless the studio bo of large proportions ; but the 1
ridge-roof undoubtedly is simplest and most managciible. 2. M’o I
recommended fastening the cord to each ring to secure even run-
ning, but if you find fastening to the last ring answers, of course ■
all is right. 3. M'c have not hcai-d of pin-holes in the cofl'cc pro- .
cess, but they are a fretiuent trouble in the tannin process, to
which, in some respects, the coll'eo process is analogous. The use
of a very dilute preliminary coating of albumen has been recom-
mended as a preventive ; but we are not partial to introducing
plates so prcp.arcd into the nitrate bath. 4. In the cotfeo process,
the addition of a very minute trace of citro-silver with the first
application of the pjTo developer is generally desirable, unless you |
use the alkaline developer. A fuller exposure would enable you
to get out the imape faintly with plain pawo. The question of i
sufficient exposure is altogether a relative one. As a rule, witli |
alkaline development much shorter cxjxisuro is permissible.
5. AVith a large aperture, we have no doubt that the lens in ques- '
tion will gia'e you instantaneous pictures in suitable light and of
suitable subject ; but it is not the most rapid stereo lens. 6. Small
pictures will bear a much higher glaze than large ones : we agree

wth you in thinking an excessively high glaze for large pictures
vulgar and inartistic. Hypo is the cause of the stains.

OxoxiEXSls. — Something depends on the dimensions of such a room
as to how far good results can be produced. If it be sufficiently
large to permit suitable arrangement of blinds, good results may
bo obtained. Cover the skyliglit from top to bottom, for about two-
thirds of the width, with white blinds on the south half, using the
light from the north-west, inclining the sitter a little to the cast,
and working diagonally with the camera in the north-west comer.

2. Almost any dark carpet will answer if the tints arc tolerably
uniform without great actinic contrasts : browns are good colours.

3. Either of the tents you name are good, and they are very
similar in character. AVe can sc.orccly say which is best. Thanks
for your comidimcntary remarks on the Year-Book.

AV. B. A. — There arc several modes of enlargement, but the details
of any of them are much too lengthy for insertion in our column
of answers. You will find an account of a method of enlarging
with the magnesium light in the present number ; you will find
in the latter end of our last volume, and also in our Year-Book,
a description of a very simple method of enlargement. If you
have the volumes of the Xews you will find articles on producing
enlarged negatives, and, al.so, on using the solar camera. If you
have to begin your experience in enlarging and wish to utilize
your present apjiaratus, you cannot do better than adopt the plan
given in our Ye.ui-Book. AA'ith your quarter-plate lens and
c.amcra, and your whole-plate camera, you may easily improvi.se
ai-rangomcnts for enlarging cards to whole plates by the process
described.

A Constant Subscriber (AA'. .II.). — The streaks may be due to
various causes, but one of the most common is immersion of the
plate whilst ether is still evaporating from the film, and the repul-
sion between this and the bath during the process of immersion
causes streaks. The most certain remedy is moving the plate
rapidly about both vertically immediately after immersion instead
of allowing it to remain still a short time ; also let the film set
well. The lighting of the figure is pretty good.

Q. A'. — As you do not state which of the methods you have u.scd for
toning, or which of the methods of transfeiring we described, we
cannot well suggest the cau.se of your failure. It would seem, from
the failure you send us, that you have attempted to remove the
tilm when dry. In using the dra- method you will bear in mind
that the paper and film both should bo damped again before re-
moving; also, that if the glass be treated in tlie first instance with
wax, the transfer is more safely effected. In the question of
toning there appear to be two or three errors. In the first place
the image has been scarcelv sufficiently clean and vigorous to
commence with. There is a little dejxisit on the pure whites which
.should be avoided. A gclatino-iron developer would help you in
this respect. Next, whichever system of toning you ha\ e adopted,
you do not appear to have allowed it to permeate the film thoroughly,
so as to be as perfectly at the side next the glass os on the upper
siu-face. Should you fail after further trial write again, stating
details of the proce.ss you pursue, and we then may be able to help
you.

B." Magic. — -V qutirtcr-plate lens may be used for a magic lantern
with advantage. A'ou will find details and diagram in our eighth
volume ; also instructions in our last volume. 2. There are
several processes for photographing on wood, all of which have
been described in our pages. For what purpo.se do you require the
operation ? If for wood-engraving, you must use box-wood. The
process with uranium and silver in collodion, described in our
eighth volume, will answer well. You can use oxalate of silver
for the process, or oloate of silver. If for ornamental purposes, a
smooth white \vood, like sycamore, answers well, and the collodio-
chloride process is simplest.

J. Bullock. — AVe do not remember the communication to which
you refer. AA'e should think, however, that you would be able to
get microscopio gl.iss of Mr. How, Foster Lane.

F. S. B. I.. — Altliougli, as a general principle, avc disapprove of
front light, yet, in your ca.se, wo think that the portion of front
light in No. 1 arill at times be useful. As a riue, it should be
covered with blinds; but in dull weather, and for some sitters,
you will find it an advantage to be able to use it. Therefore, on
the whole, we prefer No. 1, which will, we think, answer well.

AV. G. G. — Crush a little of the slag, and dige.st with water or with
hypo. The addition of sulphide of potassium will enable you to
a.sccrtain if any silver salt is jircisent. riumhago crucibles are not
the best. Those known as London pots, of burnt clay, are the
safest.

H. S. — Received, and shall have our attention.

Engineer. — The fuilt of which vou speak is new to us. AVe wilt
give attention to the matter, and answTr in our next.

II. B. (Bradford). — A’our (luestion is scarcely sufficiently clear. You
a.sk if the “ colortaste ” of alkaloids is infallible. Do you mean
colour test ? and infallible in relation to what "r
Received: “Photographic Mosaics for 1868.” “The Art of
Photographic Colouring; by Da\dd Rees.” An important com-
munication on Blisters in Aibuminizeil Paper, some Keriews, and
other articles are compelled to stand over for lack of space.

Several Corrc.spondcnts in our next.

NEWS.

CONTENTS.

PAGE

The Electric Lijjht for Photography 49

Visite to Noteworthy Studios 40

Serious Fire at Mr. Claudct’s Studio in Regent Street 51

Foreign Miscellanea 62

Pictorial Effect in Photography ii. 62

lilistering of Albuminized Paper 63

The Production of Photographic Enlargements. By D.
Wmstanley, Jun 64

PAGB

Lectures on Art 66

Correspondence— Hyposulphite of Ammonia— Mr. McLachlan’s
Discovery — “ Cheap Jacks” in Photography — Carbonate of
Ammonia in the Fixing Bath— Persistency of Photographic

Images on Glass 57

Talk in the Studio 69

To Correspondents CO

THE ELEGTIIIC LIGHT FOR rilOTOGRAPHY.

Mr. Woodbury ha.s recently .superintended the arrangemont.s
of Disderi and Co. for producing gelatine reliefs for the
photo-relievo printing process by the use of the electric
light. The light is obtained by means of the Alliance
Company’s (French) electro - magnetic machine, which
Ml. Woodbury considers has some important points of
superiority over Wilde’s electro-magnetic machine, inas-
much as a similar amount of light is obtained by a very
much less amount of cost in wear and tear ; the result being
obtained in the French machine by 400 revolutions round
several electro magnets, which in Wilde's is obtained by
3,000 revolutions round one electro-magnet. It will readily
be seen, therefore, that the wear and tear is much le.ss in tlie
French machine than in one in which the exceedingly rapid
rate of -revolution involves much friction and frequent
breakage. The cost of each machine (about X250) is about
the same. The power is obtaineil at Disideri and Co.’s
establishment by means of one of Lenoir’s gas engines.
The cost of gas is, of course, great; but there is the csjrccial
advantage that the power can be secured and dismis.sed
without waiting or delay, so that no waste of fuel is in-
volved. Mr. Woodbury estimates that the amount of gas
burnt in obtaining the power would give a light nearly
equal in amount to that obtained from the electro-magnetic
macuine; but, of course, the latter would be in a form less
available for photographic purposes. The battery power
necessary to secure a similar electric light would require
about forty of Bunsen’s cells. The cost in his pre.sent mode
of working is one shilling per hour for gas, and about two-
pence for carbon points. The time of exposure necessary
for securing a gelatine relief suitable for his purpose is
about four hours, the negative being placed eighteen inches
from the light, several piinting-frames being, of course,
arranged around one light.

One singular point is worth noting in the matter. As
light loses in intensity in the ratio of the square of its dis-
tance from its source, and the rays which reach the margin
of the 10 by 8 plate are necessarily further from the point of
light emitted by the carbon points than the centre of the
plate, it follows that the margins receive less illumination
than the centre. This, at first sight, would appear to present
a dilficulty. But in the case of most negatives there is fortu-
nately a compensating qu.ality. In the majority of instances
there is a slight falling off in the illumination of the nega-
tive towards the margins, which are, therefore, slightly less
dense than the centre ; so that a light of less intensity
passing through the margins does as much work as the
intcnscr light passing through the central portions.

Another peculiarity of the electric light is worth noting.
It possesses much greater penetrating power than sunlight,
so that a negative which with sunlight would give a flat

image, with very little relief, yields with the electric light
deeply recessed hollows, and great relief. In other words, a
much denser negative is required for sunlight-printing than
is required with clcctric-liglit printing. The relation of the
lights in intensity, as measured by the exposure — the nega-
tive being 18 inches from the electric light — is as 1 to 24 ;
th.at is, sunlight would effect in ten minutes what the electric
light requires four hours to produce.

VISITS TO NOTEWORTHY STUDIOS.

M. Adam-Salo.mon’s Studio — Second Visit.

Let us now renew our visit to the studio of M. Salomon. It
is ten o’clock on a fine October morning, and the artist
comes from his sculptur.al atelier covered with the clay and
plaster with which he has been hard at work, wo learn, since
sunrise, between six and seven o’clock, for his devotion to
two professions demands the due apportionment and
economising of time. We ascend to the studio wo have
described, and he proceeds to pose a lady. Finding that
she wears some elastic j upon or crinoline which distends her
dress instead of allowing it to fall in simple folds easy of
control and arrangement, he decides upon a standing posi
tion, the crinoline skirt being quite unmanageable for grace
f ul folds in a sitting figure. 'I'he dress is of a somewhat light
silk, scarcely effective for pictorial purposes, and ho deter-
mines that a black lace shawl shall supplement it. The
lady is first of all requested to stand perfectly easily upon,
and supported by, the body-rest we described in our last,
and, when an easy position has been secured, presenting little
more than the profile of the figure to the camera, the
face inclining from the light, the lace shawl is arranged in
graceful festoou-like folds, so as to fall over the principal
part of the skirt of the dress. It is attached by a pin to
the wooden body-iest behind, and held in front carelessly
by one of the hands, which droop easily, loosely crossed over
each other. The general arrangement being secured, M.
Salomon steps back a few paces and contemplates the effect,
never looking in the camera. A dark mass is now required,
and a velv'et-covered chair is placed behind the lady, and a
crimson curtain of silk brocade or tabaret is arranged in
fold, partially resting on the chair, the general lino of the
curtain repeating, but varying, the chief lines in the figure.
This same curtain, on being placed in shadow, is dark, but
here it was placed in the light, so that it repeated, in a
slightly lower degree, the light tone of the dress, whilst it
cast a shadow on the background, throwing it back and
giving relief and solidity to the figure and accessories in
front of it. After a glance at the general effect, the blinds are
modified a little, so as, in this instance, to concentrate the
light less ; and the portion of the background in front of the
figure is then brought round tolerably close to the figure.

50

Tlia PHOTOGRAPHIC NEWS.

LJancary 31, 1868.

and nearly facing the strong side-light. Last of all, the
head-rest was placed in position, the face turning a little
more than the body towards the camera and the light.
Until this moment the image in the camera has never been
examined, but a glance towards the lens has been given now
and then whilst arranging, to observe the relation between
it and the model. The position and accessories having been
satisfactorily arranged, the image on the ground glass is
examined and focussed, and, without the delay of more than
two or three moments, the exposure commences. It is only
fifteen seconds, and after a brief rest and a slight modifica-
tion in the position of the head, a second plate is exposed
for about the same time, two dark slides with prepared
plates having been just before handed from the dark room
through a small aperture or door behind the background,
through which, after exposure, they pass back again into
the hands of an assistant for development.

Whilst the plate is developing, we will glance for a
moment at some further arrangements of the studio, which
are not shown in the sketch in our last. The camera and
lens are protected from the light by a light frame-work,
which projects about twenty inches in front and behind,
and over which a black cloth is hung. This, in front, pro-
tects the lens from diffused light, and behind enables the
operator to stand conveniently under it whilst examining
the image on the ground glass.

One of the snlrjects of much discussion has been the
light and shade upon the background, which many
have supposed to be chiefly due to ma.sking or sunning
down in the printing. That such aids to effect may
occasionally be used is quite possible ; but, as a rule,
this is clearly not necessary, as the effects are easily
obtained in the studio. We have before de.scribed, as one
means to the end, a canopy attached to the background
tolerably close to the head of the sitter, casting a shadow on
the upper portion of the plate. But a more important means
of securing light and shade on the background consists in the
position it often occupies in relation to the side-light.
Unlike the common practice of photographers, M. Salomon
does not take pains to place tire background quite parallel
with the camera. In many instances, whilst one end is
placed in the shadow quite behind the side-light and at a
good distance behind the sitter, the other end is brought
round so to receive a full amount of direct light from the
side window, and is also brought tolerably close to the sitter.
'J’his arrangement effects two or three objects : one end of
the background becomes in the picture very dark, whilst
the other is moderately light, and so aids the effect of light
and shade in the picture. Further, the background being
placed in this position, some idea of which will be formed
from its position in our diagram in the last number, it
serves in some degree to reflect a little light on the retiring
and shaded half of the sitter. The direct light from the
side, which illuminates one side of the sitter, also reaches
the background, against which the shadowed side of the
sitter is relieved ; whilst the part of the background against
which the lighted side of the sitter appears, being placed
back, escapes this light. It will thus be seen that, in the
picture, the lighted side of the face appears against the
shadowed side of the background, and the sha<lowcd side of
the head against the lighted side of the background, a mode
of arrangement which conduces very much to the sense of
relief and solidity in the head, and gives the retiring cha-
racter to the background, producing an effect of space and
atmosphere. This mode of treatment may frequenily be
observed in the portraits by Sir Joshua Reynolds.

The negatives are now developed, and brought by Jl.
Salomon into the studio. 'I’licy are both technically excel-
lent, clean, and brilliant, with a few points of very dense
high light, much gradation, occasional touches — though in
this case very few — of bare glass in the deepe.st shadows.
'I hey have been developed with iron and intensified with
the same solution to which a few drops of nitrate solution
have been added. For fixing, a strong solution of cyanide

is used, and occasionally, if desirable, a little local inten-
sifying is produced by the application of iron and silver to
certain parts of the plate after fixing. The chief point
which engrosses it. Salomon’s attention in examining the
negatives is the modelling in the face, which, to satisfy him,
must accurately repeat the light and shade he had seen on
the face in lighting and arranging it ; his education as a
sculptor rendering him peculiarly quick to feel and exacting
in securing this modelling.

Another lady follows : and here, to the artist’s delight,
there is no crinoline, and a sitting ])osition is selected. A
blonde English girl of eighteen is the sitter. She is placed
in a chair, profile to the camera, the elbow resting on the
table, the head on the hand, and a book before her, a
little pains being given to break the continuity of light on
its edges by giving dog’s cars to the corners of the leaves.
She wears a black silk dress with broad blaek velvet trim-
ming edged with white lace, the spotty effect of which gave
us apprehension for the result, but in ]M. Salomon seemed
to cause but little concern, the reason for which we saw here-
after. The soft and yiel ding folds of the dress, undistended
by any obstinatel)' clastic and balloon-like jupon under-
neath, were carefully manipulated into the folds which the
sculptor knew so well how to arrange. The aim appeared
throughout to bring the ridge of a fold prominently into
the light, and to make the furrow behind it deep, and shaded
by the fold from the light. All the principal folds were
arranged so that the light reached them, and cast their
shadows definitely in one direction. In this instance there
was more material to work with, and the artist became more
deeply interested in its arrangement. After placing the
sitter in the chair, the general outline of the composition
was arranged, the curtain being placed so as to fall in folds
in some degree repcatiiij- those of the dress, and the folds of
the table-cloth in front were also arranged so as to form
similar lines with slight variation. The table was a small
square one, and we noticed that the corner was generally
placed opposite the camera, and the cover arranged in a
massive fold at that corner. It will be seen by those familiar
with artistic composition that the angular form here pre-
vailed, all the lines running diagonally across the plate
from top to bottom, the balancing line consisting of the
white edge of the book, which was leaning against a pile of
other books on the table. At the commencement of the
sitting he asked the friends who were present to continue to
converse with the sitter upon any topic but the coming por-
trait, which the sitter was requested to forget, leaving entirely
all responsibility in ^I. Salomon’s hands. He also seemed
to forget the presence of any animate being, becoming ab-
sorbed in the treatment of his subject, which seemed in his
hands like the modelling clay, and almost as submissive
and plastic. A fold here is arranged, and a lock of hair there ;
the hands are gently manipulated, the position of each
finger being gently but certainly modified. A quiet, low-
toned commentary is kept up by the artist, half-suggestive
instruction or encouragement to the sitter, and half soliloquy,
“ La, la ! liien ! licstez-voux tranquille," &c., delivered in a
quiet, rcas.suring tone. In every instance of several sitters
we saw, the trust in the artist’s skill ensured by his reputa-
tion, and the magnetic influence of his manner, which ex-
pressed perfect confidence in his own operations, had a most
beneficial influence on the sitter, tending at once to ease
and steadiness.

Of this young lady four portraits were taken, with slightly
different viewsof the face, each plate receiving fifteen seconds’
exposure ; each negative being good, and eviilcntly very
fully exposed. The lens was used with full aperture; it
was, indeed, one of the old character, not supplied with any
stops at all. These negatives exhibited numbers of small
spaces of bare glass in the deepest shadows, the white cuffs
being the only dense jioints in wliich the deposit w-as abso-
lutely opaque ; the densest lights in the face readily showing
the interposition of any object jilaceil at the back of the
plate when it was held up to the light. The negatives were

jANrARY 31, 18G8.]

TIlE PHOTOGRAPHIC NEWS.

51

of a rich, good colour, very full of gradation, and possessing
plenty of deposit in all the lights and half lights. Although
they possessed something of the positive character when
examined by reflected light, they were not meagre or thin
negatives, but were full-bodied and rich ; alike without
hardness or the unnecessary deposit which increases the
time of printing without adding to the vigour of the print.

Some gentlemen followed, and the operations proceeded
in a similar manner. M. Salomon, in many instances,
seated himself to indicate the position to be assumed. In
rarely any instance was the sitter moved after being once
placed, especial care being taken to avoid worrying or dis-
turbing the equanimity of the sitter. The accessories, the
camera, and the arrangement of light are all modified to
suit the position once assumed. If, when the sitter has
rested his arm upon the table, it is found to be too high
or too low for comfort, the height is adjusted at once by
means of the Archimedean screw without disturbing the
sitter.

In one or two cases, where a dark rod beard liad to be
dealt with, it received n Judicious touch from the pull’ and
powder, to secure detail. The time of sitting of each of the
gentlemen on the same morning was about twenty-Sve
seconds. Comparatively little moditicatioii of the light
appears to be neces.sary in ordinary work. The expanse of
stippled gla.ss in the skylight gives a soft general illumina-
tion, and prevents the existence of any black shadows with-
out detail. The clear side-light then gives a pronounced
character to the principal lights. Where great vigour and
contrast are required, the blinds are drawn so as to contract
the space of clear light ; and where a softerand more quietly
harmonious cfl’ect was desired, the lateral expanse of side-
light was increased by withdrawing the blindis.

In dealing with gentlemen, as with ladies, the sculptor
was apparent in the operation. Each fold in a coat was
carefully considered and arranged so as to receive a definite
light, and cast a shadow. The idea of the sculptor manipu-
lating his modelling clay was again manifest. So far as the
brief space of time which a photographer po.ssessos with his
client permits, JI. Salomon aims at producing what strikes
him — and his perception is keen and rapid — of the charac-
teristic traits of his sitters. On the young English girl he
aimed at simplicity of effect ; in the matron he sought more
of graceful dignity. In a journalist, whose portrait was taken
whilst we were present, he aimed at more severe dignity of
style. A cloak of port wine-coloured velvet was thrown
over one shoulder, and the column was, for the only time
during our visit, brought into requisition, and ])rovalenco
of vertical lines, with a tendency to squareness instead of
curves, prevailed in the composition.

As we have before said, and as is shown in the diagram in
our last, the camera is always in the corner next the side-
light. whilst the sitter is nearer the middle of the room. It
is to be observed, however, that although the background
is placed so as to partially front the side light, the sitter
never faces it, but is invariably quartered in greater or less
degree from it, the soft top light preventing, as we have
said, black opaque shadows on the retiring side, which is
turned from the dominant light.

Although deeply interested in his work, and sparing no
pains in making an effective picture and characteristic like-
ness, scarcely ever using the .same accessories on two pictures
in succession, M. Salomon is rapid in obtaining results,
chiefly because no time is wasted. There is no changing of
position, and every touch in arrangement tells ; and whilst
there is no stern adjuration to keep still, but a cheery and
humoursome series of remarks, continued often during the
exposure, there arc few cases of movement. During little
more than three hours of one morning, when we were pre-
sent, not less than eighteen large plates were exposed, and a
negative technically good in each instance obtained.

Our visit on this occasion has extended quite long enough,
and we have minutely detailed operations ; not because in
much t hat we have described there is anything strictly new.

but because we know that so many readers are anxious to
know every point in the operations by which such magnifi-
cent results are produced. We must, however, defer a
few further particulars of interest until our next.

SERIOUS FIRE AT MR. CLAUDET’S STUDIO IN
REGENT STREET.

A SAD illu.stration of the gregarious character of troubles has
just occurred in the disastrous fire at Mr. II. Claudet’s studio
on the evening of Thursday, the 2.3rd instant, just one month
after the sudden death of jMr. Clarrdet, senior. The fire was
discovered between nine and ten at night, within three hours
after the premises had been closed and left by some of the
assistants; and although it was speedily got itnder, it was
not until enormous and irreparable damage had been
effected.

We visited the ruins a day or two ago, and have rarely
seen a more distressing spectacle. The reception room was
one of tire most elegantly decorated and appointed rooms in
London, and cost the elder Mr. Claudet years of thought and
eftort, besides a very large amount of expense. The paint-
ings in the panels, of allegorical and emblematical subjects
in keeping with the place, designed and painted under Mr.
Claudet's instructions, by a clever French artist, cost up-
wards of four hundred poitnds, and the decorative fittings of
the place nearly three hundred more. These are now simply
blackened and blistered canvas and ashes. A couple of
magnificent table stereo stands, magnificently carved by
Harry Rogers, which cost two hundred and fifty pounds
apiece, are now simply a few pieces of charred wood ;
and scattered near, a number of Daguerreotype plates on
the surfaces of which, here and there, a portion of a ghostly
face is seen amid the half melted metal, the sole remains of
some exceedingly choice and carefully coloured stereoscopic
portraits of beautiful women. The walls and stands and
gla.ss cases were crowded witli very elaborately finished speci-
mens in water colours and oil, many of tlie latter enlarge-
ments : the whole of tliese are utterly destroyed. And, saddest
of all in this part of thedestruction, was every existing portrait
of the late Mr. Claudet. Many of tliese had been takep at
various periods of hie life, and finished with much care by
the painter. 3’hcy had all been gathered together from
different parts of the establishment a few days before, and
put aside in the specimen room with a view to division
amongst the members of his family ; and every one is con-
sumed. The whole of the reception room, in fact, and its
contents, now form one scattered heap of .ashes.

Ibr-ssing thence through the oflice into the late Mr.
Claudet’s priv.ate room, both being on the s.ame floor and
behind the reception room, a still more melancholy loss is
found. In this private room were collected the experimental
results of Mr. Claudet’s scientific life. From the firet d.ays
of the Daguerreotype process Mr. Claudet had been an
earnest, active, and successful experimentalist, and he was,
also, a systematic conserver of the results of his work. In
this priv.ate room were collected the ex.amples of the various
experiments in the Daguerreotype proce.ss, from the earliest
portrait of himself — stretched on his back, because the plate
required upwards of a quarter of an hour’s exposure — down
to the most recent illustrations of the v.alue of accelerators.
Here were Daguerreotype etchings; examples of the work
of curious len.scs ; a large scries of illustrations of the
peculiarities of binocular vision, and the apparatus belonging
thereto ; illustrations of the various optical theories and
mathematical contrivances which absorbed much of Mr.
Claudet’s attention. All tliese are utterly and irretrievably
destroyed. Here, in a desk, also, were a number of docu-
ments, notes, and memoranda of experiments, historical
data, &c., in which we fear that our readers have sustained
the loss of some interesting records; for they were docu-
ments which Mr. Henry Claudet had recently been collecting
for us, as the material for a mjmoir of Mr. Chaudet and his

52

THE PHOTOGRAPHIC NEWS.

[Januaiiy 31, 18G8.

scientific labours, especially in relation to the early history
of photography. These are imfortunatuly all burnt ; some
of the documents exist in duplicate, but others are beyond
replacing.

Upwards of twenty thousand negatives arc destroyed,
many of them being those taken within the last two or three
years. The dark-room and laboratory fortunately escaped,
and the studio and apparatus, although injured, were not
destroyed. The chief damage was confined to the reception
room, business office, Mr. Claudet’s private room, the waiting
and dressing rooms, and the corridors. We are glad to
learn that Mr. Claudet was assured ; but much that is
destroyed — such as pictures and decorations — were not
assured, and much more is of a character which constitutes
an utterly irreparable loss.

The cause of the fire is at the present moment a mystery.
The firemen attribute it to the over-heating of hot air pipes ;
but the truth is, the establishment was warmed with hot
water pipes, and the fire clearly did not commence at the
fire by which the water is heated. Mr. II. Claudet is satis-
fied that the origin of the fire cannot be traced to these
pipes, but is unable at present to assign to it even a
probable cause. We believe that he will speedily open
premises in the immediate neighbourhood to carry on
ills professional engagements. We are sure that he will
have the sympathies of the photographic world under the
accumulated trials which have overtaken him.

J'nrcifjit

At the December meeting of the French Photographic
Society M. Niepce de St. Victor presented the members
with a copy of a new Memoir on Heliochromy, which he
has just published.

At the same meeting, M. Auguste Brun called attention
to an improved developer, containing sulphate of copper,
which is said to bring out the most perfect detail in the
negative ; the use of pyrogallic acid is eschewed, and the
solution prepared as follows : —

Water

Double sulphate of iron and
ammonia ...

Pure sulphate of copper

Tartaric acid

White gelatine

1,000 cub. cents.

40 grammes

20

10

3

»»

it

M. Brun likewise states that he has derived considerable
benefit by adding a small quantity of white honey to his
collodion ; the honey is dissolved in a small quantity of
alcohol, which is afterwards used in the preparation of the
collodion.

The English correspondent of the Moniteur de la Photo-
graphic (Dr. Phipson) makes known a humorous sugges-
tion, made to him by an officer in the army, with reference
to an application of photography to military purposes.
Instead of keeping a battalion ot'soldiers shivering on parade
for a couple of hours while the muster-roll is being called
over, it is suggested that a photograph of the men should
be taken, which being afterwards examined b}' the Serjeant-
Major by means of a magnifier would show the exact state
of the ranks and who were the defaulters.

The Photographische Mittheilungen of January presents its
readers with a photograjrhic specimen printed upon Ober-
netter’s collodio-chloride paper. The pictures arc said to be
very excellent examples of what can be done with the new
material. But the most interesting circumstance connected
with the pictures is the fact that the majority of them were
produced by development, and these come so near in point
of beauty to prints obtained in the ordinary manner, that it
is difficult, even for practised eyes, to find any difference
between them. The only way in which they materially
differ from one another is on the reverse side of the prints,
the backs of those produced by development bearing traces

of a few faint spots. The developed pictures were obtained
by printing a faint outline, and developing the same
with —

Water ... ... ... ...4,000 parts

Byrog.allic acid ... ... ... 2 „

Citric acid ... ... ... 1 to 2 „

If the operation of development proceeds too slowly, a few
drops of silver solution are added; the picture is brought
out vigorously, and afterwards washed, toned, and fixed in
the ordinary manner. For printing by development the
paper must be perfectly new.

A German Clicmical Society is being formed in Berlin
under the presidency of Dr. Hoffmann; Dr. Vogel and M.
E. Schcring have been appointed on the Provisional Com-
mittee.

M. Malmstriim, of Skard, in Sweden, h.os forwarded to the
Berlin Photographic Society a description of an apparatus
used by him for operating with wet plates in the open
air without the aid of a tent. It consists of a bellows
camera, under the focussing-board of which is attached a
box containing four vertical baths. The plate is collodion-
Izcd, and fixed into the box. By means of an arrangement
it is made to pass into the first bath to be sensitized ; it is
then exposed, and afterwards treated successively in the
developing, intensifying, and fixing baths.

The Mittheilungen contains a detailed description of the
studio and workrooms attached to the establishment of MM.
Rabending and Monckhoven, <at Vienna.

JI. A. L. Neyt, in a communication to the Bulletin Beige
on the preservation and restoration of negatives, asserts that
he has discovered the true cause of the rising of the films.
He states that in the majority of ca.ses negatives are stored
away in racks against a damp wall, and so close together
that it is impossible for a current of air to circulate among
them. The consequence is, that during damp weather, drops
of moisture become deposited upon the plates, and mmain
there for a considerable period, long after warm dry weather
has sot in. It is for this reason that the injury to the film
is always observed in the centre of the plates and not at
the borders, which have a better chance of becoming dry.
M. Neyt recommends the usual method of restoring negatives
injured in this manner, viz., by subjecting them for several
hours to the action of alcoholic vapour.

In the Photographische Correspondenz M. C. Ilaack
describes the apparatus used by him when manipulating
with dry plates in the open air. The construction is by no
means of a novel description : an oblong box ha.s an opening
at each end for the insertion of the arms of the operator, anti
at the top is another orifice furnished with yellow gla.ss to
look through. There is, besides, a small window of yellow
glass and a door opening into the apparatus, by which the
box of dry plates and the daik frame arc placdl inside.
With this arrangement the plates are easily removed from
the box to the dark slide, and vice versa.

The Photographisches Archiv of last month contains
no especial novelty.

PICTORIAL EFFECT IN PHOTOGRAPHY;

Being Lessons in

Co3IP03ITION AND ClIIAROSCUaA FOR PlIOTOdR.VPIIERS.

1)Y II. P. ROBINSON.

Chapter I.

“Tmce me in Use tedious ways of art." — .Shakespeare.

have been looking over your books, aod can find none but works on
the most hopeless .subjects The Philosophy of the Beautiful/ * Du Vrai,
du Beau, ct du Bien/ ‘ Cours d’Ksthetique/ * Kunst iirid Alterthum/ uud
other such like * Kritische Walder/*' — Fine Art Quarterly Feview.

There ha.s been so much written on art in its relation to
photography, which, when applied, has been found to be
of very little use — so much talking, ns Carlysle says, “from
the teeth outwards,” upon this matter — that it is with the
greatest diffidence and reluctance I have consented to write,
or compile, a series of papers on the subject. Their aim

January 31, 18G8.]

THE PIIOTOGRAPIIIO NEWS.

53

will be to set forth the laws which govern — as far ns laws
can be applied to a subject which depends in some measure
on taste and feeling — the arrangement of a picture, so that
it shall have the greatest amount of pictorial effect, and
to illustrate by examples those broad principles without
regard to which imitation, however minute orhovvever faith-
ful, is not picturesque, and does not rise to the dignity of
art.

In promising, at the outset, to be as practical <as possible,

I know I am sacrificing some advantages to myself, and
much ease of writing, besides the eddt that often follows
and rewards the inventor of grandly-sounding sentences,
easy to write, but difficult to read, and still more difficult
to undcintand. Those who represent art as a kind of
mystery, an itispiration, a gift of the gods to special
favorites, often receive the credence of the ignorant, as, in
assuming the language of the oracle, they are supposed by
the nninstructed to possess the inspiration, and hence, until
the imposture is discovered, they receive more attention than
he who endeavours to show that there is a pathway open in
the direction of the temple of art which all may tread, even
if all do not reach the inner sanctuary. Notwithstanding
all this, my object will be to write as clearly and definitely
as possible, that I may be understood by, and be of use
to, all who honour me with their attention.

Many works have been written on the Art of Composition.
A scries of articles on the subject, of especial merit, by
Mr. Lake Price, who is well known as a painter and photo
grapher, appeared in the early volumes of the PiioTOCiiAiniic
Nkws, but no work has hitherto been published that suf-
ficiently applied — or, indeed, attempted to apply — especially
to photography.

In this series of papers I shall have not a word to say on
the poetry of art ; that is a question on which it is diflicult
to write so as to be really understood, except by those who
have had a long education in art. I shall confine my-
self to what may be called the construction of a picture : in
fact, I propose to deal with the body, or perhaps the
skeleton, and not the soul ; with the tangible, not the in-
tangible; with that which can be taught, not that which
must be felt. Neither shall I attempt to go into the
mysteries of the science of composition, which only can be
of use to painters who have command over every line that
appears in their works. Photographers, although a wide
scope for artistic effect is open to them, have not the facilities
which other artists possess of making material alterations
in landscapes and views embracing wide expanses, neither
have they so much power of improvement in figure subjects,
although much may be done by skill and judgment in that
way : but they have open to them the possibility of modify-
ing, and, being free agents, they have the power of refusing
to delineate, subjects which by no efforts of theirs will ever
make effective pictures. It is a too common occurrence with
photographers to overlook the inadaptability of a scene to
artistic treatment, merely because they think it lends itself
to the facility which their art posse.sses of rendering minutiae
and unimportant detail perfectly. To many this render-
ing of detail and the obtaining of sharp pictures is all that
is considered necessary to constitute perfection ; and the
reason for this is, that they have no knowledge of, and there-
fore can take no interest in, the representation of nature as it
would be presented to the eye by a well-trained painter.

It must be confessed, and distinctly understood, that
photography has its limits. Whilst it will bo necessary to
explain the laws of composition in their entirety, the appli-
cability of these laws in photography is limited by
the comparatively scant plasticity of the photographer’s
tools — light as it can be employed by lenses and chemicals.
Therefore, as I proceed with the rules of composition as far
as they have been reduced to a system, or rather a quasi
system, it will be my aim to endeavour to indicate what can
bo done by photography, and how ; assuming throughout,
however, that the student is familiar with photography and
the capability of the appliances at his disposal. In doing

this, I shall bear in mind the It.alian proverb, “He is
a fool who does not profit by the experience of others,”
and shall not hesitate to avail myself of hints from every
author I have met with who contains ideas worth placing
before my reader, illustrating my remarks with engravings
from the works of well-known painters, with occasional
sketches of photograi)hs in which the principles defined by
the art of composition have aided the i>hotographer in his
choice of subject, in the arrangement of his sitter, or in his
management of light and shade.

Some might ask. Of what use would a knowledge of pic-
torial arrangement be to photographers who have, especially
in landscape and architecture, todcal with subjects over which
they have but little control ? To admit this would be to deny
that the works of one photographer wore better than another,
which woidd be untrue. It must be admitted, by the most
determined opponent of photography as a fine art, that the
same object represented by different photographers will pro-
duce different results, and this invariably, not only because
the one man uses different lenses and chemicals to the other,
but because there is something different in each man’s mind,
which, somehow, gets communicated to his fingers’ ends, and
thence to bis pictures. This admitted, it easily follows that
original interpretation of nature is possible to photographers
— limited, I admit, but sufficient to stamp the impress of the
author on certain works, so that they can be as easily selected
and named by tho.se familiar with photographs as paintings
are ascribed to their various authoi-s by those who have an
intimate knowledge of pictures. To make this quite clear,
I will dilate a little further on this subject, for it is of im-
portance, at the outset, to prove that superior results are
produced by superior knowledge, not only of the use of the
materials employed in photography, but by an acquaintance
with art, or the whole purpose of the present treatise falls to
the ground.

Given a certain object to be photographed by several
different operators: no exact point of sight shall be indicated,
but the stand-point sh.all be limited to a certain area.
What will be the result ? Say there are ten prints ; one will
be so much superior to the other that you would fancy the
producer had everything — wind, light, &c. — in his favour;
while the others will appear to have suffered under many
disadvantages. This picture will be found to have been
taken by the one in the ten (and, I fear, that proportion is
too large) who has been a student of art. By his choice of
the point of view, by the placing of a figure, by the selec-
tion of the time of day, or by over-exposure or under-deve-
lopment, or by the reverse, producing soft, delicate, atmo-
spheric effects, or brilliant contrasts, as may be required,
the photographer can so render his interpretation of the
scene either a dry matter-of-fact map of the view, or a
translation of the landscape so admirably suited to the sub-
ject, as seen under its best aspects, as to give evident
indications of what is called feeling in art, and which almost
rises into poetry ; the result often differing marvellously from
the horrors perpetrated by means of our beautiful art in
the hands of those who only know that if a piece of glass
is prepared and treated in a certain manner, it will result in
the production of an image of the object which has been
projected on the screen of the camera by the lens.

It is not only the cultivated and critical eye that demands
good composition in works of art, but the ignorant and
uneducated feel a pleasure — of which they do not know the
cause — in a sense of fitness and symmetry, balance and
support.

BLISTERING OF ALBUMINIZED PAPER.

Wiiy do albuminized prints sometimes blister after fixing?
— a question that has been often put to editom of photo-
graphic journals, but the reasons given have been, I think
unsatisfactory.

I propose to give you what I consider, from repeated ex-
periment and observation, to be the primary and true cause.

54

THE PHOTOGRAPHIC NEWS,

[January 31, 1868.

Years back, before the caite-de-visite mania, Rive paper was
the only kind found to blister ; but with the carte-de-visitc
came the general desire to have more highly-albuminized
paper, more gloss, and more brilliancy in the prints. Con-
sequently, of late years, all papers, either Saxe or Hive, have
been (during the summer months) occasionally liable to
blister. I say consequently, as it is just the highly-albu-
minized sample which is most prone to the defect, because
the albumen is most difficult to coagulate.

The remedy is, thorouc/hl;/ coagulate the alhumen on the
paper, then try your best, and you cannot produce blistered
prints.

Certain conditions are required to produce blisters ; viz., a
thick, dry, horny film of albumen, and either a weak solu-
tion of silver or a short time of floating ; just as you avoid
these, you avoid blisters.

I had some paper last summer the albumen on which was
very difficult to coagulate with silver solution then iir use ;
it blistered so perfectly that tlie fllm of albumen could be
easily stripped off the paper. I at once procured some pre-
pared with diluted albumen, and lost some gloss by the
change, and lost sight of blisters also. The troublesome
paper was laid aside until we had a week or two of damp
weather, when, it being less dry and liorny, the silver solu-
tion easily permeated and coagulated the albumen perfectly,
and the prints done on it were free from blisters.

I have just secured Mr. Hughes’ “ Curious Experience ”
in the ruoTOGii.vriuc Nfws Ai.m,\..n.vc. He does not record
the strength of the silver solution he used for his double-
albuminized paper ; but for such I should use a very strong
solution. If Mr. Hughes is tempted to try again, and could
sensitize the paper soon after albuminizing it, and before the
albumen got too dry and horny, he would succeed better ;
or, if he was disposed to try spirit again, try it thus: float
or sponge the back of the paper with the spirit, so as to soak
it enough to coagulate that stratum of albumen lying next the
paper, and, without drying it, sensitize on a strong silver solu-
tion, and he will probably succeed still better. But, in coagu-
lating albumen with spirit of wine, it must be borne in mind
that the spirit is a mixture of absolute alcohol and water, and
that it is the absolute alcohol that is abstracted from the
water in the process, and to so great an extent that the spirit
is quickly reduced below coagulating power; hence Mr.
Hughes’ curious experience.

Again, when Mr. England read his paper on “ A Dlodifi-
cation of the Collodio- Albumen Process,” a member con-
sidered the final silver solution too strong. Jlr. England
replied that he had tried a weaker solution, but the film
blistered, but with the stronger solution the film was free
from blister. Was it not because the latter coagulated the
albumen? Subsequently, I believe, Mr. England has re-
duced both silver solution and albumen (both in due pro-
portions) with a like result.

To conclude : the albumen, whether on paper or glass,
must be complctelg coagulated, or blisters will result, as un-
coagulatcd albumen is soluble in the various solutions
subsequently brought into contact with it, and thereby
loosening and ultimately detaching the sujrerimposcd filnn
from the underlying paper or glass. Vesicula.

THE PRODUCTION OF PHOTOGRAPHIC
ENLARGEMENTS.

BY D. WIX3TAXLEY, JUXR.

[We are favoured by ilr. Winstanley with a copy of his
paper recently read before the Manchester Society, with
some subsequent additions and modifications.]

The subject I had in view when I promised to read a
paper before this Society was the production of artificial
light for the purposes of photography, by the combustion
of phosphorus vapours in an atmosphere of oxygen gas.
Having experienced considerable delay in the construction
of the apparatus necessary for carrying out my experiments,

I am unable to bring that subject before you this evening,
and have, consequently, been compelled to select another.

At the present time, when enlarged photographs are
rapidly making their way into popular favour, it seems to
me a few words on the method of their production will not
be uninteresting to the members of the ilanchester Photo-
graphic Society. The truthfulness of a painting which has
such an accurate production for its basis is no small reason
for preferring a coloured photograph rather than the picture
which depends for its similarity to the original entirely upon
the skill of the artist. It is unfortunate, however, that our
confidence in the continued beauty of a finished enlarge-
ment should be rudely dashed aside by our knowledge of
the very que.stionablc variety of pcrmanenofcwhich, in the
present state of photographic science, is afl that can be
expected from any picture having its origin in the decom-
position of the salts of silver.

Just as tlie camera obscura — modified, indeed, to a greater
or less extent in all its parts, to suit the particular exigencies
of any individual case — is really the chief instrument re-
quired in the production of a photographic negative from
nature, sq the magic lantern, umlcr various modifications, is
the most important piece of apparatus used in making an
enlargement from a negative.

The small picture being placed in the shorter of the con-
jugate foci of a portrait combination, or other suitable form
of objective, and illuminated from behind, its enlarged image
is projecteil on to the j)lain surface placed for its reception
in the other focus ; and this image is then impressed upon
the paper or canvas intended as the foundation of the ulti-
mate picture, cither by out-and-out printing on chloride of
silver, or by the actinic formation of a feeble or even an in-
visible image, which is subsequently brought out and inten-
sified by the process of development.

When any considerable amount of amplification is re-
quired, the illumination of the enlarged picture is so much
inferior to that of the small one that, in order to obtain
any photographic effect in a reasonable time, it becomes
necessary that the small picture should be illuminated more
powerfully than is possible by the diffused light of day.
The earliest instrument by which this was successfullj'
eft’ected is that known as the solar camera, which consists
essentially of a box containing the slide for the negative,
the objective, and a large lens for condensing the light,
together with some mechanical appliances for moving the
whole arrangement, or a mirror attached thereto, so as to
allow of the sun’s rays always falling upon the condensing
lens, in aline at a right angle with the plane of its diameter.

That form of instrument in which this object is effected
by the movement of the mirror is, I believe, generally con-
ceded to be prefenable to the other, as by its use the drawing-
board employed to hold the paper during the enlarging
operation always occupies the same angular position in the
room.

The quadrant movement usually supplied with solar
cameras for altering the position of the mirror is, to say the
least of it, unsound in principle and inconvenient in prac-
tice. It frequently causes, from its imperfect action, the
formation of a multiple image, and is soon rendered worth-
less by use from the inequality of the strains on its working
parts.

That arrangement in which the mirror is supported by
two substantial pillars springing from a revolving disc is
infinitely to be preferred, because it is not encumbered with
the defect just alluded to. To be really efficient, however,
the movement of a solar camera should undoubtedly be auto-
matic. Such a movement in actual working order I have
never seen. Some time ago I had an arrangement constructed
specially for this purpose, substantial enough to hold its
mirror in position against a strong wind, and sufficiently
delicate in its mechanism to require no more impelling force
than can be furnished by a common Dutch clock. Circum-
stances having rendered the completion of the instrument
unnecessary, and it being the property of a gentleman who

THE PIIOTOGRAPIIIC NEWS.

55

January 31, 1868.]

prefers to keep it in its present st.^te, I liavo not had the
satisfaction even of seeing this at work.

Many persons might be tempted to suppose that the
illumination of the negative, by allowing tlie sunlight to
fall upon a piece of ground glass in front of it, would be a
convenient way of effecting that object. Experience has,
however, shown — and, indeed, a very little reflection would
determine — that this is by no means the best method that
could be adopted.

The transmission of a cone of rays, converging to a point
in the optical centre of the objective combination, through
the transparent picture to be copied, is generally admitted
to be the best method of illuminating a picture, the pro-
jected image of which it is intended to photograph.

When artificial light is made use of, a condensing lens of
much shorter focus becomes requisite, because the artilicial
rays diverge, whilst those of the sun are parallel ; and this
shortness of focus is much more imperatively necessary,
if the lens is intended to work in the same camera which is
employed with solar light.

Which is really the very best possible kind of condenser
that can be employed is a very dillicult jioint to determine.
I have iu.ade c.xperimcnts with many varieties myself, and
give my own preference to one of throe elements ; viz., two
plano-convex mounted witli the curved sides together, and a
meniscus as the immediate recipient of tlie artilicial rays,
which arc allowed to fall upon its concave surface. Such an
arrangement is, beyond a doubt, far ahead of a combination
formed of the two convex lenses alone.

If I were asked the question — Which is the best light
that can be used for enlarging purposes? I should, without
hesitation, answer that of the sun ; for when it does shine
uninterruptedly its light is vastly more convenient to work
with than either electric, lime, or magnesium. Of artificial
lights, however, I consider the lime as the most generally
useful, because it is much less costl}' to produce, and
more steady to work with than cither of the others men-
tioned.

Many persons have, without hesitation, pitched upon one
or other of the three sources of artificial light mentioned, as
being much more brilliant than either of the others. Any
assertions, however, which have been made on this point are
wholly unreliable, inasmuch as no quantitative scientific
determinations have ever been made to decide the question ;
and, if they had, it is by no means improbable that the pre-
sent elementary and more or less unsatisfactory state of
photometrical science might yield an answer to the question
which, at some future time, would be shown to be more or
less incorrect.

Any quantitative determinations, however, even though
based upon a method more or less faulty, arc infinitely pre-
ferable to those vague statements which have confidently
fixed the choice of three in succession upon each one of that
number.

To compare one light with another, without specifying
exactly under what circumstances each is produced, is almost
too ridiculous and stupid a thing to merit criticism.

The intensity of the electric light, for instance, may be
increased at will ten, fifty, one hundred, nay, a thousandfold,
or even more, by a sufficient increase of battery power when
tbe light is produced by chemical means, or by a correspond-
ing accession in the number of revolutions made by the
armature, or in the increased length of the coil or the power
of the magnets in an electro-magnetic machine. So, also,
by an increase of the pressure on the gases, by a larger
orifice of the jet, or by a superior quality of the calcium
preparation, the intensity of the lime light may be enor-
mously increased.

To return, however, to the application of these lights to
the purposes of photographic enlarging. The objections to
the electric light are — the trouble of working the batteries
when its origin is galvanic; the wearing and consequent
breaking down of the apparatus when it is produced by
mechanical means ; and the movement of the carbons, caused

by inequalities in their composition — a movement which no
lamp, however ingenious in its construction, can obviate.

Theobjections to the lime light arc — that it requires almost
constant personal attention (at <all events, in the absence of
more perfect appliances than those at pre.scnt in ii.se) ; that
the cakes or discs arc apt to fall in pieces ; and the incon-
venience of making gas.

The objections to the magnesium light arc — that its flame
is either too large for optical purpoies, as in Larkin’s lamp,
or moves too much, as in the American lamp.

This latter objection is not necessarily fatal to the defini-
tion of the picture ; but, when it is not, a very large per-
centage of metal is consumed without producing any photo-
graphic elTect.

Some time ago, when making comparative experiments
between the lime and magnesium lights for the purpose of
photo-enlarging, I obtained a print by the use of the latter
light in fifteen minutes, “ the lamp consuming fifteen feet of
ribbon, weighing three grains to the foot, and selling at that
time (March 29th, 18G7), at 10s. per ounce. Upon another
piece of the same sheet of iodized paper, silvered for the same
length of time with the same silver solution, another enlarge-
ment w.as produced, without moving either the negative or
the board by means of the lime light, which occupied exactly
the same place as the magnesium flame did in the preceding
experiment. 'J’he paper was exposed until just about the
same amount of trace was visible upon it. The time was
then noted, when, singularly enough, it turned out to be just
fifteen minutes also. Both prints, after half an hour’s deve-
lopment, presented an exactly similar appearance. During
the lime light exposure the gases (pure oxjgen and carbu-
retted hydrogen) were under a pressure equal to that exerted
by a column of water seven inches in height. The tempera-
ture of the room was G5° Fah., and the burner from which
the mixed gases issued allows G cubic feet of oxygen and a
combining quantity of carbiirctted hydrogen to pass in two
hoiii-s and a half, under 7 inches’ pre.ssure.

Under the circumstances of the trial, which were very fair
ones, my own opinion with regard to cost was decidedly
in favour of the lime light. With regard to this latter light,
by-the-bye, allow me to mention, in passing, the fact that
gas bags are, wlien in daily use for commercial purposes, of
very litt'e genuine utility, because of the constantly-varying
pressure to which, from the very nature of their construction,
their contents are subjected ; and they are, moreover, a very
prolific source of vexation and disappointment. Beyond a
doubt, before long, they will be almost entirely superseded
by cylinders— hydraulic ones for stationary use, and con-
densing ones for tranportation.

Having now spoken on the mechanical, the optical, and
illuminating appliances needed, I will say a few words, in
conclusion, on the chemistry involved in the production of
prints by development, and briefly remind you of the
peculiar variety of negative yielding the best results.

Iodide, bromide, and chloride of silver are the sensitive
salts which, under various circumstances, individually and
in all proportions of admixture, are used for the reception of
thp actinic impression. When the alkaline salts of the
metaloids contained within the substances mentioned are
mixed together, according to the order in which I have
enumerated their silver compounds, and dissolved in water
in about the proportion of 4, 1-25, and 1 to 100 parts of
water, the most sensitive film is obtained. The image,
however, acquires its full vigour with reluctance, and fre-
quently requires intensification with gallic acid and silver.
When bromide and chloride arc used together in the pro-
portion respectively of four and two per cent., a prolongation
of exposure results, but with the merit of an easier accession
of density. The chloride alone gives the richest modelling
and depth, but is the most insensitive.

Everyone, of course, will understand that, under the cir-
cumstances to which the foregoing remarks apply, a sheet
of paper is used for the reception of the picture. Paper
itself is a substance which varies enormously, from the

50

THE PIIOTOGllAPIIIC NEWS,

[January 31, 1808,

absorbent filter paper to tlie waterproof enamel. The sensi-
tiveness of the preparation greatly depends upon the pa[)er
used, and the dilYerence from the slowest to the most rapid,
on this account alone is as much as 1,000 per cent, on the
latter. The fine photographic papers are, with the same
preparation of iodine and silvering, just about so much
more sensitive than the heavy drawing papers, which latter,
however, yield by far the most beautiful prints. When
under-sized papers are used, the image invariably sinks
witliin them, which objection to the finisheil prints may
alwa}’S be removed by strongly sizing before iodizing.
This may be accomplished by a sufliciently strong solution
of clarilied gelatine, which is the better for being altered
by the action of tannic acid, or the .sulphates of iron and
alumina, after pouring on the paper.

The peculiar bloom and brilliance, however, of some
prints (as, for instance, the one I now show you) depends
upon the perfection of the balance in time and materials
used in the production of the picture, and which varies
with every negative and temperature. The print I now
hold before you is as perfectly upon the surface of the paper
as the other one ; but in its production the chemicals and
exposure were not as nicely balanced, and it therefore lacks
the bloom.

Prolonged exposure, under-development, and .a small
proportion of the salts of iodine in comparison with those of
chlorine, all tend to make the picture red ; whilst a slaty
colour is obtained by tlie reverse of these, lied pictures,
however, may always be toned after fixing by an akaline
solution of gold.

From sixty to seventy grains of nitrate of silver to the
ounce of water, with a drop or two of acetic acid, is a
convenient formula for the silver solution, which is best
applied by brushing over the paper with a strip of swan’s-
down cotton, using the smallc.st proportion of silver required.
The purity of the silver bath is one of the most essential
conditions required in the production of clean work.

The development and fixing are effected by the use of
saturated solutions of gallic acid and hyposulphite of soda.
The amount of exposure required varies, with circumstances,
from three seconds to a couple of hours.

The best kind of negative is one which has been fully
exposed, developed without fogging, and left entirely iin
intensified. In fact, merely a slightly over-done positive.
The process of enlarging by the lime light and by ilevclop-
ment is one of much more certainty than is generally
imagined. 1 seldom have more than three or four per cent,
of failures, and frequently obtain quite up to the mark
without retouching.

The sundry imperfections of arrangement, style, and
diction, whicli you will have perceived in this paper I trust
you will look upon leniently when 1 tell you that it was
written after a tedious day’s work, at a late hour last
evening.

I have no doubt, however, that with all its imperfections
on its head, it will have excited amongst you some little
amount of interest in a process which, when applied to por-
traiture, adds to the rational luxuries of our home ; and,
when used for the delineations of morbid anatomy, assists
the medical student in acquiring that knowledge of disease
which often enables him, in his profe.ssional career, to arrest
and overcome a malady ere it becomes necessary for the
preservation of vitality to afllict the sufl’ering patient with
“ the terrors of the knife.”

LECTURES ON ART.*

In commencing the second lecturo, and urging upon fliose
who really take an inferest in art the value and importance of
education in its principles and position, the lecturer said ho
had, on the last occasion, referred to it ns a means of in-
creasing their enjoyment in looking at works of art, and of
giving them solf-relianco in forming a judgment on the merits

of a picture or a piece of sculpture. lie should endeavour to
place before them the various recommendations that a study of
art i>ossesses beyond its charm .as an exponent of sentiment or
of bc.auty, whether in form or colour. The public was not only
gcner.ally uneducated in practical art, but it was equally un.
informed in its history and the important functions it fulfilled
as a contemporary record of the state of n.ations and of their
civilization, when the more ancient works were produced. As
illustrations of the condition and h.abits of the people amongst
whom it w.as, in its first ages, practised, the remains of old
time had an interest f.ir beyond wliat any modern art could
otter. Monuments of sculpture, especially, were, at one time,
tho only records of memorable events. They pourtr.ayed the
great acts of kings, heroes, and conquerors. They marked
Important historical incidents ; and from them we had acquired
an insight into the mythology atnl tho poetry of tho ancients.
In these representations wo had most curious and reliable
authority for tho costume and habits of remote nations of whom
there was no written or other recorded account. Here, then,
they stood out with an interest entirely their own, and inde-
pendent of any recommendation as regarded art excellence.
There could bo few present who had not soon tho sculptures
from Egypt, Spain, Hindustan, ami from early Greece and
Asia Minor, now collected in our British Museum. Some of
these were of extraordinary antiquity, and wo felt grateful for
their preservation, while wo stood, with a feeling akin to
veneration, before works executed long prior to .any written
history. Tho monuments of Egypt probably mounted up to
not less than 2,000 years before the Christian era. Tho sculp-
tures brought from Nineveh and its neighbourhood exhibited
a comparative perfection of workmanship that showed long
practice ; yet wo knew that tho wonderful city from whoso ruins
they were exhumed was utterly destroyed above COO years
before Christ. 'This comprehended a period of nearly 2,.'i00
years, and many of the sculptures must have been executed
long before this event. Incident.ally, the peculiar symbolic
treatment of these monuments was explained, in tho union of
intelligence, force, and motion or .activity, in tho colossal and
other figures where tho hura.an head appeared joined to tho
powerful muscular body and logs of tho lion or bull, while
enormous wings expressed tho cap.ability of r.apid motion. Tho
sculptures of the Barthenon trom Athens, though not amongst
the earliest works of Greece that might bo roforred to, had also
that extra interest which was afforded by tho cortainty that
from tho ago of I’ericlos all tho greatest men of ancient clas-
sical times — gener.als, poets, historians, philosophers — had con-
templated and doubtless admired those very productions. In
tho larger number of tho oldtsr works of Assyria and Egypt
there wore tho most minute representations, both in painting
and sculpture, of tho everyday habits of the different nations ;
their wars and conquests, their amusements, their occupations
in handicraft, their building, boating — in short, all tho various
business of life. Here, surely, was sufficient to give an
absorbing interest to representative art, simply in its tunction
of illustrating human life and progress.

Tho lecturer then nrocccdod to give a rapid review of tho dif-
ferent schools of sculpture from the most ancient period ; and
took occasion, after still further extending his survey, to return
to tho proposition with which ho set out — namely, that there
were many grounds of interest to recommend art to the atten-
tion of thoughtful and cultiv.atod persons beyond its attractions
as a means of mere representation or imitation, and as tho out-
ward expression of sentiment and be.auty. lie concluded by
hoping ho had succeeded in impressing this fact upon many pre-
sent who, probably considering painting and sculpture only in
an objective point of view, had not carried their interest in it
beyond tho pleasure it was capable of affording them as mate-
rial art. This, of course, in these days was a great purpose of
painting and sculpture ; but the earlier function it fulfilled gave
a dignity and character to its history which deserved tho recog-
nition of all persons of reflection and education. Tho higher
tho estimation in which any object was hold the greater its
interest and tho reason of its attr.activeness to all persons of
sensibility and of cultivated minds. Tho lecturer said his pur-
pose in dwelling on tho uses and application of art in tho earlier
ages, its history and progress, independently of its material
charm, was to incite this extra interest. Ho should bo very
glad if anything ho had said or might say on this subject should
bo tho cause of inducing those who attended his discourses to
fool tho importauco ot education in tho history and principles
of art ; and to acquire themselves — and, if thoy had the oppor-

* ContiDued from p. 11.

January 31, 18G8.]

THE PHOTOGRAPHIC NEWS.

57

tunity, to extend to otliers — tlio knowledge which wouhl so
surely open to them a wide field of intellectual enjoyment and
delight.

He commenced tho third lecturo by repeating his remarks
that it seemed to be agreed that, as regards art in England, tho
great want of the present day is education. To induce people to
care to bo educated they must be interested ; and it was to show
them there was this interest in art beyond its material attrac-
tions that ho had dwelt on the important functions of ancient
sculpture, and its history and progress from the fifth century
before tho Christian era down to its decline in tho late Roman
period. To bring tho subject more homo to modern feeling, ho
should now mako a rapid survey of its history from tho revival
to tho end of tho last (tho eighteenth) century. It is, however,
scarcely correct to call this a revival. It was rather a new
birth, so different and distinct was it from tho older art in its
material presentation. It had one advantage in common with
most archaic sculpture. Its impulse was religious, but mate-
rially it had no beauty. Tho neglect of ancient examples in
this particular — for remains of fine works must have abounded,
to say nothing of the living Nature before their eyes— suggests
that this proscription of tho beautiful and even ordinary true
forms was intentional. The avoidance of this in Pagan art is
quite intelligible in tho professors of tho new and purer faith,
but scarcely so tho willing adoption of decidedly ugly and ill-pro-
portioned forms. The controversy which raged so long between
the Eastern and Western churches throws some curious light
on this subject. Tho former insisted that sacred personages
should not bo represented beautiful and attractive ; and even
tho figure of Christ was to conform to this rule, inasmuch as it
is said in Isaiah, “ lie hath no form or comeliness,” &c. Tho
Western church advocated the opposite doctrine, and tho result
is seen in tho art that grew out of the two systems. The eccle-
siastical art of tho present day, in the former cradle and school
of the beautiful — the East — is as rude and gaunt as it was in
the earliest time ; while in the West tho contrary principle,
afterwards established by tho authority of Pope Adrian, led to
tho subsequent excellence of tho school of Italy. The earlier
painting and sculpture employed in tho Gothic period scarcely
deserves the name of fine art, wanting as it is generally in
almost all art qualities. It is true it was only used for decora-
tion ; but still it professed to imitate something, and this should
have been Nature. The contrast, as regards the accessorial art
connected with Gothic architecture, is remarkablo when com-
pared with that employed by tho great Greek artists — in tho
Parthenon, for instance. Hero the most perfect architecture of
its kind was enriched with expressive sculpture of the most
perfect forms in nature ; and it is this combination or union
that constitutes the highest form of art. Tho short duration of
Gothic architecture, and tho constant changes it underwent,
may account, in some measure, for tho incompleteness of the
imitative arts in connection with it. It must be borne in mind
that in the short space of about three hundred years it passed
through many phases — from the Romanesque to tho pointed or
early English style, from that to tho florid or decorated, and
then to tho perpendicular, when it may be said to have collapsed
altogether. No person of sensibility, or who has any genuine
feeling for the beautiful and picturesque, can deny tho charm,
or altogether resist the fascination, that is found in tho best ex-
amples of true Gothic architecture. But there is, unquestion-
ably also, a positive claim to admiration in the originality, tho
bold fancy, tho variety and play of parts, tho contrivance of
scenic effects in the perspective views, and in the striking con-
trasts in c/iiaroscuro, which are so remarkable in tho monu-
ments of this peculiar stylo of art. Still, with all these admis-
sions, tho lecturer said ho was bound to protest against the
outrages committed against truth and fitness, and, indeed,
common sense, which were soconstantly seen in the Gothic use of
accessorial imitative art. How tho fitness of nature was abused
is seen when human faces of saints, kings, nuns, and eccle-
siastics are found employed as corbels and brackets to bear
weights, or as terminations to dripstones, or as gargoyles or
draining-pipes; or when entire or truncated figures, angels or
others, are seen suddenly starting from walls ; their drapery
clinging to them in stiff, horizontal folds instead of falling by
any law of gravitation ; or standing figures thrust into arched,
hollow mouldings ; or others dislocated and distorted to accom-
modate them to fill up spandrils of arches or other spaces.
Still there was a promise of excellence in this Christian art,
and there were signs of improvement of the most encouraging
kind. Unhappily, a revolution, fatal, as it turned out, to tho

progress of art, changed the character of tho age. Tliis was
occasioned by tho passion created for classical studies by the
discovery of inanu.scri[>ts and remains of Greek and Latin
literature in tho fifteenth and sixteenth centuries. The edu-
cated and influential classes devoted themselves to this new
attraction, insisting that everything should be done to establish
a pseudo-classical taste, and by the end of tho eighteenth
century all true art-sentiment seemed extinct. This was tho
state of art when Flaxman and Canova stepped in to stem tho
torrent of false and bad taste.

Mr. Westin.acott concluded with some remarks on tho late rise
of art in England compared with other countries — Italy, Franco
and Germany. In tho course of those, and in commenting on
the inferiority of English art, ho exposed the absurdity and un-
fairness of the charge that the Rel'urination was the cause of a
retrograde movement in art among us. England had no art to
retrograde or to bo injured at that date. All, or almost all, wo
had was by foreigners, who were certainly free from the sup.
posed influence of tho Reformation. They brought hero the
bad style of art universally prevalent on the Continent — that
is, their own. In tho churches of Italy, and in St. Peter’s espe-
cially, the very worst taste prevailed, as may bo seen in tho
meretricious, and sometimes even offensive, art that was
allowed to appear there in ecclesiastical buildings. Certainly
we had nothing of our own of this kinil, whatever shortcoming
in other respects might bo laid to our account. Tho lecture
closed with some general observations on the general tone of
art-focling in England at the present time.

«

Corrc.^gon&ni:cc.

HYPOSULPHITE OF AMMONIA.

Sir, — In reference to the communication from Mr. Spiller
in the last number (No. 499) of the Photooraphic News,
on “Hyposulphite of Ammonia for Fixing,” allow me to
observe that the whole account of the experiment cited from
“ Colin Mackenzie’s Treatise — One Thousand Chemical Ex-
periments, &c.,” on the action of hyposulphite of ammonia
on muriate of silver, is copied verbatim from my second
paper on the hyposulphites in Brewster and Jameson's
Edinburgh Philosophical Journal (1819), p. 39G.

Mr. Spiller appears to consider the insoluble powder
formed by adding chloride of silver to tho solution first
described, as pure hyposulphite of silver. It is, however,
more probably a compound of that salt with hyposulphite
of ammonia, atom to atom ; the soluble double-salt contain,
ing two atoms of the silver-salt. Such, at least, is the view
taken in the next paragraph (not copied, apparently, by Mr.
Mackenzie). It runs as follows 29-3 grains of the
soluble variety above described gave 11'9 sulphurct of
silver, which agrees, within moderate limits, with a compo-
sition of two atoms of hyposulphite of ammonia -|- one atom
hyposulphite of silver. Hence it is very probable that the
insoluble variety consists of the same component salts, united
atom to atom.”

To procure the pure hypouilphite of silver, nitrate of
silver, somewhat diluted, must be poured into a pretty strong
solution of hyposulphite of soda. A copious precipitate
falls — white at first, but, as the precipitation proceeds, be-
coming gradually dirty, and at length quite brown, espe-
cially if too much of the nitrate be added. Thi.s precipitate,
separated by the filter and washed, must be treated with
ammonia, which dissolves the metallic salt, but leaves the
sulphurct behind which contaminated it. Tho ammonia
being exactly neutralized by weak nitric acid, the salt pre-
cipitates in a snow-white powder, which must be separated
and dried as quickly as possible by violent expression
between folds of blotting-paper.” The sweetness of the
soluble ammoniacal salt is sometbing astonishing. Fifteen
grains of white sugar communicate a barely perceptible
sweetness to 4,000 grains of water. The sweetening power
of the silver compound, therefore, exceeds that of sugar in
the proportion of 120 to 1. — I am sir. your obedient servant,

J. F. W. IIebscukl.

C'dHugwood, January 25th, 1808.

58

THE PIIOTOGRAPIIIC NEWS.

[January 31, 1868.

MR. MgLACIILAN’S DISCOVERY.

Sir, — Since reading Mr. Lachlan McLachlan’s letter in
your last number, I have felt, as it were, as if the ground
wore cut from under my feet ; and, with your permission, I
shall beg, on public grounds, that that gentleman will re-
consider his determination, as others may be suffering in a
like manner. Although I have been working assiduously
for years at photography, it seems that all that is known as
yet is mere moonshine to what Mr. McLachlan can show us.
The question immediately arises, why proceed a step till he
has mercy on us? We (photographers) and the public may
at once cease in our present hit-or-miss style, and await the
revelations of our benefactor. Second sight is generally
considered to be the privilege of that land where Macs
abound. But, sir, will this gentleman be so hard on the
world as to delay till July or August the full taste of those
joys of which, as yet, he merely hints his possession ?
“ There’s many a slip ’twixt the cup and the lip.” lie might
( Heaven forfend !) die. Have not thousands mourned the pre-
cipitancy of that Roman emperor who slew the artiticer
that brought him the malleable glass vase, and said he had
not confided his secret to others? Arc there not advertise-
idents in every paper that “ accidents will happen ? ” What
office could insure his life, plus our hopes? Has not some
one said, —

AVhere’er I po, where’er T roam,

A voice still whispers Id my car,

This earth is not thy home" ?

In fact, the arguments are endless that might be brought
to bear upon my view. In olden times, when any Mac had
celebrated himself, his countrymen, as they passed his rest-
ing-place, threw a stone on the heap, and at length the mass
testified by its size the respect that posterity bore him. The
cairn, as it was called, should be enormous in Mr. McLach-
lan’s case, if he performs half he promises ; and I am men-
tally putting aside a guinea or two for the inevitable testi-
monial. Mr. McLachlan differs “ very materially with the
first chemists and photographers of the day.” So I am
putting in a heap — Eresenius, Hardwich, Bolley and Paul,
Lake Price, Fownes, Towler, Galloway, Hassell, Faraday,
and others, for a bonfire, for they never promised half as
much. He also says, “ Should I be mistaken, 1 would like
to have my error pointed out to me.”

Sir, to keep his mind easy. I may, I think, with some
confidence, assure him, on the part of photographers, that it
will be. And for his noble offer, I would remind him of
that line of Virgil’s that might with justice be claimed by
photogvajihers as their motto, —

" Sic V03 non vobis mellificatis apes.”

Sir, I cannot go on, the noise of the flourish of trumpets
about me is so great. — Your obedient servant,

Januanj 2Zrd, 1808. A M.\d Doctor.

“ CHEAP JACKS ” IN PHOTOGRAPHY.

Sir, — Your correspondent “ Litho,” who evidently does
not live in a glass house, or he would not throw stones,
appears to hold the Cheap Jacks in very orthodox horror.

Sir, I am a “Cheap Jack,” and I practise “the five
shilling cut.” I am one of “ that low lot,” but I believe
that most of my fraternity will join me in raising an em-
phatic objection to the inferences of your correspondent,
who says : “They (the C. J.s) have done all in their power to
disgrace photography.” Sir, I deny this — every word of it.
I am the last to agree with excessively low prices in any-
thing. Cheapness generally means low quality ; but, often,
competition forces those who have small capital either to
low prices or abandonment of their trade, which they may
love to practise just as well as “ Litho,”

Portraits at a low price were introduced to supply the
people. John Smith and Sarah Stoakes may not be good
moaels — may be ugly and ungainly to the last degree — but
there is no reason why they should not have their portraits

taken. If John has a regard for Sarah, he prizes her
picture, and they have the same pleasure in gratifying their
relatives, &c., as the highest class. The necessity for mode-
rately low-priced photographs is evident, make them as
good as you can; but “Litho” alludes to the “Cheap
Jacks ” as if they were the only photographers that have
any sins to answer for. I think you yourself will bear mo
out that hitherto high prices have not uniformly meant
artistic pictures, or even good manipulation.

Sir, I object to your narrow-minded correspondent. An
art or profession should be open to all. Because I charge 5s.,
and “ Litho ” gets four times as much, does it follow that he
is more “ worthy” than me to participate in any discovery
or improvement that may be made? Can 1 not have the
same desire to obtain the best result that lies in my power
and knowledge, and the same appreciation of the artistic
as he has ? In fact, am I not a man and a brother? If I
am ignorant, teach me ; but do not exterminate me.

Sir, I do not know Mr. McLachlan, only through your
Journal, but I appreciate his offer as much as any photo-
grapher can do. Although he may be, as “ Litho” a.sserts,
my enemy and the enemy of all my compatriots, I beg to
jnopo.se when Mr. McLachlan has proceeded to success-
ful demonstration of his discovery, that he be presented with
some suitable testimonial of his cleverness and generosity ;
say a piece of plate, or gold medal and clasp, subscribed for
by all classes of photographers, not c.xcepting “ Litho ; ” and
one of the first shall be — Yours, II. S.

PS. — I beg to enclose my “ card,” which is a fair sample
of general work ; and I ask you, impartially, if it is not
quite as well worth the price as most of the higher class
people’s work is worth their price ? I can point to half a
dozen photographers in this town, all at this price, whose
work is better than mine. I find “ the better the work the
more custom you get,” but you cannot get another shilling
per dozen, however well they may be done.

[The print enclosed by our correspondent is decidedly
above the average of excellence in card pictures ; and wo
think our correspondent himself would admit that the price
of five shillings per dozen does not adequately represent the
value of the professional skill and other costs of produc-
tion. The claims of John Smith and Sarah Stoakes to por-
traits of those whom they love, at prices within their means,
are such as we shall not deny ; but the extent and limit of
those claims, and the mode in which they shall be supplied,
open a wide question. We should not ignore their claims,
but we should recommend that they should be supplied in
a degree commensurate with the prices they can afford,
exactly as all their other natural wants and desires are
supplied. To do this it is not ncces.sary that the general
price of good work should he lowered for the whole public
below a fairly renumcrative rate in order to meet the wants
of a class of small means. For Instance, the card forwarded
by our correspondent is not one of a person belonging to
the class indicated, but one of a lady whose dress and
appointments indicate the capacity of paying a fair
price for a work of art. If the price were twice or thrice or
four times that charged, John and Sarah miglrt gratify
their natural desire for good portraits of each other by
limiting those desires to their means, and being content
with (say) a quarter or a third of a dozen for five shillings.
The question cannot be argued in a small space, but our
correspondent must well know that in the town in which he
practises his profession, the trade or profession has been
ruined by a cutting competition in price, not for the benefit
of the poor, but for the benefit of a class who have large
means to expend in the gratification of tieir desires. He
must know also that the tendency of the maxim of quick
returns and small profits in matters of art tends to haste and
slovenliness, that it demands the necessity of laige produc-
tions in place of much care, of quantity instead of e.xcellence.
Our correspondent clearly does not legitmately come within
the category of “ Cheap Jacks ” with no feeling for their art
beyond the returns it brings ; and he must agree with us

January 81, 1868.]

THE PHOTOGKAPHIC NEWS.

59

in deprecating the race for cheapness which has tended to
reduce, in many instances, a remunerative, if not a lucra-
tive profession into one yielding a bare living. This is a
state of things which does not conduce to efforts after high
excellence. — Ed.]

CARBONATE OF AMMONIA IN THE FIXING
BATH.

SiK, — As you Invite remarks on the use of carbonate of
ammonia in fixing solution of hypo, of soda, perhaps
a short statement of my own experience may not be out of
place. I have used it constantly since Mr. Spillcr's formula
appeared in the Piiotograpjiio News Year-Book, 1867.
kly formula is a little modified. The proportion of hypo to
water is 16 per cent., and I add 4 per cent. carb. ammonia ;
filtering when dissolution is complete. It strikes me that
the yellow spots complained of by your correspondent arose
from omitting to filter. Last summer, in the studio of a
friend, I recommended the use of ammonia so strongly that
ho agreed to try it. Hypo., carb. ammonia, and water, in
the proportions I have named, w’ere thrown into a porcelain
fixing dish, and, when all was dissolved, the prints, after
washing, were plunged into the fixing solution. In a few
minutes they exhibited a profusion of small, white specks,
about the size of the head of a pin. On examining the
solution we found a number of minute grains of carb.
of ammonia at the bottom ; for unless very finely powdered
before using, this salt dissolves much more slowlj’ in water
than hypo. Filtering would have removed the cause of
those spots.

My experience goes to show that unless prints arc of a
deep tone to begin with, and have been their full time in the
acetate of soda and gold bath, they are a good deal punished
in fixing. In many instances, however, I have found that
the sepia tone sometimes induced in fixing is entirely
changed to a good purple-black, when the prints are washed,
and finally dried.

Before using ammonia, I had often to experience the
peculiar sulphur odour of the hypo solution when the prints
were immersed in it. Since adopting ammonia it has never
occurred to me. I never use the same solution twice. It
may be fancy, but I think I see a more delicate bloom in
the prints fixed by Mr. Spiller’s method. It is too early
yet to speak of the effects of it as a preservative of the
print. I enclose one or two samples of prints fixed as I have
described. — And I have the honour to be, sir, your obedient
servant, J. Stotiiert.

Bruges, Rue Flamande 9, January 25th, 1868.

[The prints enclosed by our comspondent are extremely
clean, bright, and pure in colour. — Ed.]

BERSISTENCY OF PHOTOGRArillC IMAGES
ON GLASS.

Sir, — I have just experienced a singular proof of the
tenacity with which a photographic image — or, rather, its
ghost — may, as it were, haunt a glass plate, even under cir-
cumstances, to all seeming, quite incompatible with a visita-
tion from such an apparition.

Six weeks ago I took two whole-plate copies from an
engraving, intensifying one negative with the ferrideyanide
of uranium and gold intensifier, and the other with bichloride
and gold, as recommended hy Mr. Winter. Intending only
to keep one of these negatives, I coated both with dilute
gum in lieu of varnishing, and, after printing an impression
from each, condemned that treated with bichloride of mer-
cury as in all respects inferior to its double.

After removing the film from the discarded negative with
hot water, I cleaned the plate as usual with tripoli in
methylated spirit, and consigned it to the box. Last week
I took a copy of another picture on that identical jiiccc of
glass. It was, to all appearance, as chemically clean and fit

for use as could possibly be desired. In consequence of
being compelled to use a small stop, and the rapid deteriora-
tion of light arising from the lateness of the hour, I
found great difficulty in development. When at last a
picture slowly began to appear, you may fancy my surprise,
sir, at observing that it included the most salient features
of the old subject, as well as of the new. Thus the
figures of some boys sliding in the background, and a basket
of fruit in the foreground of the first, as well as the heads of
a mother and infant, which formed the most striking
feature of the second image, were most curiously and gro-
tesquely intermingled, the handle of the aforesaid basket
resting exactly on the centre of the child's forehead. I
ought to mention that the first picture occupied the plate
longitudinally, and the last breadthways. I should be glad
to learn whether you, sir, or any of your readers, have expe-
rienced a similar effect under corresponding circumstances.
— Your obedient servant, 11. J. C. Andrews.

Central Hill, Lower Norwood, January 28th, 1868.

[Wo have occasionally met with similar results. — Ed.]

in the StuMcr.

The Late M. Claudet. — Wo are requested by Mr. Henry
Claudet to state that a rumour to the effect that his late father
was about to retire from tho Photographic Society is incorrect,
and manifestly based on some misconception. Up to the last
he manifested a lively interest in the Society, and never to
any of his friends or to his son, who was constantly in his com-
pany, intimated the slightest intention to withdraw from tho
Society, but, on tho contrary, made repeated allusions to matters
based on his intended continued connection with it. As tho
report that his father was about to retire from tho Society on
account of any personal dissatisfaction implies that a feeling
of pique dictated his action, Mr. Henry Claudet asks us to
deny a report which does injustice to his father’s memory. A
“ Member of tho Council,” writing on tho same subject, states
that he spent an hour or two in the Conduit Street Exhibition,
when he expressed tho greatest satisfaction that tho Society
had secured such a successful exhibition. It is not necessary
to insert our correspondent’s letter, as Mr. H. Claudot’s state-
ment will correct the misconception.

PiroTOGiiAPiis OF Historical Documents.— Tho Corporate
authorities of Exeter have resolved to reproduce a valuable
collection of old and interesting memoranda, deeds, charters,
and other documents now in their possession, and which liave
lately been brought into tho light. It is propiosod to photo-
graph, photo-lithograph, and otherwise copy those very
interesting records for tlio benefit of archaclogists, &c., &c.

An American Estimate of M. Salomon’s Portraits. — A
letter from Mr. Pollock, an American photographer, states that
examples of M. Salomon’s portraits have caused as much ex-
citement in photograiihic circles in tho United States as in this
country. Writing in our Philadelphia contemporary, ho also
says: — “We recently had the pleasure of a ‘sitting’ with M.
Adam-Salomon, deservedly acknowledged by unprejudiced
judges as the best portrait photographer in the world ; and after
carefully inspecting the arrangement of his studio, witnessing
the manipulation, examining negatives and prints, all under
circumstances most favourable for forming correct judgment,
wo are happy to add our testimony as to the simplicity of tho
means employed in producing wonderful results. So wonderful,
indeed, are these portraits, that a large amount of jealousy, in-
credulity, unbelief, and prejudice exists regarding the manner
of their production, giving currency to stories which have
gained a wide circulation, to the effect tliat both negatives and
prints are retouched irom one end to the other — built up, in fact,
with little foundation ; and it is stated, as an instance of tho
degree to which this retouching is carried, that a picture-dealer,
to whom a print had been sent to frame, accidentally allowed a
drop of water to fall upon it, in endeavouring to remove which
ho washed the picture almost entirely out. Excellent photo-
graphers hold tho same opinions, and suppose the prints care-
fully worked up, so great is tho degree of their excellence and
superiority to anything hitherto attained. In truth, liowever.

60

THE PHOTOGRAPHIC NEWS,

[Jancauy 31, 1868,

such is the perfection of the work, it has boon remarked that
one might as well gild refined gold, or paint the pure lily, in
expectation of improving thorn, as attempt to add aught to the
beauty or finish of these pictures by retouching.” It should be
remembered that Mr. Pollock hero speaks of his own portraits,
the negative of which, as well as the prints, he has in his
possession.

Antidote for External Poisoning by Cyanide of
Potassium. — This substance is extensively used in electro-
plating and other arts, where its external poisoning effects pro-
duce many painful and troublesome ulcers on the hands of the
workmen. The foreman of the gilding department of the
American Watch Works writes to the Boston Journal of
Chemistry that experience has taught him the most eflbctual
remedy that Ciin bo employed in such cases, which is the pro to -
sulphate of iron in fine powder, rubbed up with raw linseed
oil. — Scientific American.

Photoorapiiy and Paukesine. — Parkeseino, originally
described in the pages of the News, is now being introduced
in commerce as a substitute for ivory ; and, as photographing
on ivory can be readily done, and elegant results obtained, it
may possibly bo found advantageous to try its effects on the
now material, which will bo extensively used for many articles
of domestic and ornamental use in lieu of the scarce and costly
tusk of the elephant.

lo ©omsyauiicnts.

W. J. A. G. — Bliick i.s very di.-sinal and imcomfortablc-looking for
any portion of the interior of a studio. A dark warm grey, a
chocolate brown, .a port wine colour, a dark crim.son or maroon, or
an olivo groen, will all be sulficiently non-actinic in their i-clleetion.*,
and much more ple.isantto look at. 2. There is no patent for Mrs.
Cameron’s proce.ss. The black colour is e.osily obtained by deep
jirinting ancf toning. The reason they look unlike jihotographs is
two-fobl : first, they do not possess, but absolutely ignore, the
sharpness and detail which is the especial characteristic of photo-
graphy, ,and in which it excels other modes of delineation; and,
second, because there is really a barge amount of artistic feeling
di.splayed in the selection and maniigement of each subject. As a
rule, a free and artistic style of treatment, a lack of definition, and
prevalence of d(>ep shadow, characterize all her j)icturcs. 3. A
rising front does not give you the .same advantages as a swing
back. By means of a rising front you can regulate the amount of
foreground, sky, &c., to bo included in your picture ; by a swing-
back you can do this to .some extent also ; but its especial purpose
is, when it is necessary, to tilt the camera to secure the roof in an
interior, or a spire or tower in an exterior view of a building, to
enable you to keep the sensitive plate parallel with the sut)ject
depicted, and so jjrevent the ell'ect of converging perpendicular
linos. 1. For general work. No. 3; for architecture. No. 1 is best.
5. The (piality of the tone of a print depends very much upon the
quality of the negativ'c ; but it is chiefly from the amount of reduc-
tion which the negative permits in the shadows without over-print-
ing the lights. It is quite possible to get broara tones avith the
acetate bath, and a very short immersion is suflieient to secure it.
Our choice of a toning bath much depends on the kind of results
ave desire, some tones suiting one subject, some another. For a
rich, warm, purple brown nothing is better than the acetate bath ;
for black tones, the lime bath. W’c very frequently improvi.se a
bath if we require to use it at once, and have none ready, by adding
a little chalk to a conecntr.iled solution of chloride of gold, diluting
with hot water, and using when cool. (!. No. 1 undoubtedly.

A STKANtiEK. — There i.s no as.sociation or laundit society compo.scd
of operators in lanidon or elsewhere, that wc know of.

Argknt. — In producing a transparency by the process we described,
the negative is placed in the outer groove of the copying-box, as
indicated at C, on p. 73 of our Year-Book, the lens being in the
centre and the ground glass at the opposite end. If convenient,
it is better to work in the open air, or with the end of the copying-
box containing the negative placed out of a window, simply because
more light is secured.

II. Bf.utox. — The colour test of alkaloids is an exceedingly falla-
cious means of dcdccting poisons, and, if relied upon, will frequently
lead to error. For instance, iodic acid and starch form the colour
tost for morphia ; and Orfilla mentions a case in which the viscera
of a healthy calf gave, with the test, exactly the .same reaction in
colour as the viscera of one which had been poisoneti with morphia.
This led to the discovery that lithic acid or the lithatc of ammonia
(constituents of healthy urine) gave the same colour with morphia
as the recognized test, iodic acid. Another eminent French autho-
rity, writing on the subject, remarks that nothing is so deceitful as
a reliance on colour tests.

R. B. — A thick solution of india-rubber in benzole, from 20 to 30
grains to the ounce, is the best thing for mounting photographs in
an album, as then all risk of cockling is avoided. 2. You can pro-
cure iodized negative collodion of any photographic dealer.
3. Float on the salting solution about three minutes, and on the
silver solution three minutes. The question whether acetic acid
is to be added to the gallic acid depends for its answer on whether
it is present, and in what proportion, in the silver bath. Painting
a negative at the back to prevent “ blurring” is done, of course,
after the plate is prepared. A piece of red blotting-paper,
moistened and pressed to the back of the plate, answers well.

B. B. — The address of Messrs. Foster, Auctioneers of Works of
Art, is 54, Pall Mall. The addre.ss of Messrs. Christie and Co. is
King Street, St. James’ Square. Wo arc glad to hear of your
continued success with the modified collodio-albumen process.
Thanks for your kind remarks about the Year-Book.

A Provincial Photograi’iier. — Judging from the print you
forward, the negative is fogged, probably by diffused lif^t having
reached the plate. The lights may bo dense, but wo should say
that there is considerable deposit on the shadows ; hence the want
of depth in the shadows. IVc can only tell certainly on seeing the
negative.

Mrs. II. West. — The bleached or white bees’-wax is used for
waxing photographs ; parallinc is equally giaid, or better for the
purpose. 2. The effect of adding cyanide of potassium to a solution
of nitrate of silver is to cause a precipitate of cyanide of silver,
which, when filtered out, will not cause further injurj’. Neu-
tralize the nitric acid in your printing bath with ammonia, and
try again. 3. The price of Mr. Edge’s card pictures is Is. 6d.
each. A letter addi'csscd Preston will find him.

Young. — The light entering above A.B. in your di.agram, at an
angle of 45 degrees, would not reach the sitter; but you forget
that all the light docs not enter at an angle of 45 degi-ees, but a
great many angles besides, and therefore some of it will reach the
sitter. A very simple plan will enable you to ascertain how much
light reaches the head of the sitter. Place your.self in that posi-
tion, and cast your eyes around : from every point at which you
can see the sky direct light will reach the sitter. All glass through
which you cannot see the sky may with advantage be covered or
obscured. 2. .Vll light which docs not reach the sitter is mis-
chievous. 3. In a lofty room it is often advisable to have curtains
which can bo an'angcd near the head of the sitter for occasional
use. Blue calico is a gotxl material. 4. Portniit lenses nircdy
cover so evenly or illuminate so perfectly to the edges ns view
lenses; and in order to get all parts defined, very small stops
must be used : nothing is gaincnl in using them for ordinary land-
scape work, whilst something is lost. 5. About equal.

Alex. Avtdn. — Thanks for the excellent examidos of card jKir-
t rail lire. Wc shall have plca.sure in learning the result of your
conlomplaled modification. AVe are glad to learn that your visit
to M. Salomon was .so pleasant and so satisfactory.

Engineer. — It seems probable that what you call fog in the trans-
parencies produced by the mcthiKl in question is really increased
action of light, as it often happens that a thick film is more sensi-
tive than a thin one. In some cases a little dilution of the collo-
dion may be desirable. A good iodizer for the purpose will consist
of two grains each of iodide of ammonimu and i'xlide of cadmium,
and one grain of bromide of cadmium.

X. L. — AVe do not know in whose possession the original painting
of “ Belshazar’s Feast,” by Martin, now is. There is an cngravmg
of it published, but wc do not know of any photographic copies to
the engraving.

A Young Beginner. — So long ns you take care to have vour
yellow light in your dark room thoroughlv non-actinic, there is no
danger in having a sutlicieni amount of it to make working e-isy
amlpleas.ini. It is a bad thing to have tisi little, as you cannot
then properly see what you are doing. In such a room ns you
ilescribe, a window three feet by three feel will prolmbly .answer.
AV’e are glad to learn that you are well jiloascd with the paper.

CiiEMicus. — It appears to us that the lenses you have in your pos-
session ought to answer well for the purposes you mention. AVhnt
dilficulty have you in using them 'i No. 3 is a capital lens, but
not sulficiently long in focus for standing card pictures.

J. A. Reed. — AA’hen the term parts is used, the formula! may be
made up in grains, scruples, drachms, or ounces. Thus, if you
make up the formula you mention in scruples, you will have
1 scruple of jiyro and 1 scruple of citric acid in about 13 ounces of
water, or something like li grains of each to an ounce. A 3 per
cent, silver solution is a solution containing 3 gr.iins of silver in
100 minims of water, or a fraction under 15 grains to the ounce of
water. 2. It is the collodion containing nitrate of silver which
has turned red. It may not neccs-sarily bo spoiled : try it. In
any case, the collodion containing chloride is good still.

AV’o arc again compelled to leave over much interesting matter, owing
to the pressure on our space ; and many Correspondcuts also stand
over imtil our next.

CONTENTS.

NEWS.

PAGE

The Kllmlnalion of Silver from llie Wliitcs of Albuminized

Prints 61

The Practice of Silver Printing 62

Visit* to Noteworthy Studios 62

Critical Notices 64

Echoes of the Alonth. By an Old Photographer 64

The Action of Ozone upon the Latent Photographic Image 64

Hyposulphite of Ammonia and the Mixed Toning and Fixing
Bath. By NeUon K. Chcrrill 66

PACH

Vitrified India-ruliber Sheet 66

Pictorial Effect in Photography. By II. P. Robinson 67

The Magic Lantern and Photography. By James Martin 69

Albumen Opalotypes 69

Proceedings of Societies— Liverpool Amateur Photographic As.

sociation — Oldham Photographic Society 69

Correspondence— Double Printing : Combination Negatives 71

Tail! in the Studio 7i

To Correspondents 71

THE ELIMINATION OF SILVER FROM THE
WHITES OF ALBUMINIZED PRINTS.

Although it may bo impossible to secure the .absolute
stability of pictures formed of a metal like silver in .an
extremely minute state of subdivision, covered with an
attenu.ated 'layer of gold, every suggestion which tends to
increase the permanence of such prints must bo regarded .as
a boon to photographers generally.

Besides the sources of instability arising from carelessness
in the process of fixing and w.ashing, albuminized prints are,
even when produced with the utmost care and skill, subject to
two dangers: in the first place, the minute particles of silver
forming the im.age are acted upon by sulphur and its com-
pound.s, which are always more or less present in the atmo-
sphere. This is, however, a comparatively light matter,
inasmuch as the colour of sulphide of silver, being dark, m.ay
modify the colour of the dark parts of the picture, but can
scarcely obliterate or seriously aid in spoiling the picture.
But the chief defect ob.servable in a fading print is the loss
of purity in the whites, which assume a yellow degraded
tint, which robs the print of all beaut)'. If the print were
perfectly fixed, no trace of silver should be left in the white
paper, and it should not, consequently, be subject to any
change. The insoluble silver compound formed in the albu-
men, which hyposulphite of soda fails to remove, is the
cause of this most serious defect in the print, and hence the
vital importance of all experiments tending to its removal.

The recent experiments of Mr. Bpiller have shown that
the hyposulphite of ammonia is much more perfect in its
solvent action on this silver compound than the soda salt
hitherto used. Unfortunately, there are difficulties in the
way of introducing the ammonia salt into the market, of
which the chief is the fact that it is so highly deliquescent
that it would be difficult to keep in stock, to weigh out, and
to deal with generally. How far these defects might be
removed by modes of manufacture, should a general demand
arise for the salt, remains to be determined. Before a demand
can be created, the claims of the salt as a fixing agent must
receive more extended examin.ation, and its advantages
be proved by further experience.

Mr. Chcrrill’s article on another page describes an interest-
ing experiment, and offers a most important suggestion, by
the adoption of which the advant.ages of hyposulphite of
ammonia may be tested, with very little trouble and expense,
by photographers generally. Mr. Cherrill has, by adding
sulphate of ammonia to the bath of hyposulphite of soda,
converted, by a process of double decomposition, a portion
of the latter salt into hyposulphite of ammonia. The test
applied to the prints so treated furnished striking evidence
of the superior fixing powers of the ammonia salt. Tested
with sulphide of ammonium, the ■n’hltes ot the prints give
the slightest possible evidence of the presence of silver, a

very faint discolouration being perceptible, whilst the whites
of an ordinarily fixed print, treated with the same sulphide
solution, show a very definitely marked brown stain.
Another print, in rvhich a portion of the paper h.as been
carefully preserved from any .action of light by a perfectly
op.aque mask, shows in the whites no trace of silver what-
ever, after immersion for a quarter of an hour in a solution
of sulphide of ammonium, which had altogether changed
the colour of .all portions of the print containing silver,

Mr. Cherrill endeavours in his experiment to combine
two distinct adv.ant.agcs. Besides securing more perfect
^ fixation and the remov.al of silver from the whites, he aims
I to obtain the oft-coveted simplicity, certainty, and rich
j colour obtained in the old toning-bath of hypo and gold,
j with the immunity from mealiness, great reduction, &c.,
which attended it. Theoretically we see no reason why
such a toning and fixing bath, when properly prepared,
should fail to yield prints of permanency equal to tho.se
I produced by the method at present in use. For those who
arc disposed to repeat Mr. Cherrill’s experiments we have
one or two suggestions to make.

In the formula employed by i\Ir. Cherrill, two drachms of
sulphate of ammonia are added to the solution containing
three ounces of hyposulphite of soda, by which nearly one-
fourth of the latter salt will be convcrtecl into hyposulphite
of ammonia. We would counsel going a little further, and,
instead of two drachms of sulphate of ammonia, use an
ounce of this salt, which will convert nearly the whole of
the three ounces of the soda salt into the hyposulphite of
ammonia, and the full benefit ol its solvent powers may
thus be secured. The sulph.ateof soda which is also formed
by the double decomposition will, of course, remain in the
solution inert, and need not be regarded.

In adding gold to the fixing bath, it should be re-
membered that as all crystallized samples of the chloride
contain a little free acid, a slight decomposition will ensue,
in Avhich sulphur rvill be liberated. To avoid this, wo re-
commend that before adding the chloride of gold to the
hypo, it should bo dissolved in water, and five grains of
carbonate of soda added to each grain of chloride of gold.
Any slight excess of the soda salt, when introduced into the
fixing bath, will cause the formation of a little carbonate of
soda, the presence of which will be beneficial rather than
injurious. A toning and fixing bath so formed will consist
of a strong solution of hyposulphite of ammonia, hyposul-
phite of gold, a little hyposulphite of soda, and a little
carbonate of ammouia. There is no reason rvhy, in such a
bath, perfect toning and fixation might not proceed at the
same time. But there is this important caution to be
observed : such a bath may continue its toning property long
after its fixing powers are exhausted. If, therefore, it be
used for some time, the print should be immersed in a second
fresh b.ath of hyposulphite of ammonia, and soda, made as

62

THE PHOTOGRAPHIC NEWS.

[February 7, 1868.

described, but without the addition of gold. Further, it
should be remembered that the immersion of the unwashed
print most undoubtedly produces some degree of sulphur
toning, for many years the bcte noir of photographers. W e
know that some sulphur-toned prints have remained for
many years without signs of change; hut, until the condi-
tions of permanent sulphur toning are fixed, we commend
our readers to take the ordinary simple precautions whereby
it may be avoided. This may be done, as we have shown,
without giving up the combined toning and fixing hath.
The subject is one worthy of the attention of experiment-
alists.

THE PRACTICE OF SILVER PRINTING.

There are few photographic processes which have been
brought to greater perfection in practice, so far as regards
the production of immediate results — we put the question of
final stability "aside for the present — than silver printing on
albuminized paper. Yet, from the correspondence which
reaches us from time to time, we are satisfied that, notwith-
standing all that has been written on the subject, much mis-
conception— or, perhaps, rather, total lack of any idea — pre-
vails as to the rationale of the process, and consequently at
times much uncertainty in producing results. The produc-
tion of good plain paper prints is still less understood, and
consequently, notwithstanding the beauty of plain paper for
large portraits, it has fallen of late entirely into disuse. In
short, there are many points on the subject of silver printing,
toning, and fixing upon which valuable systematic instruc-
tion may with advantage be imparted.

“ It is always pleasant,” Montaigne remarks, “ to read
things that are written by those who have experienced how
they ought to be carried on.” Cordially endorsing this
dictum, we have arranged with one of our esteemed contri-
butors who has devoted many years almost exclusively to
silver printing, and who at difi’erent times has written much
on the subject in desultory articles at different times, now to
give a concise and systematic series of articles on the subject.
Mr. Bovey, known to our readers as “ The Photographers’
Assistant," will accordingly commence a brief cerics of
articles in which he w'ill restate the whole process of silver
printing, with its rationale, in which he will place before
our readers a method which he findsunfailing in simplicity,
certainty, economy, and excellence of results. On the latter
point we can speak in high terms, and with much confidence.
Those of our readers especially interested in the series will
do wisely to ask questions, or state difficulties, as the course
proceeds, so that all points requiring elucidating may receive
the fullest attention. The series will commence in our next.

VISITS TO NOTEWORTHY STUDIOS.

M. Adam-S-vlomon’s Studio — Third Visit.

In making a third visit to M, Salomon’s studio, we shall
bring before our readers a few details gleaned in conversa-
tion with him. We find him very accessible, and courteously
communicative without reserve or any pretence of mystery.
He is a gentleman apparently about fifty years of age ;
frank, earnest, and impulsive in manner ; keenly sensitive
and impressible; apt and free in conversation, with a great
fund of humour and ready repartee. He appears to make
no secret whatever of any part of his operations, nor does he
seem to think it necessary to do so. Conscious, apparently,
of capacity and culture as an artist, he treats each portrait
as a work of art, and aims, as a matter of course, to secure
in each the best pictorial effect compatible with the faithful
rendering of character. Ho is manifestly an enthusiastic
admirer of photography, appreciating with keen delight
any peculiar beauty it renders perfectly ; and whilst
putting forth no especial claims for his portraits, neither
declaring them touched nor untouched, it manifestly amuses
him that anyone should accredit to retouching the peculiar

beauties of his pictures, or assume that the pencil of the
artist could surpass the pencil of nature ; and he does not
hesitate to challenge the closest scrutiny and comparison of
negatives and prints in various stages.

“But what is M. Salomon’s practice as to touching?”
we have been asked by one who has read our oft-repeated
statements that some of his prints are untouched, some
slightly touched, and some considerably touched. We can
simply answer, as we have done before, that each picture is
treated in accordance with its requirements, and the more
perfect the photograph, the less retouching it requires or
receives. But few photographs, especially of large size, are
pictorially fit for issue without undergoing a process which
the late Mr. Claudet used happily to phrase as “ correction.”
Tills involved no working up in the ordinary sense of the
term ; it involved, however, not only the stopping out of
pinholes, &c., but the strengthening of the iris of a blue
eye which was almost burnt out by the light ; the taking
down of staring lights on a polished boot or similar surfaces,
and the removal of any glaring defects which were in viola-
tion of natural or artistic truth. This “ correction ” is, we
appiehend, applied as a simple duty and artistic matter-of-
course to the majority of the portraits. Take an example
of considerable touching in this way. The portrait of the
young lady whose sitting we described in our last, although
an excellent photograph as well as a charming picture,
nevertheless required “correction.” The white lace, to
which we before referred as giving a “ spottiness ” destruc-
tive of pictorial effect, we found, in the finished print,
was toned down with the pencil, and the obtrusive spotty
lights it caused are sobered into harmony. A blue ribbon
which tied the hair, and by its position caught the strongest
light, and so became in the negative a mere white patch, is
in the print touched to a quite delicate tint, which does not
disturb the repose of the picture. The eyebrow, which in
nature was very light in colour, and not very strongly
marked, is scarcely indicated in the photograph ; this,
therefore, is strengthened. The gradations in the flesh arc
slightly blended by very delicate touches. No part of the
picture is covered over and hid as in “ worked-up ” pictures ;
but various parts arc ameliorated by the treatment which
the picture has undergone, and without which it would have
been imperfect as a work of art. And whilst nothing is
added by this treatment to the admirable pose, the fine com-

osition, the richness and solidity, yet it is, on the one

and, freed from offensive staring lights which marred the
general effect, and, on the other, it has received some details
belonging to the model, although omitted by photography,
which add to natural and pictorial truth.

Conscious as we are that it is to artistic skill rather than
to the materials used, we feel very diffident in asking ques-
tions as to processes and apparatus, but all we ask are
frankly answered. The collodion used is simply bromo-
iodized collodion, made by M. Salomon himself, as almost
every photographer in Paris makes his own collodion.
There is nothing peculiar in the silver bath, we arc told : it
is an ordinary nitrate bath, slightly acid. An iron solution
is, as we have said, used both for development and intensi-
fying, and a cyanide of potassium for fixing. The advan-
tages of retouching the negative are not made available ; but
in many instances, where the face is very soft, a little pink
colouring matter is placed at the back of the plate so as to
slightly retard the printing in that part, and give a little
more vigour to the lights.

A filteen per cent, printing-bath — that is, a little over a
70-grain silvei solution — is used. The albuminized paper is
generally a commercial sample, although it is sometimes
prepared in the establishment. The ordinary acetate toning-
bath is used. Beyond the cartful use of these things, there
is no other aid to the perfect printing which has struck
many observers. We examined prints in the washing-
trough, which strike us, us much as the finished prints, with
extreme purity of the whites, and suggest to us the extreme
care which is evidently taken to keep the paper from thu

Fbbruary 7, 1868.]

THE PHOTOGRAPHIC NEWS.

63

light, a thing sadly neglected in ordinarj printing. The
washing-trough is arranged so that each print shall hang
vertically in the water, so as to secure practically a con-
tinued drawing process during washing. The prints, after
mounting, rolling, and “ correcting,” when necessary, are
treated with wax, and then at once placed under glass.
Each portrait is treated as a work of art which it is worth
preserving.

In a conversation on the lens used, we learn that the old
Hermagis was a careful selection from six of the same make,
tried at the time. First, the whole were tried on one object,
and the two giving the best result selected. These were
then tried together and the best selected, for testing again
with each other ; and, to adopt the simile of M. Salomon, all
the lenses, like horses on a race-course, having started fair,
one after another dropped out of the running, until one
alone was found much superior to all the rest, and this one
was retained. The lens is, undoubtedly, capitally suited to
the class of work done ; but JI. Salomon craves for some-
thing better, especially for more depth of focus, and inti-
mated that he had recently tried one of the lenses celebrated
for that quality, of an English maker. He found it in a
single trial decidedly more rapid than the French lens, and
anticipated good results when he had time to test it more
fully.

Before leaving M. Salomon’s studio, we may briclly refer
again to the pictures produced there, and to the singular
excitement they have caused amongst all interested in photo-
graphy. As we have before stated, !M. Salomon coniines
himself to working on one size of plate, which is '21 centi-
metres by 21 centimetres, or 10| inches by SJ inches. The
proportion of the sitter included on this plate is, as a rule,
about three-quarters of the figure, or a trifle more : in one or
two instances only we have seen full-lengths, and in no case
a large head and bust, nor, in any case, vignettes. The
size of the head, in different examples, varies from an inch
and a quarter in length to two inches. The prevalent cha-
racteristic of the pictures is massive grandeur, at least seven-
eighths of the picture, as a rule, consisting of shadow or
dark mezzotint, in which, however, there is no blackness,
but a rich depth and transparency rarely seen in photo-
graphs. The amount of pure white in each picture is
exceedingly small ; and we do not find it occurring in any
instance covering a space larger than a peppercorn, without
gradation. Even in white linen, such as the cuff' or collar of
a shirt, we find detail and gradation, whilst in no instance
do we find a fault, too common in many photographs, that
the broad lights of flesh, such as a forehead or back of the
hand, is represented by bald patches of white paper, undis-
tinguishablc from the tint of the linen, ilany of the old
painters were in the habit of introducing a little white in a
painted portrait as a test of the purity and truth of their
colour in flesh. M. Salomon is evidently fond of the same
practice as a test of the truth of the texture and tint of his
flesh in monochrome, and we almost invariably find a little
touch of pure white in a linen or lace cuff’ next the hand, or
in a collar next the face, giving great value to the tender
gradations and modelling of the flesh. The breadth of
shadow which prevails in his pictures is obtained by various
means when it does not happen to exist in the costume of
his sitter. Lace and velvet draperies of various kinds are
at hand, and frequently used as adjuncts to the ordinary
apparel of the sitters ; curtains, table-cloth, column, a dark
background — almost invariably placed so as to yield in itself
light and shade, and hence the effect of relief, space, and
atmosphere — are all made subservient to the characteristic
pictorial effect. Although so little white is found in the
pictures, they are generally distinguished by great luminous-
ness and brilliancy, every shadow being rendered transparent
by low lights in proper subordination. This is assisted by
the rich warmth of tone which, with singular uniformity,
prevails in the pictures, no cold or slaty effect being seen in
any of the examples. Great variety of effect in the pose
and arrangement prevails ; but in all cases there is definite

intention manifest, and certain carefully considered plans of
composition, and in all cases a perfect balance, both of lines
and masses, is preserved. A standing position is evidently
in favour with JI. Salomon, and a profile, or five-eighths
view of the face, is often made very etl’cctive in his hands.

A careful analysis of many of his pictures would bo very
instructive : we mean a pictorial analysis or examination of
the plan of composition, not an analysis of the physical
materials of which the picture is formed ; as it is undoubtedly
to the art excellence which the pictures owe their superiority.
Of the fact of this superiority no doubt can exist. It is pro-
claimed by the large demand for them at high prices. Some
time ago it was stated that M. Salomon had produced over
fifteen thousand negatives ; and as each negative represents
four pounds sterling, and every duplicate print one pound,
it is manifest that a large public appreciation of the superi-
ority of the prints must Iiave prevailed. It is not less pro-
claimed by the eager interest with which varied theories
have been put forward to account for the superiority, and by
the envy and jealousy which it has excited. “ Dodges ” of
various kinds have been the common explanation ; secret
modes of manipulation ; the use of a peculiarly coloured
collodion ; working on the negative ; a secret printing pro-
cess : masking and sunning down ; and, above all, elaborate
retouching, or working upon each print, and producing a
monochrome painting instead of a photograpli. The eager-
ness with which many have endeavoured to prove that photo-
graphy was incapable of producing the results has been
little creditable to their faith in their own art; and the
bitterness with which others have endeavoured to show that
whatever photography could do, these, at least, did not owe
their superiority to photographic excellence, would have been
amusing if it had not had something more of sadness in its
suggestion. These arc they whose

“ Low desire

Not to feel lowest makes them level all :

Yea, they would pare the mountain to the plain,

To make an equal baseness/’

And they who.

“If they find

Some stain or blemi>h in a name of note,

« * * « *

Inflate themselves with some insane delight."

It seems to be overlooked by many that all the secrets and
dodges in the world would not account for the artistic
qualities in which the superiority lies ; that retouching
would not account for the greater part of the characteristic
excellence of these pictures, which consists chiefly in the
pictorial composition, and, so far as it is of a technical kind,
is found rather in the rich masses of transparent shadow of
which the bulk of each picture consists, than in any other
especially photographic peculiarity.

We have insisted, from time to lime, upon the fact that
it is to art qualities chiefly the superiority is due, because
•we believe it is true, and because we are very anxious to
impress the importance of art culture upon photographers.
We have insisted that this excellence was not due to dodges
or secrets, because wo were anxious that our readers should
not be, to use a colloquialism, placed on a false scent, and
so inevitably miss the chance of improvement. We have
insisted, not that the pictures were in all cases untouched,
but that it was not to retouching that they owed their
peculiar effectiveness, because such an impression was mis-
chievous and misleading.

It may be desirab'' , in conclusion, to correct another error
which has been made in one or two quarters, namely, that
likeness to the original is sacrificed to pictorial effect. In
this matter we can only speak of the cases we know. Of
half-a-dozen portraits of members of our own family and
personal friends we possess, in each instance they are charac-
teristic and pleasing ; as perfect .as likenesses as they are
effective as pictures ; eliciting, by common consent of all
who see them, the acknowledgment that they arc the most
satisfactory likenesses which the origin.als have had taken.

We take leave of M. Salomon’s studio, satisfied that tho

(J4

THE PHOTOGRAPHIC NEWS.

[February 7, 1808.

pictures he has produced and exhibited cannot fail, not-
withstanding the discussions and jealousies they liave ex-
cited, to give an impulse to artistic portraiture, by showing
that a much higher standard is possible than that usually
attained. For our own part we have been at once gratified
and instructed by our examination of his pictures, and by
the repeated visits to his studio ; and we have here pleasure
in expressing our obligations to M. Salomon for the ready
liberality with which he has placed every facility in our
way for affording the fullest information to our readers, and
for the kindly courtesy and pleasant welcome extended to
ourselves personally on every occasion wo have had the
pleasure of seeing him.

■#

Ol^ritirnl Boticf.s’.

THE PIIOTOGRAl’lIER; A Manuscript Magasine.

The last number of this revived' amateur magazine, to which
we referred some rveeks ago, contains some examples of the
comic lyrics occasionally sung at photographlo festivals.
The story of “ Mr. '\Villiam Baker, a Cartc-de-'V'isite
Taker,” is told, for which we may, on another occasion, find
space. We now quote a song which was prepared for the
last South London Dinner, and sung amid much applause
and laughter. As our readers will see, it relates a photo-
graphic episode in the life of a popular convivial monarch.

King Cole TensED Photoguapheu.

I.

Old King Cole was a merry old soul,

And a merry old soul was lie ;

But he gave up his pipe, and he gave up his glass.

To take up with pliotographie.

For one summer’s night lie had a great fright.

And a very queer dream had he,

Tliat one Jahez Hughes stuffed the PnoTOGiiArnic News
Into his cerebral cavitie.

And he went raving mad, crying, “ Oh ! that I liad
A taste for pliotographie.”

II.

Old King Cole was a merry old soul.

And a merry old soul was he ;

“ Oh, bother my pipe !J” said he, “ bother my glass !

And bring mo my cameras three.”

Each camera had a fine lens.

As fine as a lens could be ;

’Twas made by a man who was named 'Voiglitlan-
Der and Companie,

With a spherico-concave-convex curve.

And an aperture six foot .three.

III.

’Twas worked by steam, though strange it may seem.

And lighted by electricilie.

And sixpence a day kept the bath in full jilay.

While collodion was generated free.

It dipped its own plate, and posed those who sate.

All by rackwork maehinerie ; »

And it washed and developed, and in passe i>ar tout enveloped,

A marvel of pliotographie.

IV.

Old King Cole was a merry old soul.

And a merry old soul was he ;

“ I want a carte-visite (my camera, where is it P)

Of my first Lord-in- Waiting,” said he.

Ho put him on a chair, and he fixed him there.

As tight as if screwed by the knee ;

But the focus was so strong, it dragged him along.

And suspended in mid air was he.

“ Oh, there’s none aiiywliere,” says he, “ can compare
With the wonders of ])hotographio.”

V.

He next tried its power on a passing rain shower ;

But so sharp was its efficacie.

That the big drops of wet through the thick lens would get,

And a small bit of thunder strained free.

A baby, one day, whom ho tried to portray.

As plump as a baby could be.

Was found squeezed flat, and ns black ns your hat.

On the ground glass, d’ye see.

“ Oh, there’s none anywhere.” says he, “ can compare
With the wonders of pliotographie.”

VI.

Tf a bindscape scene he fried to get in.

With the flocks roaming over the lea.

You could hear the sheep bleat when you looked on the plate.
And the cows lowed as plain as could be.

And, once, when his art he tried on a cart.

With a horse rather frisky to see.

He was done witli such tact, that the horse kick’d in fact.

And from negative nearly got free.

“ Oil, there’s none anywhere,” s.iys he, “can compare
Witli the marvels of pliotographie.”

VII.

If a man and his wife, by chance had a strife.

And the instrument near them placed he.

You could hear naughty words ’twixt the lens and the boards.
And their thumps ’gainst the side most plainlie.

But the worst that befel was most wondrous to tell.

When a battle he tried to display.

For the gunpowder smoke his best Voightlandcr broke.

And blew the whole camera away.

“ Oh, there’s none anywhere,” says he, “ can compare
With explosions in pliotographie.”

VIII.

So Old King Cole, that merry old soul
(For a merry old soul was he).

Said he : “ I’ve had quite enough of this troublesome stuff.
And I’ll now give up pliotographie;

I’ve blacked both my thumbs, and filled my albums.

And I’ve spent no end of nionie;

For the rest of my life I’ll give up toil and strife.

And stick to my fiddlers three ;

Though there’s none anywhere that I know can compare
With the marvels of iiliotographie.”

ECHOES OF THE MONTH.

BY AS OLD PnOTOGRAPUER.

The late Mr. Thurstos Thompson— Appoint.mext of
Photographer at South Kensington — Fire proof
Rooms for Negatives, etc. — The Old Toning and Fixing
Bath— Collodio-Chloride Process — Mr. McLaciilan’s
Discovery— Distilled and Com.mon Water— Sel Cle-
ment—Salomon’s Portraits— Societies.

Yet another of the foremost rank in photography has been
numbered with the men that are gone. Jlr. Thurston
Thompson was little known, personally, to the public, being
a modest and most unobtrusive gentleman ; but he was
one of the men of the highest culture in connection with
our art, and of exceedingly fine t.aste ; and few men could
have been so thoroughly well qualified for the duties of
Photographer to the Science and Art Department ns he.
His work in reproducing the valu.ablo contents of the
Museum at South Kensington must have been well
nigh done, as upwards of ten thousand negatives, I under-
stand, have already been secured in that department. As
was not unnatural, there were several candidates anxious to
fill the position made vacant by the death of Mr. Thomp-
son, and I understand that another gentleman bearing the
same name, but no relation, has received the appointment.
Ifr, Stephen Thompson, a photographer of much taste and
skill, will henceforth undertake the foreign photographic
work for the department j the work at home will be done,
as it has been for some time past, by Messrs. Cundall and
Fleming.

A disastrous fire in a photograpblc establishment is
fortunately not of very common occurrence. That which
recently took place in Mr. Claudet’s studio, in Regent
Street, however, suggests some startling reflections as to the
importance of fire-proof rooms in photographic establish-
ments. Upwards of twenty thousand negatives are stated
to have been destroyed, much of the damage being caused,
I am told, by water. This is a serious matter; for, in a
certain sense, the negative may be said to be held in trust
by the photographer for the benefit of the public. The
sitting having been accomplished and the price paid, the
public believe that henceforth they can go and have prints
when they require. The ownership of the negatives is a
point which has not yet been authoritatively determined.

February 7, 1868.]

THE PIIOTOGRAPIIIC NEWS.

05

Some affirm that the price paid at first covering the cost of
the production of the negative, it is legitimately the
property of the sitter, as a card plate belongs to the customer
after he has paid the price for engraving it. But, be this
as it may, it is left in the hands of the photographer under
an impression that he can at any time command prints
from it without paying the first cost of production again.
Thus a qu.asi obligation is laid on the photographer, for the
sake of the public, as well as himself, to preserv'o the nega-
tives with extreme care. How far fire-proof rooms would
preserve negatives amid the great heat of a burning build-
ing remains a question to be determined. There is another
class of property to be considered under such circumstances.
Whilst I was looking at the scene of Mr. Claudet’s fire, I
noticed a lady and gentleman enquiring after a family

{)ortrait, in the shape of an oil painting, which had been
eft to copy ; and it, with many more such, had perished in
the flames, an irreparable loss. Tliese are the common risks
of life, it maybe said; all valuable things are liable to
destruction. True; but just in proportion to the possibility
of loss, and to its irreparable character, becomes the import-
ance of safe-guards ; and it appears to mo that, from the
importance of preserving these things, it may be worth a
thought, in building large and important photographic
establishments, as to whether a fire-proof room ought not bo
secured for the sate keeping of negatives and other
important matters.

The question, “ Do you think that we shall return to the
old toning and fixing bath ?” has been asked in my presence
repeatedly lately. Almost all photographers speak with a
certain degree of regretful affection of the old method.
When it was abandoned it was in the firm hope of obtaining
greater permanency ; but photographer's now-a-days are
often tempted to ask. Has the greater permanency been
secured? The question was boldly stated by Professor Towler
in your columns recently, and it is one, I think, which will
well repay discussion. For my own part I can simply say,
at present, that I have prints in my possession toned and
fixed considerably upwards of a dozen years ago, which are
still free from signs of fading.

A print I have seen, by Ohernetter’s modification of your
collodio-chloride process, is exceedingly fine, and one cannot
but wonder that a process so capable of fine results is not
more practised in this country, where it was first introduced.
English photographers are singularly conservative. Albu-
minized paper is the recognized material for prints, and
modified silver processes and carbon processes alike fail to
dislodge it.

Mr. McLachlan’s announcement is a startling one. Ab-
solute certainty of the chemical conditions which will secure
the highest success, absolute certainty of maintaining these
conditions : what more in this direction can we possibly
require? I must confess that it is a little hard on photo-
graphers to place each in the position of Tantalus for six
months, with the cup just within, but still beyond, reach of
his thirsty lips. Some I have heard disposed to regard tlie
announcement as a practical joke, and others treat it as gas-
conade ; but, after all, if Mr. McLachlan have discovered
the actual nature of the change effected on the sensitive film
by light, there can be little doubt that such a knowledge will
very materially simplify the conditions of success. Mr.
McLachlan states that he has discovered the change to be
a chemical one : this determined, the causes which retard or
facilitate or otherwise affect the chemical action may be
easy to state. Altogether, I am disposed to hope that
Mr. McLachlan’s aunouncement bodes good to photo-
gra^jhers.

Ihe question raised by Mr. Cherrill as to the use of com-
mon water in place of distilled water is an interesting one ;
but it must be owned that his proposition is somewhat auda-
cious. So much stress has always been laid on the use of
distilled water in photography, that a proposition to throw
it aside altogether seems to strike at the very basis of our
photographic faith. There is a daring independence in the

notion which is very attractive, and ns Mr. Cherrill is known
to be an excellent photographer, it may be taken for granted
that the idea has been both well considered and tried
before it was committed to the public. For printing-baths,
toning-baths, developing-solutions, &c., I have long used
river water myself ; but 1 must confess that I should hesi-
tate at present to u.se it for my negative-bath, or for the first
washing of dry plates. I am open to conviction, however,
and I presume that we have not yet heard the dernier mot on
the subject. The difficulty which strikes me most is the
great variety in quality of what is termed “ common water,”
which may mean almost anything, and contain almost any
impurity without exciting suspicion, so long as the clear-
ness and brightness of the water is not destroyed.

Has any of your readers tried the “ Sel Clement, or
Preservative Nitrate of Silver”? Something like eight
years ago, I remember, a “ photograj)hic ink,” to supersede
nitrate of silver, was introduced in Paris, which turned out
to be, on examination, nitrate of silver and nitrate of potash.
The new salt is, I am informed, nitrate of silver and nitrate
of magnesia. The compound will, 1 believe, be useful in
printing ; but whether economical or not is another ques-
tion, which can only be fairly determined by trial.

The controversy on the subject of M. Salomon’s prints
still keeps cropping up afresh. Many photographers are
quite satisfied as to the means of obtaining them ; but they
all abstain, with singular self-denial, from putting the
means into practice, and producing similar pictures. An
“ analysis ” of these pictures, published in a contemporary,
and signed “ Scrutator,” was very amusing. If the state-
ments made were true — namely, that on sponging a print,
and removing the retouching, a poor, hard, black-and-white
picture only was left — it is obvious that they required the
guarantee of a responsible name, instead of a mere nominis
umbra, and that, if the writer did not care to divulge his
name, he should have sent the proofs of his statement, so as
to secure the endorsement of the Editor. As the matter
stands, the statement appears to me without any value
whatever. An opinion or an argument may be as valuable
when put forth anonymously as when guaranteed by a
name ; but a statement of alleged facts, especially if those
facts impeach the good faith of another, is worse than
worthless when put forth anonymously. If the statement
be true it is of little weight, as no one will be so foolish as
to draw general conclusions from such narrow and insuf-
ficient premises as the examination of a single picture,
which, by the way, it is insinuated, was one of the prints
(the lady with riding whip) exhibited by the Editor of this
Journal at the late exhibition in Conduit Street, and he
ought to be able to throw some light on the story.* There
is one important idea in connection with this subject which
should be borne in mind : as much of artistic culture con-
sists in ac<iuiring the power of seeing, it is manifest that
the incapacity of producing such pictures as those in ques-
tion is much dependent on the incapacity to perceive the
real sources of their beauty ; and although executive skill is
necessary, as well as perceptive and conceptive power, to the
artistic faculty, yet once a photographer has made himself
master of the sources of superiority in these pictures, he will
have progressed considerably in the direction of producing
something like them.

At the Societies some interesting subjects have been
discussed. The North London meeting, following on New
Year’s Day, consisted only of the Chairman, the reader of
the paper, two reporter's, and one member to form the
audience. The discussion on the paper, which was by Mr.
Dunmore, on art subjects from a photographic point of
view, was therefore postponed. At the Parent Society,
Mr. Spiller read one of those valuable papers, full ot
valuable information on the chemistry of photography,
with which his name is generally associated. At the South

* Neither the lady with the riding whip nor any of the pictures we
exhibited in Conduit Street have been out of eur possession Since, nor have
they been subject of any such “analysis.”— En.

G6

THf] PIIOTOGRAPTIIC NEWS.

London Society, Mr. Johnson read a capital paper on clouds
in landscapes, and a very interesting discussion followed.
At the Provincial Societies nothing very noteworthy has
occurred.

THE ACTION OF OZONE UPON THE LATENT
PHOTOGRAPHIC IMAGE.

Dr. PniPSON, in his correspondence with our Paris contem-
porary, mentions that Dr. Emerson Reynolds has just com-
pleted a series of experiments calculated to throw some
additional light upon the nature of the latent photographic
image, and aid in bringing to a termination the discussion
which has been going on for several years in reference to
this subject. Dr. Reynolds conceived the idea of studying
the action of ozone upon the latent image — that is to say,
upon the image before development — and he has communi-
cated the results of his researches to the Dublin Chemical
and Philosophical Club, lie found that in submitting the
latent image to the action of ozone the picture disappeared
completely ; not only could no image be developed, but it
was possible to obtain a second image upon the same plate
on replacing the latter in the camera.

The author remarked (and it seems to us with much truth)
that this experiment utterly destroys the idea of a physical
action, and completely refutes the arguments of those who
retend that the first influence of the luminous rays is to
ring about a molecular change whence results the latent
image, which is afterwards developed by means of chemical
agency. According to Dr. Reynolds a chemical action is set
up from the commencement, and the latent image is there-
fore not due to a physical change, but is purely the result of
chemical decomposition.

This action of ozone upon sensitive plates, and its presence
in greater or less quantities in the atmosphere, suggested to
the author the idea that the many discussions which have
lately taken place with reference to the time that dry plates
will retain their sensitiveness may thus be explained ; in
fact, plates ought to exhibit a greater or less degree of sensi-
tiveness, according to the amount of ozone existing in the
atmosphere on the day of their exposure.

The ozone — or, rather, tie oxygenized air — employed in
these experiments, was obtained in two difterent manners,
both descriptions furnishing identical results. The one
kind was obtained by passing atmospheric air over phos-
phorus half covered with water, and the other by means of
the silent electric discharge — that is to say, by attaching one
of the platinum wires of the reservoir to the conductor of an
electric machine, the handle of which was slowly turned, the
other wire being put to earth.

VITRIFIED INDIA-RUBBER SHEET,

Applicable for the Transfer of Films, to Printing Transparent
Positives, and to the Produetion of Carbon Photographs.

We learn, from the statement of M. Ernest Lacan in the
Moniteur, that M. Marion is about to introduce into com-
merce a new material calculated to render important services
to the photographer. According to information borrowed
from a pamphlet entitled Notes Photographiques de 18C8,
which is shortly to be published, this new material appears
to hold an intermediate position between paper and glass,
having the suppleness of the former combined with the
transparency of the other, without possessing its fragility.
The purposes to which such a material may be put, as a
support for collodion, either as a basis upon which to pour
the sensitive solution, or for transferring the film from a
glass plate, are at once easily understood. It is very simple
and easy to manipulate, and in many ways susceptible of
advantageous employment in the studio, and more particu-
larly when travelling.

hi. Marion is sanguine that it will be possible to produce
a photographic image upon the film itself, and in this case

[FfiBnuARY 7, 1868.

nothing would be simpler than to supply it to operators in
a sensitized condition.

The method of applying the sheets of vitrified india-
rubber is as follows ; —

A varnish of a special character is poured over a glass
negative, varnished or not as the case may be, and the sheet
of rubber placed thereon ; when perfectly dry the plate is
plunged into water, and in a very short time the film will
abandon its previous support and adhere to the new one.
Pictures transferred in this manner may be kept in a box
or portfolio until required for printing, and will be found
to yield- the most excellent pictures, remarkable both for
clearness and harmony of tone.

The carbon process will certainly find in this material an
clement specially calculated to simplify and vulgarize the
method. In fact, the most simple mode of proceeding will
be to use the rubber film as the basis of the coloured pig-
ment composition, which is then exposed under a negative,
the prepared side outwards. After developing the image in
warm w.ater it is mounted on cardboard, face downwards,
so that the transparent film of rubber keeps the picture
perfectly even, and likewise serves as a protection to it ; or,
M. Marion believes it will even be possible, after the picture
has been mounted, to detach the india-rubber film, which
may afterwards be used over again for the same purpose.
In the mean time, however, he will confine himself to the
manufacture and supply of ordinary transparent india-
rubber sheets capable of employment in any way that the
operator may judge most fit ; and it is certain that in its
present condition the material will bo applicable to many
purposes in the different branches of the art.

HYPOSULPHITE OF AMMONIA AND THE MIXED
TONING AND FIXING BATH.

BV NELSON K. CHERRILL.

Perhaps there is no subject of more universal interest among
photographers than the improvements made from time to
time in the various methods of printing. All photographers
look for permanence in their work, and all hope to obtain
it in some way or another. Some have tried, in many
ingenious ways, to mend the old paths, and improve the
silver printing which has been so long in vogue ; while
others have made for themselves new paths, and have sought
for permanence in the known stability of carbon and its
application to photography.

It is, 1 think, allowed on all hands that, for many purposes,
silver printing is most important, and its improvement will
always be a matter of great interest and utility. I have, for
a long time past, been much in favour of carbon printing,
as I have always said, for “ one’s best work ; ” but to any
one who has experimented much in carbon it is manifest
that none but first-rate negatives must be used in carbon
printing ; and so, whilst it is often necessary to print from a
negative not quite up to the proper standard for carbon, and
whilst a cheaper form of printing than carbon is required,
and also as long as, for a certain cla.ss of subjects, the
peculiar richness and glaze of albumen paper is thought
desirable, there can be no doubt but that silver printing
will maintain a high position, even though some few men
may desert it in favour of the more permanent and artistic
carbon printing.

Whatever may be the feelings of the photographic public
on the comparative merits of carbon and silver printing, there
can now be no doubt as to the mind of the general public in
the matter. “ If,” say they, “ carbon is permanent, give us
carbon.” When photographers are in the position to say :
“ Our silver prints are as permanent as our carbon ones " —
if ever they be in that position — of course it remains to be
seen what the public will say respecting the comparative
merits of carbon and silver printing. Now they know, by
experience, that silver prints, as usually done, are anything
but permanent.

f Fkbruart 7, 1868.]

THE PHOTOGRAPHIC NEWS.

67

The two main causes of want of permanence arc pretty
well known: one is the imperfect action of the fixing bath,
and the other is the imperfect washing of the prints after
they are fixed. One of them is a chemical diiliculty, and
the other a mechanical one. It is of the chemical difficulty
that I am about to speak.

Mr. Spiller, a gentleman to whom all photographers are
indebted for his patient investigation of the subject of im-
perfect fixation, has told us of a plan by which, in his
opinion, this chemical impci'fection can be done away with.
This discovery, if it be substantiated by further experiment,
is one of very great importance, and one to which too much
attention cannot be paid, because, if wc can be rid of the
chemical element of decay in our silver prints, I look upon
the mechanical question of wa.shingout the hypo as a matter
of comparatively easy accomplishment. Mr. iSpillcr recom-
mends the use of hyposulphite of ammonia to supplement
the action of the hyposulphite of soda.

When I read !Mr. Spiller's paper (read before the London
Photographic Society), a thought struck me that possibly
the same thing might be done in some other way. 1 do not
know if I am right, but will explain. !Mr. Spiller says : Add
chloride of barium to hyposulphite of soda, and you will
have formed hyposulphite of baryta; add hyposulphite of
baryta to sulphate of ammonia, and you will have hyposul-
phite of ammonia. Now, it struck me, why not add hypo-
sulphite of soda to sulphate of ammonia, and why should
not these form, in some measure, the hyposulphite of am-
monia. I will give it in symbols. Thus

Uypo.'Ulphite Soda. Chloride B.arium.

Na 0, Sj 0., + Ba Cl

Hyposulphite Baryta. Chloride Sodium.

= Ba 0, S; Oj + Na Cl

And

Hyposulphite Baryta. Sulphate of Ammonia.
Ba 0, S„ Oj + NII^ 0, SO3

Hyposulphite Ammonia. Sulphate Baryta.

= NH^ 0, S.J 0. + Ba 0, SO3.

Now, it appeared to me that perhaps, if hyposulphite of
soda were added to sulphate of ammonia, much the same
thing might occur. Thus

Na 0, S., 0.3 + NH^ 0, SO3

might equal

NH^ 0, S3 Oj + Na 0, SO, ;

so that, by adding some sulphate of ammonia to the ordin-
ary hypo bath, a certain proportion of hyposulphite of
ammonia might be formed in the solution.

Some similar result, it struck me, might be obtained by
adding the carbonate of ammonia to the fixing bath (as
before recommended by Mr. Spiller), and then, perhaps, the
advantage gained by so doing might result from the forma-
tion of a proportion of hyposulphite of ammonia. Be this
as it may, I put my idea to the practical test, and send up
by book post, with this paper, the results I obtained.

As it seems to be stated on authority that no gain in per-
manence ought to be obtained in separating the toning and
fixing solutions, my experiments were directed to the addi-
tion of sulphate of ammonia to the bath, recommended by
Professor Towler in the News a week before Mr. Spiller’s
paper.

After a careful consideration of the matter, I resolved to
make the bath for toning and fixing as follows ; —

any tone could be obtained with great ease. The reduction
in tone was not so much as with the ordinary alkaline bath,
but rather more than with sulphocyanide toning. After fix-
ing, the prints were removed to a pan of water, and washed in
the usual way. One of the prints had come to the surface of
the fixing bath, and had consequently become spotted, owing
to the unequal action of the solution. This spottiness sub-
sequently served to show the comparative effect of the hydro-
sulphate of ammonia on those parts which had a shorter
time in the fixing bath than usual. To test these prints
as to their chance of permanency, I took a solution of
hydrosuli)hate of ammonia in water, and treated them
with it.

Of those I send in the separate parcel, the pantascopic
picture, with the brown stain in the middle, is one done
about three years ago in the ordinary manner. It shows, as
you see, no sign of fading or of yellowness in the sky ; or,
rather, it did not when I begun to experiment with it. A
few drops of the hydrosulphate solution, poured in the
ccntie, showed at once the brown stain now seen there. At
the same moment I poured on the sky of the other land-
scape enclosed — one done with the new bath — some of the
same solution of hydrosulphate : you will see what a very
slight effect it has had. The brown stain is not by any
means so apparent in the one by the new bath. To show
that the age of the former print had nothing to do with the
formation of the stain, I also tried a much more recent silver
print, also in very good condition, and with just the same
effect ; viz., the formation of a deep brown stain in the
whites where the hydrosulpbate solution touched it.

The very slight stain in the sky of the picture done in
the new bath seems to me much more due to the discoloura-
tion of the silver present in the delicate tint of the sky
than to any silver present in the whites ; and this position
is confirmed by the little portrait of a gentleman, in which
part of the paper was marked by the black paper in the
printing. In this case, though the hydrosulphate solution
(of the same strength as before) was in contact with the
print for nearly a quarter of an hour, yet it will bo
seen there is no yellowness or discolouration upon the white
part of the picture, which remains almost, if not quite, as
pure as it was before the application. The colour of the
silver forming the picture has, however, suffered from the
prolonged application of such a severe test.

I merely mention and exhibit these results that those who
take an interest in them may form their own opinion of their
merits, and may judge for themselves of their bearing on
the question at issue — the perfect fixing of silver prints.
The matter is one, as Mr. Spiller, and, indeed, as all experi-
menters justly observe, for “further investigation.”

I propose to continue my experiments, and, should they
issue in any further successful result, shall be happy to send
you a further communication on this subject. In the mean-
time, I shall look forward with much pleasure to seeing your
opinion of these experiments expressed in the News.

PICTORIAL EFFECT IN PHOTOGRAPHY ;
Beinq Lessons in

Composition and Chiaroscura for Photographers.

BY II. P. ROBINSON.

Chapter 2.

Water

Hyposulphite soda
Sulphate ammonia
Acetate soda
Chloride of gold...

. 8 ounces

. 3 „

. 2 drachms

. 1 drachm

. 5 grains.

mixed in the manner recommended by Professor Towler.
The prints were plunged in this solution straight from the
printing-frame, without any previous washing. They toned
beautifully, and it was manifest that, after a little practice,

“This laborious investigation, I am aware, must appear superfluous to
those who think everything is to be done by feiicity, and the power of
native genius." — Sir Joshua Reynolds.

“ Let me see, let me see, let me see !” — Shakespeare.

It is an old canon of art that every scene worth painting
must have something of the sublime, the beautiful, or the
picturesque. By its nature, photography can make no pre-
tensions to represent the first, but beauty can be represented
by its means, and picturesqueness has never had so perfect
an interpreter. The most obvious way of meeting with

(38

THE PHOTOGRAPHIC NEWS.

[February 7, 1868.

picturesque and beautiful subjects would be the possession of
a knowledge of what is picturesque and beautiful, aud this
can only be attained by a careful study of the causes which
produce these desirable qualities. lie who studies the
various effects and character of form, aud light, and shade
(to a photographer the addition of colour would only be
complication), and examines and compares those characters
and effects, and the manner in which they are combined and
arranged, both in pictures and nature, will be better quali-
fied to discover and enjoy scenery than he to whom this
study has never appeared necessary, or who looks at nature
alone without having ac(piired any just principles of selec-
tion. However much a ni.an might love beautiful scenery,
his love for it would be greatly enhanced if he looked at it
with the eye of an artist, aud knew why it was beautiful.
A new world is opened to him who has learnt to distinguish
and feel the effect of the gorgeous harmonics that nature
presents in all her varied aspects.

Take an illustration of how much more an acute observer
of nature must enjoy than the dull man who jogs on through
the world with his eyes open hut his mind blind. Can it he
doubted that Shakespeare more infinitely enjoyed the amuse-
ment he derived from his study of character than common
observers? Combinations of incidents and characters must
have struck him much more forcibly, and must have afforded
him keener enjoyment than they would tho.se who had not
the capacity of seeing and appreciating the humours of the
times in which they lived, llis works point out to us many
scenes that would escape us in real life. So also the trained
artist will discover and reveal beauties that others pass by
without notice, in our walks abroad and in our every-day
existence. How often docs it happen that a photographer
will take his camera and dozen dry plates to a district he has
been recommended to visit because it contains so many pic-
turesque objects and artistic bits, and has returned at night
unsatisfied and gloomy, with “ no game in his bag,” de-
claring the place dull and uninteresting, without a single
object worthy of his attention ; again, another photo-
grapher, who, like Beatrice, ‘‘can see a church by daylight,”
but little else, will walk through the land photographing
every object, so that it is an object, he meets with. But then
what he means hy an object is something very definite; it
must be a castle, or abbey, a stone cross, or mansion — some-
thing you can “ put a name to.” It is of no consequence to
this collector of negatives whether his subject Inas anything
in it capable of artistic treatment, whether a few yards to
the right or left would improve the effect, or whether a little
more sky or a little more foreground would increase or dimi-
nish the apparent size of the subject he is about to secure ;
his only anxiety is that the house or castle he is photo-
graphing shall come in the middle of his plate, ami that
nothing shall come in the way of his getting a good map of
its elevation. This is no fanciful picture I am sketching, hut
I have so many originals for it in my mind’s eye that it can
scarcely be called the portrait of an individual. Yet another
photographer will scarcely care where he goes ; ho h.as learnt
to select, and finds pictures everywhere. He does not do this
by instinct or any inborn faculty ; he has had to ac(piiro his
knowledge ; he has learnt to know wdiat he wants, and picks
it up the moment it is before him. It must not be inferred,
from what I have just said, that because art has to be learnt
I consider it possible for all to learn ali’Ke. It is not pos-
sible for one in a thousand to attain a perfect knowledge of
art ; but it is certain that all, especially those whose instincts
have turned them to a kindred study like piiotography, may
learn sufficient to save them from making any very serious
blunder's in their works. All men have to learn. “Art,”
as Sir Joshua Reynolds has said, “ is not a divine gift.”
The power of acquiring it perfectly undoubtedly is.

These observations may appear trite, but they are the
keynote of all I have to say in future chapters. I wish to
show that it is the photographer’s business to see; to do
which he must b- ru to see, that by seeing ho may appreciate,
and that tb pow^v < seeing may be, as it were, artificially

cultivated by the study of those rules and axioms which
have guided the greatest painters, sculptors, and architects,
in the production of their finest works.

But, before I proceed, I must warn my readers against a
too close study of art to the exclusion of nature and the
suppression of original thought. Whoever studies art alone
will have a narrow, jredaiitic manner of considering all
subjects, and of referring them to this or that style of com-
position, or this or that order of jricture. This class of
student looks at nature only through the medium of famous
painters’ pictures : a calm sunset is always a Claude ; any-
thing wild or confused is Turneresque (in his last period ; it
shows knowledge to speak of the “ periods ” of a master).
“ What a delicious Wilson or Ruysdael !” one will say as
he looks at a waterfall ; “ Quite a Landseer!” another will
exclaim at the sight of a sheep-dog or deerhound ; and so
on. Nature can only remind them of some class of picture.
This is a perversion of study, and tends to degrade nature
to the level of her imitators, instead of assisting to elevate
her students to the level of the humble distance from her
|)erfcctious to which it is possible to artists to attain. What
I want here to impress is, that art should be a guide only
to the study of nature, and not a set of fettei-s to confine the
ideas or to depress the faculty of original interpretation in
the artist, whether he be painter or photographer ; and a
knowledge of the technicalities of art will be found the best
guide.

'I'here is a tendency amongst young artists to despise
rules, and to trust to instinct and a feeling for art ; but it is
not only well to do right, even if that were possible, by
instinct alone, but it is also pleasant to know you are doing
right ; and, although it is not well to curb rising genius, a
knowledge of principles which, from their univei'sal adoption
for ages, must be sound, must be an addition to the powers
an artist, in whatever material, has to bring on his subject.
Sir Joshua Reynolds, in his sixth discourse, has some ex-
cellent remarks on this subject, which are much more forcible
than anything I could hope to say myself.

“ It must of necessity be, that even works of genius,
like every other effect, as they must have their cause,
must likewise have their rules ; it cannot be by chance
that excellencies are produced with any constancy or
any certainty, for this is not the nature of chance ; but
the rules by which men of extraordinary parts, and
such as are called men of genius, work, are either such
as they discover by their own peculiar observations, or of
such a nice texture as not easily to admit being expressed in
words, especially as artists are not very frequently skilful in
that mode of communicating ideas. L^nsubstantial, how-
ever, as these rules may seem, and difficult as it may be to
convey them in writing, they are still seen and felt in the
mind of the artist; and he works from them with as much
certainty as if they were embodied, as I may say, upon
paper. It -is true these refined principles cannot be always
made palpable, yet it does not follow but that the mind
may be put in such a train that it shall perceive, by a kind
of scientific sense, that propriety which words, particularly
words of unpractised writers such as wo arc, can but very
feebly suggest.”

Having now pleaded, where no pleading should be neces-
sary, that artistic knowledge is essential to the photogiapher,
I shall aim, in succeeding chapters, to become more specific-
ally practical, and endeavour to give my readers some ideas
of those forms of lines, and of masses of light and shadow,
that constitute composition in art. These forms, which
produce balance, unity, and harmony, may often seem in-
tangible, and the student may be tempted to ask —

If sliape it be calleJ, that shape had none

DiStingaishable in number, joint or Umb,

Or substance might be called that shadow seemed,

For each seemed either T*'

But to the instructed eye each intangible line, and light,
and shadow, plays its definite part iu forming a perfect
composition.

Fbbrdary 7, 1868.]

THE PHOTOGRAPIIIC NEWS.

09

THE MAGIC LANTERN AND rilOTOGRAPIIY.

UY JAMKS MARTIN.

No. 5.

When the pupil has succeedeil in obtaining a dear, firm,
ami true outline, the glass on which he has been working
may be removed from off the copy. Before leaving this
subject, it is as well to observe that, althoiigli the outline
in the foreground objects may be moderately coarse, it
ought to diminish in size as the planes of (lie picture
recede, until, in the extreme distance, it is very fine, indeed;
otherwise the aerial effect will be marred, and every object
seem as if edged with a black ribbon. This effect is much
increased by the great magnifying power of the lenses used
in the lantern. Some artists, instead of lampblack, make
their outlines of various tints approaching tho.se of the objects
to be painted, so that when they arc iiuished they are not
seen at all. Having all the colours to be used finely ground,
the glass easel erected to a proper angle, with a piece of
white paper underneath to reflect the light through the pic-
ture placed on, it will be reipiisite to form a sort of palette,
or series of colours, on cither a piece of glass about plate
size, having a piece of white paper underneath it while in
use, or a small earthenware palette, which can be bought of
any artists’ colourinan for a few pence. This will suit the
purpose better than anything eise, as the real strength of
the tints of colours can be easily seen on its white surface
when setting your palette. It is best to always place the
colours in the same rotation, beginning at the same place, so
that you may know readily where to find the colour when
wanted. It is usual to place the light and warm colours
near the thumb, the darker and colder colours round the rim ;
therefore the gallstone will be placed next the thumb, then
the madder carmine, and lastly the blues. Supposing some
pleasing subject is chosen as an example to begin with,
containing not too much complication of outline, but em-
bracing as many of the usual features of a landscape as may
generally be found in one picture ; for instance, the view
of the Castle of Chillon, a popular picture for the magic
lantern, to which that of the Prisoner of Chillou in the
Dungeon makes an exceedingly interesting contrast. The
scene opens with a line terrace or road (edged by a low
wall) winding up towards the castle ; in the foreground is a
picturesque group of peasants ; in the middle distance are
precipitous rocks, some crowned with fine trees, also green
mounts and slopes, gradually descending to a beautiful
sheet of water, on the edge of which stands the castle,
jutting boldly out and casting its long shadows on the
glassy surface, the monotony of which is broken by the
appearance of a small skiff gliding onward under its broad
white sail ; in the extreme distance rise the blue mountains,
which, with the summer sky and clouds, form a glorious
background to a highly interesting scene. The ingenious
pupil will readily perceive that the castle might be replaced
by a water mill, an ancient abbey, or clnilet ; the figures of
the peasants by monks, soldiers, sportsmen, or others; yet
the general treatment of these subjects may be the same,
the outlines and local colour only being altered ; and that
this picture is not (although very beautiful) chosen for it-
self alone, but as an example of a class.

ALBUMEN OPALOTYPES.

Mr. William Bell, Photographer to the Army Medical
Museum at Washington, contributes to our esteemed con-
temporary the Philadelphia Photographer, of which we have
received advance sheets, the following formulas : —

Albumen for Pictures on Plain Opal Glass and Fine Negatives.
No. 1. — Albumen ... ... ... G ounces

Concentrated ammonia ... 1 drachm.

Albumen for Pietures on Ground Opal Glass and Strong Negatives.

No. 2. — Albumen G ounces

Chloride of ammonia ... G grains

No. 1 solution of oxide of silver J drachm.

Solution of O.vide of Silver. — No. 1.

Ammonia ... ... ... ... 1 ounce

Oxide of silver ... ... ... 40 grains.

Put the ammonia and oxide in a strong vessel, stir well,
and add nitric acid until the solution is slightly milky, but
not acid. Filter, and it is ready for use in albumen No. 2.
Silver Solution. — No. 2.

Oxide of silver ... ... ... 240 grains

Concentrated ammonia ... ... 4 ounces.

Put the ammonia and the oxlile of silver in a strong
vessel. Stir wcdl, ami add nitric acid, C. P., until the
.solution is decidedly acid. Now add 12 ounces of alcohol ;
filter.

Silver Solution. — No. 3.

Nitrate of silver ... ... ... 70 grains

Distilled water ... ... ... I ounce

Alcohol ... ... ... ... IG ounces.

Dissolve the silver in the water, add ammonia until the
precipitate first formed is just re-dissolved ; pour out one-
lialf into a bottle, and to the other half add nitric acid
until it is just slightly acid ; mi.x the two together, and add
the sixteen ounces of alcohol ; filter.

'Polling Bath.

Acetate of soda
Chloride of calcium
Chloride of gold ...

Water

3G grains
3G ,,

1 grain
12 ounces.

Fixing Bath.

Hyposulphite of soda ... ... I ounce

Water IG ounces

Alcohol ... ... ... ... 3 ,,

Beat separately No. 1 and No. 2 albumen to a stiff" froth ;
take the settled solution and coat the opal-glass while wet,
and stand to dry at this angle \, albumen side downwards.
Dry without heat, and, as the jilates keep well, a large
quantity can be coated at one time, and, when dry. stored
away in a dry place. Take the prepared plate, and dip it
into silver solution No. 2 for one minute, then wash it with
water until the water flows smoothly from it, drain well,
and flow it two or three times with silver solution No. 3,
and dry ; when dry (if properly done), the surlace will be
free from any crystallization, and very bright and clear.
Print deep. After printing, take the plate and flow it with
alcohol, wash off the alcohol with water, tone, fix for three
minutes, and wash for one hour. Caution ! never take the
plate out of the hypo, and plunge it into, or wash it with, a
heavy stream of water, but let the water flow gently into the
fixing bath. After a little while it then can be washed in
a good stream of water. This mode of washing will prevent
bubbles forming under the film and the spoiling of the pic-
ture. Be sure and have the place where the plates are
coated with the albumen perfectly clean. Dust-spots create
the troubles most met with.

IJrcrmMng.'J of Scrictic.*).

Liverpool Amateur Piiotooraphic As.sociation.

The Fourth Annual Meeting of this Association was held on
Tuesday evening, the 28th ult., the Rev. G. J. Banner, Vice-
President, in the chair.

After the minutes of the previous meeting had been read and
confirmed.

The names of the new ofllcers recommended by the Council
were cead, and the following were elected ; —

President— Rev. G. J. Banner; Vice-Presidents— Messrs. 0.
R. Green and J. Henderson; Treasurer — Mr. Lewis Hughes;
Honorary Secretar}' — Mr. W. B. Bolton; Couneil — Rev. T. B.
Banner, Messrs. C. Phipps, Forrest, W. A. Wilson, Hubback,
Atkins, Wharmby, and Guyton.

The usual votes of thanks were conveyed to all the retiring
officers, and the Secretary was requested to tender, in writing,
a vote of thanks to the Library Committee for the use of the
room in which the meetings are held.

70

[PfiBKTJARY 7, 1868.

THE PHOTOGRAPHIC NEWS.

The Treasurer’s report and financial statement for the year
1867 were tlion read, showing the Association to bo in a very
flourishing condition. Having been anditcd and found correct,
the statement was passed.

Mr. Fokrest, on behalf of the President, who was unavoid-
ably absent, moved that an alteration bo made in Rule X. of
the Association, which reads as follows

“ The Ordinary Meetings shall be held on the last Tuesday
in each month with the exception of the following: Juno,
July, and December,” the proposed alteration being to leave out
the words “ tho following : Juno, July, and.”

After a little discussion, the motion was carried unanimously.

Mr. Mawdslev then moved that in Rule IX. the word
“ November ” bo substituted for “ .January,” tho object being
to change tho date of tho Annual Mooting from January to
November, in order that a correct list of tho olHccra may in
future appear in tho almanacks, &c., for tho current year.

Tho Rev. T. R. Banner opposed tho motion, and, after a
very warm debate, Mr. Mawdsloy withdrew it.

It was then proposed by Mr. Mawdslev, and seconded by
Mr. Cook, that Rule XI. bo supplemented by the following: —
‘‘ Members elected at tho October and November meetings to
pay no subscription for the current year, but to be considered
Honorary Members for the rest of the session.

Tho motion was passed unanimously.

Mr. Eaton Cliffe was then elected a member of tho
Association.

Tho Chairman introduced tho subject of a soiree ; and, after
a short discussion, it was resolved to hold one, tho Hon. Sec.
being requested to call a Council meeting at an early date to
make the necessary arrangements.

Mr. Green exhibited two of his largo pictures (21 by 18) of
Furness Abbey, ono of which was kindly presented to tho Hon.
Sec. in recognition of his services during the past 3'enr. The
other, Mr. Green has been good enough to offer as a prize for
tho best photograph or collection of six photographs, to be
exhibited at tho meeting in March, tho conditions being that
tho pictures shall be entirely the work ot tho exhibitor, and
shall bo taken between the 1st January, 1867, and tho day of
exhibition.

There were also exhibited some carbon prints by Mr. Cotton,
and some stereo pictures in tho Isle of Skye by Mr. Hubback.

The meeting was adjourned until tho 25th February.

Oldham Photooraphic SocfETV.

The ordinary meeting of tho above Society was held at
Bartlam’s Rooms, Horsedge Street, on Thursday, tho 30th ult.,
tho President, Mr. John Green, in tho chair.

Tho President, in opening the mooting, said : Gentlemen,—-
At the formation of this Society it was suggested that it would
bo more in unison with the feelings of some of tho members if
the meetings were held elsewhere than at an inn. That sugges-
tion has been adopted, and it is with hopeful feelings for the
future that I welcome you to our new abode in Bartlam’s
Rooms. It must bo gratifying to the promoters of this Society
to see their efforts rewarded by bringing together and forming
into a union so many gentlemen who practise the art of photo-
graphy in Oldham, and it would bo most gratifying if this
change of meeting place would induce some of our townsmen
who rank high in science, literature, and art, to join us in pro-
moting tho advance of an art-science that is destined to hold a
very high position in the great discoveries of modern times.
The other two great triumphs of genius which mark this ago—
the electric telegraph and tho system of travelling on land and
water by the aid of steam power — may bo of greater com-
mercial value (for the saving of time in steam travelling and
tho marvellous speed with which messages can bo transmitted
by telegraph are of extraordinary value), yet our beautiful art
not only greatly aids our industrial and commercial pursuits,
but it civilises and educates, and comes home to tho affections
and sympathies of tho human race. It is no small boon to the
hnmblo cottager that it enables him to possess as truthful
images of those ho holds dear as the wealthy potentate could
have done previously. What a value tho poor widow places on
tho letter she receives from her only son, who has gone to push
his fortunes in some foreign clime ! But how much more precious
does it become when she finds enclosed within its folds tho
little “ carte-de-visite !” She gazes with rapture on the bit of
pasteboard where stands tho manly form of him who is now
her only joy on earth. It is to our fascinating art that the

world is indebted for that priceless household treasure, tho
portrait album, on which Eliza Cook thus writes : —

"Just as the summer bee will stray
Where rich bloom fills the woodland dells,

BeariDK the luscious drops away
That help to store its golden cells,

So do we gather in this book

The great, the good, the kind, the dear.

And bless the pages while we look
On memory’s hooey gathered here."

I believe that photography, by cheaply circulating the por-
traits of the philanthropists and other great and good men of
all nations, gives us hope that the time is coming when devas-
tating war shall cease, and when

" Man to man the world o’er
Shall brothers be for a’ that."

I will just glance at the arts and sciences that have boon bene-
fited by photography. First, then, the science of chemistry, tho
parent of our beautiful art, has been repaid with bountiful
interest for tho nurture she gave her young protege. Tho
practice of photography has so popularised the chemical art
as to have called into existence a new generation of chemical
students. It has infused a wonderful zeal into the study of
chemical science, and has caused thousands to read and study
tho works of our most established practical or theoretical
chemists, and it is probable that even now wo may bo nur-
turing some embryo Davy or Liebig among our young and
ardent photographers. Tho requirements of our art have called
into existence several totally new combinations of matter, and
wonderfully cheapened the cost of productions of some of the
most useful chemicals and drugs. In medical science, tho
marvellous rapidity of execution and tho minute fidelity of
tho photographic picture have been of groat value in recording
every varying phase and form of disease, and delineating with
accuracy interesting surgical cases before and after an opera-
tion. In comparative anatomy, the minute details of the
animal frame can be easily represented, and copies multiplied
by the skilful photographer.

Tho faithful transcripts of nature produced by tho camera
add a now charm to tho delightful studies of tho botanist, tho
naturalist, and geologist. The geologist is indebted to our art
for tho accurate representations of birds and animals as yet un-
acclimatised in this country ; and some specimens in mineralogy
which cr3’stallizo in such complicated groups as to bo excessively
ditiicull of imitation have been easily copied by our art.
Astronomy ow’os much to our art-science, and there is now a staff
of photographers attached to all the observatories in tho world.
Warren de la Rue has taken photographic maps of tho moon,
which possess such wonderful minuteness of detail that it is
easy to measure the height of her mountains and tho depth of
her valleys ; interesting photographs of tho planets Jupiter,
Saturn, and Mars have been taken ; and lunar and solar eclipses
and other remarkable phenomena have been photographed,
which add greatly to the interest taken in the wonders of tho
celestial world. The architect must feel grateful to an art that
gives him such faithful representations of existing edifices, re-
markable for grandeur of conception, for beauty of execution,
and for comprehensiveness of design. Views of tho crumbling
memorials of the genius of a past ago can now be preserved by
tho indestructible carbon process, and future ages will bless an
art that has preserved the appearance of those interesting
ruins that add such a charm to our landscapes in tho nine-
teenth century. The indefatigable photographer is ascending
tho Nile, tracing tho course of the Zambesi, navigating tho
G.anges, the Yang-tse-Kiang, and the Mississippi: ho climbs
tho Alps, tho Andes, and tho Himalayas ; in fact, lie wanders
to every part of tho habitable globe in search of tho beautiful
and the picturesque, and sends homo for our inspection, at our
own quiet firesides, stereographic and other views from all tho
princip.al capitals of the world. Ho gives us scenes memorable
for past grandeur and glory ; ho gives us glimpses of nature un-
seen before, perhaps, by mortal eyes, and sends home sketches
of everything that has borne tho impress of human genius or
skill ; and, I will venture to say, that for truthfulness and
minuteness of detail, they are incomparably superior to tho
best efforts of tho painter’s skill. I have said nothing of tho
valuable appliances of photography to civil and military
engineering, to raining, surveying, and exploring ; in fact, it
would take a long time to show all tho uses of photography,
for there is scarcely a profession or business but might profit-
ably call in its aid. I very heartily concur in the recommenda-
tion of our Council, that wo hold several out-door meetings

February 7, 1868.]

THE PHOTOGRAPHIC NEWS.

71

during the year, for I cannot conceive any greater pleasure
than a day’s ramble with trusty camera and kindred spirits, to
scones of beauty where

“ Mountain, river, lake, and grove.

Remind man of bis Maker's power and love” ;
where everything is clad in nature's livery, from the broad
majestic oak to the tiny green blade that twinkles in the morn-
ing sun ; where we are lifted for the time out of the struggles and
contests of business life ; where our hearts are opened to kindly
genial influences, and where wo feel at peace with ourselves and
all the world.

These are moments ealculated to awaken within us a
faculty of the human mind which the ordinary pursuits of life
often leave dormant : I moan the faculty of perceiving the
beautiful in nature and art ; a power that enables us to appre-
ciate that beauty which everywhere surrounds us. But men
wanting that faculty may live in the midst of beauty, and still
not see it : to such men a stone is but a stone ; such men can-
not distinguish betwixt a Guido and a daub ; of such a man
Wordsworth says —

The primrose by the river's brim
A jellow primrose is to him,

And it Is DOthiog more.’'

But you, my young friends, when you have got this power
— this sixth sense, as I may call it, fully developed within
you — you may go forth with your cameras in search of
beauty ; and though she hides in a buttercup or under a
leaf, or creeps into the old ivy, or plays hide-and-seek among
the sunbeams, or haunts some old ruin, or laughs out of a
bright young fern, or, taking the form of a white cloud, she
goes dancing over the green fields or the deep blue sea, yet, by
your potent art, you can transfix her, and reproduce her linea-
ments in her loveliest mood on the white screen. I feel proud
of being a member ot a society whose object is to promote the
further uses and appliances of this fascinating art-science— an
art that has been fostered by the highest intellects of the land.
I earnestly advise our young members to av.ail themselves of tho
opportunity ot studying the principles of art now so liberally
provided by the excellent schools in Oldham, for unless tho
camera is directed by tho artist’s eye wo can never hope to
abolish those caricatures of the “ human face divine” that are
yet too frequently met with in albums and show-cases. I would
just refer to tho excellent album and portfolio that tho Council
liave provided for the reception of gifts from members and
others, and, I trust, tho reading of papers, tho exhibition of
negatives and prints illustrating successes or failures, in wet or
dry processes, and other matters interesting to tho ardent photo-
grapher, will cause our meetings to be well attended, and in-
sure the success of the Oldham Photographic Society.

[For most of the above remarks Mr. Green is indebted to
several papers.]

A vote of thanks was passed to Mr. A. Whitham, of Hollings-
worth Lake, Littloborougb, for some very excellent cartes for
the album.

It was suggested that tho Society have a question-box, but
tho subject was postponed until the next meeting.

A vote of thanks to tho President brought tho meeting to a
close.

DOUBLE PRINTING.-COMBINATION
NEGATIVES.

Dear Sir, — Two years ago I gave you a plan to produce
composition negatives by the use of black velvet. Again I
venture to bring before you my method of producing variety
in the same negative.

Select a choice bit for foreground purposes, arrange
the black velvet (stretched) so as to form a background,
being careful to arrange naturally all the grasses, sprigs,
shrubs, &c., so that everything falls well in its place ;
then make a whole-plate negative, well exposed, and from
tho negative make a good, clear, transparent positive ; place
this in the window of the studio, shutting out the light all
round it ; then take the impression from tho transparent,
and immediately after take the portrait which is intended
to make the picture : by this means a bit of the background
from pature may be introduced without interfering with the

figure. The figure will fall in its place quite as naturally
as if taken on the spot all at the same time.

This transparency will answer for any number of different
portraits. The backgrounds can be introduced in the same
negative by this contrivance. Go out into the woods and
fields when the season comes, and take negatives from all
that is likely to be useful : an endless variety can be pro-
duced in this way. — Yours very truly, J. Eastiiam.

[Mr. Eastham’s ingenious suggestion will be found in
detail on page 70 of our tenth volume. — Ed.]

— -o

Photography at South Kensington. — Tho post of Photo-
grapher to tho Science and Art Department at South Kensing-
ton, vacated by the lamented death of Mr. Thurston Thompson,
will, wo understand, be somewhat modified. P’or some time
past Mr. Thompson had been engaged on duties for the
Department abroad, and Messrs. Cnndall and Fleming had
done much of the work at home. This firm will, wo believe,
continue doing the same duty, .and the post of Photographer to
the Department will be undertaken by Mr. Stephen Thompson,
who, by culture and experience, is, we believe, well qualified
to fulfil the duties, which will bo chiefly abroad.

Piracy of Photographic Copyright. — On Wednesday,
the 29th ult., a suit was brought before the Vice-Chancellor to
obtain an injunction against the infringement of copyright in
a photographic portrait. This was a suit by Mr. Mowbray, a
photographer, of Oxford, against the defendants, known as
Messrs. Hatchard and Co., for copying and punlishing, os an
engraving in a pamphlet called “ The Position of the Right
Rev. Samuel AVilberforce, D.D., Lord Bishop of Oxford, in
reference to Ritualism,” a photograph of his lordship, which, as
the pamphlet stated, represented him in tho attitude of a
Romish bishop, with his pastoral staff in one hand and three
fingers of the other lifted up in tho act of blessing (as
symbolical of his authority from the Blessed Trinity). It
appeared that the plaintiff had taken the photograph at the
request of some of tho bishop’s friends, and w.as the proprietor
of the negative, which was registered at Stationers’ Hall. Tho
defendant’s counsel now admitted that there was no defence to
tho suit, and his Honour therefore granted a perpetual injunc-
tion to restrain the defendants from publishing or soiling tho
pamphlet with the engraving inserted, and granted an inquiry
as to what damages had been sustained by tho plaintiff by tho
publication of tho engraving, and ordered tho defendants to
pay the costs of tho suit.

♦

9;0 ®orrwgou&£ttts.

Z. II. A. — The argentonietcr ceases to be of value for testing a
silver bath after foreign substances, such as sugar, have been added
to it. If you wish to test such a solution, you must employ one of
the instnimcnts — of which there aro many in the market — based
upon the use of a standard solution of chloride of sodium, which, by
converting all the silver in a mc.asured quantity of the bath into
chloride, enables you, by weighing the chloride, to estimate th.e
strength of the whole solution. For practical purposes it is rarely
necessaiy, however, to employ such a test. If you keep account of
the amount of paper excited on a given solution, and take care to
keep adding an ounce of nitrate of silver (and sufficient water to
preserve the quantity of both) for each quire of paper floated, you
will keep things in pretty good order.

Nituo-Glycekine. — The form of glass room of which you send
diagram is very good. 2. The dimensions are very good, but five
or six feet more in length would often be found useful. 3. The
amount of glazing indicated in yoiu diagram will answer well.
4. If you cannot get a north light, nor’-nor’-west tvill suit well.
W. II. L. — You may safely purchase the leases of the best English
makers second-hand. The makers will willingly be at the trouble
of verifying their own lenses. No. 2, in your list, we prefer.

AV. J. A. G. — No. 2 will best suit your purpose for instantaneous
work. 2. That marked No. 3 may be used for arehitectiu'e, pro-
vided you use it for a somewhat less size than it will lake ; but if
tho straight lines of a building come near the margin of a full-
sized plate, they will be curved. 3. It is impossible to describe any
developer, or any formula, as best, as everything depends on the
result desired, and ttie conditions imder which you work. The
best plan is to try those gelatino-iron solutions of which we have

72

TEE PHOTOGRAPHIC NEWS.

[February 7, 1868.

given the formula, and adhere to that which answers your inirjpose
best. The gelatino-iron developers generally give sufBcicnt
density at once, -without further intensifying; but they may be
used ns intensifiers. There i.s no di.sadvantnge in using an iron
solution for intensifying; many of the best operators use it.
Some continue- to use pyro simply because they are accustomed to
it, and others because they like the brown non-actinic colour it
gives the negative.

G. AV. — There has never been any minutely-detailed formula pub-
lished of Fargier’s carbon process. It wns described in the N ews
when first brought before me French Society in November, 1860.
You will find the notice on page .390 of our fourth volume. A
little pamphlet in French was published on the subject a year or
two ago. The process consists in coating a plate of glass with a
mi.xture of gelatine, colour, and bichromate, and, when dry, ex-
posing the glass so co.ated under a negative. After exposure it i.s
coated with collodion, and then plunged into warm water. This
dissolves the unaltered gelatine, and leaves the image adhering to
the film of collodion floating in the water. This has then to bo
mounted on paper. The difficulty of manipulating the soft and
llimsy film, the difficulty of working with the gelatine on plates of
glass, &c., stand seriously in the way of any extensive practic.al
application of this process, and the collodion film, which covers the
picture somewhat, mars the effect, especially in large pictures.
AVe shall be glad to see your examples.

E. P. P. — Partially boiling down your bath is not of much service.
To gain the full advantage of boiling, you should evaporate to
dryness. Perhaps the simplest plan you can adopt is to add a few
drops of a solution of cyanide to if, just sufficient to produce a
slight precipitate ; then sun for a few d.ays and again try ; if
necessary, adding a few drops of nitric acid. A portrait lens is
generally used in an enlarging appar.atus. Let the focus of the
condenser fall on the front lens of the portrait combination.

Z. — AA'e have occasionally met with cases in which the collodion film
has cracked under the varnish in the manner you describe. It is
difficult to indicate the cause certainly, although several causes
may be suggested. AVe fear that there is no cure. 2. It entirely
depends on the kind of resin and solvent employed, as to how you
.should proceed to remove the varnish from a negative. If amber
varni.sh, chloroform must bo applied ; if crystal varni.sh, benzole
will answer ; if a spirit varni.sh, then use alcohol, employing fresh
quantities in succession, until the varnish is quite dissolved and
washed away. The use of alcohol in subsequent solutions which
may be applied to the plate will be found useful.

Z. Dodson. — It entirely depends upon whether there is any copy-
right in the cngra\'ing in question, as to whether you may ])ublish
photographs of it. You must ascertain that. 2. To make a bath
water-tight for the field, pl.ace it in a wooden case, a little shorter
than the bath. At each side of the top of the ca.se shoulders
must be placed. A strip of wood is lined with pure sheet india-
rubber to cover the orifice of the bath, and this i.s kept in contact
by a couple of brass clamps, which grasp the .shoulders on the
ca.se. Y'ou will understand the matter much better by getting a
sight of a water-tight bath than by a description. You will
decidedly find the Yeak-Book useful'.

II . AA'ilcox. — AA'e should u.se the card lens for enlargements, stopping
it well down, of course. 2. You overlook the fact that to copy
and publish any man’s works without permission would bo very
improper, especially where, as in this case, all the pictures are
private portraits. 3. Systems of exchange have often been
attempted ; but, in all cases which have come under our attention,
they have been sources of dissatisfaction. It is dillieult to ett'ect
such exchange without personal examination.

AA'^. AY. Lawson. — It is probable that, with .skilful management,
good results may be obtained in such a room ; but it will require
judgment in manapyment. Neither the form nor the aspect are
such as we .should choose.

Lenses. — AVe think the most rapitl of the two lenses will answer
your purpose best in all ways.

Amateur. — The streaks of which you send us examj>le are very
cimious indeed, and altogether unlike those which arise from over-
iodizing, or tho.se which often arise in tliedirection of the dip. AA'e
cannot svith certainty indicate the cause. Are you sure the plates
were quite clean ‘i Had they been used for negatives before ?
Some imperfection of this kind is the most likely cjiuse.

A. O. FI. L. — If prints are only slightly washed, or not wa.shcd at
all before toning, they tone quickly ; but the toning bath is fast
impoverished ; no harm beyond that usually happens. If you
touch the toning bath with fingers which have been in contact
with hjmo, the bath i.s quickly spoiled ; a sulphur compound of
gold is formed, and the batli turns brown and is inert. Tlie only
plan i.s to throw it into the stock of residues.

G. Nicolson. — F'rith’s views are published by himself at Bright-
lands, llcigate, Surrey. 2. The stereo nragazine used to be pub-
lished by Lovell Ilcevcs ; but is, wo believe, no longer issued.

3. AA’e have not examined the book, and cannot speak certainly.

AA'. Gale. — One cause of your difficulty in obtaining vigorous nega-
tives of reproductions with the materials which work well for land-
scapes aud portraits is jirobably that you work with a very small

stop, and the more feeble the light which reaches your plate the
more difficult it is to get clean and intense negatives. Proceed as
follows : — L'se a moderately strong bath with a decidedly acid re-
action. U.se old, full-bodied collodion, gi\"ing a creamy film, with
surticient tincture of iodine added to make it the colour of sheny.
Expo.se in a good light and with the largest stop which will give
definition. Develop -\rith a gelatino-iron solution, not too strong ;
fix, and see that, before commencing to intensify, there is no
depo.sit on the parts which should bo transparent. If they arc not
absolutely clear, apply a solution of iodine one grain, iodide of
potassium two grains, in one ounce of wafer, for a few seconds,
wa.sh, and apply a very dilute solution of cyanide ; this will re-
move the traces of deposit fi'om the transparent lines. Then, after
washing, apply a five-grain solution of bichloride of mercury,
until the image is of an even grey tint. AA^a.sh, and then apply a
one-grain solution of iodide of potassium ; this ^vill give you an
intense negative of a greenish grey tint. If it is not sufficiently
intense it will now readily acquire any degree of density by the
application of pjTO and silver. But it is all-important to get an
image with something of a jxt.sitivo character at the out.set. The
mercury intensifying process is u.scd at Southampton. Our Y eau-
Book is in print, and has been ever since Christmas week.

J. J. B. — The cost of the apparatus for enlarging by the magne.sium
light is, we believe, .£.5 12s. Cd. Mr. Solomon will, however, tell
you all particulars. AA'e shall have pleasure in giring you our
opinion of your pictures.

Cymro. — It is very probable that the proposed alteration will be an
improvement. From the description you give, it is not improbable
that the roof, being rather low, a go<jd deal of the light is cut off
from the sitter by the sash-bars. Place yourself in the po.sition of
the sitter, and look up ; if you see that each of the sash-bars cut
olf from your sight a portion of the sky, all that is so much prac-
tical loss of light.

G. C. M. — AA'henoncea print has begun to fade, no amount of wash-
ing will, we fear, jircvent it. Placing between two pieces of blotting-
p.apcr which h-ive been moistened with a solution of bichloride of
mercury has sometimes partially restored a fading print.

Aisthetikos. — F'ailing the opportunity of securing a north light,
north-cast rvill be next best.

Pierre IIevon (Gray Il.aute Saone). — The two defects with which
you are troubled are especially incident to the tannin process, and
have never, so far as we know, been entirely overcome. F'or pre-
venting the tran.sparent insensitive spots, it has been piTqrosea to
give the plates a preliminary coating of very dilute solution of
albumen ; but whether this is always efficient or not we cannot say.
The tendency in the Litcnt image to become gradually effaced if the
plate be kojit too long before development i.s a peculiaritv’ of the
tannin process for which tliere is no remedy. 2. The addition of
honey, or similar subst.ances to the lioney, only tends, we believe,
to hasten the disappearance of the image. 3. The collodio-albumen
process, with a final wash into a solution of gallic acid, is the best
keeping process wo know. The nnxlified gum process described
in our Year-Book by Mr. Gordon is an excellent keeping procc.ss.

4. AA’ith some sam])les of collodion, when using the last -mentioned
process, the film has a little tendency to leave the plate, but with
an adherent collodion this is not so.

II. P. (Thirsk). — Thanks; we shall be glad if we can find time to
avail our.selvcs of the opportunity of seeing the pictures.

AV. F’isiier. — As we road aud answer considerably over two thou.sand
letters from correspondents every year, you can readily conceive
that we do not preserve in our memory every individual design for
a studio submitted to us ; so that, without receiving another copy,
we cannot now adrise you concerning one sent some time ago.
AA’’e can advise you generally, however, that it m-iII be wise to get
vour light from" the side which has an uninterrupted expanse of
light.

Toi’-Lioiit. — AA'e have an impression th.at in summer blinds are
occasionally used to the top-light ; but wo de.scribed it ns it was
used in Octobci. Stippled glass obstructs considerable light, and
blinds would rarely be required as well. 2. In intensifying with
the same iron solution as that used for developing, it is clear that
a considerable amount of acid must have been present to check
reduction. 3. F'or blinds to yotm roof wo prefer the scheme marked
No. 1, with the blinds half covering the gla.s.s, running in the
direction of the dotted line D and E. AA’e should not cut off any
of the side-light. Thanks.

S. Arlidge. — Your background is not bad for a first attempt ; but
it is a little too much pronounced. A larger st^vle of painting, with
fewer objects in the scene, many of them bem" rather indicated
than sharply made out, is most suitable for photographic back-
grounds. AA'e shall have plca.sure in hearing of the rt'sults of your
experiment in lens making.

Several .Articles again stand over.

Sevcr.d Corre.spondents in our next.

*,* All photographs forwarded to the Publisher for registration receive
attention at once ; but the pressure on our space sometimes compels us
to defer the .acknowledgment In this column. It should be borne in
mind, therefore, that nou-acknowledginent at once docs not necessarily
imply non receipt or non-registration.

THE PHOTOGRAPHIC NEWS

Voii, XII. No. 493. — February 14, 1868.

CONTENTS.

PAGB

Changes in Photop^phic Glass 73

The late Sir David Brewster 74

Description of an Improved Frame for Photographic Printing.

By Artliur Taylor 74

Glass for Photographic Purposes : and the Changes to

which it is Subject 75

Pictorial Effect in Photography. By II. P. Robinson 77

On a Wet Method of Reducing Cliloride of Silver. By Dr.
Qraeger 79

Fioa

The Magic Lantern and Photography. By James Martin 79

Researches on Dry Processes. By M. Carey Lea 80

Tax the Sun 82

Proceedings — North London Photographic Meeting— London

Photographic Society 82

Correspondence— M. Salomon's Portraits 83

Talk in the Studio 83

To Correspondents 84

Photographs Registered 84

CUANGES IN PHOTOGRAPHIC GLASS.

The extout to which photographers habitually waste light
is a question worthy oF more careful au J more general study
than it has ever yet received. Every photographer knows
that quality of light is more important than quantity ; that
no length of exposure will ever fiilly compensate for lack of
purity or brilliancy in the light ; and portraitist and land-
scape photographer alike avoid working, if possible, in foggy
weather. Yet it is a literal fact that many photographers
are voluntarily working in an artificial fog, or its equivalent.
Many arc continually working in studios with an accretion of
dirt on the glass which renders it as impervious to light as
ground gla.ss ; and many more are working with glass
which, whilst kept clean, has undergone a gradual change
under the action of sunlight which has made it retard the
passage of actinic rays in an almost incredible degree.

At the last meeting of the North London Photographic
Society we brought this subject before the members, chiefly
conhning ourselves to the condensation of the record of a
scries of interesting experiments by Jlr. Gaflield, of Boston,
U.S., with a copy of which he had favoured us. We then
briefly referred to cases which had come under our own
knowledge, in which a thorough cleaning of the glass of the
studio had reduced the exposure one-half. Since then the
details of a case were brought under our attention in which
the change effected was much more startling. An eminent
photographer was asked to inspect a glass room which ap-
peared admirably built and arranged, and in which excellent
pictures were obtained, but which, from the length of expo-
sure required in it, rendered the studio comparatively useless.
A careful inspection of the gla.ss induced him to ask for hot
water and flannel, and a transparent, brown film or varnish,
the accretion of many years, was removed. After a perfect
cleansing within and without, a picture was again tried, and
it was found that the exposure had been reduced from sixty
seconds to ten seconds. And yet the accumulation of deposit
on the glass bad been so gradual, and it was so much of the
character of a thin, tenacious, but uon-actinic film, that it
had never excited suspicion until examined by a gentleman to
whom it had not grown familiar. A similar case was brought
under our attention in relation to an excellent quarter-plate
— Voightlander’s portrait lens — once excellent, but which
had grown so slow as to be worthless, an absolute change in
the colour in the glass being suspected. The lens had so
deteriorated that it was offered for sale for five shillings. A
friend suggested to the owner examining the surface of the
glasses, and received reply that they had been continually
carefully wiped and polished. It was resolved, however, to
give them a thorough cleansing with a tuft of cotton-wool
dipped in alcohol. This at once revealed the presence of a
3'ellow film, which had before resisted cold water and gentle
wiping. Each Jens of the combination being thoroughly

cleansed, the lens recovered its original rapidity, and became
worth as many pounds as it had been offered for shillings.
Every one who has given attention to the subject must be
aware that the film which gradually deposits on surfaces of
glass is often very tenacious, insoluble in water, and not
easily removed by ordinary rubbing. The use of alcohol,
dilute sulphuric acid, or (what is too little known) a strong
solution of sulphate of magnesia, will generally be found
efficient cither for lenses or other glas.ses.

The effect of colour in glass, and the changes made by the
action of light, receive, perhaps, less attention than those
made by dirt ; but they arc less understood and less under
the control of the photographer. Mr. Gaflield has very de-
finitely proved a fact to which we have before called atten-
tion, namely, that the most colourless glasses are most liable
to injurious change; and he has further ascertained that
almost all kinds of glass are liable to change under the long-
continued action of sunlight, twelve months sufficing to
alter the colour of every sample exposed except a common
sample of American sheet glass. Fortunately for the
builders of photographic studios, the commonest glass, as a
rule, is least liable to change, English crown bearing — in this
country at least — the best character in this respect. But it
unfortunately happens that some samples of this glass, of one-
eighth of an inch thick, cut off' as much as 13 per cent, of
light. M. Pelouze has stated his belief, in the Comptes
Rendus, that there is not a single species of glass to be found
in commerce which does not change under the action of
light. But Mr. Gaflield has found that a sample of optical
glass did not change in two years.

There are three practical questions arise out of a con-
sideration of the subject. First — Can glass bo made which
shall not change? The second is a compound question —
What kind of existing glass, not obstructing much light,
changes least, and which most? And, thirdly — What kind
of changes are least injurious photographically?

In answer to the first, Mr. Gaflield states that if manu-
facturers would make glass of materials free from impurity,
a glass free from risk of change might be produced. The
common impurity is oxide of iron, which, in the form of a
protosalt, causes greenness in glass, and in the form of a
persalt causes yellowness or brownness. To correct the
green tint caused by iron, oxide of manganese, or “ glass-
makers’ soap,” is added. A portion of the oxygen com-
bining with the iron salt changes the green into yellow, and,
thus corrected by the pink tint of the manganese, gives a
comparatively colourless effect. The balance upon which a
colourless condition is based being easily affected by light,
the changes to j'ellow or pink are produced. The only
stable freedom from colour must be gained, it seems, by the
use of pure materials and a careful abstinence from the
addition of manganese. Will glass manufacturers make
the experiment in behalf of photographers?

74

THE PHOTOGRAPHIC NEWS.

LEbbrcary 14, 1868.

In answer to the second question, the existing samples of
■white plate change most readily, becoming yellow ; and
next to this, white Belgian sheet, which quickly changes to
pink. The least easily changed are common sheet and
crown glass, either English or Belgian. Samples of a bluish
green tint obstruct least light when new, and are least
liable to injurious change.

The kind of change least injurious in glass for photo-
graphic purposes is obviously that inclining to lavender or
purple, that tending to yellow being most injurious. We
recently tested two samples of thick plate glass, such as is
used in printing frames. Both had been colourless ; one
had acquired a slight yellow tint, but still looked clear and
brilliant ; the other appeared much darker and inclined to
purple. A piece of sensitive paper being exposed under
them for five minutes, strikingly illustrated the resistance
to actinic light. That with the purple tint obstructed very
little light. Estimating the uninterrupted action ot light
on the paper as 7, that under the purple tint would be G,
and that under the yellow tint about 4. Photographers
contemplating glazing studios cannot, unfortunately, make
practical tests with advantage, as few would care to wait six
months — the shortest exposure giving any trustworthy
indications of the character of any glass to be examined.
Until a guaranteed sample is in the market, relying on
the indications we have given, and occasional examination
of the glass, and, if necessary, reglazing, are the only re-
sources he possesses.

No available means have been discovered of restoring the
purity of glass changed by light. Borne time ago Dr.
Percy called our attention to the action of heat in removing
the pink colour produced by light, and Pelouze has made
similar observations ; but baking the glass in the studio is
not readily effected. It is easier to break a few, at least, of
the panes through which the dominant light enters, and
renew them by the lightest sample of bluish green window
glass to be procured.

THE LATE SIR DAVID BREWSTER.

Another of the foremost men of science of our day, and an
able contributor to the scientific advancement of photo-
graphy, has left us. Sir David Brewster has died in liis
eighty-seventh year, having been born in December in 1781.
Ills life has been for nearly seventy years actively engaged
in the pursuit and promotion of science, his labours being
recognized in his twentieth year by an honorary degree us
M.A. conferred by the Edinburgh University. Scluilastic
honours from various sources followed, and in 1831 he was
made a Knight of Hanover, and in thefollowlng year received
an English knighthood. Ills labours have been devoted to
many branches of science, but the scienee of light has
secured his chief attention. Ilis works on optics, on the
polarization of light, and other branches of the science of
the sunbeam, are well known. One of the most valuable
labours of his life was the effort made in forming the
British Association for the Advancement of Science, of
which he was the virtual founder. His practical inventions
were not less interesting than his contributions to abstract
science. Of the indireet aid which his labours have lent
to photography it would be difficult to speak with precision,
they are variously ramified ; but his contributions to the
perfection of lenses, and his invention of the lenticular
stereoscope, arc well known. He preserved at all times a
deep interest in photography, and in the Photographic
Society of Scotland, of which he was President. He con-
tributed to photographic literature various interesting
articles in the North British >licvicw, and elsewhere. He
manifested <a deep interest in the recent discussions on the
improvement of photographic lenses, in which the late
Mr. Claudet and othere were engaged, and maintained with
that gentleman an animated correspondence on the sub-
ject, with a sight of which Mr. Claudet from time to
time favoured us. In a recent letter, he enclosed to Mr.

Claudet a small photograph of a very humble cottage in
Jedburgh, with an inscription intimating^ that it was tho
house in which he was born upwards of eighty years ago.
Although Sir David had been seriously ill for a little
time before he died, he had retained the vigour of his
faculties to the last, having continued his scientific labours
until within a very short period ot his death.

DESCRIPTION OF AN IMPROVED FRAME FOR
PHOTOGRAPHIC PRINTING.

BY ARTHUR TAYLOR.

Complaints have frequently arisen as to the inefficacy of the
pressure frames used for photographic printing in procuring
that equable contact between the whole surface of the cega*
tive and the sensitive paper which Is essential to the pro-
duction of good prints.

There is, no doubt, much ground for these complaints,
especially where large frames are used in hot climates ; and
the delect seems to arise from the fact that, in the frames
commonly used, the pressure is applied at one or two points
only of the boards forming the back of the frame ; so that,
to effect an equable pressure at all points of its under surface,
the backboard must be a true plane, and, moreover, perfectly
rigid

Backs of plate glass have been used in some cases, but
they are hardly applicable to large frames; for although
they certainly fulfil the first of the above conditions, they
are open to objection on the score of weight and fragility,
and unless very thick, they are not sufiiciently rigid ; whilst,
on the other hand, those made of wood, in the usual way,
are very apt to warp, and an exceedingly slight deformation
in this part is fatal to the proper action of the press.

The annexed drawing represents a form of printing-frame

February 14, 18G8.J

THE PHOTOGRAPHIC NEWS.

75

in wliicU tho above-mentioned causes of imperfect action are
avoided. Several frames on this plan, of a size 14 inches
by 11 inches, have been in use for the last si.x years, and
although the printing has usually been done in the hot sun
of the south of France, they are still in perfect working
order.

As the drawing is made to scale, it gives the relative
roportions of the parts, suitable for forms of various sizes ;
ut the following description is that of one of the above-
mentioned frames, measuring about 14 inches by 11 inches
in the clear.

The frame itself is bo.x-shapcd, the sides being about
seven-eighths of an inch thick, inch deep from back to
front, and carefully dovetailed together. The front part of
this frame having been worked thoroughly out of winding,
slips of wood are screwed on, which form tho rebate, to
receive a plate glass about three-sixteenths of an inch thick.
In some instances, sheet caoutchouc has been placed between
the frame and the slips forming the rebate, so as to make an
clastic and water-tight bearing for the glass.

Tho back is divided into two equal parts, which may be
opened separately. These backboards are of flexible woo<l.
one-quarter inch or five-sixteenths of an inch thick, with
the grain in the direction shown in the drawing, and no
attempt must be made to stiffen these boards by framing
the ends, or otherwise, for it is essential that they should
bend freely. On each backboard are placed two pieces,
having the form of right-angled triangles ; they are of one-
quarter inch boaul, and are attached to the backboard by a
wood screw at each corner, but each screw passes through a
email washer of sole-leather, placed between the backboard
and the triangle. These discs of leather form the bearing-
points of the triangles, and they are distributed in such a
manner that each occupies the centre of an equal area of the
backboard.

A curved steel spring, about one-sixteenth of an inch
thick and one inch wide, rests its ends on two points
situated in the adjacent triangles; these points being the
centres of gravity of the triangular surfaces. The ends of
the spring are curved up, and are attached to the wood by
screws passing through oblong holes in the spring in such a
way as to allow a certain amount of play.

Finally, over each spring is placed a cross bar, two inches
wide by half an inch thick ; this cross bar is hinged on one
side of the frame, and may be secured on the other side by
a hook and staple. A short, but rather thick, round-headed
wood screw is set in the under side of the cross-bar in such
a way that the hemispherical head may rest in the centre of
the spring beneath.

Now, when the cioss bar is pressed down, the pressure is
transmitted to the spring, and is divided between its two
extremities, which press with equal force on tho two tri-
angles : these two secondary pressures, again, being applied
to the centres of gravity of the triangles, are decomposed
into six perfectly equal pressures, acting on the backboard
through the bearing-points ; these last being, as before ex-
plained, equally distributed over the area of the backboard,
it follows that the pressure originally applied to the crossbar
is disseminated in a very equable manner over the whole
area of that part of the back which it is intended to com-
press. A piece of thick woollen blanket, placed under the
back, still further equalizes the pressure, and transmits it to
the sensitive paper. Between the blanket and the back-
boards should be placed a piece of thick paper or of card.

The backboards are, of course, liable to warp, but this is
of no practical importance, for being, as before stated, thin
and pliant, they yield to very slight pressure on the cross-
bar, and mould themselves, as it were, to the form of the
surface beneath. If thought ncce.ssary for any special pur-
pose, this last action may be still further facilitated by
sawing the backboards nearly through from the back, and
midway between the bearing-points, thus dividing the
boards into a series of equal and nearly independent paral-
lelograms, each with a bearing-point in the centre.

The amount of pressure is easily regulate<l by means of
the screws in the crossbars, and, once set to suit any given
negative, remains coustant, however often the frame may be
opened.

The crossbai-s are made of hard, clastic wood, such as ash,
and their hinges of thin sole-leather. Jlctallic hinges are
objectionable, for unless they are oiled they wear rapidly,
and the fine metallic dust from them may occasion spots on
the prints during the process of fixing. It has not been
found necessary to hinge the backboards together, though,
of couise, it may be done if thought desirable.

It may be mentioned that the frames above described
have, as yet, been used almost exclusively for printing from
paper negatives, the positive paper employed being very
thick and hard drawing-paper, frequently requiring a very
heavy pressure to flatten it ; the pressure distributed over
the whole area of the front glass has commonly been one
hundred and twenty pounds or more, yet none of these
glasses have ever given way, as would, no doubt, have been
the case had such a pressure been at all localized. Of course
this amount of pressure is only required for special purposes,
and the construction of the frame admits of its being
moderated to any extent to suit the fragility of glass
negatives.

It must be particularly remarked that, when printing
from glass negatives, it is essential that the plate should bo
nearly the whole size which the frame is made for, as it
will at once be seen that a small plate placed in a largo
frame would receive a very irregular pressure. This, how-
ever, can hardly be considered as an imperfection peculiar
to the frame proposed, for none of those in common use is
free from it.

Tlie same principle can be employed in the construction
of frames much larger that that described ; and if, for very
large sizes, a greater number of bearing-points is desired,
they can always be so connected by triangles and levers as to
divide the pressure of the crossbars equally amongst them.

When it is not necessary to examine the print during
exposure — as, for instance, in carbon printing — the frame
might be made with a single crossbar; and if, on the
other hand, it is desirable to uncover more than half the
print to facilitate its examination, three or more sections of
backboard, with corresponding crossbars, may be used. It
may be observed, in conclusion, that these frames, being
very easily made, should not be costly.

Marscilcs, January, 18G8.

♦-

GL.-VSS FOR PHOTOGRAPHIC PURPOSES: AND
THE CH.\NGES OF COLOUR TO WHICH IT IS
SUBJECT.

BV O. WHARTON SIMPSON.*

It is not a little remarkable that a substance like glass,
entering so largely into the consumption of the photo-
grapher, and so materially affecting his operations in a
variety of ways, has received so comparatively little atten-
tion, is so comparatively little understood, and remains somuch
beyond his control. Photographers will study with anxious
concern to secure a collodion which shall give them an
increase of sensitiveness amounting to 10 per cent., and
would consider a developer which reduced their exposures
by 15 per cent, a boon beyond compare ; and yet it will
often be found that they are shutting out light from their
studios amounting to 25 or even 50 per cent., without the
slightest feeling of concern. Even in the matter of dirt
accumulated on a skylight, I have often been astonished to
see it allowed to collect year after year, obstructing light to
a most serious extent. And I have known cases where^ after
a thorough cleaning of all the windows in a studio," the ex-
posures have been reduced one-half.

General experience has taught, what Special experiment

• Bead before the North London Photographic Society, February 5tb, 1898.

76

THE PHOTOGRAPHIC NEWS,

[February 14, 1868.

has confirmed, namely, that almost all kinds of glass change
under the action of sunlight. Different kinds of glass
change in different degrees, .and the change which takes
place varies in kind as well as in degree ; some samples
tending towiirds yellow in their change, and some towards
pink or purple. The former change is of by far the greatest
importiincc to the photographer, inasmuch as it has been
ascertained th.at a very slight tinge of yellow will cut off
25 per cent, of the actinic rays, whilst the change towards
the purple, although of course it cuts off some light, trans-
mits, as we should expect, the actinic r.ays much more freely,
as I sh.all presently illustrate.

As this question is of vital importance, not merely in
regard to the glass employed in our studio, but ahso in
regard to the ghass employed for negatives, which arc often
noticed to print slower after long exposure, the subject is, I
think, well wortliy of a much more careful attention from
photographers than it has hitherto received.

My duty will be chiefly confined to bringing before you
the most importiint points in an interesting ptiper on the
“ Action of Sunlight on Glass,” recently contributed by
Mr. Thomas Gaffield to the American Journal of Arts and
Sciences, in which he describes a most exhaustive series of
experiments. These have been conducted during four years
with about sixty varieties of glass, the results h.aving been
carefully tabulated. In some cases the records con-
tain the changes observed from day to day, in others
from month to month, and others from season to season.
The glasses exivmined consisted of one specimen of
optical class ; a few kinds of flint ghass and glass ware ;
sixteen kinds of French, Belgian, German, and English
plate glass; four kinds of American, English, French,
and Belgian rough plate ; two of American and English
crown ghass ; ten kinds of American, Belgian, French,
and English white sheet glass ; four kinds of American,
Belgian, and English ordinary sheet glass ; fifteen kinds and
shades of English coloured glass, four of opaque, white enam-
elled and ground glass, and one piece of the rough metal of
American sheet glass.

It will be noted that Mr. G.affield’s experiments not only
confirm what was known in this direction, but materially
extend the domain of our knowledge ; and further experi
ments, to be extended over ten or more years, will, there can
he no doubt, throw still more light on the subject. In the
meantime, his experiments commenced in 1803, and, con-
tinued since, are very interesting ; and the extracts or
abstracts I shall make from his paper will, I believe, be
found of much value to photographers.

The first experiments, in July, 1863, proved that, —
“ a month’s exposure to a hot sun would change the best
white French plate and all white sheet glass, such as is used
for photographs and engravings, to a colour cont.aining more
or less of a yellow hue. The dark green and dark blue or
bluish green did not experience any change ; but any hue
which approached a white, whether bluish, greenish, or
yellowish white, turned to a yellowish colour.

“ A second series of experiments, commenced in July, and
continued three mouths, on some thirty specimens from
France, England, Belgium, Germany, and the United
States, only confirmed the results of the first ; and a dailj
examination at first, and afterward from week to week, and
month to month, revealed the interesting fact that, even
after a single day’s exposure to a July sun, the change of
colour would, in some instances of the lightest hues, com-
mence.”

Further experiments in the same direction were tried,
with similar results ; the samples of glass employed being,
art, each case, “ what is called colourless window-glasses,
manifesil varied in tinge and hue from the whitest
improvement darkest green English sheet-ghass. An

Mr. Claudet ana^S'''' “io*itbs, from July to November, on
that gentleman an 1?— S^een, yellow, blue, and purple
ject, with a sight of wlfJP* purple, which became

time favoured us. In a rece'fl? so-called colourless glasses

changed thus seriously, he “ noticed that the dark green,
blue, .and bluish-green did not change. The colour of the
Belgian sheet (calle<l German or F rench by glassdealers in
America), a yellowish or brownish-green, did not change ;
and these were the only exceptions. All plate-glasses
changed, except an inferior blue quality, and a superior
crystal plate of a greenish colour, made in Germany, and
at the only factory which has not given up the use of potash
for soda-a.sh.”

During tlie first course of experiments he found that many
examples of sheet, plate, and crown glas.s, with various tints
of green, bluish green, and yellowish green, which remained
unch.anged during an exposure of three months, in twelve
months, underwent similar changes to the colourless glass,
one sample only — an ordinary Americ.an sheet of a bluish
green tint — rem.aining unchanged after a year’s exposure.

The gradu.al n.aturc of the change, and the different tints
obtained, in some samples arc interesting, ‘‘commencing in a
d.ay or a few days in summer, from greenish or bluish white
to a yellowish white, or light yellow, a deep and deeper
yellow, until it becomes a dark yellow or a gold colour ; and
in some Belgian sheet specimens, a gradu.al change, com-
mencing in a few weeks in summer, from brownish yellow
to deeper yellow, yellowish pink, pink, dark pink, purple,
and deep purple ; and some kinds of greenish white glass
would, after exposure, assume a bluish tint or bluish white.”

The following memorandum of the changes during a
year’s experiments presents the results in a clear form, u.scful
for reference : —

Memorandum of Nine Different Kinds of Glass exposed from
Jan. 12, 18G6, to Jan. 12, 1867.

Kind of Glass.

Colour before E.xposure. ^Colour after Exposure.

French white plate
German ei-ystal plate
F.nglish plate
English erou-n
Belgian sheet
English sheet
American crystal .sheet

„ ordinary,,

Bluish white
Light green
»»

>1 >»

Brownish yellow
Dark green
Light blui.sh white
Lighter bluish white
Bluish green

Yellowish colour
Bluish tinge
Yellowish green
Light purplish colour
Deep „ „

Brownish green
Purplish white
Light yellowish green
No chtmge

“ The colours named .above are given from an observation
of the glass edgewise, by which one can see a body of colour
two or four inches in depth, whereas the usual thickness of
the glass varies from one-fourteenth to one-quarter of an
inch, and shows its colour easily only by placing a white
curtain or paper behind it.” ^

An incidental observation is interesting, as illustnating
the comparative actinic power of the sun’s rays during differ-
ent months. Mr. Gaffield says ; —

“ I have tried several experiments showing the effect of
sunlight during each month and each sea.son of the year.
At the end of the year, by the comparative depth of yellow
or purple colour produced in the various specimens, one can
see the comparative actinic power of the rays during each
month and season. The results proved that the actinic effect
increased from January to July, and decreased after that
month. The greatest effect during any season was observed
in the summer, the least in winter, and that in spring and
autumn was about alike, and midway between that of summer
and winter.”

Some other incidental observations as to the power of
various glasses to transmit the actinic rays should not be
omitted hero. Mr. Gaffield remarks : —

“The comparative power of glass of different kinds to
transmit the actinic rays, I have tested by placing under-
neath pieces of each kind, pieces of easily-changing gloss
(white plate or Belgian sheet glass), exposing them one
year, and noticing, at the end of that period, the comparative
depth of the yellow or pink colour to which the under
pieces had changed. The result of my experiments proved
that the most easily transmissive of the colourless glasses
were the English crown, French plate, two kinds of white

February 14, 1868.]

THE PHOTOGRAPHIC NEWS.

77

crystal sheet made in Massachusetts from the celebrated
Berkshire white sand, the new Jersey sheet glass, one kind
of English plate, and one kind of Belgian sheet, and about
in the order which I have named them.

" Of the coloured glasses, the blue transmitted the most,
the purple less, the red and orange the least, the glasses
under these two and the yellow and green showing little or
no change.

“ This last experiment proves the propriety of the prefer-
ence given by photographers to blue glass for skylights,
because it transmits the blue rays, which exert the most
actinic power. But it may bo added that a colourless white
glass, or bluish white — if one which will not change by
sunlight to a yellow or rose colour, owing to the presence of
manganese, or any other cause — is equally good, as it will
transmit all the rays, and among them the actinic or blue
ones. In proportion as any kind changes to a yellow or
rose colour, it will lose its power of transmission and its
value as photographic glass. I have seen specimens of the
two kinds of white crystal sheet made in Massachusetts
before alluded to, which answered the demands of photo-
graphic artists. Of foreign glass, I have noticed a fine
bluish white sheet, made lately without manganese, from a
certain excellent manufactory in Belgium, and one kind of
English crown glass.

“ Should plate glass be required, the most permanently
enduring, or least likely to assume a yellow colour, are a
superior kind of white plate, made by the French and Bel-
g^ian Plate Glass Companies, and an excellent quality of
German crystal plate, made at a long-established factory in
Hanover.

“ I desire to say here, however, that it is not the place
where any glass is made which determines its good character,
but the actual constituent materials and the superiority of
its manufacture.

“ Manufacturers are frequently changing their mixture
or ‘batch,’ so that any results given with one set of sam-
ples might differ from those made with another set from
the same manufacturers. For this reason, in noticing any
difierences which may occur in experiments made by any of
our readers, this fact should be considered as an explaining
cause.”

After stating some experiments for the purpose of proving
that it is to actinism alone, and not to heat, moisture, &c.,
the change is due, Mr. Gaffield proceeds to state his view of
the cause of the changes, which are due to the metallic
oxides present. He says : —

“ We will briefly state the part which the oxides of iron
and manganese play in glass making. In almost all kinds
of window glass, and in some poorer qualities of flint glass
and glass ware, materials are used which are not perfectly
and chemically pure. The sand, the carbonate or sulphate
of soda, and the lime, one or all, contain slight impurities
of iron, the protoxide of which gives glass a green colour.
To correct this, after the batch is partially melted, a little
oxide of manganese, called glass-maker’s soap, is put into
the crucible or glass pot ; some of the oxygen of the man-
ganese flies off to the iron, and converts the protoxide into
peroxide of iron. The peroxide gives a yellowish colour to
the glass, and this, being complimentary to the natural
pink of the manganese, is neutralized, and the glass is
thereby made of a light colour. When the sunlight acts
upon glass thus made, the nice equilibrium between the
oxygen of the iron and the manganese ic disturbed, and
sometimes the yellow, and sometimes the pink or purple
colour is produced. I have produced all shades of the pur-
les, running from pale lavender into the lilac, mulberry,
esh, amethyst, rose, violet, pink, and deep purple. I have
produced, or seen specimens, showing all shades of the
yellow, from the brownish yellow up to the brightest gold
colour, and I have several series of specimens in which the
green has gradually changed into the yellow, and the yellow
gradually ran into the pink and purple.”

The most important photographic application of Mr.

Gaffield’s experiments will be found in the following para-
graph : —

‘‘ My experiments with glasses under other glasses proved
which was best for photographers’ use, information which
all can gain by exposure of the specimens of various manu-
facturers which may be offered them. The most pure
glasses of light green,^or bluish white colour, are the best
for photographers, and when I say pure glasses, I mean
those most free from oxide of iron or manganese, but espe-
cially of the latter, which, I think, is the cause of nearly all
the changes which I have observed.”

Before concluding, I should remark that Mr. Gaffield’s
articles in the American Journal of Science and Art contain
full details of the careful mode of testing and examination
adopted, from which we may conclude that his results, so
far as they have gone, are precise and trustworthy, having
nothing of the nature of conjecture or guesswork in the
mode bf conducting them. The subject is, I think, one of
most vital importance to photographers, and one well worthy
of a very thorough investigation.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Beino Lessons in

Composition and Chiaroscura for PnoTOGRAPHERs.

BY H. P. ROBINSON.

Chapter 3.

“ Thus we are agreed :

I crave our compositien may be written.” — Shakespeare.

‘‘ Form is matter bounded by lines, which may be either angular or curved.”
— Sir Thomas Dick Lauder.

" The accidental compositions of heterogeneous modes are dissolved by
the chance which combined them ; but the uniform simplicity of primitive
qualities neither admits increase nor suffers decay.”— ilr. Johnson.

Composition in art may be said to consist of the selection,
arrangement, and combination in a picture of the objects to
be delineated, so as produce an agreeable presentation of
forms and tones, tell the story which is to be elucidated, and
to embody the spirit of what it is intended the picture shall
represent or suggest. The principal objects to be sought are
harmony and unity. By the preservation of a harmonious
balance of lines and light and shade several objects are
attained. The first and simplest result is the production of
pictorial effect, which satisfies the eye without reference to the
meaning or intention of the picture. But a higher purpose is
also served. The preservation of harmony necessarily involves
the idea of subordination, or a consideration of the relative
importance of all the parts of the picture, the principal objects
being made prominent, and the minor objects made auxiliary
to that prominence by the arrangement of lines and masses
of light and shade. By a proper distribution and balance
of these the principal objects in the picture will be brought
prominently forward, and those of less consequence will
retire from the eye, and will support or act as a foil to the
chief objects of interest. As the quaint old writer on art,
Lairesse, recommends, “ Let the king or prince have the
first place, and next his retinue or other proper persons ; if
there be yet another party to be introduced of lesser moment
than these, and yet essential to the composition, put them
in the shade without more ado.” In short, the grand funda-
mental laws of composition may be summed up very briefly.
They are, unity, balance, and the adaptability of the whole
to breadth of light and shade, by which the principal object
in a picture — such, for instance, as the head in a portrait —
is brought forward most prominently, yet united with the
other parts, so that the eye may first see the point of chief
interest, and be gradually led over the other parts of the
picture. In addition to the above primary necessities in
composition, there are many subdivisions belonging to har-
mony— such as repose, subordination, repetition, variety, &c.
— which will be treated of in their place, after the broad
principles have been clearly understood.

It is a curious fact that the pictures by all artists that have
lived during the last three centuries — or, at least, all those

78

THE PHOTOGRAPHIC NEWS.

[February 14, 1868.

pictures that have come down to us — appear to have been
designed on some fixed principle ; and from a consideration
of the best works of the great masters it has been found
that all the most pleasing and agreeable compositions are
formed, more or less, on the leading idea of the triangle or
pyramid, the diagonal line and its contrasts (which is a
variation of the same thing), and the circle, with its various
modifications. From a study of these facts, Burnett and
other writers on the subject have divided the art of com-
position into angular and circular, whilst many of the finest
examples arc a combination of both forms.

As being of the first importance, and constituting, in fact,
the skeleton on which all other parts of this subject hangs,
it will be well to first call the student’s attention to a con-
sideration of

The Balance of Lines.

All lines should be balanced or compensated. Without a
due regard to this important quality a picture would appear
ready to fall to pieces.

Example : Lines running in one direction, whether
parallel or otherwise, would give a weak and awkward
appearance. A sense of falling is conveyed to the mind by

lines repeating each other thus

It will always

be found possible to produce compensating lines in other parts

of the picture thus or if lines run diagonally

a compensation
found intheline
® other ways in

down a picture thus
for the lines A is
B. There are many

which oblique lines may be compensated, in a great measure
depending on the ingenuity and skill of the artist.
Here is an example in a portrait (fig. 1) : A girl

kneeling on a.pric-dicu chair,
is reading a book placed on
the back, which faces the
spectator. The lines of the
head and shoulders above the
chair are perfectly compen-
sated by the line of the arm,
which runs in an opposite
direction; but the lines of
the chair, A and B, and of
the dress, C, running in
nearly the same inclined
direction, would have given
the effect of insecurity to the
figure ; and it would be pain-
Fig. 1. fully felt that the girl and

chair would topple over, which would not have a pleasant
effect on the beholder. But to counteract this sense of
danger, the lines A, B, and C have been balanced by the
line of the drapery 1) ; and this not being sufficient, the
table E has been introduced, while the dark spot caused
by the book also helps to support the composition, as will
be further explained in this chapter. This example is taken
from an actual photograph, and shows, as I hope to show by
other sketches also taken from photographs, how it is pos-
sible for the photographer to apply these rules to his art.

Sometimes the repetition of lines without balance is use-
ful. A good illustration of this is to be found in Frost’s
pictuics of Sabrina and her attendant nymphs descending
to the halls of Nereus, engraved and pufilished by the Art
Union some years ago, and already familiar, or readily
accessible, to all my readei-s. In this picture all balance of
lines and equilibrium of base have been purposely omitted,
and the figures appear to descend through the water — an
effect necessary to the story.

It may be said that as diagonal or pyramidal lines require
compensating, why nse them ’? Why not use the horizontal
and vertical lines? To which it may be answered, that there

is not sufficient variety in the last-mentioned lines ; a square
is much less picturesque than a pyramidal form, as may be
seen by comparison of a modern house of square eleva-
tion with a Gothic church and spire. Besides, nature
never composes in squares ; even the horizontal line of the
sea is broken by the lines of the clouds and the waves, and
that of the plain by trees, uplands, and mountains. Again,
a row of standing figures all of the same height, although
it is often to be found in photographs, is eminently mono-
tonous and disagreeable ; and the very fact that groups of
figures are so often photographed in this manner shows the
necessity for this work.

The diagonal line (fig. 2) is very suitable in the composi-
tion of landscape ; it lends itself so admirably to the re-
ceding lines of perspective.

Contrast,

Which is the opposing of things of different aspect to each
other, so as to bring out the fullest and best effect of each ;
such as the position and variety of heads, youth and age,
light and shade, &c. Indeed, contrast sometimes supplies
the place of balance, as in the sketch (fig. 3), which shows
the leading features of a photograph by Mr. Blanchard,
whose marine views are always well composed, showing the
power of the photographer over subjects consisting chiefly
of sea and sky, where the darkest spot — the boat — is oppo.sed
to the highest light, and, being the nearest object, is oppo.sed
to the most distant, thus giving effect to each other, and
being also at the base of the angle, supports the whole, and
acts as a kind of key-note to the entire frame-woik of the
composition. This form of composition, witli tlic endless

variations of which it is capable, is most valuable to the
landscape photographer.

In concluding this chapter. I must remind the student
that in following up the above hints in his pictures he must
not allow the art to become too evident, the effect of which
would be painful. Just as the conversation of a very learned
pemon is sometimes dull, so would his work be if the student

Fkbrtjary 14, 1868.]

THE PHOTOGRAPHIC NEWS.

79

made too great an effort to show his knowledge. Ue must
not leave room for the critic to say —

Nature in him was almost lost in art.”

The axiom that those who use most art betray the least,
is, to a certain extent, true enough ; but too great an
effort to conceal the art might lead to weakness, and destroy
simplicity and character. That which hits the happy
medium will be the greatest success.

THE MAGIC LANTERN AND PHOTOGRAPHY.

BY JAMES MARTI.V.

No. 0.

As before observed, the directions and explanations given
are not supposed to apply to any particular design, but to
explain generally the method of transparent painting upon
glass. My readers, remembering that the dilliculty of de-
scribing a process of colouring without having a coloured
illustration to refer to is very great, will pardon me if in
part I should appear obscure ; in such case do not hesitate
to apply to me, and I shall have much pleasure in adding
the necessary information through this Journal. Having
adjusted your easel at such an height and inclination as
may be most convenient for working upon, and in such a
position as to be opposite the light, which must be thrown
upon the white paper placed underneath, and reflected
through the outlined glass or photograph to bo painted,
which is now separated from the copy and laid upon the
easel, he will begin, as in painting generally, witli the
sky and distances. But I must Erst state, that in addition to
the appliances already named, you must also be provided
with what artists term a dipper, which is a small tin cup,
whose bottom forms a clip, which fastens it on some con-
venient part of the palette, and out of which the painter
takes the vehicle to moisten his colours from time to time
with the tip of his brush. An egg-cup will serve the pur-
pose very well if not required to be fixed on the palette,
which is not absolutely necessary for such small work as
glass painting. The vehicle generally used is mastic var-
nish, thinned with turpentine ; in cases where the colours
to be used are bad driers, a little japanners’ gold size may
be added, or a French preparation called siccatif ; by these
means, and avoiding the use of oil, the painter may work on
without needing to wait for intervals of drying. Take a
moderate-sized camel’s-hair brush, and, with a little of the
vehicle, make a tint of madder lake and Prussian blue; be-
ginning at the top of the picture, lay the colour from left
to right evenly all over the sky, so that a pearly grey tint
may be produced, gradually melting away at the horizon to
almost clear glass ; then, with the dabber or the tip of the
finger, soften the colour evenly all over, so that it has the
appearance of a minute and extremely fine stipple. The
darker clouds are formed of Prussian blue, madder lake,
and a little gamboge. Be careful to observe their forms and
character, leaving their halt-lights, which will be retouched
with some of the same tint, but somewhat lighter, and
having a little more gamboge added. The edges and oppo-
sitions of the sky may appear hard ; in that case, the
application of the finger or dabber will be necessary to
soften and blend them ; but it must be carefully done, and
not overwrought, or the tints will be vitiated. The dangers
to be apprehended from a too free use of the dabber are the
same as those to which the artist is liable from an excessive
use of the softener: the roundness and substance of the
forms are lost, and the colours are muddled. It is some-
times useful to have smaller dabbers than can be made of
leather ; for such, camel’s- hair pencils, with their points cut
square and then slightly singed round their edges in the
flame of a candle, answer the purpose well.

We will now proceed with the mountainous distance.
Those forming the horizon or distance are nearly the same
tint as the sky, and are devoid of detail, therefore will be
represented by a flat tint ; but as they approach the middle

distance, the colour increases in intensity until they corre-
spond in tone with the darker parts of the clouds, and a
slight marking of details begins to appear. Lay evenly
over the tops of the mountains a tint made of madder lake
and a small portion of Prussian blue, adding more blue as
they approach the middle distance. The lights must be
painted with madder lake and gamboge, broken to a warm
grey with blue, then blend the whole with a small dabber,
taking care to preserve the outlines ; the middle distance is
composed of the mountains behind the castle, the rocks and
green slopes edged with trees, and will prove the most difti-
cult part of the picture from the situation of the light ; the
mountain behind the castle will be a mass of light and
half-light; the second, of shade and half-shade ; the third,
and nearest, shade and half-shade in a greater degree. Paint
in the forms at the tops of the mountains with gamboge,
madder lake, and Prussian blue. Continue half way down,
then add more lake by degrees, and with this all the dark
parts may be laid in, even where most positive in colour.
The lights in the tops of the mountain are made of gamboge
and madder lake ; the light at the base and on the slopes
are a greyish green, made by adding a small portion of
blue ; the dark parts of the rocks arc made out with a tint
of madder brown and Prussian blue, the lighter parts with
gamboge and brown madder. Vandyke brown and blue
are used for the darkest markings : the foliage must be laid
in with gamboge and madder lake. The bright points of
light glancing on the trees are tinted with gamboge only.
The dabber must be used to soften every part that rsquires
it, and lights that are troublesome to have can be taken out
with the point of the penknife, and afterward retouched
with the required tint ; and in laying flat tints it will be
more expeditious to work over any foreground objects, and
afterwards remove the superflous colour with the stump or a
camel-hair pencil containing a little turpentine.

114, High Street, Ilfracombe, Devon.

ON A WET METHOD OF REDUCING CHLORIDE
OF SILVER.

BY DR. GRAEOER.*

There arc many methods of reducing chloride of silver with
which we arc acquainted, but the majority of them are sur-
rounded by difficulties of some kind or another ; either the
silver recovered is not perfectly pure, or the manipulation of
the process is attended with serious loss, or it is impossible
for the whole of the chloride to be reduced at one operation.
Now as the reduction of chloride of silver is an operation
which has very frequently to be performed, a method whereby
these difficulties arc overcome will be welcomed with plea-
sure : and so often have I felt the shortcomings of the methods
at present employed, that it has always been my constant
endeavour to discover a better and more serviceable mode of
proceeding. In making my enquiries, I have always had in
view the advisability of seeking for a wet method of reduc-
tion, as I regarded the same as the easiest manner of working,
and involving less loss of material. The reduction of chlo-
ride of silver by means of iron, zinc, or copper in an acid
liquid is well known to be an unsatisfactory method, as the
product is always found to be contaminated to a more or less
degree with the metals employed ; the same result occurs if
the chloride of silver is reduced by means of copper in an
ammonia solution. At the same time, no mention has ever
been made of the employment of zinc to reduce the chloride
out of the ammonia solution. The probable reason why such
an experiment has not been made is on account of the
analogy supposed to exist between the two metaks, which
seemed to promise identical results. As experience proves,
however, a very different result is furnished by the employ-
ment of zinc, for by using this metal silver of a perfectly
pure description may be obtained.

* Ntueus Jahrhuch fur Pkarmacie.

80

THE PHOTOGRAPHIC NEWS.

[February 14, 1868.

In fact, the two bodies which act upon one another, the
chloride of silver and metallic zinc, are placed under circum-
stances of a totally different character, as when chloride of
silver in a solid condition is brought into contact with zinc
iti a similar state, in the presence of a free acid. As both
bodies act upon one another in a compact condition, the
silver is also separated in a like state, and it is well known
that fused chloride of silver, reduced by means of zinc,
furnisbes an adherent mass of metallic silver. During the
operation the zinc continues to be dissolved by the free acid,
and it is not impossible that this second chemical action,
which goes on at the same time, has the effect of again
reducing the zinc in the silver, and, both being combined,
the acid containing free zinc is powerless to act upon them.

If, however, the chloride of silver is present in an ammo-
niacal solution, therefore, without any cohesion of its finest
particles, the metal is separated in an exceedingly loo.se
manner, having the appearance of a very delicate sponge,
and at the same time only so much of the zinc is dissolved
as there is chlorine given oft' from the silver. In reality,
however, the operation is not so simple as it at first appears
to be j for, on the one hand, the zinc becomes covered, during
the process of reduction, with a white powder (oxide of zinc),
which, on being agitated, becomes dissolved in the ammonia ;
and, on the other hand, the reduced silver assumes a dark
colour from contact with the zinc, which, however, disappears
on its being shaken, the product then becoming of a light
grey colour. Occasionally a somewhat energetic generation
of gas takes place during the operation ; whether the same
consists of nitrogen or hydrogen I have not yet determined.

In order to reduce chloride of silver by means of zinc, it
is first dissolved in ammonia and placed in a bottle, and
pure zinc in small excess and in fragments of notable size
(so that it may bo easily separated after the process of reduc-
tion) is then added. The decomposition commences at once,
and proceeds so rapidly, especially if the vessel is well
agitated, that in the space of three hours a quarter of a
pound of chloride of silver may be reduced ; the duration of
the operation depends, however, of course, on the greater or
less excess of zinc present in the solution. A certain excess
of ammonia will likewise have the effect of accelerating the
operation. At first the precipitated silver assumes a light
grey or dirty white colour, but towards the end it becomes
dark grey or even black. A few drops of the ammoniacal
solution should be examined in a test-tube from time to
time, and precipitated with hydrochloric acid ; the operation
is at an end when no turbidity is apparent on the addition
of the acid. When this is the case, the precipitate is allowed
to settle down, and the clear liquid then poured oft’ as com-
pletely as possible ; the silver in the glass vessel is treated
again and again with fresh water until all smell of ammonia
has disappeared, and is then transferred to another bottle by
means of a funnel, the tube of which has previously been
stopped with a few fragments of glass to prevent the pieces
of zinc from passing through at the same time as the silver
particles. The superabundant water is then decanted as
completely as possible, and the precipitate treated with con-
centrated hydrochloric acid, in which it is allowed to digest
until the dark-grey colour has given place to one of a dirty
white. If the silver contains much water it is possible that
it may not become white on a single treatment with the
hydrochloric acid ; in this case the liquid must be again
poured off and a fresh quantity of acid added. By this
means the silver may always be obtained of a white colour,
and when the operation has advanced thus far the preci-
pitate is repeatedly washed until the water poured oft’ is only
very slightly acid. The silver is then collected on a filter
and well washed with distilled water ; finally, a little dilute
ammonia is poured on it, and it is again washed with water.
This treatment is rendered necessary in order to remove any
minute quantity of chloride of silver which may have been
formed by the action of the concentrated hydrochloric acid,
the latter sometimes containing small quantities of freo
chlorine.

The silver produced in this manner is of a very pure
description ; at any rate, I have never been able to detect the
presence in it of any other metal. When dissolved in nitric
acid, and precipitated with hydrochloric acid, a fluid is
obtained which, when neutralized with carbonate of soda,
does not become turbid by treatment either with ferro-
cyanide of potassium or alkaline carbonates. It assumes a
brownish colour on the addition of sulphide of ammonium,
owing to the presence of dissolved chloride of silver, but no
precipitate is formed.

The expenditure of ammonia in the operation is, of course,
not inconsiderable, but, as the greater portion of it^ may be
recovered by distillation, the actual loss of the same is hardly
appreciable. In working with large quantities of chloride
of silver, economy may be exercised in the use of ammonia
by reducing the chloride in several operations, so that the
ammoniacal solution of chlorine and zinc, when freed from
the silver, is again used to dissolve the chloride. This
appears somewhat strange, but is evidently due, in part, to
the presence of free ammonia, which exerts an action upon
the chloride of silver only when the silver has been separated.
Such a mode of proceeding would, however, occur only when
manipulating with a considerable bulk of chloride of silver,
for, in reducing small quantities, the necessary amount of
water required to dissolve the chloride may easily be
added.

In the same way, nitrate of silver dissolved in ammonia
may also be reduced with zinc, perfectly pure silver being
obtained ; this result takes place even when the nitrate solu-
tion contains copper, as is very often the case. The copper,
it is true, becomes reduced by the zinc in the ammoniacal,
solution, but only very slowly as compared with the silver,
and hardly at all so long as a certain quantity of the latter
is present in the solution. By this means I have been
enabled to separate the whole of the silver from old coins
containing but 25 per cent, of that metal. Every particle
of silver must not, however, be separated, or, what is the
same thing, the quantity of zinc added should be insufficient
to precipitate the whole of it. The process possesses the
particular advantage that in order to separate copper from
nitrate of silver it is not necessary to transform the latter
into chloride before it can be reduced. The finely-divided
silver must, however, be treated, in the manner described
above, with concentrated hydrochloric acid, and afterwards
well washed, to remove the particles of precipitated zinc.
For the production of pure nitrate of silver this method is
especially recommended, as, by its employment, the tedious
operations of wa.shing the chloride of silver and its subse-
quent reduction in crucibles are entirely dispensed with.

O

llESEAUCUES ON DRY PROCESSES.

BY M. CAREY LEA.*

Is the present paper I propose to describe two new dry pro-
cesses of interest. One of them will bo found, I think, very
valuable ; the other, though le.ss generally useful, is the more
curious of the two. I shall describe it first, and then pass to
the other.

In the fimt of these processes all the usual manipulations
of negative-making are omitted, except the first and last.
To say that it is possible simply to collodionize a plate, and
then, without further treatment of any kind, to place it in
the slide and expose, and, some houra after, to open tho
slide- and take out a finished negative ready for fixing, would
seem to be affirming tro much ; yet it is not only no88ibh',J
but extremely easy of execution. The simply colloaionized
plate develops itself spontaneously after exposure, so that
the ordinary operations of sensitizing, washing, developing,
&c., are all done away with — nothing is left but the collodion-
izing and fixing.

* Vhiladelphick PhotoiraiiKer.

February 14, 1868.]

THE PHOTOGRAPHIC NEWS;

81

The process is as follows. A collodion is prepared accord-
ing to this formula : —

Ether 8 ounces

Alcohol ... 8 „

Bromide of cadmium ... ... 128 grains

Bromide of ammonium 32 „

Pyroxyline ... ... ... 96 „

This collodion is preferable to that which I described in
my previous paper ; as in the first it is difficult, with strong
alcohol and ether, to get so much bromide of ammonium
into solution. As this is a very excellent collodion for the
collodio-bromide process, I shall refer to it hereafter ; I will
designate it as collodion B. It contains 8 grains bromide of
cadmium and 2 grains bromide of ammonium to the ounce,
and (taking the equivalent of bromine as 80) it requires,
for its exaet equivalent of nitrate of silver, 13 47 grains of
the latter per ounce.

This collodion should stand for a month before use, in
order to ripen properly. It may be used at the end of a
week, but slightly veiled negatives are then to be expeeted.

It is to be sensitized with nitrate of silver when wanted
for use. In the present instance we distinguish two cases :
where the plates are to be exposed immediately, or where
they arc to be kept some hours before exposure.

In the former case, where the plates are to bo exposed
immediately, add to the collodion 16 grains of nitrate of
silver to each ounce of collodion. This nitrate is, of course,
to be very finely pulverized ; it is added to the collodion,
well shaken, at intervals, for an hour, or two or three hours,
and then let stand two or three hours to settle, or it may
wait for twenty-four. Immediately before use, add to each
ounce of collodion —

Gallic acid (60-grain solution in alcohol) 24 drops
Glycerine (pure concentrated) ... ... 20 „

The solution of gallic acid keeps indefinitely, but must
have been filtered perfectly clean.

These substances are well stirred up with the collodion.
I should have said that the portion to be thus operated upon
should have been first decanted quietly from any sediment
that had fallen by standing, after admixture with the nit-
rate of silver.

This preparation of the sensitive collodion is not in the
least troublesome in practice. Up to the point of adding
the gallic acid and glycerine it answers excellently for any
other collodio-bromide process, so that, for those who work
the collodio-bromide processes, the production of these plates
is especially easy.

Ihe sensitive collodion is poured on the plate after the
latter has been edged with india-rubber dissolved in ben-
zole. As soon as it has set, the plate is put into the slide,
and exposed about four or five times as long as for a wet
plate. The slide is then either put aside, or the plate is
transferred to a plate-box, and left for an hour or two in the
dark room, when a perfectly developed negative will be
found, ready for fixing.

The effect of taking a developed negative out of the dark-
slide has something almost magical about it to one tho-
roughly accustomed to regular photographic routine.

The plate will not usually suffer if left for ten or twelve
hours after exposure in the slide. If insufficiently exposed
it may, of course, be intensified by any of the usual
methods.

In the above case, it has been supposed that the plate was
to be exposed at once. But these plates can be made to
keep several hours before exposure, by diminishing the pro-

Ftortion of silver, increasing that of glycerine, and adding a
ittle glacial acetic acid, with, however, a decrease of sensi-
tiveness.

Fourteen grains of nitrate'of silver, very carefully weighed,
is, m such case, the proper proportion. Add to each
ounce —

Gallic acid (60-grain solution in alcohol) 20 drops

Glycerine (pure) 30 to 35 „

Glacial acetic acid 5 to 8 ,,

This collodion gives a bluish and transparent film, and
needs wet blotting-paper at the back. The plate may wait
two, or three, or sometimes four hours, before exposure, and
several days after it, without injuiy.

The eftect of ex[ osure is curious enough. A plate pre-
pared in the first described method, if kept for several hours
without exposure, will fog all over ; but if exposed at once,
the setting in of the development checks the fogging pro-
pensities, and, at the end of ten or twelve hours, the plate
is still perfectly clean.

The glycerine is useful, not merely to check the drying,
but it checks the disposition to fog, at the same time some-
what diminishing the sensitiveness. If the glycerine bo
omitted, the plate, at the expiration of an hour or two,
begins to dry through ; this destroys the sensitiveness, and,
even if the plate has been exposed before it sets in, the de-
velopment ceases as fast as the drying advances.

The process which I shall next describe, though Ic.ss
curious than the foregoing, will be found more generally
useful. It also owes its activity to gallic acid, but differs
essentially in all its other points.

The same collodion is to be employed, sensitized in tho
same way, with 16 grains of nitrate of silver to the ounce.
When the sensitized collodion has reposed sufficiently, I
decant a portion, and add to it a 60-grain solution of gallic
acid, in the proportion of 25 drops to each ounce of collo-
dion, stirring well up. Coat tho plate, previously edged
with solution of india-rubber, one or two grains to tho
ounce of benzole, and, as soon as it has set, place it under tho
tap and wash for four or five minutes ; dry, and the plate is
ready for use.

It will be seen that this process is analogous to that which
I described in a previous paper, with the substitution of
gallic acid for alcoholic solution of aloes.

The gallic acid process gives exceedingly soft and harmo-
nious images. It is very sensitive, greatly more so than tho
ordinary run of dry processes. Tho negatives arc clean, and
the development very manageable. The process is intended
either for alkaline or pyrogallic development, of course with
a longer exposure in the latter case.

This last gallic acid process has impressed me most
favorably. Its power of giving a pleasing rendering of
strong contrasts is remarkable. For example : a building
partly in sun and partly in shadow is rendered harmoniously,
and without a harsh contrast between the lights and sh.adows.
At this time of year, when the foliage is gone, and living
myself, at this season, in the city, I have had no opportunity
of trying it on trees, but such trials as I have made on
objects presenting violent contrasts make me hope to get
better effects of foliage by this than by any of the well-
known dry processes hitherto in use that I have tried.

The process i.s, moreover, a very sensitive one. It seems,
therefore, proper to remark that if, in consequence of over-
exposure, any tendency to flatness is perceived in the alka-
line development, it is better to wash off and intensify with
acid, pyro, and silver. This can only be rendered necessary
by a considerable over-exposure.

PS. — Since the above remarks were in type, on ex-
amining some of the self-developing plates prepared in the
second manner — that is, with less nitrate of silver — I find
that, even after several weeks’ standing, they show no dis-
position to fog.

The conditions of this process are as follows : To obtain
the highest sensitiveness a liberal excess of nitrate of silver
is necessary ; but, of course, its keeping qualities are corre-
spondingly diminished. When there is not too much
nitrate, the plates keep several hours before exposure, and
appear to keep indefinitely after ; for, as the drying goes
on, any disposition to fog disappears, and thus the plate,
after reaching its full development, shows no tendency to
deteriorate, but may be kept until it is found convenient to
finish it.

What is invaluable is, that even exposure to light does not
seem to affect it after it has become thoroughly dry. Of

82

THE PHOTOGRAPHIC NEWS.

[February 14, 18G8.

course, a plate so exposed could not be redeveloped before
fixing, or the fresh latent influence of the exposure would
doubtless cause it to fog all over ; but in the absence of
any such application of a new developer the plate seems
scarcely to suffer by light ; at least, one accidentally exposed
for some time to light was not thereby visibly changed.
This is important, because if the process should prove, on
thorough trial, to answer well for landscape taking, the
ability to keep the plate as long as may be convenient after
exposure, without fixing or other treatment whatever, would
be very valuable.

TAX THE SUN

Our friend Punch has this week made a most diabolical —
we beg his pardon, a most brilliant — suggestion. Ho pro-
poses a tax on photographs ! Unfortunately, the idea is not
quite new. Punch himself having before proposed it. That
was in the time of photographic prosperity ; but, by some
neglect of the Chancellor of the E.\chequer, the suggestion
was overlooked ; and now, in the time of photographic de-
pression, it would never do. In the United States such an
impost exists ; but it was a war-tax, and our American
photographic brethren having been since struggling hard to
get rid of it. We wish them success in the struggle for rid-
dance; a struggle English photographers would have to
imitate should Punch's hint be acted upon. Here is the
proposition he makes to the Chancellor of the Exchequer : —

My dear Disraeli, — You told me the other night, at Lady
Derby's party, that you wore cutting some jirctty figures for exhibi-
tion on the liudgot night. I should like to help you.

Why, in the name of common sense, and Philistinism, and every-
thing that is practical, don’t you clap a penny tax on

PIIOTOGKAPIIS ?

I have mentioned it before, but as our friend Bright said last week,
it is necessary in England to repeat a thing a great many times
before it obtains attention.

There are about five millions of photographs made every year.

Do you know how much five millions of pennies niako? Of
course you don’t, nor do I, nor does either of us know how to calcu-
late it. Thank Fate, we were educated like gentlemen. But there
must be some way of finding out, with decimals, or cubes, or hyper-
bolic loggerheads, or circular arks, or something.

Let us try at the problem. One hundred pence is eight-and-four-
pence. I know that — you may take it from me. My little boy got
an arithmetic prize (by the way, he will be a big boy one of these
days, and then I shall be glad to talk to you about his future,
should you be in office), and he assures nie, positively, of this.

I never knew him to tell a story (excuse a fond parental pride),
and wo may start upon that hypothenuse.

Let us multi])ly that by ten. Ten times cight-and-fourponoe is
£4 3s. 4d., and that is a thousand pence. Well, a million is ten
hundred thousand. O, bother, we shall never do it so. There
must be .some shorter way. Let us divide five millions by a penny,
that seems simjile. One in five — stop, that only brings us where
we were before, like the American pig that thought it was getting
out of the field through the pii>e, only the pipe was crooked, and
brougl'it him in again.

Well, details are beneath great minds. I suppose you will allow
that five million pence make a very large sum of 'money, which
would look well among your pretfy figures f

Get it, then, by enacting that no photograph .shall be sol 1 unless
it bears an impressed stamp of one penny.

A photograph is surely a Luxury. At least, people think it so,
though the process of sitting for one is anything else.

Also, no one is obliged to buy one. Therefore, there is no hardship.

Also, the Tax is so small that no one who can afford a photograph
can feel the addition.

Also, the work of collection will be very easy. Let the Post Offices
sell the stamped cards.

It is po.ssible that a few of the touting blackguards who infest the
streets, haul in emstomers, and fight for them, may be discouraged by
the ta.\ ; but this, instead of being an evil, will be a very good thing.
Humble and honest artists will buy their photograph stamps day- bv
day as they do their letter stamps.

And you will, as aforesaid, get a very large sum in aid of your
Abyssinian War and your other expenses.

Look to it, my dear Disraeli, and believe mo, your affectionate
friend. Punch.

PS. This will be taxing the Sun. lie won’t mind. He was very
much hurt about the Window Tax, which shut out his light ; but
that is done away uid forgotten. I — his moral Kcpre-senUitive —
answer for him.

|)rofctMit0S 0f ^cnettfs.

North London Photographic Meeting.

The usual Monthly Meeting of the Society was hold in
Myddelton Hall on the evening of Wednesday, February 5th,
Mr. W. W. King in the chair.

The minutes of a former meeting having been read and con-
firmed, Messrs. Sidney Varden and E. S. Hall were elected
members ot the Society.

Mr. G. Wharton Simpson read a paper on Glass for Photo-
graphic Purposes ; and the changes of colour to which it is
subject (see p. 75). At the conclusion of the paper he handed
round for inspection a piece of sensitive paper which had been
exposed under two samples of glass which Mr. Goslett had
brought before the December meeting. The two pieces of
glass had changed under the action of light from a colourless
state, one to a yellow tint, the other to a lavender or purple.
The latter, although much the darkest to appearance, trans-
mitted the aclinic rays freely, and the paper was nearly as
darkly printed under it as where no glass intervened. Tho
yellow tinted sample had oustructed the light considerably.

After some conversation, in which it was explained that Mr.
Goslett, who liad intended to have brought various samples ot
glass to illustrate the subject, was unavoidably absent, it was
resolved to hear any observations members were prepared to
make, and then adjourn tho discussion to another meeting.

Mr. Dallmeyer said ho had brought a few samples of glass
with him, and might not be able to be present at the next
meeting. His experience led him to believe that the glass least
liable to change was English crown. Some samples of English
plate glass were liable to exudation or “ sweating.” Ho had,
on this account, tried some French glass, made by tho St. Gobin
Company, which he found free from this tendency. It was
also very light in colour, as some examples he produced would
illustrate. Ho believed that Mr. Chance could supply the
photographer with a glass which did not change under tho
action of light. One of the chief causes of such change was,
ho believed, the presence of oxide of manganese, and also, in
some cases, traces of sulphur. In making glass as hard as
possible, and using a larger proportion of silica and lime,
it was at times apt to devitrify ; and to arrest this tendency
manganese was used, which tended to cause subsequent change
of colour. Tho important question was: What glass should
the photographer use to secure as much as possible immunity
from such change’? Ho believed that crown glass was prefer-
able to plate glass in this respect; tho latter containing more
alkali and being more subject to change. Mr. Chance had
made a very fine crown glass, of which ho now showed an
example. It was much harder than usual samples, tho density
as compared with ordinary crown, being as ‘2-48S to *2-555. The
price wruld be higher than usual ; but ho thought it would bo
better worth the i)rico than many, as better resisting change.
That the colourless glass w.is most apt to change was illustrated
by an exceedingly beautiful sample shown in the Exhibition ot
1851 ; some of wliich, secured by his late tather-in-law, h.ad,
without much exposure, changed to a yellow tint, and quite
lost its limpidity.

Mr. Foxlee referred to a studio, in which ho had worked
some years ago, in which the glass had changed in a few
months to an extent which made the exposures much longer
It was a sample made by Chance for studios. Some Belgium
sheet, of a pale bluish green, was the best for studios which he
knew. Ho believed that tho presence of moisture aided in
bringing about the change in some samples of glass.

Mr. Blanchard referred to some glass ho had examined at
the Thames Plato Glass Insurance Company’s premises, which
had been cut up for printing frames from broken windows.
Under tho putty it was a bluish green, whilst where it had
been exposed to light it was of a decided brown tint, or
yellowish green.

Mr. Hart referred to some glass of an excellent light blue
tint, which ho saw at tho Thames Plate Glass Works ; but was
told it was an accidental colour, not one they could rely on
producing.

After some further conversation, in which Mr. Dallmeyer,
Mr. Foxlee, Mr. Simpson, Mr. Hill, the Chairman (who pointed
out tho disadvantages of “ Cathedral ” glass), and some others
took part, tho discussion was adjourned. _

Notice of gome intended modifications of rules and nom

THE PHOTOGRAPHIC NEWS.

83

February 14, 1868.]

tions of oflicers for election at the annual meeting having
been made, after some votes of thanks the proceedings ter-
minated.

London PnoTooRArnic Society.

The Annual Meeting of the Society was held at the Archi-
tectural Gallery in Conduit Street, on the evening of Tuesday,
February 11th. Mr. Glaisiieu, Vice-President, occupied the
chair.

The minutes of a preceding meeting having been read and
confirmed.

The Chairman said that at the last meeting he had to ex-
press his own deep regret, and that of the Society, at the loss
of Mr. Claudet. Since then another serious calamity had
follotved, in the destruction of Mr. Claudet’s studio by fire,
containing naany records and examples of interest, the loss of
which was irreparable. Again, also, ho had to express his
regret at other losses. One of their number, an esteemed
member of the Society and of the Council, Mr. Thurston
Thompson, had gone. They had also lost Sir David Brewster,
a name which could never be mentioned without honour and
esteem, whose death caused a loss to science at large. In
addressing the members at an annual meeting he regretted
that his illness had kept him away for so long a time ; but
although the Society was, in some respects, as satisfactory as
might bo desired, it had done much in promoting the art,
and would yet do more, and there were many hopeful features
connected with it. In its early days, when it was a matter of
fashion to patronize photography and belong to the Society,
money came in very freely, as might bo readily understood
when £200 a year was paid to its Secretary. They had for
some time past had the same expenses after the support of
fashion had ceased, but he now believed that they were in a
more promising condition. Now was, bethought, the turning-
point in its history, and it would, ho believed and hoped, con-
tinue to aid and promote the progress of photography, lie
then proceeded to read the Report of the Council, which we
shall publish in our next.

The reception and adoption of the Report having been pro-
posed, seconded, and carried.

The Chairman said, that as no nomination for officers had
been made, except those of the Council at the December meet-
ting, the following gentlemen would be elected or re-elected to
office : — Sir Frederick Pollock, as President ; the Rev. J. B.
Rcado, as Vice-President ; Mr. W. Morgan Brown, the Earl of
Caithness, Mr. John Spiller, Mr. Russell Manners Gordon, as
members of Council. In place of Mr. Claudet and Mr. Thurs-
ton Thompson, deceased, Mr. Henry Claudet and Mr. Valen-
tino Blanchard wore proposed and elected ns members of
Council.

The Treasurer’s and Auditor’s report were read, and would
be published in the Society’s journal.

Mr. Oliver Sarony, of Scarborough, proposed by Mr. Wharton
Simpson, and seconded by Mr. II. P. Robinson, Mr Glaisher,
and Rev. J. B. Reado, was elected a member of the Society.

The Chairman passed round for examination a portrait of
Mr. Durham by M. Adam-Salomon.

Mr. Solomon then exhibited his apparatus for enlarging by
means of the magnesium light, and, with the assistance of Mr.
Allen, produced a very excellent enlargement, which was
slightly over-exposed with an exposure of thirty-five seconds ;
the amount of magnesium ribbon burnt costing, as the Chairman
explained, about one halfpenny, as a yard of the ribbon, costing
threepence, burnt three minutes.

Mr. J. R. Johnson then road n paper on the Treatment of
Disordered Baths, in which he detailed the advantage of the
use of permanganate of potash in oxidizing and removing or-
ganic matter.

After some remarks from the Chairman on the interest of the
paper, and on the success of Mr. Solomon’s enlarging appa-
ratus,

Mr. Dunmore read a brief paper on the Advantages of Using
a Concentrated Light, and exhibited some specimens charac-
terized by vigorous light and shade, in some respects resem-
bling the effects in portraits by M. Adam-Salomou.

After some conversation, and votes of thanks to Mr. Solo-
mon, Mr. Johnson, and Mr. Dunmore, the proceedings termi-
nated. -

M. SALOMON’S PORTRAITS.

Dear Sir, — I have read with very great hitcrest th«7
accounts of your visits to the studio of M. Salomon', and it
is to be hoped that English photographers will deriYc great
benefit from your lucid explanations of the niethfw cA
working pursued at the celebrated establishment in Paris'.-

M. Salomon is undoubtedly an artist in every sense of the'
word ; hence the superiority of the results he obtains. The
same description of studio, apparatus, material, &c., can bo
obtained by most practitioners of photography. Let them
use them, and endeavour to take a few lessons from this
master of the art. Let us hear no more ])vating about all
sorts of dodges, coloured collodion, and the like. Let us try
to approach, if we cannot surpass, the work of M. Salomoo.
Let us follow, although a Frenchman shows the way> — I am,
dear sir, yours very tiuly, A. II.

Plymouth, February lOf/e, 1868.

[We publish this letter because its spirit is one we should
be glad to see carried out by all photographers. A spirit
of cmulaton is always productive of excellence. — Ed.]

Salk in tbi

A Remarkable Natural Brine. — On a recent occasion
Dr. J. Atttleld exhibited and described a sample of water from
Jamaica which had a very unusual constitution. A gallon of
the water contained —

Chloride of calcium 1,500 grains

Chloride of sodium 1,000 „

Chloride of ammonium 2J „

The taste of the water was peculiar, and, upon evaporation, it
left a deliquescent residue, which attracted moisture from the
air oven faster than the mixture of chlorides of magnesium
and sodium ordinarily obtained from sea water. Such a quantity
of water would bo but ill-fitted for photographic use, and nega-
tive films washed with it would bo left in a hygrometric condi-
tion, easily assailable by the slightest touch of frost. This
circumstance might furnish a practical answer to the doctrino
lately promulgated.

Chloride of Silver Battery. — A new construction of
voltaic battpry, which, considering its small size, gives very
great indications of power, was exhibited conjointly by Dr.
Warren do la Rue and Dr. Hugo Muller at the meeting of the
Chemical Society on the Cth instant. Its novelty consists in
the use of chloride of silver fused around a thin silver wire as
the negative element, the positive plate being composed of a
small rod of zinc which need not bo amalgamated. The size of
the whole arrangement does not exceed three inches in height,
and, with a battery of ten cells excited with salt water, a rapid
current of mixed oxygen and hydrogen gases was evolved from
acidulated water. When in use the salt brine becomes gradu-
ally charged with chloride of zinc, which tends to increase the
energy of the battery, and the whole arangement continues in
working order until metallic zinc begins to be deposited on the
negative element, when the exciting liquid must be changed.
For convenience in putting into action the whole series at once,
the round bars of zinc and chloride of silver are fastened at the
top to a wooden frame which is made to slide upon glass
uprights, and, when immersed, the white chloride is, ot course,
undergoing a slow reduction to metallic silver, which permeates
the mass much after the fashion of the strings of virgin silver
that are not unfrequently met with in nature, and are believed
to have a similar galvanic origin. Messrs. Do la Rue and
Muller are having made for further trial a battery of two
hundred cells.

Portrait Figures with Natural Backgrounds. — Our
notice of Mr. Edge’s cards has educed many ingenious sugges-
tions on the subject of double printing. Referring to the subject
generally, the Editor of the Scientific American says:— “ We
have seen equestrian photographs beautifully done in this way.

84

THE PHOTOGRAPHIC NEWS.

[February 14, 1868.

The photographer arranges in his studio a wooden rail of the
right height, on which a side saddle is placed, and the lady,
dressed in equestrian costume, mounts ,takes position as in riding,
and is duly photographed. A paper print of this negative is
then made, out of which her figure is carefully cut, blacked, and
pasted upon the engraving of any handsome steed that the lady
choses to select. A negative of the horse is then made which
has a blank space corresponding to the figure of the lady. Two
printings aro required to produce the picture : one from the
negative of the lady, the other from that of the horse. Instead
of engravings, photographs from living animals may be used.

Cost of Distilled Water. — A sensational statement
recently appeared in tbe Pall Mall Gazette, to tbe effect that
the distilled water used by the Abyssinian Expedition cost
two shillings per gallon, and amounted to £4,00(5 per day. A
naval officer writes to point out its exaggeration, and says : —
“ In our ships of war, even under unfavourable circumstances,
one ton of coal may be depended upon to produce at least ten
tons of distilled water. With coal at £1 a ton the price of
distilled water would be two shillings per ton. Probably at
Zoulla Bay each ton of coals may cost £3, at which rato a ton
of water would cost six shillings, making the price per gallon
more nearly a farthing than a halfpenny.”

®omsp0«&fnt.‘5.

Mercury. — The operation of transferring the imago to a litho-
graphic stone after you have proihiced the image in hichromated
gelatine and covered it with ink is a simple one; betas it re-
quires manipular skill, it is generally effected by a professional
lithographer. The image, having been produced ready for trans-
fer, is placed on the prepared stone, and then run through the
press, the ink leaving tlie gelatine and attaching itself to the
stone. The stones, &c., can he obtained of various dealers in
such materials.

W. W. (Newcastle- on-Tyne). — Your canopy A should bo placed
at a right angle with the background, and you will not then need
the extension B. Your lens is not apparently a good one ; and,
in any case, it is too short in focus for standing figures in card
pictures. If you study the articles on Pictorial jiffect which wo
aro now publishing from week to week you will improve in
posing.

D. S. — Any good lens, or quarter-plate lens, will serve for en-
larging in the method we described of camera printing on collo-
dion. Regarding landscape photography, it is difficult to
recommend any especial course. A few men succeed perfectly
with dry plates, but more succeed with the wet ; and unless you
aro quite certain of your process and manipulations with dry
plates, it is safer to use the wet process, a.s in that case you
see the result at once, and if one plate fail you proceed to try
another. It is equally impossible to say which is the best kind
of tent, lens, &c., as so much depends on the kind of work you
wish to attempt. Consult our advertising pages, and if you
wish for information on any special point, state tlio details
clearly, and we will advise you.

B. R. S. — You are right. The paragraph relating to the use of
carbolic acid for mounting materials, accredited to the English
Mechanic, is an extract from one of our own articles, made with-
out acknowledgment.

Anti -Chignon. — The chignon head-dress is doubtless rather
troublesome to the operator ; but with a head-rest, which can be
adapted to different positions and different forms of head, it is
generally possible to place the rest so as to form a support to
the lower part of the head, just underneath the chignon. The
card you enclose is exceedingly good, but just a little too deeply
printed.

Sick Bath. — It is probable that you have made the bath too
strong, and have not added sufficient nitric acid. It does not
require iodide of potassium. There is no mode in which you con
readily ascertain the purity of your distilled water without try-
ing it. The salt of alumina used by Mr. Bird for purifydng
water is ter-sulphate of alumina; it can doubtless be obtained
of any manufacturing chemist. You will find details on page 440
of our Tenth Volume.

W. J. A. G. — If we had been using tinfoil, for a mask, we should
certainly have lined it with paper, as, on bringing a metallic
substance almost in contact with free nitrate of silver on the
paper, we should expect decomposition and stains. 2. The
stains on print No. 2 may arise from many causes. It maybe
that the hath is out of order, it may be dirty plates, or other
causes ; but the mere sight of a print is not a sufficicut guide to

enable us to say what is the cause. 3. There is no absolute rul •
for the distance of the figure from the background : about two
or three feet will answer. 4. If you attempt to intensify by
means of your iron developer, with a few drops of silver added,
the developer must be one containing sufficient of a restraining
agent, either acid, gelatine, or suitable material to permit such
addition of silver without decomposition. 5. The deep colour
of collodion is due to free iodine, either added or liberated from
the iodide. 6. Collodio-bromide of silver, if properly made,
ought to have an opaline nppe.arance, and be free from the
granulation you describe when poured on a plate. The sensitive
prep.aration will keep for a time ; but is bettor tolerably freshly
mixed. The Philadelphia Photographer can bo obtained of
Trubner, Paternoster Row.

J. W. — Very' good for a first attempt; but there has been a trace
of foggy deposit on the negative, wo fancy. If you had painted
the back of the plate, or used wet red blotting-paper in contact
with it, you would have avoided the spreading of light by reflec-
tion ivhero the window is.

AV. Fisher. — It is impossible to say which position the sitter
should face without having the design of the studio before us,
as so much depends on the direction from which the best light is
obtained; but speaking in the abstract, without relation to cir-
cumstances, which may modify the matter, facing the north-east
is better than facing the south-west.

J. H. T. — On the whole, the subject is well chosen; and composes
well. As a picture, it would be ruined without the chapel ; it is
also improved by the hedge, although, h.ad it been quite under
control, a little less of the hedge would have been better, as
the interest it possesses scarcely justifies the space it occupies
and the prominency it receives. The chief fault in the picture
is th.at the middle distance and distance h.ave little, if any, differ-
ence in their rendering, all after tjie immediate foreground being
of one tint. 2. The best plan, in the case you describe, is to
clean off the varnish with spirit, and begin again.

K. S. — A variety of causes may tend to produce the sunken effect
and lack of surface vigour in a developed print, and also the
want of purity in the whites. The paper itself, and the mode of
preparing it, materially affect the result. An English paper,
with hard size, gives the most vigorous picture. If an
ordin.ary photographic paper be employed, a little gelatine in the
salting solution is often of service. The use of iodides without
chlorides tends to produce pictures lacking surface, vigour, and
cleanness. Of cour.se the paper has two sides, and if you float
the paper on the silver bath with the side in contaev which was
not in contact with the salting bath, the imago is sure to bo
buried. The presence of any diffused light in the dark room is
a frequent cause of lack of purity in the whites. There is no
appearance of under-exposure in the print you send, but the
negative is apparently a little too vigorous for such work.
Development printing .always requires a little experience and
judgment to succeed with any degree of satisfaction, and the
prints rarely equal in brilliancy those direct from negatives. As
a rule, they require retouching to produce the best results.

X. Y. Z. — That marked A will answer your purpose best, and will
serve both for copying and architecture. It will give straight
lines, and is more rapid than the other you name. One the
focal length of which equals the base-line of the size of picture
required will suit you.

Glasshouse. — In the position you describe, either a ridge-roof,
with side and skylight facing north, or a lean-to building, with
similar lighting, will answer; but decidedly avoid the slant
fronting light to which you refer, which is much more incon-
venient to manage. 2. l)ecidedly No. 1 of those you name.

Hypo. — A facetious correspondent asks us what articles, besides
photographic prints, are best when entirely freed from hvpo.
Wo presume critical articles : few people like anything
hypocritical.

Mr. Bovey’s first article on Silver Printing, and several other
articles in type, are unavoidably left over.

Severui Correspondents in our next.

o

V^otograptifl largiBtfrrU.

Mr. D. BicniRDSOS, Darlington.

Photograph of the First Locomotive.

Miss E. Pechky, Bath,

Photograph of Frontispiece for Album.

Mr. E. B. JcuAit,

Photograph of Farmers’ Uall, Evesham.

Messrs. VI. Vf. and C. Law, Northampton,

Photograph of Lions round Nelson Column.

Mr. J. Batsman, Canterbury,

Photograph of Interior of Miss Hales’ Chapel, Ilicking on.
i'botograi'h of the Crib in ditto. I

THE PH0X«£>®APHIC NEWS.

7 /

Vox,. XII. No. ^%A,~t'ehruary 21, 1868.

CONTENTS.

Permanganate of Potash for Rcctif/ing Old Baths . 85

Mr. ly^cLachlan’s Discovery

PhVographic Printing in gilrer, Thcoret'iMrand "pracU^

/By W. T, Bovey gg

T Al^osphcric Kffccta in Landscape Pho-

/ tography. By Nelson K. Cherrill gy

■" P'>o‘»5':»I>h7- By n. P. Robinson.'.’.’.".’.'.".'.".'.’.’ 88
Visits to Noteworthy Studios Pq

Omnium Gatherum : Remarks on Various Photographic Topics.

By Samuel i'ry [ p2

A Suggestion for a New Mode of Treating an Old Negative Bat'h’

By J. R. Johnson 93

Annual Report of the Council of the Photographic Society 94

Proceedings of Societies— The South London Photographic

Society gj

Talk in the Studio 96

To Correspondents gg

I’ERMANGANATE OF POTASII FoK EECTIFYING
OLD BATUS.

At the recent meeting of the Photographic Society Mr.
J. B. Johnson tead some interesting notes of an experiment
with permanganate of potash, used for the purpose of
removing organic matter in an old negative bath. The
value of this permanganate for purifying water containing
traces of organic matter has been for some time well known ;
and the experiments of Mr. Crookes, described in our pages
twelve months ago, in which the value of permanganate of
silver as a means of purifying water for photographic pur-
poses was demonstrated, called theattention of photographers
more especially to the subject. As this salt was not, how-
ever, commonly found in commerce, it did not come into
general photographic use.

Mr. Johnson takes the well-known salt, permanganate of
potash, which Mr. Condy has made familiar as a water
urifier, and adds it to the disordered bath, and, so far as
is experiments have gone, with the completest success.
When permanganate of potash is added to water containing
organic matter, all the constituents of such matter arc
changed by the oxidizing action of the permanganic acid ;
the hydrogen is converted into water, the carbon into
carbonic acid, and any trace of nitrogen into nitric acid.
The permanganic acid, robbed of oxygen and reduced to
sesquioxide of manganese, is precipitated as a brown powder.
The potash which was combined with the permanganic acid
is liberated in a caustic state, and combines with any car-
bonic acid or nitric acid which may have been formed.
When permanganate of potash is added to a nitrate bath it
is probable that similar reactions ivill follow ; and as the
common organic accumulation in an old bath is alcohol,
and the reaction between permanganic acid and alcohol is
very rapid and complete, a ready means of removing this
accumulation from the bath is here furnished.

The operation is analogous to the common method of
removing organic matter by sunning, and furnishes a rapid
mode of efiecting the same thing without waiting for sun-
light. In sunning a bath, which is, of course, first neutral-
ized or made alkaline, the oxide of silver under the action
of light gives up its oxygen to the organic matter, producing
a similar result, slowly, to that produced by permanganic
acid at once.

The chief risk attending this process is the production of
alkalinity from the carbonate of potash formed in the
course of the reactions. This is, however, a point easily
ascertained and remedied. If excess of permanganate be
added, it would result in the formation of permanganate of
silver, which would be precipitated and filtered out, merely
weakening the bath a little, and leaving nitrate of potash
in solution.

Pure permanganate of potash is readily procurable in

commerce, in well-defined needle-.shaped crystals of dark
purple colour. It is sometimes sold in the form of a greyish
powder : this is generally very impure. It is soluble in
sixteen parts of water, but is generally used in a 20-grain
solution, which is of a red purple colour. When added to
water containing organic matter it rapidly loses its colour ;
it should be added a little at a time until a faint pink tint
remains for some time, the permanence of this colouration
indicating that the necessary reactions are completed, and
all the organic matter oxidized.

Permanganates are somewhat sensitive to light ; but no
special photographic use has hitherto been made of them.
It is possible that, in the final washing water, they might
bo found valuable in oxidizing final traces of hyposulphites,
and converting them into harmless sulphates.

MR. McLACIILAN’S DISCOVERY.

We have recently had an opportunity of conversing at some
length with Mr. AIcLachlan regarding his alleged discovery,
and ascertained some particulars regarding it. His great
aim has been to discover the rationale of the collodion pro-
cess, and to ascertain not merely that certain results were the
usual sequences of certain acts, but why they followed, and
what were the causes in operation, so that a failure once
incurred, its source being known, it might be eflfectually
avoided in future; and a success once obtained, its causes
being thoroughly understood, it might be certainly and
unerringly obtained for any number of times afterwards.
In short, he has endeavoured to rise from the rule-of-thumb
operations which he believes to prevail in photography, into
practice based on principle.

He believes that he has succeeded in this, and has, for
the last two years, been putting a discovery then made to
the test. He believes that he can succeed steadily and cer-
tainly in all the operations of producing a negative, keeping
his preparations for any length of time, and for any number
of plates, in absolutely certain working condition. This
success he states to be based on principle ; but although
certain formulaj are most conducive to success, yet absolute
success depends on the use of “ brains ” : judgment in the
application of the principle and the use of the formulm is
necessary. How far this fact may place a limit on the value
of the discovery we leave readers to determine for them-
selves.

In making his appeal through the journals for investiga-
tion, he was desirous of making sure of certain things. He
wanted examination from capable persons free from the
possibility of prejudice; he was conscious that he incurred
risk of the suspicion of some and the ridicule of others ; but
he was willing to submit to this for what he believed to^ bo
the good of the photographic community. He was willing

THE PHOTOGRAPHIC NEWS.

&6

[Februart 21, 1868.

to forego all pecuniary reward for disclosing his secret, not-
withstanding many offers of purchase ; but he was anxious
that whatever credit might be due to the discovery might be
fairly accorded to him.

This was natural ; but, alter all, it led to a somewhat false
position. An appeal was made for competent examiners ; but
they must be free from the possibility of prejudice or prepos-
session, or of risk of unconsciously using Mr. McLachlan’s
ideas. Onegentleman whom we know to be perhaps of all men
in England the best fitted for the task — hi? qualifications as a
man of science, as a scholar, as a non-professional photographer,
and as a gentleman of high social position, being beyond chal-
lenge— was judged unsuitable because he was supposed to
be a contributor to some of the journals, and might be com-
mitted to certain views on the one hand ; or might, on the
other, although pledged to confidence, find it impossible to
write without making use of the ideas communicated by Mr.
McLachlan. We pointed out that the gentleman in question
was in nowise connected with any journal, but when he had
a suggestion to make to photographers necessarily made it
through one of the recognized channels of information, and
that the highest scientific authorities, such as Sir John
Ilerschel, would be open to a similar objection. This Mr.
McLachlan saw, and admitted his position to be untenable,
and that his views of a court of appeal must be modified.
We mention tbe circumstance to illustrate the difficulties
arising out of the position he has felt it desirable to assume.

Acting under modified views, Mr. McLachlan accepted a
suggestion made at a social gathering of photographers.
On Wednesday, the I2th, he had an interview with two
gentlemen in London, Mr. Spiller and Mr. Peter Le Neve
Foster, for the purpose of explaining to them, in confidence,
the principles upon which his discovery was based. After
some experiment these gentlemen will report as to results.
What the next step in the matter may be, or when the pub-
lic will be made recipients of Jlr. McLachlan’s confidence,
remains yet to be determined.

PIlOTOGPvAPHIC rrxINTING IN SILVER, TIIEO-
RETICAL AND PRACTICAL.

BY. W. T. BOVEY.

Prefatory Remarks.

“ Can anj thing new be written on the subject of printing
and toning ?" is a query that suggests itself most intrusively
as I resume my pen to enter once more on a well-worn topic,
which a truly formidable array of hints, forinul.T), and minute
rlirections would seem to have rendered completely thread-
bare, so far as teachings by the pen-and-ink process are con-
cerned. But a heavy file of letters before me at this moment
afford incontrovertible proofs that photographers have re-
ceived instructions from indifferently qualified teachers, or
they themselves belong to the numerous race of dullards.
From north, east, south, and west have those silent messen-
gers (now together impaled) come to inquire somewhat con-
cerning printing matters ; " The best formulaj for a sensi-
tising bath?” "How long the time of floating requisite?”
“ Why the toning solution works so tardily?” ‘‘The rea.son
why the toning bath has taken a fit of sulks or laziness, and
won’t tone at all ?” “ 'riie cause of small, yellow spots ap-
pearing in the prints after fixing, required?” ‘‘How to pre-
vent bleaching?” " How to get the richest of prints ” from
the poorest among negatives? “ How to secure black, blue,
brown, warm purple, cold grey,” and heaven knows how
many other tones ? And ten thousand laments seem to be
concentrated in one general cry — ‘‘ Oh, for a really reliable
and uniform paper ! Can you help us ?” These, with many
other questions of a sirailarcharacter, afford ample proof that
photographers have still much to learn, and need further
assistance to enable them to overcome their printing diffi-
culties; therefore, in the absence of a better qualified pre-
ceptor, I have, after much hesitation and contending
cogitations over the matter, consented to bravo malicious

commentators (if such there be), by writing a progressive
series of papers, which will describe the modus operandi and
the reason why of every move, in language sufficiently plain
to enable all concerned, by moderate study, to rid them of
their printing failings and failures.

A cursory glance over the matter would cause it to appear
somewhat incomprehensible that, after so many years of
active, practical experience in printing and toning opera-
tions, widespread ignorance, both of practice and theory,
continues to cling, like a noxious parasite, to the art of pho-
tography. But to myself, who, in the capacity of a ‘‘ jour-
neyman printer ” of no inconsiderable experience, have
worked behind the scenes, the problem is one that works out
its own solution. Professors of the “ light art ” (gentlemen
operators), as a rule, entertain a decided contempt for “ mere
printers,” whose usual workshops are mouldy attics, sloppy
washhouses, deserted out-buildings, and grimy coal-ccllers
(remember, I have the authority of personal experience to
bear me out in my statements). Somewhat a la mode Cal-
craft, with head nearly touching the horizontal “ rafteis,”
and body, to the waist, protruding through a trap door, I
have stood on a ladder sensitizing paper. 1 have toned
prints in a crazy, tumble-down shed, where my intrusive
movements were suspiciously watched by the winking eyes
of half-a-dozen sleepy barn fowls. More recently I super-
intended the printing department of a leading west-end
house; said department being conducted in an uustalled
stable. When occupied in the work of printing I have been
sent to the roof above, and consigned to a foul court beneath.
Ofttlmes at a window have I stood, far above the pavement,
and have clutched convulsively at the quivering printing-
frames, as each wild blast threatened to wrest them from my
grasp ; and I have breathed a silent wish that some good
spirit would stand beneath and shout into the cars of un-
suspecting passers-by, " For your head’s sake, stand from
under !” Aye, and when I have successfully grappled with
difficulties more important than any above enumerated, I
have smiled as the half-sneering sentence flitted through my
mind, " Only a printer!” " Only a printer!” yet what an
amount of diligent observation and intelligent study needed
to enable that printer to underatand the nature of his work,
and unfailingly to cope with its manifold difficulties ; and
the chief reason why so few competent hands undertake to
qualify themselves for printers is because of the sorry reward
that would await them. Except buoyed up by making his
business a labour of love, the life of " only a printer ” is
cheerless indeed. No medals nor honours of any kind to
awaken slumbering ambition. No word of commenda-
tion falls to his share when prizes arc awarded, for
his — beg pardon, all his employer’s — work. He is placed
on a level with an organ bellows blower — the opera-
tion creates the harmonies. What matter whether that
broad shadow that breaks up the foreground of yon bril-
liant landscape picture is the result of judicious sunning ?
What matter if the transparent tints in the winding river
are produced by like means? the negative is the be-all and
end-all. Why allow a thought to descend as low as the
“ machine-like printer?” And photographers really expect
competency to be obtained under such adverse conditions.
Echo cries. Don’t they wish they may get it? ‘‘ My printer
is so ignorant of his work ! ” exclaims the employer. “ My
printer ” might, in most instances, consistently reply, so far
as printing is concerned. Ditto. I have conversed on the
subject with photographers of high, medium, and low
standing, and I have no hesitation in stating that, with
very few exceptions, they know next to nothing about it,
and their failures are accounted for in two short sentences,
“ Jly ignorant printer ;” " ’Tis that abominable paper.”

This last quotation written by my pen might, perhaps, to
some savour strongly of ‘‘ shop.” To such I would reply in
all sincerity, “ Honi soil qui mal y pense." I disputed the
sweeping condemnations levied on paper long before I ever
dreamed of becoming myself a dealer in the article, and I
do not hesitate once again to reiterate, the paper is less at

THE tHOTOGllAPHIC NEWS.

87

rUart 21, 18C8i]

fault than ho who fails with it. There is not a respectable
dealer in photographic papers who does not supply an
article capable of yielding the best results if intelligently
treated ; and from my person.al knowledge of several photo-
graphic paper manufacturers, I venture to aflirm that to a
man they are most pains-taking, and do their utmost to
supply their customers with the best possible material. The
fact of the matter is just that, as a rule, it is not the paper
produces failures, it is ignorance of principles ; want of that
chemical knowledge which enables the manipulator to com-
mand uniform success ; Tis a slavish observance of formula;;
above all, ’tis the characteristic proneness of man to quarrel
with his tools when his work turns out a failure. When I
started as a pi inter some years ago, I began with a determi-
nation that on all occasions when failures occurred I would
first attribute the cause to self-ignorance, the chemicals and
paper when thoroughly convinced either was in the ulong ;
and it is with feelings of pride I record it, after years of
anxious toil, laborious study, and extensive experimental
research, the wisdom of my first determination has at length
become evident ; for what were once my masters and tor-
mentors have now been reduced to the suboulinate positions
of servants, and my chief desire is to communicate my ex-
perience in a form that will enable readers of the most
moderate capacity to conquer, even as by hard up-hill work
I have conquered. Porsibly the victory has won even late
in the day ; possibly silver printing may be on its last legs ;
I doubt it much, as the best that can be said of any other
method is, “ it is equal to a silver print ” For general pur-
poses I have no hesitation in declaring that no process yet
discovered can in usefulness approach silver printing. The
question of permanency is doubtless its weakest point, but
I am inclined to think the evil has been greatly exaggerated.
True, prints have beeri dipped in sulphurous compounds,
and have, by such means, been deprived of their fair com-
plexions; but folks are not in the habit of applying such a
straining test to their pictures ; they neither boil them,
bake them, fume them, nor expose them to anything more
injurious than the atmosphere they themselves breathe.
“ They turn yellowish, greenish, everything uglyish not-
withstanding,” methinks I hear the reader reply. Granted
in some cases; but I feel bound to ofl'er a good word for the
much-abu.sed silver process of printing. About twelve
months ago I caused a number of prints to be pasted on the
interior walls of a laundiy. No preservative nor extra pre-
caution of any kind having been taken, the prints referred
to have for nearly one year been exposed to extremes of
temperature; at short intervals to the reeking steam pro-
ceeding from dripping linen, and for many hours each week
to the fumes arising from burning coke. At the present
moment, apart from a faint coating of dust, no change is
perceptible. The probable reason why silver prints so
often deteriorate quickly uill be shown in its proper place.

In conclusion, liaving in these my prefatory remarks un-
burthened my conscience, my next will commence the sub-
ject at its beginning, by treating on the papers and materials
employed to render them serviceable to photography. And
my readers must admit my honest intentions when I prove
to them how absurd is that parrot like exclamation, “ O,
that tra.sh of paper ! ”

ON NATURAL CLOUDS AND ATMOSPHERIC
EFFECTS IN LANDSCAPE PHOTOGRAPHY.

BY NELSON K. CIIERRILL.

Tue importance which attaches itself to the discussion of
any point of photographic manipulation is usually in
direct relation to the difficulties involved in such manipu-
lation, and to the amount of skill on the part of the operator
necessary to overcome them.

This remark will, I think, be found to apply with much
force to the subject before us. That clouds are important
to the picture, no one will for a moment deny ; that they
are but seldom seen, as a rule, in photographs, is manifest ;

while it is, in my opinion, equally evident that this lack of
cloud effects in the general run of photographs arises
almost entirely, if not solely, from the difficulties which
beset the photographer when he attempts to produce upon
his sensitive plate the image of their quickly changing
forms.

Hence, I think, the importance of discussing at length
the various means by which clouds and cloud effects can be
best obtained in landscape work.

Before I enter at length into the question of considering
the various means whereby I have obtained successful results
in taking clouds, &c., upon the same negative with the
other parts of the landscape, I wish to enter a little into
the question as to whether it is or is not necessary for the
production of the b st results in a pictorial and artistic
point of view that the clouds be obtained on the same
plate and at the same moment with the rest of the picture.
To this 1 give as my unalterable opinion, that it is quite
possible in many ca.ses to obtain results as good, or better,
with separate skies, than can be obtained with the natural
skies which happened to exist at the moment of taking the
picture; though, at the same time, there may be many cases
in which it is not only desirable, but necessary, to take the
clouds and all at one operation. Of course, when a picture
is taken with a white sky, and clouds put in from another
negative, the result must depend in great measure upon the
art knowledge of the photographer, as well as upon his
skill in effecting the mechanical part of the arrangement.
The clouds used in such ca.ses must be in proper harmony
with the picture, and must not in any way disturb its
balance of light and shade ; also, they should be of as
nearly as possible the same character as those which existed
in the view when the other parts were secured. For instance,
it would be very improper to represent huge masses of
cumulus clouds in the sky of a picture taken under the serene
and still aspect of a summer's early morning; not that it is
impossible that such clouds might have existed in the sky
at the time, but the effect of the picture would be inevitably
spoiled by them ; insomuch so, that even if they were actually
present in the sky, it is easily to be imagined that no artist
would attempt the landscape till they had cleared away,
and certainly no photographer wishing to represent the
beauties of eaily morning would print in such clouds as
those of which I have been speaking; he would rather have
no clouds than the wrong ones. And it is only his art
knowledge which can dictate which are the right and which
the wrong ones. If there is, however, choice in the selection
of clouds for any jiicturc which has been done with a white
sky, there is equally a choice in the selection of clouds
for any picture which it is proposed to render all at
once — sky and foreground at one operation — for it can-
not be supposed tliat all skies are equally suited to
any view, and it is hardly to be supposed that the
sky and the view will remain for long exactly suited
to each other. I know that there are cases — but these

88

I'HE PHOTOGRAPHIC NEWS.

[February 2l, 18G8.

his choice of a sky, whether it be that he wants to take
his pictures all at one operation, or whether he take them
at two. No mechanical addition to the camera, no flapping
of shutters nor crowing over other people’s work, can com-
pensate for the want of a calm, decided judgment, biiscd
upon a complete and thorough knowledge of art.

I mentioned, in the beginning of this paper, that though
in many cases clouds might be printed in afterwards so as
to produce as good an effect as if they had been taken in
the original negative, there were also many cases in which
it was necessary to take them at the same time with the
rest of the picture.

I consider that these cases may bo made out briefly as
follows: — Whenever the sky-line of the picture is tolerably
near and abrupt — as, for instance, in nine-tenths of the
English landscape scenery, where the objects in the fore-
ground or middle distance rise up to the sky-line, or where
the hills or other distance may not be more than (say) a
couple of miles distant — the line of demarcation is quite
sufficiently well made out to enable a skilful operator to put
in any suitable sky in such a manner that no one could tell
whether it were joined or not. In all such ca.ses I look
upon it as optional to the photographer to produce the sky
at the same time with the rest of the picture, or to leave it
for a subsequent operation : his art knowledge being, of
couree, the guide to direct him as to which plan it will be best
to adopt.

But, on the other hand, where the view is of a very
extended character, and the distance of the horizon very
great, the clouds become .so mixed up, as it were, with the
icture, that no double printing could serv’e to produce the
est effects in an artistic point of view. No clouds but
those which actually went to form the picture at the moment
the lens was uncovered can be put in to do duty for the
innumerable delicate gradations which they produce upon
the forms of the distant view; not only by their shadows
(for I look upon these as a matter of comparatively minor
importance), but also by their being actually mixed up with
the view, as I said before. The reason of this is evident :
the clouds are suspended in the atmosphere at a very
limited height from the earth — I do not know what exactly,
but say, for argument, from 1,000 to 3,000 feet.* Let us
take the lower figure, as it will servo to illustrate my point
the best, and the principle will hold good in all cases.

Let us, then, speak of clouds 1,000 feet from the earth.
It will be evident, on a little consideration, that in a near
view, the clouds and the land.scape will be two different
things suited to each other, it may be, but separate and dis-
tinct; the clouds will, as it were, be something held up be-
hind the picture, something which may be altered without
changing anything else in the picture. Now see how dif-
ferent the case will be with very distant views. There are
many views in this country where the most distant point in
the horizon is, perhaps, twent)', thirty, forty, or even fifty
miles off. Now suppose that between the spectator and the
farthest point of the horizon in such a long view as this there
are clouds at various intervals at a height of about 1,000 feet.
It will, I think, be seen at once how, by the natural law of
perspective, they seem to come nearer and nearer to the earth
as the distance increases towards the horizon ; so that moun-
tains, and even quite small hills, are apparently shrouded
and veiled by them, when in reality they may not be so.
Now this is just the effect which must be produced at once
in the camera, or let alone ; no amount of double printing
gan effect it, nor can any amount of dodging secure tlic re-
man3”^*'^*'^*^ true effect in any other way than by

conceniV^'°*°g*'‘‘P^y- So, then, I conclude, that while in any
and uniforif^* clouds are behind the picture sought to be
other questiou piintiug may and will suffice for the best
photographers necessary to produce the picture all at
a.ssistaDce to cnabi.

culties; therefore, in i i . . . .

y I ’ ^ ne weather cload% nml not of nun clouds,
ceptor, 1 have, alter nv consequently interfere with the view at a
cogitations over the matter;tat«r.

one operation, when the clouds come in front of any part
of it, or when they are in any w.ay mixed up with it.

These remarks do not apply to what is usually known
under the name of ‘‘ atmospheric effect.” I have been
speaking of clouds as clouds, and not as mist, fog, or vapour.
We all know that when clouds descend to the earth
they look very different from what they did when high up
in the air ; and when clouds come down so as to form a
palpable mist or rain upon the earth, the view is generally
very much confined, seldom extending beyond a few miles.
Also, under these circumstances, the clouds hav'e but few grand
effects suitable to the pencil of the artist or to the camera
of the photographer. Storm-clouds, before or after rain, are
almost always grand enough ; but during the storm itself
most men would prefer shelter to work. When the distance
is, hoavever, only involved in slight mist ; when it looks at-
mospheric (or, as a friend of mine would call it, ‘‘ mysterious ”),
and when it is not too distant — no “ cloud forms ” actually
interfering with the outlines of the distance — sky can be put
in by double printing ; but it must always be borne in mind
that the more di.stant the view the more difficult it will be
to put in clouds with good effect by double printing, be-
cause they must bo so very delicate, and the line of junction
must be so exceedingly well managed not to show.

I had intended to finish up this first part of my paper by
a few remarks upon cloud shadows, but 1 shall refrain from
the subject, as Mr. Simpson’s remark at a recent South Lon-
don meeting so completely answers any objection which
might be raised to the double printing for clouds, on account
of the shadows being wrong. I would only add the further
consideration that it is. as a rule, impossible to point out in
any picture which shadow is made by any given cloud, and
that, therefore, though it may not be strictly true to put one
set of clouds and another set of shadows, if no one can detect
the error who is to say where it exists ? I would not for one
moment, however, uphold any error in photographic works;
I would much rather they were all done with absolute truth
as well as with the best artistic effect ; but I hold, and I
think I shall carry the sense of the best men in the profes-
sion with me, that in such a case as I am now speaking of, a
sliyht error in the representation of the cloud effect Is better
than a great departure from the requirements of art. I am
of opinion that where one or other must be the case, it is
better to have the shadows of the clouds in the picture too
small (or, rather, too large), or slightly in the wrong place,
than to have an arrangement of clouds which would be
utterly inartistic and unsuitable to the character of the
picture. In every case, as I have before said, there is no
rule, but the simple capacity of the artist must serve to
direct him in this as in all other matters of choice.

In my next I hope to set forth some of the means by
which 1 have been enabled most successfully to render clouds
in the same negative as the landscape ; and in a future
paper I shiill hope to give some more suggestions as to
double printing, with especial reference to the subject now
under consideration.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Beino Lessoss la

COMPOSITIO.V ASD CniAROSCURA FOR PilOTOQRAPUERS.

BY U. P. KODINSOX.

Chapter IV.

“It is quite singular how very little contrast will sometimes serve to
make an entire group of forms interesting, which would otherwise have
been valueless.” — liuskin.

" The arts themselves, as well as their varieties, are closely related to each
other, and have a tendency to unite, and even lose themselves in each other ;
but herein lies the duty, the merit, the dignity of the true artist, that he
knows how to separate that department in which he labours from the others,
and, so far as may be, isolates it.”— ffoefAe.

“ Sounds which address the car are Inst and die
In one short hour ; but that which strikes the eye
Lives long upon the mind ; the faithful sight
Engraves the image with a beam of light.'— Dr. Watts.

“ Because things seen are mightier than things heard," to
quote Tennyson, and because au actual example visible to

FEBRCAnY 21, 18G8.J

THE PHOTUGKAPIIIC NEWS.

89

the eye is better than pages of written wonls, I propose in
this chapter to give a slight illustration how an artist, even
in such a trivial sketch as the subject engraved on this page,
conforms to the usages of art, and the value which his work
gains by such treatment. I take this subject because it
follows and illustrates the rule of balance given in the last
chapter.

The two engravings represent the same subject — Windsor
Castle — and are identical, with the exception that the sharp
spots of black — the boat in the river and the bit of bank
and tree — which appear in the oneaie removed in the other.

It will be observed that the diagonal line starting in the
lower left-hand aorner, fol-
lowing the tops of the tall
chimney and the distant
towers, runs up to the flag-
stafi’ from whence the eye
is carried across the pic-
ture by the little white
cloud over the chapel,
thus completing the dia-
gonal line given in fig. 2
of the last chapter. By a
comparison of the two, the
value of the small points
of extreme ' dark at the
lower point of the angle
formed by the perspective
lines of the castle and the
river will be at once felt.

In figure 2, from which
the balance supplied by
the boat and bank with
the tree has been removed,

the castle appears to have i'ig. i.

nothing to stand upon, no
solid foundation. The
lines running to a point
iu the distance appear to
want collecting together
and regulating ; the dis
tance itself comes forward X"-
iuto the foreground, ami
parts do not take thei'
j)roper relation to one
another. In fig. I, where
the spots of black, or
key-note, is supplied,

everything falls into its
proper j lace, and there is
a sense of completeness
which fig. 2 lacks. The
most eminent painters of
landscape have adopted
this form of composition.

Cuyp, who generally

painted sunrises or sun- ^ _

sets, almost invariably ^

adopted this arrange- ~

of dark in the foreground that this is the only possible form
in which a landscape should compose. The principle may
be applied in exactly the opposite manner : light may take
the place of shade, and perform the same function. The
picture may be generally dark, with a mass of light in the
foreground by way of balance. For instance, the picture
of a dark, gloomy castle may be relieved by a flood of
light in the immediate foreground, breaking up and en-
livening the otherwise monotonous shadows. Neither is it
absolutely necessary that the landscape should rigidly fol-
low the diagonal line; there are endless variations of the
principle ; but I give this, the plainest and most obvious of

all the rules of composi-
tion, first, because it is a
key which, once mastered,
will enable the student to
unlock the secrets of the
most complicated designs,
and render his future
studies easy.

As I proceed with my
subject, I foresee that a

meut ; and in his pictures, the point of dark, being placed
near to and opposed to the point of greatest illumination,
gives extreme value to his highest lights. The same method
is almost invariably found in the landscapes of the Dutch
school. In Turner’s magnificent pictures of sea and sky tlie
wonderful luminosity is, in a great measure, due to the
darkest black being opposed to the highest light.

It is not necessary that the point of dark should consist
of one object only ; it is sometimes convenient to introduce
a group of figures or a mass of rock ; but it must always be \
rememoered that a judiciou-sly placed mass of dark in the
foreground not only gives balance to the composition, but !
also increases the effect of the gradations of the middle and ,
extreme distance. I

It must uot be supposed because I have spokeu of a point 1

little difliculty may pos-
sibly arise. The chief dan-
ger I appear to incur in
writing definitely is that
of being mistaken when
I describe all pictures as
compo.scd in regular shapes
such as the diagonal, py-
ramidal, circular, andsimi-
lar forms ; but it is only
by this means that I am
able to put anything tan-
gible before the student,
who, when he is sufficiently
acquainted with formulm,
and knows howto classify
and combine them, may
experiment with original-
ity of composition upon
his own account. As I
.said at the outset, rules
are not intended as a set
of fetters to cripple those
who -use them, and it is
not intended that the stu-
dent should absolutely
abide by them. The ob-
ject is to train his mind
so that he may select with
ease, and when he docs
select, know why one
aspect of a subject is
better than another. To
some readers it may ap-
pear superfluous to thus
look upon nature as a
thing to bo arranged
before any satisfaction can be derived from its contempla-
tion, or from its representation ; but when the student begins
to analy.se the cause of the beautiful and pleasing effect of
some pictures, and the disagreeable effect ot others, equally
perfect as far as finish and manipulation is concerned, ho
will find that he can assign the reason to some agreement
with the rules of art, however remote.

Au attention to rules will assist the artist in keeping his
picture iu tune. The small mass of dark or light^whichever
it may be, in the near parts of a landscape acts "ks a sort of
keynote, as 1 have already said, and the pleasure good com-
position gives to the educated eye is not unlike that the ear
derives from perfect harmonies in music ; and if the arrange-
ment of a picture is not obvious at a glance, if that which
is equivalent to mdody does uot strike the eye at once, rely

90

THE PHOTOGRAPHIC NEWS.

[February 21, 1868.

upon it that if the picture is pleasing, the composition is
there, although it may be in a minor key. As music is only
sound under governance of certain laws, so is pictorial effect
only the combination of certain forms and lights and
shadows, in like manner harmonionsly brought together.

The moral to the landscape photographer is, that in many
cases he must endeavour to obtain in his foreground some
object or mass of objects that will act as a keynote to keep
the whole in harmony ; and if nature does not supply such
object, the pictorial requirement may often, without violating
material truth, be furnished by art. On this point more in
another chapter.

VISITS TO NOTEWORTHY STUDIOS.

Mb. T. R. Williams’ Studio.

We invite our readers next to visit with us an English
studio, where the work produced has long been with English
photographers a favourite type of all that is at once deli-
cate and perfect in modelling in photographic portraiture.
None have ever surpassed, few have ever equalled, Mr. T. R.
Williams in the exquisite delicacy, without feebleness or
flatness, and the fastidious freedom from blemish which
charactcriiics all his work.

We well remember a time — some ten or twelve years ago
— which will be familiar to the memory of many London
photographers, especially portraitists, when traditions of
secret dodges were rife as the explanation of qualities at that
time much rarer in photographic portraiture than now, a
secret printing process was a favourite explanation, all the
paper being, it was alleged, prepared by Mr. Williams’ own
hands, no assistant ever being permitted to penetrate the
mystery ; at a later period retouching was the favourite
explanation ; and we find, about four years ago, just after
Mr. Williams had received a medal for portraiture at an
exhibition of the Photographic Society, a publi.shcd letter in
which a correspondent asks if it be true that the “ beautiful
modelling and fleshy texture are due to the skilful artist
rather than the photographer ; and that use of wax or
encaustic pa.ste conceals all trace of colour, and even permits
tlie picture to bo sponged without detecting the presence

of the neutral tint employed?” It was true that Mr.
Williams had ]>asted on the back of the frame duplicates of
each picture exhibited, which permitted the opportunity of
e.xamination without an intervening glass ; but this did not
prevent the prevalence of the rumour in question, nor the
statement in some quarters, not only that the pictures were
touched, but the water-colour artist who liad touched them
admitted the fact. We have been forcibly reminded of
these incidents recently, and also of how singularly history
repeats itself.

Mr. Williams is one of the oldest as well as one of the
most successful professional photographers, and one of the
very few who commenced life with photographic portraiture
as a profession upwards of a quarter of century ago. Having
passed a few years in M. Claudet’s studio, Mr. Williams
subsequently initiated the practice of producing artistic
groups for the stereoscope, and few things produced in pho-
tography have surpassed in beauty the charming Daguer-
reotype studies then produced, and which were eagerly
bought by the public at a guinea each slide. Devoting
himself at a later date solely to portraiture, his Daguerreo-
types soon became famous for very similar qualities to those
which now pre-eminently distinguish his paper pictures, — a
singular brightness, and combination of the highest delicacy
with great force and modelling.

Before entering the studio we may mention one or two
instructive circumstances. Jlr. Williams has never placed
any pictures at his door, or, so far as we believe, made any
kind of public announcement inviting patronage ; but he
has, nevertheless, always been one of the most fully employed
portraitists in London, at the higliest rates commanded by
photographic portraiture. We mention this to enforce the
lesson that excellence, not cheapness, is the true source of
business success. Notwithstanding the race for cheapness
which has been going on for years, Mr. Williams receives
now, as he has always done, for si.\ card portraits one guinea,
and for six card vignettes one guinea and a half ; a price at
which the excellence of the work commands him the most
extensive patronage.

We will now enter the studio in Regent Street, at the
entrance of which we find Mr. Williams’ name, but no

indication of his profession. In a comfortable reception
rootu, quietly furnished in good taste, we find examples of
the work. We are at once struck with the fact, that amidst
the varie'tj^ of good pictures, there is one speciality in which
Mr. Williams excels ; it consists of the whole plate portrait,
head and bust vignetted. The examples are all especially
beautiful, with an almost preternatural delicacy in the render-
ing of flesh, so free from harshness, rugosity, or coarse ness, is
every round and perfectly modelled head. We see but one
or two specimens of enlarged work, and these are placed
aside, as if scarcely intended for exhibition. A peculiar

refincmeut is tlie prevailing quality in Mr. Williams’ work,
to which the practice of enlargement would not readil3tlend
itself, and it never appears to have found favour with Mr.
Williams. 'I’here are some very well-coloured specimens
about 10 by 8 and 12 by 10, those in oil being especially
fine. The cards are also fine, and generally very brilliant
and forcible. There are no scenic backgrounds, but some
good accessories vary the effect of a plain background, and
in many instances a cast shadow of the figure on the back-
ground gives much breadth and relief.

We will now ascend to the studio, and proceed to some

THE PHOTOGIIAPIIIC NEWS.

91

February 21, 18G8.]

details of its construction and arrangement. The size of
the room is about 30 feet long by 17 feet wide. As will be
seen from the engraving, the chief light is from a skylight,
sloping in direction of the length of the room, not, as in the
ordinary ledge or lean-to roof, in direction of the width.
Tire glass extends the whole width of the room, and back-
wards in the length of the room for nearly 20 feet, the
exact measurement of tlie skylight being 10 feet 0 inches
by 17 feet. The height of the room at the ridge is about
10 feet, and at the eaves a little over 8 feet. The
panes at the end of the room are generally covered with
blinds, so that without management of blinds or curtains
the room would be lighted almost entirely with a skylight
facing the south-west; this is, however, by skilful manage-
ment of the blinds and arrangement of the sitter, generally
converted practically into a high side-light.

The sitter and the camera are placed cro.ss corner-wise of
the room ; two backgrounds, one facing each corner towards
the light, being generally placed as fixtures. We omit in
the diagram these and some other details which we shall
describe to give a clear view of the interior. Moveable
wings, covered with blue calico, are placed at each side of
the background, and at times are made to cut off direct
light, and at otheis to act as reflecting screens. The sky-
light is furnished with three sets of blinds, each set con-
sisting of three blinds, one above another : one of dark blue
calico, one of thick white calico, and another of thin white
calico or jaconet muslin. By the judicious management of
these blinds almost any effect of lighting can be obtained.
The diagram illustrates a mode of arrangement we have
seen in use. Over one-third of the skylight and half of the
next third the dark blue blinds are drawn to exclude
almost all light ; over the other half of the middle section
a white blind is drawn, and also over the upper half of the
remaining third. One-sixth of the skylight, and that the
portion most remote from the sitter, admits the light through
clear glass ; and this, if the sun were shining, would be
covered with the thin muslin blind. It will be seen that
the principal light is often virtually a concentrated high
si«le-light,the concentration giving the effective cast shadows
to which we have referred, whilst the the amount of softened
light admitted through blinds lights up the shadows, pre-
venting blackness or hardness. Besides the blinds already
described there are two other dark blinds which can, on
occasion, be used. These arc tolerably near to the head of
the sitter, and cari be used to prevent any vertical light
reaching it. All the blinds are on spring rollers placed
near the top of the skylight, and can be, of course, readily
drawn so as to cover any required portion of the sky-
light.

The backgrounds are each provided with an arrangement
which permits them to be thrown forward a little at the
top, and so produce a graduated shadow on the upper por-
tion. For convenience in photographing standing figures,
behind each background is the base of a head-rest, screwed
to the ground. An aperture in the backgrouml permits a
rod, carrying the rest, to pass through, and so stea<ly the
he.ad by means of an unseen rest. The backgrounds are of
a dark grey, in flatted oil paint. One point neglected by
too many photographers we may note in passing, is the use
of a very light background for vignettes, which renders the
production of a delicate gradation round the head and
shoulders comparatively easy.

A moveable framework, forming, with a dark cloth thrown
ovjr it, a large dark canopy or tent, is used to shield the
camera and lens from diffused light, and also to reduce the
amount of illuminated atmosphere between the sitter and
lens. The camera is also provided with a black velvet
covered screen, put in front of the sensitive plate, with an
aperture of the size of the picture, to protect it against the
action of any stray traces of diffused light; no pains of any
kind being spared to secure the plate from the action of any
light but that intended to produce the picture.

In the production of the whole-plate vignettes, Mr.
Williams for many years used a French lens with sufficient;
spherical aberration to give diffusion of focus and freedom
from excessive sharpness. Of late he has used for the same
purpose the patent lens with diffusion of focus arrangement,
w'hich tends at once to softness and depth of definition. A
full exposure is invariablj' given to aid in securing immu-
nity from coarseness or harshness of delineation, e.specially
where any tendency to wrinkles, freckles, or coarse texture
is present.

Our readers are already familiar with details of the mode
of operating pursued by Mr. Williams, and we need here
only briefly recapitulate a few particulars. A good com-
mercial bromo-iodized collodion is employed, the products
of various makers being used, and often in combination. A
40 -grain nitrate bath for winter, and one of 30 -grains for
summer use, in each case containing a trace of nitric acid.
A 15-grain solution of protosulphate of iron with 15 minims
of acetic acid is used for development. An under-exposed
negative would be intensified before fixing; but if the
negative be — as care is taken that it shall be — fully ex-
posed, it is fixed by immersion in a dipping bath con-
taining a saturated solution of hyposulphite of soda. After
thoroughly washing, it is intensified in daylight by means
of a I-grain solution of pyrogallic acid, containing 15
minims of acetic acid and a few drops of a 15-grain nitrate
of silver solution. This is used with great care, so as to
secure a few brilliant points of new deposit, giving intensity
in the high lights only. The general tint of the negative
is also rendered more non-actinic by this treatment, and
sufticient printing value is thus secured. The finished
negative contains minute points of high light very dense,
minute traces of bare glass, and abundance of varying
gradations of semi-tran.sparency.

In the printing operations great care is used. For the
vignettes an aperture, graduated by means of cotton wool, is
made to suit each individual portrait, and so give the best
result in each case. The acetate toning bath is employed.
Tlie prints are never suffered to remain in soak all night;
four hours’ washing, with frequent change of water, each
print being drained as it is changed into fresh water, is
considered, and doubtless is, much more eflfectual in removing
traces of hypo, than protracted soaking in water.

Every first proof passes through Mr. Williams’ own hand,
and receives his instructions as to depth of printing and
toning : modifications in the vignetting are suggested, and
a pencil outline of the most suitable form is generally traced.
Every finished print, as a rule, also passes through Mr.
Williams’ hand; each undergoes a fastidious scrutiny, and
is rejected if it have a suspicion of a fault, either in depth,
tone, or vignetting, as well as for anymore tangible fault.
The scrupulous care and educated eye which detects the
minutest fault and rejects everything defective, as well as
great skill and fine taste, have contributed much to the rare
success which has attended the career of Jlr. Williams as a
portraitist, and rendered his pictures almost synomymes of
photographic excellence.

Mr. Williams is a man of retiring habits, and rarely takes
an active part in photographic discussion or communication ;
but his experience has always been placed freely at the ser-
vice of photographers, ns our readers know, but with what
a ready and winning courtesy those who have come into

Eersonal intimacy with him onlj' know. Although no
eliever in secret dodges, he has always been a careful ex-
perimentalist, and photographers are indebted to his sugges-
tion, in the early days of the collodion process, for some of
the operations — such as the direct iodizing of a new bath,
&c. — which are now amongst the things of course in the
order of working. We must now conclude our somewhat
extended visit to one of the most interesting of London
studios.

9

92

TILV, PHOTOGRAPHIC NEWS.

[Pbbruary 21, 1868.

OMNIUM GATHERUM: EEMARK8 ON VARIOUS
rilOTOGKAPlIIC TOPICS.

BY SAMUEL

It is a source of considerable pleasure to me to have this
opportunity of again meeting with the South London
Society, a body with whom it was in pa.st years my lot to
hold frequent and pleasant communion. Tlie circumstances
of my residing at a distance from town, and having engage-
ments in an arduous branch of our common art, have
debarred me, to an extent that is to me a subject of regret,
of much pleasant society of ilays of yore. Do not, I pray
you, suppose that I have come down here with some new
invention, a fresh dodge, another wrinkle, far from it ; I am
simply here to hold a little converse with you on matters
that interest us all alike. On some of those points hot
disputes have arisen, on others misapprehension exists, on
yet others our future course is veiled with the clouds of
doubt and anxiety. Past, present, and future, then, it occurs
to me that if, before finally coining to conclusions, we just
sit down and come to some agreement as to the real
meaning and significance of terms, of what is, and what
should be, the actual object we hold in view, our progress
may be advanced.

First, then, 1 think 1 violate no confidence when 1
relate as my primary theme the (piestion which has now
for- so many j'cars anxiously agitated the photographic
breast : Can we make our pictures jiermanent ? Gentlemen,
whatever may be the answer to tliis (piestion, 1 think we
must consider that the numerous panacea which have been
offered us to ensure it in future show a very strong doubt
as to whether we have hitherto been very near it in our
practice. Now I claim to be rather a practical photo-
grapher than a profound chemist, and I am strongly
imbued with the belief that we have in our possession the
means of making a photograph as |permauent as there is
any need it should be.

If people will, as I know they do, plunge masses of pic-
tures wet with hypo into a water tank, and think because it
has a syphon arrangement it is all right, they are sure to
fade; and if they take them out and dry them in blottlng-
hooks for months together they will also very soon fade. 1
know a large establishment where this latter is done, and
they go rapidly. Put if, on the other liand, you use hypo
once only, when the pictures arc removed, have each one
washed on a slab of slate or marble with a broad brush
under a tap, and the wliole lot well washed for five minutes
before they go in the tank, and the same again three hours
afterwards, and then bo dried, I s.ay emphatically, and I
challenge contradiction, these prints will not fade. Arc
any such conditions as these generally observed ? Not a bit
of it. Hundreds of prints are daily put stVaight from the
hypo into the water, and only taken out to be dried.

It is a fact, readily proved, that the grca.sy hypo fluid
adhering to the prints cannot be removed by mere contact
with water ; but a mechanical appliance, such as a hru.sh
under a tap, instantly clears it away. Some may say, " What
a while it will take!” but I hope to hurt no one's feelings
when I say that if .all be true that’s repeated, a very few
have such large batches of prints as to make the time thus
occupied any object.

It is a startling evidence of the douht that pervades men’s
minds on this important subject that now, in 18G8, it is
deliberately proposed, by good .authorities, to return to the
fixing and toning hath in one. It was an awful thing, and
required some temerity to fairly put down in black and
white Such a proposition, and, strange to say, the idea is not
scouted, for, from the latest experiments by llr. Cherrill, using
sulphate of ammonia with the toning and fixing solution,
the picture can be demonstrated to contain a far smaller
([uantity of matter liable to change than has ever before
been obtained. I have repeated and verified these experi-

* Read before the South Londou X’hotograpUie Society, February 13, 1803.

monts, and hasten to e xpress the pleasure with which I found
that pictures thus fixed resisted the action of the potent
fluid in which it was immersed ; whilst an ordinary print,
toned and fixed with hypo only, though washed with great
care, immediately gave way. Perhaps we have here a hajopy
issue out of all our affliction as regards permanence. The
real question is in a nutshell : Have we greater permanence
witll separate toning and fixing than we had before? Some,
who look upon fading as a natural sequence to printing,
have conceived the thoroughly human idea that if we could
not prevent, we might conceal, the fatal germ of death which
seemed congenital to our productions, by enveloping them
in a transparent coating of varnish or collodion. I have
carefully tried these methods, and believe them worthless
for the following reasons : —

Varnishes arc composed of gums dissolved in certain spirit-
uous or ethcrlal fluids, and it is the aim of the maker to so
blend his constituents in the liquid as to obtain a balance of
focus between the clastic and the brittle gums, that, without
anything like stickiness, there shall be elasticity to allow of
contraction and expansion from atmospheric changes, and
yet the hard transparency of more frangible vegetable
gums. In their normal state varnishes are waterproof, but
unless made very thick, and, therefore, opaque, will not
long remain so, especially if the atmosphere have access to
both sides. Handling, moisture, frequent change of tempe-
rature, even within moderate limit — within a very moderate
jieriod — destroy most varnishes, and they become friable, and,
falling away .as an impalpable powder, their uses are gre.atly
diminished. Even where they do not thus act thus, time
and light as surely yellows them as it docs the leaves of
autumn. Goncentrated experiments to test the resistance
ot varnish are no criteria as to their v.alue : the slow disinte-
grating influences I have mentioned cannot be thus esti-
mated. It har been hinted that if the picture be mounted
with india-rubber the print is hermetically scaled when
varnished. I pray you dismiss any such idea. If you want
permanence do not seek it by imprisoning your enemy :
keep him out from the commencement.

There is strong re.ason to suppose india-rubber to be
utterly worthless as a mountant ; it is a vegetable gum, and
exhibits the usual efl’ects of .atmosphere on such productions,
losing its cohesion, and becoming a mere brown powder in
a few year.s. Some have supposed india-rubber — as seen in
commerce — to be the skin of the elephant and rhinoceros in
a state of subdivision. 'Ibis is not correct.

1 p.ass now to collodion as a protective. I very carefully
tried this, and hadgreat hopesof it, but it itself turned yellow,
and, exhibiting a surface partly smooth and partly rough,
showed its protective power to bo very uncertain ; a few
mouths made it quite pulverulent. But having thus re-
ferred to protective agents that are no protection, I will just
advert to what 1 believe to be a most valuable protection,
vis., an encaustic or ceramic pomade whoso basis is pure
white w.ax. We know white wax is permanent, because in
Egypt .and other countries, where it has been the practice to
embalm or preserve bodies from destruction, the principal
agent has been the cerecloth, which has not only resisted
permanently the destructive effects of time to an unprece-
dented extent, but may be seen in the British Museum in a
perfectly sound condition ; whilst the varnishes, essences,
and perfumed gums enclosed within the whole, although
thus perfectly excluded from atmospheric influence, have
utterly perished. White wax is a thoroughly reliable sub-
st.ance as a protective agent, and it is to a judicious applica-
tion of it, in conjunction with certain mollifying ingredients
communicating softness without greasiness to the prepara-
tion, that Salomon’s pictures owe much beauty. The surface,
and not only the surface, is proof permanently against fair
usage, or the effect of moisture or vapour ; besides which the
effect on the picture is very valuable. It is not a gloss
which is given ; it is a rich liquid depth and enhancement
of vigour and softness comhined.

And uow about carbon printing. This is, as far as wo arc

February 21, 1868.]

THE PHOTOGRAPHIC NEWS.

n

aware, permanent ; we must not forget that there has been
bichromate of potash used as a sensitizer, and that the whole
picture is supported on a substratum of an organic nature
which has been under the intlucnce of this powerful chemical
as a sensitizing agent. The tests employed to discover the
presence of the destructive substances in silver prints are
inert against carbon ; and it has not yet been shown that
there is left anything which can militate against its perma-
nence : but it would be well to be quite clear on this
matter. And now then, why, if carbon printing is thus per-
manent, if it unquestionably possesses that great virtue so
long sought in vain ; if, in a word, it is the solution of this
great question of permanence, why is it not generally
adopted ? I ask this in no partisan spirit, but simply be-
cause it is a question continually put in any company where
photographers meet. All admire the results, the full
details are before the public, any one can purchase the
materials, and no special commercial difficulties are imposed
by the patentees. Why, then, is it unworked by the main
body of photographers? I believe the primary cause to be
that it is a blind process ; you cannot watch the printing,
and have to risk the results at the end of the daj'.

Mr. Cherrill, who has prob.ably achieved as great success
as any one in it, says it is the sort of thing to do your
“ best work in." If you want a thousand impressions, the
negative may be learned by the actinoineter, and good suc-
cess obtained ; but when, as is almost always the case, a
heterogeneous batch of negatives .are out printing, very small
success has comparatively been required from each, and there
seems difficulty in meeting the case.

Mr. Mayiill states also that he is unable to print his small
pictures economically by it. I do not mean cheaply, but
on anything approaching a commercial scale.

In company where sceptics and arch-heretics sometimes
congregate, I have heard the opinion often expressed that
carbon in many cases fails to give the depth and brilliance
of silver printing. From my own personal comparison of
some of Bedford’s choice landsc.apes in carbon and silver-,
the latter were far preferable. I have also a pair of Mr.
Blanchard’s celebrated “ Scholar and Zealot,” silver printed,
which most agreed to be finer than the same in carbon. In
discussing such a matter, we must remember we are only
feeling our way, and that much has had to be unsaid in
photography : where knowledge ends, there dogmatism too
often begins. Wo have not yet seen the last of silver print-
ing, nor arc we likely to.

Just one more subject, and I have done. What about
business? When these societies were established, most
of the members were amatcin-s, but I fancy the profes-
sional element has of late years predominated. Great
complaints are heard on all sides of slackness of busi-
ness ; but I sometimes think that if photographers were
a little more versed in political economy they would per-
ceive that not only is it no wonder our craft suft’ers, but
that it suffers severely. Whether we recognize it or no, all
businesses are subject to the immutable laws which regulate
commerce — the laws of supply and demand ; no artificial
treatment has yet been able to create demand when the
supply was excessive. Gentlemen, look around you at the
state of every industry that can be named, and nothing but
disaster can be seen. Look, again, at the number of pro-
fessional photographers, enormously in excess of demand.
The card mania called them into existence, and with the
reduced demand came necessary depression. The issue of
photographs, notwithstanding this, is more enormous than
ever, and if any evidence were wanting tocorrect the erroneous
assertion that the flatness of trade is owing to the public
being aware that they are not permanent, it is supplied on a
consideration of the immense numbers and various kinds
now being used. Numbers of books are published ; copies
of works of art, collections of paintings from national galle-
ries, are in daily increasing demand. I have good reason
to believe that such quantities of paper, collodion, silver,
and gold were never before used as now in producing photo-

graphs. But the demand for portraits has simply taken its
n.atural position ; unless a new mania arise, it will probably
not be less than now, anil it is evident th.at a fraction of the
portraitists now existing will be required. But let no one
think photography is going to the bad ; its importance and
v.alue are more recognized dail)' ; and in most of the
important industries of the world it is usefully employed,
for the simple reason that “ truth,” as embodied in photo-
grapby, is recognised as a " household word.”

o

A SUGGESTION FOB A NEW MODE OF TREATING
AN OLD NEGATIVE BATH.

«Y J. R. J0II.N30X.*

A GRE.VT Northern Wizard has promised the photographic
world that by one stroke of his magic wand ho will convert
the collodion proce.ss, so delicate and uncertain in practice,
even in the hands of experienced operators, into one abso-
lutely definite and certain, so that a thousand negatives
may be taken in succession without the risk of one failure.

Until this has been accomplished, any new fact which
may tend, however slightly, towards this end will, I feel sure,
be accepted by photogra])hers with pleasure ; and I make
no apology therefore in calling the .attention of the members
present to one such fact which appears to me to have this
tendency in not a slight but in a considerable degree.

It will, I think, be generally .admitted that one of the
chief sources of failure in the collodion process ari.scs from
the instabilily of the negative b.ath. That the bath should
show this instabilily is not at .all to be wondered at, inas-
much as it is undergoing a constant change of composition
by the immersion of every fresh plate ; the water holding
the silver salt in solution becoming thereby gradually re-
moved, and replaced by other fluids, viz., alcohol and ether.
These are fluids whose elements enter readily into other com-
binations, but they are also necessarily more or le.ss impure,
containing sm.all quantities of other analogous substances,
and traces of oils, the nature of which varies according to
the source from which the original wine or malt spirit
employed in their production was obtained. We know
well thiit when these fluids have accumuhated to a certain
extent, we find that the salt of silver becomes reduced with-
out the action of light, and this reduction taking place
over the whole surface of the picture, we have what we call
“fog,” and we fail then to produce vigorous negatives.
Sometimes this reducing action takes place in the bath
itself, wRen we have a depo.sit in an infinite state of division
diffused through the bath, and showing but little signs of
deposition, unless as a specular film on the sides of the
vessel. When this is the case a few drops of cyanide of
pot.assium, forming a clot of cyanide of silver, if well shaken
with the silver solution, will entangle the attenuated matter
in suspension, and will carry it to the bottom, thus clearing
the bath, and removing the cause of fog. At other times
the action is only shown on the iodized or bromized plate,
the bath itself being clear and bright. In this case the
cyanide appears to have no action ; and I knew, until lately,
no other way of clearing the bath from this source of fog
than by rendering it alkaline and putting it in the sun.
The action of light being added to that of the reducing
agent, a portion of silver is deposited, while the reducing
agent itself is destroyed, probably by oxidation, and the
evil is cured.

About two months ago. Mr. W. Morgan Brown, Secretary
to the late United Association of Photography, informed
me that he had been troubled with a bad bath, and had
tried several modes of curing it in vain, until, in his despair,
he had put in a few drops of Condy’s disinfecting fluid, when
a complete cure was effected.

I paid but little attention to the matter at the time, but
having read Mr. Crookes’ excellent paper “Upon the Purifi-
cation of Water by Permanganate of Silver,” I was reminded

* Read before the Loudon I’botographic Society, i’ebruary 11, 1868.

04

THE PHOTOGKAPHIC NEWS.

of Mr. Brown’s communication, and I determined to try
whether the reducing agent of a fogging-bath might not be
oxidized by the direct action of a permanganate, and, to my
great satisfaction, the experiment was liighly satisfactory.
A few drops of a 20-grain solution of pure permanganate of
potash added to an old bath first coloured it of a fine purple,
which gradually changed to a turbid brownish hue com-
pletely removed by filtration. If the addition be made in
sufficient quantity, the bath is completely cured of its foggy
property, and a vigorous picture may again be obtained
with it.

Not having a large stock of old bath at my disposal, my
experiments have necessarily been limited, and, indeed,
confined to one specimen of bath. Strictly speaking, tlrere-
fore, it is only one form of the reducing agent to which my
remarks refer, and the result may not be the same with other
specimens of bath, in which the reducing tendency ma)'
arise from other kinds of collodion or from admixture of
organic matter from other sources than the collodion. The
experiments, however, of Mr. Brown and myself establish
the fact that a permanganate may be used to oxidize organic
matter in the bath without detriment to the remainder ;
and, as we know that the permanganate gives up its oxygen
to all kinds of organic substances, there can, I think, be but
little doubt that it will be found generally applicable. I
have, therefore, hastened to communicate the fact at once, so
that it may be tried by all photographers who read the
record of our proceedings, trusting that they will give the
suggestion a trial, and will report to us their results. More
facts rvill be obtained in one week by this mode than an
individual could acquire in many months’ experimenting.

Before concluding, I would remark that, on mentioning the
subject to Mr. Werge to-day, he informed mo that Mr.
Tully, of Sheffield, had for som : time used permanganate of
])otash to clarify his printing baths instead of kaolin, and
that Mr. W. had mentioned this fact to other photographers.
We have here a perfectly analogous use of this substance,
the substance oxidized and removed being, however, albu-
men or its derivatives which injure the positive bath, instead
of the organic compound, or compounds, yielded by the
alcohol or ether to the negative bath.

ANNUAL REPORT OF THE COUNCIL OF THE
PHOTOGRAPHIC SOCIETY.

The Council of the Photographic Society, in rendering its
Annual Rei'ort to tlie members, feels considerable satisfaction
that, after a year of unprecedented depression in many jihases
of the art of photography, it is able to congratulate the members
on a more promising condition of the Society tlian has existed
for some time, evidences of wliich may be found in the fact that
a larger number of interesting communications have been
brought before the inombors at meetings, and that an exceed-
ingly successful exhibition has been hold.

It is a source of congratulation that, during the fifteen years
of its existence, the Society has, by the maintenance (at a large
cost) of public exhibitions, by the loundingand maintenance of
a journal, which during many years was tlie only means of in-
tercoinmnnicatiou amongst photographers, of announcing the
continu.al progress of discovery and improvement, and of pre-
serving a record of each step in advance made by the pioneers
of the art, materially aided in placing it upon a solid basis, and
contributed to tlie prosperity and advantage of all associated
with photography, either as amateurs or engaged iu its pursuit
ns a profession.

In looking at the general progress and present position of
jdiotograpliy, and its now variously ramified applications, the
Council cannot omit taking occasion to congratulate photo-
graphers on the solid advancement wliich has been maile in
their art. Prominent amongst the accomplished facts of the
present day, which nut a few years ago was amongst its hopes
and aspirations, may bo mentioned the discovery and working
out to a practical issue, by one of the members, ot a means of
producing photographs in permanent pigments. Mr. Swan’s
carbon process, the annonucemcnl of which was first made to
the Society four years ago, as then little more than an experi-

[February 'll, 1868.

meutal possibility, is now the moans of issuing every week
thousands of photographic prints as imperishable as the pro-
ductions of the painter and engraver. Mr. Woodbury’s process
of photo-relief printing, also introduced by its inventer, a mem-
ber of this Society, at a more recent period, is now also a moans
of producing, with the rapidity of the printing-press, permanent
pictures, with groat perfection and truthfulness of detail. Per-
manence in silver-printing has also received much attention
and consider.ablo aid from members of the Society ; and the
papers read by Mr. Blanchard and ,Mr. Spiller during the past
year may be reganled amongst the most important contributions
of the Society to the progress of this branch of our art. The
optics of photography have received great impulse from the con-
tributions of the members, and the papers of the late M. Claudet
and of M. D.allmoyer, and from the discussions arising from their
papers read during the ye.ar. Dry -plate photography, amongst
the many contributions wdiich have, during the past year, ailed
in securing its practical perfection, has received an especial
impulse from the paper of Mr. England, who, in his communi-
cation, described a process which has for the first time proved
as commercially available as the wet process for the practice cf
professional photography.

Without entering into further details upon the numerous and
important steps in advance which have been secured in the art,
the Council submits a list of communications which have been
received at various meetings of the members, and at the same
time direct attention to the fact that they are more numerous
and important than usual, no meeting of the Society having
been held at which one or more interesting papers was not
read : —

Dr. Wright, on the Medical Uses of Photography.

Mr. A. Claudet, on a Photographic Unity of Measure, for
calculating any enlargement or reduction of photographic
reproductions, and all respective focal distances and distances
of objects.

Mr. Ilohvell, of Bermuda, on Mr. Claudet's Invention for the
Distribution of Focus.

Mr. A. K. Sparke, of Plymouth, on a New Developer.

Mr. Monckhouse, on a Water Agitator for w.ashing photo-
graphic prints.

Mr. Jabez Hughes, on Papers— How to write them, and
What to w’rite about.

Mr. W. T. Bovey, on Printing on Canvas and Wood Blocks.

Jlr. W. England, on a Modification of the Collodio-Albumen
Process, requiring but one sensitizing bath.

Mr. A. Claudet, on the Optics of Photography — on a Self-
acting Focus Equalizer, or the means of producing the differ-
ential movements of the two lenses of a photographical optical
combination, which is capable, during the exposure, of bringing
consecutively all the planes of a solid figure into focus, without
altering the size of the various images superposed.

Mr. V. Blanclhird, on the Best Means of rendering Silver
Prints Permanent .

Mr. Duninore, on Bromo-Rico Paper.

Mr. J. 11. Dallmeyer, on the Cause of the Central Spot or
“ Flare ” in Photograidiic Lenses ; and on a New Form of
Wide-angle Rectilinear Lens entirely free from this defect.

Mr. Jabez Hughes, How is the Status of Professional Photo-
graphy to be raised ?

^^r. J. Spiller, Researches on the Hyposulphites and other
Fixing Agents — Part I.

The following interesting objects have boon exhibited during
the session : —

Dr. Loowo, Specimens of various Solutions for Printing on
silk, linen, wood, leather, ivory, and other substances ; also
prepared paper and photographs on various materials.

Mr. N. K. Cherrill, Photographs printed in Carbon.

Mr. Good, a Frame tor Touching Negatives.

Mr. Griggs, a Photo-block.

Mr. J. R. Johnson, a Multiplying Camera.

The Council has pleasure in stating that arrangements have
been made for the future management of the Society, which,
without in any degree crippling its efficiency, will very con-
siderably further reduce its annu.al expenditure.

The Council has especial pleasure in mentioning, amongst
the most important means of reducing the expenditure of the
Society, a voluntary tender on the part of their Secretary to
resign the amount of salary ho has hitherto received for dis-
charging the duties of that office, and ot undertaking, for such
time as may be necessary, the position of Honorary Secretary.
The Council, in accepting tho oiler of Dr. Diamond, feels

February ‘Jl, 1868.]

THE PIIOTOGRAPIIIO NEWS.

95

assured that the Society will join with it in tendering their
cordial thanks for the liberal spirit in which ho has undertaken
onerous and important duties on behalf of the Society without
any charge upon its funds.

The Council further has pleasure in referring to a source of
reduced expenditure and increased comfort, which is found in
the change in the place of meeting from the Library of King’s
College to tho Gallery of the Architectural Union in Conduit
Street. In opening its session at tho commencement of the
present winter, tho Society, in accordance with an announce-
ment at tho termination of last session, had arranged to hold
an exhibition meeting to which photographers generally, as
well as its members, were invited to contribute illustrations of
tho progress made during tho year in tho various departments
of tho art. On application to the authorities ot King’s College
for the use of their meeting-room a few hours earlier than usual,
in order duly to display tho contributions which had been
invited, it was found that no departure from the usual routine
as regards the use of the room would bo granted ; and tho
Council were compelled to look elsewhere for rooms in which
the exhibition meeting could bo hold. This accommodation
was granted with much courtesy and on exceedingly moderate
terms at tho Gallery in Conduit Street, at which the meetings
are now held. The greatly extended accommodation, and tho
comfort and convenience which attended tho proceedings of
the first evening induced tho Council to enter into negotiations
for the occupation in future, for meetings and other purposes,
of the Gallery, in which tho opening ot tho session was inaugu-
rated ; and they have pleasure in congratulating the members
on the success of these negotiations, which have issued in a
change iu every way advantageous, at a cost little exceeding
half tho amount they had hitherto paid for rent.

Tho Council has already referred to the very groat success
of tho exhibition meeting hold on the 12th of November last.
Tho response made to the invitation of tho Society was far
beyond anticipation, and a very large number of photographs
of much excellence were forwarded for exhibition. Impressed
with the importance of giving, if possible, an extended oppor-
tunity to photographers and tho public to examine the choice
display of pictures hung in tho gallery, the Council made
arrangements to continue the exhibition for a week longer,
during which time the rooms were opened to tho public free
of charge, and a considerable number, probably exceeding 2,000
persons, availed themselves of tho opportunity of visiting an
exhibition of photographs which was, in many respects, unsur-
passed in interest by any which had been held for many years.
Tho success which has attended this exhibition has induced tho
Council to determine on a repetition of the experiment in future
years, when it is probable that increased publicity and more
perfectly organized arrangements will secure a still higher suc-
cess and more complete satisfaction. The Council cannot leave
this subject without expressing their gratification that the great
impulse which public exhibitions aftbrd to the progress of tho
art may be secured to photographers by arrangements similar
to those of November last, without tho heavy tax upon tho
funds of tho Society which, continued during many years, so
crippled its resources, and have acted so prejudicially on its
financial position.

Tho Council has to announce with deep regret tho loss ii
has sustained during tho year by tho deatli of two of its most
esteemed members, Mr. Claudet and Mr. Thurston Thompson,
both of whom had maintained to the time of their death a warm
attachment to the Society, and an active interest in its welfare
and progress. The Council had received considerable aid from
the able assistance of these gentlemen for many years ; and it
and the Society sustained a deep loss by their lamented death.

In conclusion, the Council would impress upon members that
the continued prosperity and progress of tho Society are de-
pendent on tho co-operation of all its parts, upon tho active
discharge by individual members of personal duties, by regu-
larity of attendance, by contribution of papers, by the exhibi-
tion of objects of interest, either as means of production or in
the shape of perfection of results, by aiding in the discussion of
all matter pertaining to the art brought before tho Society, and
upon tho general activity of members in extending tho influ-
ence of the Society, as much as upon the action of its Council
and its executive officers, who are largely strengthened in
their efforts by tho tone of tho Society generally, and a con-
sciousness that every member is contributing, each in his own
sphere, to the furtherance of the interest of the Society and tho
beautiful art which the Society was founded to promote.

The South London Photographic Society.

The usual Monthly Meeting was held in the City of London
College, on tho evening of Thursday, February 13th, Mr.
Sebastian Davis in the chair.

Tho minutes of a preceding meeting having been read and
confirmed, Mr. J. F. B. llassett was elected a member of the
Society.

Mr. J. T. Taylor then read a paper on tho “ Oxyhydrogon
Light, and Means of Avoiding Explosions,” illustrating by
means of diagrams on a blackboard tho working of a valve ho
had used by which escape and mixture of tho gases was
rendered impossible. We regret that tho extreme pressure on
our space compels us to defer tho publication of this paper until
next week.

After some conversation on tho excellence of the plan
suggested, and a vote of thanks,

Mr.SA.MUEL Fry read a paper entitled “Omnium Gatherum,”
consisting of observations on a variety of photographic topics
(see p. 92).

Mr. Wharton Simpson said it was quite refreshing to hear
a paper on photography containing so many decided opinions
and sweeping assertions, especially as it had concluded with .a
text, or motto, which ho felt sure must have been kept in view
iu preparing tho paper : he referred to tho remark that whore
knowledge ended, dogmatism began. Remembering this as tho
motto of Mr. Fry’s paper, they might fairly assume that tho
strong opinions expressed were based upon very careful exami-
nation of the subject. With tho greater part of Mr. Fry’s ex-
cellent paper he cordially coincided ; but still, ho thought, one
or two points were open to further consideration. If tho collo-
dion, and resins, or gums which Mr. Fry had denounced as
worthless for preserving prints becauso of their own perishable
nature really were so liable to decomposition, their negatives
were in a perilous condition, being formed of tho one and pro
tccted by tho other. He quite agreed with Mr. Fry that it was
more important to expel the enemy than to imprison him ; but
having taken pains to get rid of him by caro in tho production
of tho print, ho thought that some of these protective substances
might bo useful in keeping him out of the finished print.
Varnish gave a vulgar surface which persons of taste in art
could rarely tolerate ; but he still thought that collodion
applied as suggested by Mr. Blanchard, whilst it gave no
vulgar gloss, ought to act as a protection to tho print.
As to the value of wax, ho endorsed every word which
Mr. Fry had said. Regarding carbon printing, many reasons
might bo given for tho limited extent to which it had as
yet been taken up. Whore it had been worked on a largo
scale it was found easy, certain, and economical. Braun, of
Dornach, was at tho present time producing 500 prints a day,
and was making arrangements to produce 1,500 daily. Ho was
so convinced of their superiority that ho had burnt his stock of
silver prints. In his own experience, which was not largo, but
extended, perhaps, to the production of a hundred prints, ho
found that guessing the exposure was as easy and certain as
guessing tho exposure of dry plates. As to stability, tho mate-
rial composing a carbon print was very similar to the sizing on
highly glazed writing-paper, consisting in both cases of gela-
tine rendered insoluble by chemical agency ; and they might,
he thought, as legitimately expect ono to perish or decompose
as the other.

Mr. Blanchard said that ho could not help feeling that tho
position ho had taken some time ago was tho right ono.
Assuming that all had been done to render a print safe, it still
consisted of silver and gold, and, as Mr. Spiller had shown,
chiefly silver. This would, unless protected from atmospheric
action, bo liable to change, especially in sunlight, tho silver re-
maining in tho whites being manifestly liable to become yellow,
as vignette pictures invariably showed. Hence the necessity of
protective substances ; and he believed that collodion was best.
It was difficult to apply, ho would admit, especially on account
of the action of the ether. He now him.self always applied wax,
and had done for some time. As to any one putting prints into
a tank, and after leaving them a few hours removing them as
washed, he could not have believed it possible. In his own
establishment they were always tested, after washing, with
iodide of starch ; but, notwithstanding every caro, some turned
yellow.

THE PHOTOGBAPHIC NEWS,

ne

[February 21, 1868.

Mr. Werge stated that he had some prints taken between
1865 and 1860 which remained petfectly good. They were
washed in repeated changes of hot water, gradually increasing
the heat to nearly boiling point, and then gradually changed
down again to cold water. Ho had generally finished fixing
by the use of a fresh strong hypo bath after the Use of hypo
and gold. He believed much of fading Was due to the fixing
and washing being left to ignorant people and boys.

Mr. Hart referred to prints sticking together in the fixing
and washing as a cause of imperfect treatment.

Mr. BLA^•CHAUD said that a custom used to prevail of giving
long immersion in Weak hypo. lie now used very strong hypo,
and only immersed five minutes.

Mr. Hassett referred to the importance of individual treat*
ment of each print in fixing and washing. In toning wo w'ere
compelled to do this, or we should have stains.

After some further conversation on tho subject, in which Mr.
Foxleo, Mr. Hart, Mr. Henderson, Mr. Blanchard, Mr. Fry,
Mr. Simpson, and tho Chairman took part, a vote of thanks to
Mr. Fry terminated tho proceedings.

in tbc ^tubin.

Mounts for Cards and Cabinet Portraits. — Wo have
recently received from Marion and Co. some examples of tho
cards they provide for mounting cabinet and card portraits,
with a variety of designs and degree of excellence in printing
them rarely met with. Every form of ornamental border and
inscription for the backs of the cards arc hero found, and some
of tho cabinet mounts, with a neat lino round the face of tho card,
to servo as a finish for the picture. Our own taste runs in favour
ot tho quietest and neatest of the designs, of which there are
many ; but every phase of taste may hero find something
satisfactory.

New Use for a Collodion Bottle. — A correspondent sends
a suggestion which ho thinks may bo of service to his brother
photographers. After describing a summer-house in a garden
in which himself and family wore in tho habit of ruralizing on
Sundays, ho found one morning, when he arrived as tho avant
courier, that the matches were so damp that none would light,
and, as it was Sunday morning, there was little chance of
breakfast. Tho sun was shining, and an empty collodion
bottle was at hand, tho bottom of which seemed convex. It
was quickly broken, and served ns a lens or burning-glass to
concentrate tho sun’s rays and light tho damp matches.

^0 ®0msgonbntts.

Northern Light. — The lens which you describe has evidently a
chemical focu.s ; that is, the chemical focus and tho visual focus do
not coincide. To get a sharp image on your sensitive plate, the
visual focus must be on a different plane to tho ground gla.ss.
Focus the image .sharp, on a point a little behind the face, say the
ear or the back part of the head ; or focus .sharp as usual, and then
give the rack a turn so as to throw the focus back a little, and try
tho result. 2. The plan you propose will doubtlo.ss illuminate your
background more evenly ; but can you not move tlie background
80 as to bring it within the range of such illumination as you now
have ? 3. See a leader in our present number.

Enquirer. — Wo have tested the cards forwarded for hyposulphite of
soda. Nos. 1 and 3 are quite free from it ; but No. 2 gives un-
doubted indications of its prc.sence, and .should be rejected.

E. G. II. X — Tho specimens you forward have many excellent
qualities. The tone and printing are very good, and the lighting
is also good. The shadow cast by the curtain on tho background
has a very good clFect. Your background is .somewhat too dark
for vignette portraits, and renders the gradation to the white
imirgin somewhat abrupt. Study the articles on Compo.sition at
present appearing in our pages, and you will improve in that
respect.

A. — You state tho facts of thcca.se as regards the requirements in
producing photolithographs with lialf-lono very fairly; but you do
not include quite all the difficulties. The first requirement is to
get the image on tho stone with photographic gradation transformed
into stipple ; but this is not quite all. It must be in such a grada-
tion as will not readily clog and fill up in printing, which a very

fine grain is apt to do ; at the same time, it mUst be in a gfain Hot
too coarse to do justice to the photofpaph.

J. Arkwrioiit.— .The studio of wdiich you send a model is, in all
respects, very excellent, both in proportion and dimen-sions. With
suen an expanse of high side-light it is probable that you will
generally find it desirable to have the skylight covered with blinds ;
or, possibly, to have a portion or the whole of it stippled in imita-
tion of ground glass. This can be done, however, after trial.

Beta. — We believe that a thoroughly skilled workman in colouring
photographs in oil may obtain plenty of commissions; but we
have no connection with commercial pfiotography which will enable
us to assist in procuring such commissions. There are two modes
of .securing a connection : one consists in direct personal communi-
cation with first-class pbotographers| and the other in announcing
j'our wish in our advertising columns. AVc sh;Jl liave pleasure in
examining a specimen of your work.

S. W. B. L. — Tho difficulty arising from facing the south is that
whenever the sun shines it will render the use of blinds neces.sary,
and the inconstancy of the light necessarily involves additional
trouble; but with care and skill, and constant watchfulness of
changing light, good results may bo obtained in a glass room facing
south.

D. S. — For landscape work tho wido-.ingle single lens of the makef
you name will answer better than the others, and for stereo work
the patent lens of the same maker. The tent you name will
answer well. Tho cards have some very good qualities; Thh
vignette is a little too low down on tho plate;

W. J. A. G. — You will find various articles on Sayce And Bolton's
collodio-bromide process id the last two or three volumes. Mr.
SayoO gives full particulars on p. 30.5 of our Ninth Volume, and an
abstract appears in our Year-Book for 1866. Wo cannot tell
you tho extent to which the proce.ss is u.sed. 2. We do not know
the nature or composition of Cleaver’s Photographic Soap.

3. Punch's proposed tax on photographs would not affect amateurs.

4. You get a certain amount of the effect of the gelatino-iron deve-
loper by adding gelatine to tho developer. Sec tho ch;iptcr on tho
subject in our last Year-Book. o. As a rule, about 4 or 5
ounces of water added to 1 grain of gold will answer well, what*
ever other salt may be added.

Morphine. — As plates prepared by the morphine pi'ocoss are very
sensitive, the strong light of a ga.s fi.ume will be d;ingcroUs if too
near the plate. Drying in front of the fire would also bo danger-
ous. A solution of wax in benzole is good for edging the plates.

II. S. — There is no work devoted to enlargements. It is difficult to
state which is the best method of enlarging, as v;irious methods
each have their specific advantages for o.spccial purposes. You will
find detailed instructions for transferring the film in our article on
camera enlarging at the end of last volume, and also in our hist
Year-Book. SVe tried the bath, and did not find any tendency
to tho streaks described. We intend to try it ag;iin, however, with
several samples of collodion.

Miniature. — The bc.st method of printing on ivory with which wo
h.'ive h;id practical experience consists in tho use of a powdery
collodion satiu'ated with nitrate of uranium, and cont;iining 4
grains of nitrate of silver to c.ach ounce. Print deep, and lone and
fix as usual. Tho collodion film may be removed by means of
ether, and the image will be found on the ivory underneath.

Stew.vrt. — The facts you describe arc pendexing. The paper
presents no indication of decomposition or def«;t of any kind ; but,
from J'our account of the circumstances, it appears ditfioult to
as,sigii the defects in the print to any other cause. If it be really
the result of a change or decomposition in the p;ipor, we fear that
there is no cure ; but wo should like to ex;iminea tittle further be-
fore pronouncing the paper in fault. Send us a jiiece excited on
j’oui' bath, and wo will also excite that sent, and test both
samples.

W. G. G. — Your letter of February 4th, having been put aside in
order that tho soluble cotton might be tested before giving an
opinion upon it, was overlooked imtil now. The pjToxiline seems
to be very' excellent ; we find that it dissolves readilj’ and perfectly
at the rate of 6 grains to the otmcc, and would dissolve in much
larger proportion ; but that is about the right quantity for use.
Tho film is structureless and quite transparent, and the colbxiion
will, wo doubt not, work well.

Ignoramus. — There are no eurtains or blinds to tho top-light, tho
canopy over the head of the sitter serving instead. The side cur-
tains are of blue calico. 2. Yes; the plan j'uu propo.se is simihir.
3. P;isto made of white wax dis.solvcd in an e.s.sential oil ; it is
applied as wax is cmploj'cvl for polislxing furniture. We shall
have more to say on this subject shortly.

A KERRODUCTION from an oil painting of an ox has reached us
without any note of reference to it. We shall be glad to hear from
the correspondent who sends it.

An Article on tho Fin;incial Ilistorj' and Pre.sent Position of tho
Photopraphic Societjq and sev'cral other articles in print, are eom-
jielled to stand over until our next.

Several Correspondents in our next.

THE

NEWS.

CONTENTS.

PAGE

The Photographic Society of London 07

Photography and Disease 03

Modifled Carbon Tissue 09

The Cse of Clouds as Backgrounds in Portraiture. By Lux

Graphicus 09

Distilled Water in Photography. By Nelson K. Chcrrill 100

The Magic Lantern and Photography. By James Martin 101

Pictorial Effect in Photography. By II. P. Kobinson 103

PAGB

Concerning the O.xyhydrogen Light, and the Means of Prevent-

ing Explosions. By J. Trail Taylor 103

Concentration of Light in the Studio. By B. Dunmurc 104

Infringement of Copyright by Photography 104

Proceedings of Societies— French Photographic Society 105

Correspondence— M. Salomon’s Portraits— Silver Printing 106

Talk in the Studio 107

To Correspondents log

Photographs Registered log

THE ITIOTOGRArillC SOCIETY OF LONDON.

At the annual meeting of the Photographic Society, held
on the 11th instant, Mr. Glaislicr expressed a conviction
that the Society had reached a turning-point in its history,
and, in one sentence, indicated the cause of the difference
between its present and its former financial position. It
was, he said, at one time fashionable to patronise photo-
graphy and support the Society ; the fasliion had passed
away, and the Society was now, and had been for some
time, dependent simply upon ordinary resources. Never-
theless, many of the expenses, originated when funds
were exceedingly ample, had been continued after its
sources h.ad been diminished. After a due examination of
all the facts, and a preparation to meet the necessities of
the case, ho believed the Society to be in a healthy and
promising position.

IVe have no hesitation whatever in expressing our con-
viction that the Society is in a healthy and promising con-
dition. AVe say this advisedly after a careful examination
of the facts and a consideration of the desponding views
of some of the friends of the Society, and the evil reports
of some who are much otherwise than friendly in their
wishes as well as in their prognostications. There are, in
most communities, some malcontents who, from personal
pique or for the purpose of gaining personal ends, are ever
ready to sow the seeds of disaffection ; and there are also
— fortunately, probably, for the progress of improvement —
generally some honest reformers who readily believe in the
existence of grievances, and who mean well in their denun-
ciation of real or fancied abuses. To either class the dis-
covery of a declining financial position presents obvious
matter for alarm or denunciation. Nevertheless, we see
little ground for anxiety in the admitted declension in the
funds of the Photograpliic Society. AVe think that a brief
glance at the facts will justify the position we have
assumed.

AVe may first premise that a prosperous financial position
would very inadequately represent success in a society
established to promote the welfare of an art-science like
photography. It might rather suggest lack of activity, or
apathy in the discharge of duties involving expenditure of
the funds existing for a specific purpose. Let us, however,
briefly glance at the financial history of the Society.

At the end of the first year of the Society’s existence
the amount received from members was nearly £650 ; but
this included not only subscriptions, but entrance-fees and
the compositions for life-membership, more than half that

sum, therefore, arising from sources which could not occur
again. For a few years, however, the income, from sub-
scriptions, from profits upon exhibitions, and from profits
upon the Journal, continued to be in excess of the
expenditure until, in 1857, the Society possessed over
.£1,000 of funded property. Then began a change, and
the expenditure exceeded the receipts, a state of things
which has, we believe, continued ever since. In regard to
the profits to which we have referred, it should be ob-
served that, although the journal was not established as a
commercial speculation, but to supply a means of inter-
communication between photographers and of promulgating
information conducive to the advancement of the art,
being alone in the field, or nearly so, it soon became in
the nature of things a source of profit ; and, equally
naturally, since the progress of photographic journalism as
a private enterprize, it , has ceased to be a source of profit,
as the monthly organ of a society could scarcely be sup-
posed to complete with financial success against weekly
journals conducted with commercial energy. The exhibi-
tions, during the novelty of the art, were also sources of
profit, the receipts on some occasions having reached
nearly £350 ; whilst in later years, when the attractions of
novelty and the glamour of fashion wore off, the receipts
became abnost nil, whilst the expenses were as heavy, or
nearly so, as before.

Hut what became of the funded jiroperty ? may be asked.
AA’'as it wasted, or was it spent in promoting the progress
of the art and the welfare of its devotees ? AVe think that
it can easily be shown that it has been expended in the
main with a view to the promotion of the art and for the
benefit of the members : whether on all occasions with
judgment or not is another question ; but any doubtful
judgment which has been manifest belongs to years gone
by, and is in nowise attributable to the successive councils
which have been in office for at least the last half-dozen
years. The heaviest drain upon the funds was occasioned by
an attempt to provide a permanent home for the Society,
where reading rooms duly furnished with photographic litera-
ture, laboratory, glass room, &c., for experiment, the other
paraphernalia of a photographic institution, and a con-
stant attendant should always be at the service of its
members. The premises taken in Coventry Street for this
purpose cost the Society, for alterations, furniture, fittings,
&c., about £700 ; the whole of which, or very nearly, was
eventually a total loss to the Society, besides the heavy
loss involved in a two years’ tenancy at £300 a-year. The
intention was doubtless a worthy one ; but the project
was not successful, and had, after two years’ trial, to bo
abandoned.

Other sources of loss followed : some, doubtless, from
expenditure of value to the art ; others of a less satisfac-
tory nature. Foremost amongst the extra sources of justi-

98

THi: PHOTOGIIAPIIIC NEWS.

[Pjsbruary 28, 1868

fiable expense was the aid given to the committee for ascer-
taining the causes of instability in prints. Next followed a
series of exhibitions of undoubted service to the art, but
involving heavy loss. Instead of a profit, as in previous
years, the exhibitions of the years lb.'>8-59 involved a loss
of over £112, and the expenses of that year were nearly
£60 in excess of receipts. Exhibitions of other years were
also losses, and we find each year’s expenses in excess of
receipts, the expenses of the year 1860-01 being £:154 in
excess of income. Amongst the expenses of a loss useful
character may be mentioned upwards of £100 for the costs
of the Collodion Committee, the report of which gave so
little satisfaction ; about £100 of costs were incurred in
defending the Society’s copyright in the title of its Journal,
an expense inevitable under the circumstances, however
little satisfactory in its nature ; and some other trivial
matters.

All, or the chief of, these heavy expenses, which absorbed
its accumulated funds, belong, however, to the first decade
of the Society’s history, and although its disbursements
have for years pivst exceeded the income, they have done so
in gradually diminished ratio, and have been — we think it
cannot be doubted — for legitimate aids to the jirogress of
the art.

How, then, it may be asked, can it be affirmed that the
Society is in a healthy or promising condition? The
answer is simple and straightforward. It is because, by
the exercise of energy and judgment on the part of the
Council, and the aid of earnest members, the expenses have
been diminished without crippling the activity and useful-
ness of the Society. The year just concluded shows a less
deficit than has existed for years,* whilst the vitality of the
Society has been greater. There were more members
elected last year than have been, we believe, for several
preceding years ; there were more paj)ers read, and a better,
although less costly, exhibition was held, to the great satis-
faction of photographers generally.

Thus much for the past year, lint the Society com-
mences a new year under still more promising auspices.
'1 he Secretary, Dr. Diamond, has, with a liberality which
those who know him know to be characteristic of him,
resolved to resign his annual remuneration, and to continue
his duties without any charge on the funds of the Society.
With increased accommodation and comfort at the new
rooms in Conduit Street there is a considerably reduced
cost for rent and refreshment. These and some other
sources of reduction in cxj)cnses will entirely change the
financial position of the Society, and we look forward con-
fidently to the next annual meeting for the novelty of a
balance in hand instead of the report of a deficit. We
believe that there is increa.sed energy ami interest calso
amongst the members. The year began well ; at its first
meeting, besiiles anniversary proceedings, a mo.st valuable
paper was read by .Mr. Johnson, an interesting and illus-
trated note on exjjcriments in lighting was read by Mr.
Dunmore, and a most successful and instructive demon-
stration of enlargement made by Mr. Solomon. ’I'wo
^)apers are promised already for March, and one for April.
I'hcse circumstances, we are satisfied, ])oint to a healthy
present condition, and give j)romise of renewed vitality and
j)rolonged usefulness in the oldest and most representative
of c.xisting photographic societies.

* The deficit for the year appears from the published accounts to be
between ii40 and £o0. The expenses of tlie year appear to stand thus

\ Nett cost to the members of the Journal £130 8 10

Secretary’s salary 75 0 0

Item and refreshments at King’s College, including an

uoC^ected demand of payment in lieu of notice ... 61 14 3

, ‘257 3 1

Ordinary lUi-oCre of the year 214 15 o

Deficit £42 8 1

A trifie more, it is probable, should be added to the expenditure for petty
cash, Ac. ; against which, however, may be recltoned the year’s stock of
Journals on band, many of which will probably be sold in volumes.

PHOTOGRAPHY AND DISEASE.

We have on repeated occasions cautioned photographers
against the careless u.se of cj^anide of potassium and other
dangerous poisons used in photography, the absorption of
which through the unbroken skin was dangerously possible.
We have also expressed a conviction that, conducted with
ordinary care, there was nothing in the ordinary operations
of photography which should have a detrimental effect on
health. By ordinary care we mean the use of reasonably
well-ventilated operating rooms; the avoidance of contact
between the skin and poisonous solutions ; and a similar
avoidance of contact between the lungs and injurious
vapours : all these are possible conditions, and ought im-
peratively to be secured. We have now to call attention,
either to some new possible forms of injury to which photo-
graphers are liable, or, on the other hand, to secure some
testimony to the etfect that two of our correspondents who
are suftering are under some delusion as to the origin of
their symptoms.

We have received this week two letters from correspon-
dents who seek advice fixim ourselves, or some of our medical
readers, as to the cause and remedy of sufferings which they
attribute to photography. The first is brief and indefinite,
briefly and generally stating symptoms, and asking if they
are known to be common to photographers. It runs as
follows : —

“ A SUFFERER would like to know if the Editor has had
under his notice persons who have suffered from the effects
of collodion, acids, nitrate of silver (cyanide sufferer does not
use). The symptoms are as follows : — Attacks of bilious-
ness ; inaction of the liver, with a great deal of wind and
spasms in the stomach ; very acid stomach, and general in-
digestion. What would be the best mode to guard against
these ailments ? My life has been a misery to me for the
last nine years, ever since I began photography ; but as I
like it I don't like to give it up. 1 have consulted most of
the best doctors, and they don’t seem to hit on the right
thing for relieving me.”

The symptoms described are, we fear, too common outside
of photography : they may arise from various causes, and, so
far as we can judge, they are not in anywise fairly traceable
to photography or the materials used in its practice. Any
occupation which overtaxes the nervous system, induces
sedentary habits, and especially which occasions irregularity
in taking food, may induce in a delicate constitution all
the symptoms mentioned, (juite ajiart from photography.
The duties of a professional portraitist do not necessarily
involve sedentary habits: the hours of work are not exces-
sively long, but permit plenty of time for exercise, both
before commencing and after concluding the day’s work ;
but, too often, that exercise is neglected. The duties do, it
is true, at times keep the nervous system on the strain, and
they also not unfrequently involve irregularity in eating,
a dangerous habit for persons of sedentary habits or weak
digestion, which should be avoided. If the dark room be
ill -ventilated, the vapour of ether and alcohol will also have
an injurious effect ; but this and similar obviously injurious
conditions will, as a matter of common sense, be avoided by
persons who suffer from imperfect health.

The next letter is much more specific as to the alleged
source of injury, but scarcely so probable as specific. An
occasional practical correspondent writes : —

“ I have written to you several times before on practical
matters ; but this time I am sorry to say that it is upon a
very different subject : a subject which, I think, ought to bo
made known amongst photographers, as my case appears to
be dift’erent from any that I have ever read in the News.
Still, there may have been such cases, although not pub-
lished ; and if, through the medium of the News, I could
hear of a case similar to my own, and the way the case baa
been treated, I should be glad, as it might be some aid and
comfort to me.

“ Since last autumn I have been suffering very much from

THE PHOTOGRAPHIC NEWS.

99

Febuttary 28, 1868.]

illness at different times, although able to keep about,
being much better some days than others, but all the time
very weak and unable to attend to business (1 mean the
operating part of it).

“ I have had strong suspicions that the chemicals have
affected me for a long time ; but as those used in the dark
room are generally suspected and often condemned, I have
always guarded myself against their action (I mean such as
collodion, cyanide, &c.) But the real cause of my illness is
nothing but the washing water in which the prints are
immeised before toning, or rather the cause is the chloride
of silver there formed. My blood appears thoroughly con-
taminated with it, and causes my limbs to be as though
they were paralyzed, and often almost helple.ss. This is all
caused through washing the silver oft' the prints with my
hands before toning. I do not ever remember seeing that
the washing water was ever dangerous before mentioned in
your News, although I have the News from the commence-
ment; so I would strongly advise all photographers to be
guarded against the great danger there is in putting their
hands into the washing water before toning. I can assure
you that the feelings that it produces are anything but
agreeable, and appear most difficult to get rid of.

“ I have had ten years’ hard work at it. and always was
very healthy and strong : but now I am neither. I am now
under a clever doctor, and he tells me had I let the case go
on a very little longer I should have been quite hopeless, as
my system is strongly impregnated with chloride of silver.
If you have heard of any such cases before, and know of any’
remedy, I should feel glad if you would let me know. I
am, dear sir, yours most respectfully, B. B.”

This case, we must confess, somewhat puzzles us ; and whilst
we hesitate to doubt a statement so definitely mad* on the
authority of our correspondent’s medical man, we neverthe-
less feel considerable hesitation in the acceptation of the
explanation of the symptoms given. Poisons are undoubt-
edly absorbed through the skin ; but as a rule they must be
in solution to admit of such absorption, and chloride of
silver being insoluble, it is not in a condition for ready ab-
sorption by mere contact with unbroken cuticle. What
effect would be produced on the system by chloride of silver
once in the system it is difficult to say, as there are no
records in the te.xt-books of such a thing having taken
place. It might be assumed to be comparatively inert,
inasmuch as when nitrate of silver, which has a poisonous
action, has been swallowed, common salt has been admin-
istered to convert it into chloride of silvCT, which is vomited
and the poisonous action arrested.

The washing waters contain, of course, some nitrate of
silver, and this may be absorbed and act injuriously. The
symptoms of silver on the system, although rare, are tolerably
well marked, producing generally discoloration of the skin.
What is the effect on the general health we cannot state.
Chloride of gold, as our readers have already had pointed
out to them, may be absorbed by the skin and act injuriously.
Sulphate of iron may be absorbed by the skin and produce
symptoms analogous to local paralysis ; but, as we often
urged, none of these things need to be handled, and ought
not to come into injurious contact with the skin.

As to the possibility of injury from the action of chloride
of silver formed in the washing water, we cannot, of course,
speak with certainty, and there can be no harm in using
caution, as no photographic operation renders contact with
chloride of silver nece.ssary. We scarcely think it probable
that the injury has ari.sen from the cause mentioned, but
shall be glad to have the opinion of any of our readers
whose studies or experience may enable them to throw any
light on the subject.

MODIFIED CAEBON TISSUE.

M. Despaquis brought before the recent meeting of the
French Photographic Society some examples of a slight
modification of the carbon process, for which he claimed

certain special advantages. His descrii tion of the details
of working is scarcely so clear as might bo wished. The
material used for the print be styles papier-collodion-cuir,
or a paper of leather collodion. This appears to be the
material described some time ago by l)r. Vogel in our
columns as an agent superior to gelatine for transferring
negatives, and used for some time by Mr. Woodbury in his
photo-relief process. It consists of collodion to which castor
oil has been added, and in some cases a little “ driers.”

M. Despaquis stated that, owing to the smooth oily nature
of the collodion film, the adherence of the sensitive layer of
bichiomate and gelatine was so perfect, that wherever the
latter had been but very slightly acted upon by the light, a
very thin insoluble film lemaiued, which, of course, furnished
half-tones of the most delicate description ; this was not
the case if the gelatine was supported by paper, mica, or a
film of ordinary collodion, for the operation of washing,
especially if the temperature of the water exceeds 60° C.,
has the effect of removing these finer gradations of tone.
If desired, the surface might be rendered transparent or
dull, and tinted to any colour. To produce a dull opaline
surface the collodion paper is plunged into rvarm water
prior to its perfect dessication, the warmer the water the
more dull being the appearance of the surface. The sensi-
tive mixture is applied by allowing the prepared collodion
paper to float on the same for a short time, the bichromate
and gelatine being kept in a tepid condition during the
process, and employed of a somewhat thicker consistence
than ordinarily, in order to make it adhere more tenaciously.
It is composed of —

Water 80 grammes

Liquid Indian ink ... ... 20 ,,

Gelatine ... ... ... lo ,,

Bichromate of ammonia ... 2 „

THE USE OF CLOUDS AS BACKGROUNDS
IN PORTRAITURE.

BY LUX ORAPHICU.S.

There has long been in the world an aphorism that every-
thing in Nature is beautiful. Collectively this is true, and
so it is individually, so far as the adaptability and fitness of
the object to its proper use are concerned ; but there are
many things which are truly beautiful in themselves, and
in their natural uses, which cease to be so when they are
pressed into services for which they are not intended by the
great Creator of the universe. For example, what can bo
more beautiful than that compound modification of cloud
forms commonly called a '• mackerel sky,” which is some-
times seen on a summer evening? What can be more
lovely, or more admirably adapted to the purposes of re-
flecting and conducting the last flickering rays of the setting
sun into the very zenith, filling half the visible heavens
with a fretwork of gorgeous crimson, reflecting a warm,
mysterious light on everything below, and filling the mind
with wonder and admiration at the marvellous beauties
which the heavens are showing ? Yet, can anything be
more unsuitable for forming the background to a portrait,
where everything should be subdued, secondary, and sub-
servient to the features of the individual represented — wlieio
everything should be lower in tone than the light on the
face, where neither colour nor light should be introduced
that would tend to distract the attention of the observer
— where neither accessory nor effect should appear that does
not help to concentrate the mind on the grand object of the
picture — the likeness ? Still, how often do we see a photo-
graphic portrait stuck against a sky as spotty, flickering,
and unsuitable as the one just described! How seriously
are the importance and brilliancy of the head interfered
with by the introduction of such an unsuitable background !
How often is the interest of the spectator divided between
the portrait and the “ overdone ” sky, so elaborately got up
by Che injudicious background painter ! Such backgrounds

100

THE PHOTOGRAPHIC NEWS,

[February 28, 1868.

are all out of place, and ought to be abaiuloned — expelled
from every studio.

As the photographer does not possess the advantages of
the painter, to produce his effects by contrast of colour, it
behoves him to be much more particular in his treatment of
light and shade : but most particularly in his choice of a
background that will most harmonize with the dress, spirit,
style and condition in life of his sitter. It is always pos-
sible for a membiu- of any class of the community to be sur-
rounded or relieved by a plain, quiet background ; but it is
not possible, in nine cases out of ten, for some individuals
who sit for their portraits ever to be dwellers in marble halls,
loungers in the most gorgeous conservatories, or strollers in
such delightful gardens. In addition to the unfitness of
such scenes to the character and every-day life of the sitter,
they are the most unsuitable for pictorial effect that can
possibly be employed. For, instead of directing attentiou
to the principal object, they distuib the mind and set it
wandering all over the picture, and interfere most seriously
with that quiet contemplation of the features which is so
necessary to enable the beholder to discover all the charac-
teristic points in the portrait. When the likeness is a very
bad one this may be advantageous, on the principle of
putting an ornamental border round a bad picture with the
view of distracting the attention of the observer, and pre-
venting the eye from resting long enough on any one spot
to discover the defects.

When clouds are introduced as backgrounds to portraits
they should not be of that small, flickering character pre-
viously alluded to, but broad, dark, and “ma.ssy,” so as to
impart by contrast more strength of light to the head ; and
the lighter parts of the clouds should be judiciously placed,
either above or below the head, so as to carry the light into
other parts of the picture, and prevent the strongly lighted
head appearing a spot. The best examples of that character
will be found in the engraved portraits by Reynolds, Law-
rence, Gainsborough, and others, many of which are easily
obtained at the old print shops ; some have appeared in the
Art Journal.

As guides for introducing cloud effects, accessories, and
landscape bits into the backgrounds of cartes-de-visite and
cabinet pictures, no better examples can be cited than those
exquisite little figure subjects by R. Westall, R.A., illus-
trating Sharpe’s Editions of the Old Poets. The engravings
are about the size of cartes-de-visite, and are in themselves
beautiful examples of composition, light and shade, and
appropriateness of accessory to the condition and situation
of the figures ; affording invaluable suggestions to the
photographer in the arrangement of his sitter or groups,
and in the choice of suitable accessories and backgrounds.
Such examples are easily obtained. Almost any old book-
stall in London possesses one or more of those works, and
each little volume contains at least half-a-dozen of these ex-
quisite little gems of art.

Looking at those beautiful photograjihic cartes-de-visite
by Mr. Edge, I .am very strongly impros.sed with the idea
that they were suggested by some such artistic little pictures
•as Westall’s Illustrations of the Poets. They are really
charming little photogr.aphs, and show most .admirably
bow much the interest and artistic merit of a photograph
can be enh.anced by the skilful and judicious introduction
of a suitable background. I m.ay as well observe, en passant,
that I have examined these pictures very carefully, and
have come to the conclusion that the effects arc not pro-
duced by means of any of the ingeniously' contrived appli-
ances for poly-printing, recently invented and suggested,
but that the effects are produced simply by double-printing,
manipulated with consummate care and judgment, — the
figure or figures being produced on a plain or graduated
middle tint background in one negative, and the landscape
effect printed on from another negative after the first print
has been taken out of the printing frame ; the figures pro-
tected by a mask nicely adjusted, ily impressions on this
subject arc strengthened almost to conviction when 1 look

at one of Mr. Edge’s photographs, in p.articular a group of
two ladie.s, the sitting figure sketching. In this picture the
lower part of the added landscape — trees — being darker
than the normal tint of the ground, shows a line round
the black dress of the lady, as if the mask had overlapped
it just a hair’s breadth during the process of secondary
printing. Be that as it may, they are lovely little pictures,
and afford ample evidence of what may be done by skill and
t.aste to vary the modes of treating photography more
.artistically, by introducing natunal scenery sufficiently sub-
dued to harmonize with the portrait or group ; and by
similar means, backgrounds of clouds and interiors may bo
added to a plain photograph, which would enrich its pic-
torial effect, .and enable the photographer to im)>art to his
work a greater interest and beauty, and at the same time bo
made the means of giving apparent occup.ation to his sitter.
This mode of treatment would enable him, in a great
metisure, to carry out the practice of nearly all the most
celebrated portrait painters, viz., that of considering the
form, light, shade, and character of the background after
the portrait was finished, by adapting the light, shade,
and composition of his background to the pose and condition
of life of his sitter.

I shall now conclude my remarks with a quotation from
Du Fresnoy’s “ Art of Painting,” bearing directly on rny
subject and th.at of light and sliade : —

“ Permit not two conspicuous lights to shine
With rival radiance in the same design ;

But yield to one alone the power to blaze.

And spread th’ extensive vigour of its rays ;

There where the noblest figures are displayed.

Thence gild the distant parts and lessening fade ;

As f.ade the beams which Phoebus from the east
Flings vivid forth to light the distant West,

Oradual those vivid beams forget to shine.

So gradual let thy pictured lights decline,”

O

DISTILLED WATER IN PHOTOGRAPHY.

UV NELSON K. CUERRILL.

Having been muc’n occupied of late with matters of more
importance, I have not before found time to answer the
remarks made by your correspondent, R. II. P., on my
former paper " Against the,Use of Distilled Water.”

It appears to me to be more a matter of individual ex-
perience than of actual scientific investigation, whether or no
distilled water is necessary in ordinary photographic opera-
tions; one thing seems pretty certain, however, viz., your
correspondent is a very thorough believer in distilled water,
and, moreover, he goes the right way about to get it by
using his own still, and not trusting to the stuff" they
usually sell at the chemists for distilled water. Whether
distilled water bo required or no, I would say, avoid the
supply unless you know where it comes from. Of course
pure distilled water is to be bought, but there is a great
amount of very impure water solil under the name ” dis-
tilled.” Much that is sold under this name is not prepared
in proper stills made for the purpose, but is merely “con-
densed water” (as it is technicallv called) from steaiii-
engines and boilers where no sort of pains are taken to keep it
free from any impurity or contamination to which it is lialile.
Boilers are often fitted with “greivse pumps,” by which a
little melted tallow or other grea.se is forced into the boiler
when in action, to prevent its priming ; the steam from this
greasy water is condensed by jets of impure water from any
source which may be at hand (all pumped up through
greasy pump barrels and valves), and the delightful mix-
ture so formed in the internal economy of the engine
trickles out at a small pipe, and is often put up in casks
and sent to London as “ distilled water.”

Then, .again, I have often had distilled water (?) sold mo
which had quite a delicious perfume. No doubt it had been
kept in a carboy or bottle which had not been properly
washed out since last it held rose water or some such scent ;
and, as a rule, when I kept a supply of distilled water, it
“went bad” in various ways, often throwing down quantities

February 28, 1868.]

THE PHOTOGRAPHIC NEWS.

101

of matter of different forms and colours, and somctimps even
smelling. So, with all these things against it, I thought
that distilled water wn% a delusion, and gave it up.

I have certainly succeeded well witliout distilled water,
and I should much like to know if your correspondent ha-s
done better with it than I have without it, only I do not
see exactly how such a comparison can very well be in-
stituted.

It seems, also, that on one point your correspondent has
slightly misapprehended my letter. He says, " It is like
straining at a gnat and swallowing a camel," to ask and pay
for pure silver and othcrchemicals, and then to mix them with
the unknown impurities obtained in the water, &c. Now this
is not exactly what I proposed to do. I proposed to use a
means of ridding the water of the noxious ipialities of its
impurities by adding a little silver to it first, and then,
should any precipitate form, filtering it out, and proceeding
to make up the hath with the clear solution. This 1 hold
to be an efl'ectual way of removing the ill eft'ects of inorganic
impurities in common water, and I do not think that the
usual water supply of our largo to\yus contains enough
organic impurity to do any damage ; at any rate, I do not
think it contains so much as the ordinary run of distilled
water.

On page 83 of the News is mentioned a “ remarkable
natural brine,” containing about 2,500 grains of soluble
salts to the gallon. It is mentioned in the same paragraph
that the use of this water in photography wouhl be unad-
visable ; and then the passage goes on to say, “ This circum-
stance might furnish a practical answer to the doctrine
lately promulgated.” This, I suppose, refers to my having
suggested the uce of ordinary water in photographic opera-
tions. But it must be remembered that I recommended the
use of common water, such as is used for domestic purposes ;
and as “ remarkable natural brine ” is not common water, 1
do not see how its unfitness affects the question any more
than the general unfitness of all kinds of brine, sea-water
included.

I have not yet made any experiments with the permanga-
nate of potash, but it seems to me much more likely to jirove
an effectual remedy against “fog" than even using distilled
water, because, it must be remeiubered, that even when dis-
tilled water is used, there is no guarantee against some
organic impurities, which, being more or less volatile, distil
over with the water. 1 hope to m.akc some experiments with
this substance soon, and to report progress in due time. *

However, whether this or any other means be good, i:
does not alter the fact, that I have constantly succeeded
without using a drop of distilled water in any operation.

THE M.VGIG L.\NTERN AND PHOTOGRAPIiy.

BY JAMES MARTI.V.

No. 7.

The next step is the p.ainting of the foreground. For this
purpose the palette must be set with all the colours. The
foreground objects are the castle, the water, the reflections,
the masses of rock, the figures, the sandy ground, stones’
herbage, &c.

Begin with the most prominent object, the castle. Paint
in the shadows with brown madder and madder lake, adding
a little blue to produce the clear grey appearance of worn
stone. The details of the ground on which the castle stands
may be made out by a tint of brown madder; the ffeneral
colour of the ground may be made of brown madder and
blue, with a tint of burnt sienna ; madder lake and gam-
boge for the lights ; madder lake, madder brown, and Prus-
sian blue for the half lights.

Distant trees may be tinted with madder brown and blue,
and the same tint, with gamboge, for the lights. Nearer
trees must be painted with gamboge and Prussian blue ; the
lights with gamboge and madder brown. The stems of
trees are generally of a warm grey, and may be painted with

either a tint of gamboge, madder lake, and Prussian blue, or
madder brown and blue. It is easier and much more satis-
factory to mass in the foliage of near trees with the brush,
and then take out the lights with the point of the penknife.

Reflections of objects on the surface of water are painted
with the same tints as the objects themselves, and is best
done at the same time. Should the water have motion —
either from the force of the stream, from wind, or other
causes — the forms of objects are reflected very unde-
tinedly ; but when the water is still they will nearly ap-
proach, both in colour and detail, the objects by which they
are cast. Those parts of the water which do not cast reflec-
tions must bo painted with tints corresponding in colour,
but more grey in tone, than the surrounding objects.

And now the painting of the picture will have been done
down to the line of wall bordering the lake. Take care to
soften and blend all parts that require it with the dabbers.
The road is gently undulating, and on the sides opposite and
under the wall the lines are broken by means of grass. In
this part nearly all the tints of the other parts are repeated,
and the lights are introduced in broad masses. As the fore-
ground is supposed to bo so near the eye that all objects of
which it is compo.sed are capable of being minutely distin-
guished, not only as to their general form and colour, but
that also their structure and surfaces arc plainly visible, it is
absolutely nece.ssary that they should have substance, force,
and detail. Detail is not to be understood as merely a
faithful rendering of objects by truthful drawing, but also
to mean a description of their various components, surface >,
and materials, so as to give an appearance of reality.

Sufficient force also must be given to the shadows to cause
the middle and remote distances to retire. The lights of
the foreground objects must of necessity be stronger than
tho.se of any other part of the picture, and consequently the
shadows, as wherever the highest lights occur they are
always supported by the deepest shades.

The work of finishing a picture consists of softening and
subduing, or invigorating and brightening, those parts
which may require it, with a view to harmony and general
effect. For this purpose all the colours are needed with the
addition of black, which is only used to give sharp touches
here and there for the sake of sharpness and decision, and
should not be used at any earlier stage, for fear of lowering
the tone of the whole of the picture. All the edges of reflect-
ing lights nearest the eye must be brought up to their proper
degree of brilliancy, and all tlie dark parts strengtlictied to
their proper depth ; in fact, all that could not properly be
done at an earlier stage must now be completed.

The figures and dark markings of stones or other objects
are left to the last, as the force and tone of the picture, in a
great degree, rests with them. When the composition
abounds with tints allied to piuple — as in the present
example — the introduction of deep blue, bright orange, and
crimson in the dresses or accessories of the figures in the
foreground contribute greatly to promoting the effect of the
picture.

Glass painting is also executed in water colours, and some-
times by a mixed process of using both oil and water colours,
thereby combining the transparency of the one with the rich-
ncs5s and depth of the other. The instructions here given
will be found sufficient to guide the learner in the use of
either process. Through the kindness of one of our most
talented artists on glass, I am enabled to give his mode of
preparing gamboge producing a most intensely brilliant
yellow of any depth desired : — Dissolve half an ounce of
gamboge in one ounce of alcohol, shake well, and let rest
for twelve hours ; pour off the clear fluid, and add to it an
equal quantity of turpentine ; stand the mixture in a warm
place until evaporated to one-half. Use this colour with
varnish or oil colours as required.

The instructions here given are equally applicable to
painting a photographic transparency, or a picture from the
outline to completion. The light edges of clouds arc best
taken out by means of the needle points before mentioned.

102

THE PHOTOGRAPHIC NEWS.

In «oncltuling this part of my instructions, it may be as
well to make a few observations, attention to whicli may
serve the pupil in place of experience. A judicious choice
of subject must be made, otherwise a pleasing picture will
not be the result. It should be at a first effort of the most
simple kind, and more difficult subjects attempted as expe-
rience is gained. When a picture has been finished to the
extent of the ability of the learner, it js better not to con-
tinue working upon it at the risk of muddling the whole,
but rather to let welt alone, as experience wilt be gained
from each following picture ; therefore every effort must be
made that each succeeding one shall be better than the last.

114, High Street, Ilfracombe, Devon.

PICTORIAL EFFECT IN PHOTOGRAPHY ;
Reing Lessons in

Composition and Ciit.viioscuaA for PiioTooR.vpnERs.

BY II. P. UOBINSO.N.

Chapter V.

" tVe cannot, as I have heard a great man express himself on another
rccasion, see at sight. A tolerably correct understanding of the construc-
tion and leading principles of an object is re<iuisite, even to the seeing it
l>roperly." — Opie.

“ Divested of design, art becomes a mere toy, a mechanical bauble, uncon"
nected with either the head or the heart, uninteresting to the wise and
good, unprofitable to all, and amusing only to the weak anl idle.” — Barry.
‘‘Now do you see the point?”— .J/dPr Uiitory of a Mystery.

It is not necessary that the ruling point should be absolutely
at the side of the picture and under the extreme distance.
It will be found, by an examination of the best landscapes,

[February 28, 1SG8.

to vary very considerably ; but if it be an important object
it will never be found exactly in the^kuitre, or under, or in a
line with any other important or prominent form of the
same size or character.

The little sketch subjoined illustrates how balance may
be obtained by opposition of lines
and light and shade, referred to
in the last chapter. The lines of
the tree and foreground oppose
the lines of the mountains, and
the light on the near objects con-
trast the dark distance.

I take for further illustration this week a river scene, the
construction of which the student wilt be able to peiceive
for himself. He will notice that it is diagonal in form,
and that the balance is preserved by the boat. He will also
notice that the masses produced by the principal trees is
repeated by the sail, and the light cottage is echoed by the
distant church.

It is always well to point out not only what to do, but
also what not to do ; and there is a slight example of what
to avoid in the present instance. It will be seen that the
cloud immediately behind the top of the central tree exactly
follows the shape of the upper branches, and the cloud just
above partly repeats the same form. Now, repetition is a
valuable quality in art, and helps to give one part of a pic-
ture relation to the other parts ; but repetition should con-
sist of a faint echo, and not of exact imitation of lines or
forms; this would look too much like artifice, even if agree-
able to the eye, which it would not be ; and art, however

much it may regulate the representation of nature, should
never make nature look artificial.

Having, I hope, carried the student with me so far, 1
should advise him, at this point, to study good pictures and
engravings, and, analyzing them for himself, see how far the
simple rule — beyond which we have not yet got— of a small
spot of dark, or an opposing line, acting as a balance to the
whole, has been observed, especially in representations of
landscape. I venture to assert that if he does this appre-
ciatively for the first time he will be astonished at the
regularity and frequency with which this principle is ob-
served. A study of pictures at the present stage will have
a better effect on the student than a study of nature, which
could, without guidance, only produce in him a vague and
unsettled taste. The study of pictures will make him
acquainted with the methods by which they were produced,
and guide him, by means of the general heads of composi-
tion, in his search for the numberless and hitherto unpercci ved
beauties in nature. Taking the best known collection of
landscapes I can think ot at the present moment, and at

the same time that of the greatest excellence, and because
they are by a man whose genius was sufficient to carry him
above and beyond all rules if he had thought it right to
reject rules, 1 would recommend the student to go to the
National Gallery and make a careful examination of the
Turner collection ; or, if he is not able to see the original
paintings, let him look through the last half-dozen volumes
of the Art Journal, in which many of these wonderful pic-
tures arc admirably engraved. Let him forget, if he can,
the gorgeous colouring, and the poetry ami imagination
which appears in so eminent a degree in Turner’s works, and
prosaically examine the construction of the pictures; or,
rather, at present let him confine himself to the one point 1
have suggested, and when he is well grounded in that he
may advance another step without fear of having to turn
back.

Taking a few examples at random, let me first direct
attention to the lovely Devonshire landscape, “ Crossing the
Brook,” where the aog in the stream forms the balancing-
point of the composition ; then turn to the “ Teineraire,”

February liS, 1868.]

THE PHOTOGHAPIIIO NEW^S.

103

ami notice how the buoy performs the same function. In
“ Brighton Chain Pier,” “ 'I'h.' Sun lliaing in the Mist,”
“Ancient Rome,” “ Spitheail,” “St. Michael's Mount,”
“ Stranded Vessels off Yarmouth,” “ Fishing Boats,” and
other sea views, a buoy, barrel, anchor, boat, or piece of wreck
will always be found doing the same duty. In the “ Poly-
phemus,” the dark prows of the galleys cutting against the
sky give wonderful power to that glorious sunrise. It is
the same with the landscapes proper. Look at “ Petworth
Park,” and ob.serve how the dark form of the doe standing
against the light in the foreground appears to have been
the last thing done, but without which the harmony w'ould
not have been complete. In the curious picture representing
a scene in Boccacio, called “ The Birdcage,” it will be seen
that a u-hite spot — the music book on the ground — has
been used to complete the balance. Notice how almost in-
variably he places his darkest dark in immediate juxtaposi-
tion with his highest light, of which his “ Dutch Iloats in a
Gale ” is a good example. Notice, also, and remember
how, in his wildest fancies, painted when some people
think his genius had deserted him oi almost amounted to
insanity. Turner strictly obeyed the simple rules of composi-
tion. For example, in the “ Whalers,” and that weird and
wonderful picture of so prosaic a thing as a railway train,
to which he has given the name “ Rain ! Steam ! Speed ! ”
And if the greatest landscape painter that ever lived could
approve of these rules, and bend his great genius down to
them, it is not for the tyro in art, or even the advanced
student, to say : “ Art is above rules, which only act as a
drag on invention, and curb imagination.”

Having arrived at this point, having attained some know-
ledge of elementary pictorial construction, and having ob-
served in pictures how that construction has been observed
by painters, the student may now turn to nature, look on
objects indoors and out of doore, carefully analyse any ob-
ject or group of objects that appear to have a pleasing effect,
and he will find, in some degree, that the cause of the
pleasure he experiences in looking upon them begins to
dawn upon his mind. Let him ask himself whether, even
at this early stiige of his knowledge, he looks upon nature
with the same indifference he formerly did, and if he has
iliscovered new sources of pleasure, through the medium of
art, with which hitherto he has been unacquainted, and for
which he never cared. If he has discovered new sensations
and new enjoyments, he has put these lessons to the purpose
for which they were written, and may go on with those that
are to come. If not, be had much better give the matter up,
or “ try back.” I ask this question thus early because if
the subject of the three last lessons be not quite mastered,
all I have further to say will appear but as so much
confusion.

CONCERNING THE OXY'HYDROGEN LIGHT, AND
THE MEANS OF PREVENTING EXPLOSIONS.

BY J. TRAIL TAYLOR.*

Although for the production of photographic enlargements
the lime light is, I believe, destined to be superseded at no
distant day by the magnesium light, the latter, I fear, will
not for many years to come enter into competition with the
former for purposes where great steadiness is required, such
as the exhibition of pictures in the magic lantern. At the
present time, however, the lime light is extensively used in
the production of enlargements ; and, as it is the only light
that can yet be used for purposes of exhibition, any means
by which it may be improved will, 1 anticipate, be
welcomed.

The lime light is of English origin. In the days of
Sir Humphrey Davy a blow-pipe was Introduced by a
philosophical instrument-maker named Newman. It was a
metallic vessel, into which air was introduced underpressure

* Read at a meeting of the South Londoa Photographic Society,
February 13, 1868. ’

by a force pump, the air being allowed to escape through a
fine nozzle. The explosive and heating qualities of a mix-
ture of two volumes of hydrogen and one part of oxygen
were at this time well known ; but Sir Humphrey Davy
having discovered that the explosion from these gases would
not communicate through small apertures, eiipecially if
under pressure, employed Newman’s ulow-pipe for effecting
the combustion of the mixed gases. With this, Davy and
Dr. Clarke, Professor of Mineralogy at Cambridge, tried
numerous experiments, the heat obtained being the most
intense at that time known. Lime, platina, strontia,
alumina, rock crystal, quartz, flint, talc, emerald, lapis
lazuli, plumbago, and other hitherto infusible substances,
were all fused under this new and mighty power. When
lime was brought under its action its incandesence was
attended by a light of intense brilliancy.

By-and-by this property was utilised, and, among other
applications, it was pressed into the service of the magic
lantern. For many years, both in its heating and illumi-
nating aspects, the gases were mixed together in a suitable
bag or gas-holder, and many ingenious devices were had
recourse to in order that no danger might follow their use ;
for Sir Humpluey Davy had, among his earlie.st experi-
ments with this explosive compound, demonstrated that if
certain conditions were disregarded, an explosion would
result. His first and only explosion was produced with two
quarts of the mixed gas communicating with the outer flame
by means of a pipe an eighth of an inch in diameter, the
gases being forced out under high pressure. On the light
being applied to the burner the gas immediately ex2)lodcd
with a report like that of a cannon, the vessel in which
they were contained having been shattered, and the debris
projected with violence to a considerable distance.

One of the earliest experimentalists in the utilizing of
the lime light was Lieut. Drummond, R.E., who, in 182G,
commurficated to the Royal Society a paper on the means
of facilitating the observations of distant stations in
geodetical operations, in the course of which he described
a system of powerful illumination employed by him, which
seems apparently to have been known previous to that time,
viz., blowing a stream of oxygen through the flame of a
spirit lamp. His using and recommending this light led
to the designation “ Drummond light ” being applied to it.
It may amuse you to be informed that I have three cata-
logues (issued within the past few years) of makers or
dealers in magic lanterns, in which this light, described in
182G by Drummond, is published as the newly-invented

light of Mr. , the dealer by whom the catalogue was

issued. It may not be amiss to record here that, when
compared \9ith an argand burner, the Drummond light was
found to possess thirty-seven times more intensity, magnesia
only ranking as sixteen times. By a better selection of
lime and more care in the adjustment of the flame, he after-
wards increased the intensity of the light emitted from lime
to eighty-three times that of the best argand burner of the
period, supplied with the best oil.

For many years the mixed gases have been delivered
through tubes packed with wire, llemming’s jet is an
example of this. In later years the gases have been kept in
separate bags, and allowed to combine just before i.ssuing
from the burner. In many ca.scs they do not mix inside at
all, the oxygen and hydrogen uniting outside of the burner.
In such a case an explosion is quite impossible. It does
not, however, require the aid of the photomet.' r to discover
that, when the gases are mixed lire vious to their emission,
the light is much purer and more intense than when the
other and safer form of burner is used.

In what follows I shall assume that if the best possible
light be desired, the oxygen and hydrogen must be
brought into contact previous to their emission from the
burner.

If the gases are mixed only inside of the jet, no supply
of it being kept in store, where, it may be asked, lies the
danger of an explosion, or, at any rate, one of any magnU

104

THE PHOTOGRAPHIC NEWS.

[Fkbroary 28, 1868.

tude, seeing the explosive material is so small ? There are
various sourees of danger, such as the accidental presence of
some other gases than hydrogen or oxygen in their respec-
tive bags. If the gases be pure, and kept separate and
under uniform pressure, I do not believe an accident will
occur ; I have not, at all events, heard of any. But if the
weights on the bags be not equally adjusted, the bag which
is under the greatest amount of pressure has a tendency to
transmit its gas to the other, unless the orifice be sufficiently
large to allow botli gases to escape into the atmosphere.
Should, however, the orifice be stopped by a particle of dirt,
or by any other means, diffusion of the gases will take place
with .alarming rapidity. That it does so repeatedly, even
under the most favourable circumstances, is attested by the
frequent snappings in a mixed gas burner.

The interposition of several layers of wire gauze is sup-
posed to prove a preventive measure. It is argued that, as a
common Hamc will not pass through a small orifice, so neither
will the flame of oxyhydrogen gas. There is a considcr-
<able difference between both the nature and tenuity of certain
llames. Sir Humphrey Davy found that a wire tissue of one
hundred apertures to the inch (made of 1-GOth size wire)
will intercept the ffame of a spirit lamp, but not that of
ordinary hydrogen, although both these ilames have been
considered to be very similar in their tenuity. I am almost
prepared to assert that the llamc of oxyhydrogen will p.ass
through any body that will transmit the gas in a practicable
(luantity. Mr. Gurney li.as sent the oxyhydrogen flame
through a thin sl.ab of plaster of Paris, and I have myself
sent it both through porous wood and a wire-packed tube ;
hence I conclude that safety must bo sought for in some
other direction than in the interposing of ob.st.acles which
assuredly would prove futile in resisting the passiigc of the
flame.

Where, then, is safety to be sought for, and by what
means is it to beseemed? Tlie following principle will
enable us to arrive at a satisfactory reply to this question ; —
If the orifice of the burner be small, and the gas from one
reservoir be not allowed to get into the other, no explosion
can take place in either b.ag. The sm.all snapping explo-
sions in the burner are innocuous ; I refer especially to the
explosion of the bag, which, if of large capacity, will
readily unroof a house and scatter destruction all around.
Mr. Gurney found the only means of security to consist in
passing the gases through water. I have tried this, and,
although satisfactory for blow-pipe experiments, it is not so
for lighting purposes.

On the occasion of a life very valuable to science being
nearly sacrificed by an explosion, I was requested to devise
n burner by which an explosion would be rendered impossible
either by carelessness or design. In endeavouring to accom-
plish this I found only one thing to be necessary, viz., that
the giis pipe from the bag to the burner should transmit the
gas in one direction only ; that to secure this one or more
self-acting valves must be interposed in the current of the
g.as, and that these should only allow the giis to p.ass when
under pressure, when, qonserjucntly, no danger could result.
For instance : suppose that the weight accidentally falls from
off the hydrogen bag, the sudden release of the bag from
jrressure causes not only the cessation of the gas supply, but
also a back-draw, which, were there mixed gases in the b.ag,
would be instantaneously followed by an explosion. But
the hydrogen being pure, nothing happens at first beyond
the going out of the light. Simultaneous with this, how-
ever, the oxygen rushes into the hydrogen bag, which is now
relieved from pressure, and, on the subsequent application
of the flame, the bag is in a favourable condition to
explode.

If there were a self-acting valve, such as that to which I
now direct attention, nothing whatever could happen but
the extinction of the light; for concurrently with the with-
drawal of the pressure caused by the weight falling off the
bag, the valve would close, and the greater the back-draw
into the bag the more certainly would the valve act to pre-

vent it. Butj moreover, fof the gas from the one bag to get
access to the other would be a simple impossibility.

This method of thoroughly preventing an explosion is not
a mere crude suggestion. I nave had it in use for some
years. After I determined upon adopting valves of this
description I had some made, and I tried their efficiency
in every possible way. In order to subject them to a crucial
test I had a small bag (full of the mixed gases) so constructed
that, when the flame was issuing from the burner and every-
thing was ready, by pulling a string I could at once remove
the pressure, and c.ause the b.ag to suck air in as if it were
a bellows opening, and that, too, with a burner and tubes,
quite unobstructed by any kind of packing.

I sh.all now show, by means of diagrams, some of the
several kinds of safety-valves I have had in use. 1 have
varied their forms to suit the particular circumstances under
which I employ them, but the principle is the same in each,
viz., a light flap or valve of any light, unoxidizable substance,
such as aluminium, kept, either by the force of gravity or
by a light spring, against a plate of metal having a hole
sufficiently large to transmit the gas, which it will do in one
direction only, by its clastic force raising the valve, and thus
permitting its egress. When, on the one hand, the pressure
on the bag is withdrawn, or, on tlie other, a greater degree
of pressure is exerted outside of the valve, it immediately
closes; and, as I have already stated, the greater this oppo-
sing pressure the tighter is tlie valve closed, and the more
impossible is it for an explosion to take place.

As it is impossible to show the action of these valves when
prepared for actual service, Mr. F. W. Hart has kindly pre-
pared some models in glass, and, by means of the small
elastic b;ig attached, the action of each valve respectively will
be seen, and the perfect safety of the system demonstrated.

These valves cost only a trifling sum, they occupy little
space, can be attiiched to all existing burners, and, on these
grounds, coupled with the s.afety secured by their use, 1 re-
commend their adoption. One of them placed inside the
tube near the bag, and one at the stopcock at the back of
the lantern where the elastic tubing is attached to the
burner, will prove a sufficient protection for each bag.

CONCENTRATION OF LIGHT IN THE STUDIO.

BY E. DU.NMOEE.*

It is a popular idea that Continental photography owes
much to the excellence of the light, altogether independent
of the skill of the oj)erator. 1 have brought this evening
for your inspection a few pictures, taken under very dis-
advantageous circumstances, both of light and temperature,
during the p.ast month, exemplifying that i\\a purity of the
light is not a sine qua non for the production of a brilliant
photograph. The exposure, which ought in a good light
to h.avc been about a minute, has been never less than two,
and in one or two c.ases over four minutes. The time for
printing h.as been from one to three days each print. I do
not exhibit them as “uncorrected” photographs; for I
believe no large portrait w.as ever made that could not have
some touches advant.ageously added to soften a hard line or
sharpen a soft one. Whore this could be done I have had
it done, and am a firm believer in its perfect legitimacy.
The negatives were taken with the smallest amount of dif-
fused light in the glass house possiblo to work with, the
models being lighted by about a yard square of clear glass,
some even with less. Had it been bright summer weather,
of course less clear glass would have sufficed with advantage
even than this.

-♦

INFRINGEMENT OF COPYRIGHT BY PHOTO-
GRAPHY.

We find details in the daily papers of a case of extensive
infringement of copyrights by means of photography, in
which fines to the extent of £I30, being X5 each fur twenty-

* Road before the Loadoa Pbotognipbic Socletj, February lltb, 1B6S.

THE rilOTOGRAPHIC NEWS.

105

February 28, 1868.]

six separate piracies, were inflicted. The case was hoard
at Guildhall Police Court, before Sir Robert W. Carden,
on Jlonday last.

Samuel Benoni Beal, a stationer and dealer in piiotoffraphs, carryiiifr
on busine.-i.s at 47, St. Paid’.s Clumdiyard, appeared before Sir Robert
\V. Carden, to answer thirty-four .summonses taken out afrainst him
by Mr. Henry Graves, of Pall Mall, the eminent publi.sher and en-
frniver to the Queen, for unlawfully sellin.u:, on the dlst of July la.st,
seven pirated photo;rraphs of a paintiiijr called “ Ordered on Foreij^n
Service,” four of “.My First Sermon,” and two of “ My Second
Sermon,” knowing the .same to have been unlawfully obtained ; and
for unlawfully and fraudulently .selling one photograph of “ llis
Only Pair,” having thereon the name of the complainant, who did
not execute or make such photograph. Also for unlawfully selling,
on the Pith of August last, .seven co])ies of “ Orderisl on Foreign
Service,” four of “ My First Sermon,” an<l two of “My Second
Sermon,” knowing the same to be unlawfully made; and’ likewise
for uidawfully and fraudulently selling thr<!e photographs of “ His
Only Pair,” two of “The Plough,” one of “Saved,” and one of
“Taming the Shrew,” having thereon the name of the complainant,
who did not execute or make such photograidi.

Mr. George Lewis, jun., of Ely Plivce, appeared for the complain-
ant (Mr. Graves), and Mr. Francis for the defendant.

Mr. Lewis, in opening the civse, said tliere were thirty-four
summonses against the defendant, but he would take them as under
two heads, as there were only two purchases. In this instance there
was uo excuse for the defendant, for he was well acipiaintcd with the
j)hotographic law, and had actually started, in conjunction with Mr.
Ashford, an association for the purpose of •jjrotecting the photo-
gr.iphic process of pirating works of art against the attempts which
the owners of registered copyrights might make to prevent them
carrying on their lucrative trade. Their names were attached to the
pamphlet advocating the society, and they had been receiving sub-
scriptions for the purpose of protecting themselves under the shadow
of that .society. Mr. Lewis then explained the case as given in evi-
dence, and said that to detect the defendant and others it had cost
Mr. Graves over £1,000. One of Mr. Graves’s engravings h.ad cost
him .£’2d,000, and before he could get the copies round to the sub-
scribers the photographs of it were being sold for 2s. Gd. each, and
it laid Mr. Graves open to the remark that what he was selling for
£10 10s. others were selling for 2s. Gd.

John Cattermole, in Mr. Graves’s employ, proved the pureha.se at
defendant’s place of business of four cojjies of the “ My First Scr-
moJi,” seven of “Ordered on Foreign Service,” two of “My Second
Sermon,” and one of “ His Only Pair.”

The engraving of “My First Sermon” was put in, and Mr. Graves
said that he paid .£1,000 for the copyright of that engraving, and the
photographs were selling for 2s. Gd.’

Mr. Cattermole said he went to the defendant’s on the I2th of
August for a parcel, and it was made up for him at the back of the
shop. Ho paid defendant £5 8s. forit, and received a bill and receipt
for it. That parcel contained seven copies of “ Oixlered on Foreign
Service” (the original picture of which was burnt at the fire at Mr.
Graves’s when the Italian Opera House was burnt dovni), four of “ My
First Sermon,” two of “ My Second Sermon,” three of “ His Only
Pair,” one of “ Saved,” twoof “ The I’lough,” and one of “ Taming
the Slirew.” They all bore the name <jf Mr. Graves and the names
of the isiinter and engraver. He received the following letter from
Mr. Beal, which ho wanted him to sign “ I hereby signify, for
your satisfaction, that the goods purchased by me of you at various
times arc your own stock, and not those copyright pictures which I
am buying elsewhere. This is signed, at your request, to avoid any
comi)lieation in the future from anv dealing in and buying pictures
you do not sell on copyright grounds.” On the 5th of ’February he
wrote agreeing to sign the document, and ordering more goods, and,
on the (ith, received a note from the defendant agreeing to sell more,
but asking, “ How about the parcel already looked outP’ Sever.al
letters p.assed between them, and in one, on the 15th of Febru.ary,
defendant said : “ Possibly I might get, on your sudden deimand,
any cjuantily enough for you by a little notice. The great thing is
reliability.”

Mr. Graves provetl the registration of the various pictures, and
stated that he gave 200 guineas for the cojnTight of “Ordered on
Foreign Service,” and the engraving cost 200 guineas more. The
various photographs were not made by him nor by his order. If that
piracy were allowed to go on it would ruin engraving for tho next
half centurj'.

Mr. Lewis a.skcd for thirty-four penalties of £5 each, or in default
two months’ imprisonment on each flue.

Mr. Francis contended that it rather benefitted than injured Mr.
Graves to have his pictures photo^aj)hcd, as it was an advertisement
for him. Ho, however, submitted that the Act would not apply to
“ His Only Pair,” “The Plough,” and “ Saved,” as they boro date
before the Act under which they were proceeding was passed. The
photographs did not pi^ort to be published by Mr. Graves, but to
be a copy of an engraving published by Mr. Graves. He then took
exception to tho certificate of registration, as it did not contain a
description of the picture, and was, therefore, not in accordance with

the Act of Parliament. He next contended that tho defendant was
summoned for selling a photograph of tho jiainting, whereas the
evidence showed that it was a idiotograidiof the engraving. He then
came to tho (picstion of penalties, ana said that only two sales had
been proved, and that, therefore, only two ofl'enccs had been com-
mitted, for which he had tho ])ower to fine the defendant £10 each ;
but he denied that the magistrate had power to make thirty-four otfences
of them.

Mr. Lewis contended that the sale of every photograph was a
separate offence. As to the photographs being taken from the en-
gravings, tho Act was passed expressly to meet that cast-, for it was
well knowni that they could not get at tho iiictures to photograph
them. With regai-d to the certificate, it stood as yl/ciV evidence

until it was rebutted.

After a lengthened argument between Mr. Francis and Mr. Lewis,
Sir Robert W. Carden said ho would adjourn the ca.se, and give his
decision the next morning.

On Tuesday morning, on the opening of the Court,

Sir Robert W. Carden said : 1 am very glad I del.iyed giving
judgment yesterday, for it, has given me an opportunity to weigh
well all tho arguments which wore used by the learned coun.se! for
the defence. I am certainly in some little difficulty with regard to
eight of the summonses, 'i’he complahit is, “did unlawfully sell a
photograph, to wit ‘The Plough,’ having thereon the name of tho
complainant, who did not execute or make such jdiotograph.” Now
it apjxiars to me that that wording is so ambiguous that I should not
like, unlc.ss Mr. Lewis can relieve mo from the difficulty, to convict
upon those eight. If it had .said, “having thereon the name of a
person who did not execute or make such photograph,” I think it
would have had more weight ; but as it is at present I should not like
to take upon my.self the responsibility of convicting upon tho.se eight.
Now there is no doubt that a great and cruel fraud has been com-
mitted upon the prosecutor, Mr. Graves, by the mean and dishonour-
able system of piracy which exists, and has existed for some time, to
so ruinous an extent that, if not checked, it would inerdtably lead to
the destruction of the beautiful art of engraving. Tho leanied
counsel, Mr. F'rancis, has spoken of the great value of photographs,
and evcr>-b(Mly must have been struck with the beauty of tho .sjicci-
mens submitted to us yesterday ; but in proportion to the value of
the production we must give laotection to the holder of the original
design. Wo know that there is great profit arising and great danger
in obtaining that profit by tho sale of these articles, and it is most
difficult to a.scertain tho wholesale agent who remits them to tho
retailers. I have been looking into the evidence, and fairly weighing
the ingenious arguments of the learned counsel. Mr. Beal, curiously
enough, has actually inaugurated a society for (as it appears to me)
the protection of himself fi’om the pains and penalties of doing
wrong, and he will no doubt repay himself from the funds of that
society. I did not read the book la.st night, but ecrtainly the pre-
amble was most extraordinary, and appears to bo for the protection of
fraud. No doubt it is very difficult to prevent the imiwrtation of
foreign photographs, becau.se there are always dishonest men, with
no character, willing to traffic in anything if they can make money
by it ; but do not let it be said that such practices arc pursued by
men who are regarded by their neighbours as respectable and fair-
dealing tradesmen. One would hardly suppose that it could be so.
I do not think it is fair for one man to live ujion the brains of another.
We all live by our own brain.s, and I think we ought to bo well paid
for the work of our imagination. Therefore I think it a very hard
case that one gentleman should be so robbed by another. I call those
hou.scs which receive these photographs as uo better than the receivers
of stolen goods, and this they must know perfectly well ; and Mr.
Beal must have known it perfectly well, as is jiroved by the secresy
which is observed in selling, and also by his being under the jjrotec-
tion of the society. Under these circumstances 1 shall take off tho
eight cases, reducing the number to twenty-six ; but in each of the.se
I inflict a fine of £5, or, in default, seven days’ impri.sonment, which
will amount to £130, or sixmonth.s’ impri.sonment. I hope this will
be a warning to all those who endeavour, by the advantages belong-
ing to art and science, to encroach on the property of other people.

Mr. Francis asked for a case fora superior court on three grounds :
first, that there was a defect in the registration ; secondly, that there
was no evidence that the photographs were copies of the jnctures or
the design thereof ; and, thirdly, that the magistrate had no power to
fine on every individual photograph.

Mr. Lewis replied ; and, after a veiy animated discussion.

Sir Robert W. Carden said he thought tho objections were
frivolous, and refused to grant a case.

The defendant then paid the fines under prc>t»st, so that he might
apply to a judge at chambers on those points.

||r0mbin0s jof 3odctic^,

French Photookaphic Society.

The January meeting of tho Society was hold on the 17th ult.,
M. Balakd occupying tho chair.

lOG

THE PHOTOGRAPHIC NEWS.

[February 28, 1868.

M. Davanne, oh behalf of the Administrative Committee,
notified to the members tlie loss they had sustained by the
death of the Due de Liiynes, who had been one of the founders
of the Society, and likewise one of its most ardent supporters,
lie stated that a letter of condolence had been drawn up in the
name of the Society, and transmitted to the late Due’s grand-
son, who had received the note with much regard.

M. Davanne also announced the death of M. Claudet, who
was one of the earliest photographers ; he w.as among the first
to engage in the study of Daguerreot)'po, anil to put tliat pro-
cess into practice ; and he had, during his lifetime, contributed
to the art many important improvements.

A letter was read from Sir David Brewster, thanking the
Society for the honour they had conferred upon him by award-
ing the medal of the Society for his researches, and forwarding
for the ajceptanco of the members two copies of his works on
the stereoscope and kaleidoscope.

M. Davanne announced that, in consequence of domestic
affliction, their esteemed President, M. Regnault, would not
offer himself again for re-olection. M. Uegnault had boon Pre-
sident of the Society for the last thirteen years, and, as a token
of respect to one who had devoted so much of his time and
labour to their welfare, the Administrative Committee proposed
that ho should hencefortli bo styled Honorary President to the
Society.

This proposition having been unanimously agreed to, M.
Davanne road the Report of tlie Committee appointed for the
distribution of awards to deserving photograpliers duri.ig the
year 18GG. The Report stated that the year in question had
been very unfruitful in regard to the discovery of new processes,
many photographers doubtless being unwilling to bring forward
their improvements pending tlie duration of the Exhibition.
Several names had been considered as to their claims to receive
the Society’s medal on the score of the superior excellence of
their productions ; but as these gentlemen did not impart their
method of working to others, and as it was the principal aim of
tlie Society to encourage the vulgarisation of the art,* no appro-
priation of medals was recommended.

M, Braun presented the Society with ton albums containing
photographs in pigments of works of art in the Vienna and
Weimar galleries.

M. Despaquis exhibited some carbon prints taken upon
pajicr coated with a collodion varnish.

M. Bkiois exhibited to thn Society samples of the coloured
and uncolourcd collodion varnish.

M. Dkivet presented to the Society a collection of photo-
eiigr.iviiig, produced by a process of which ho has not yet
published the details.

M. CuRMEU described to the Society the details of a small
liortable laboratory, invented by himself, which, by simplifying
tlu. manipulations and economising the apparatus employed, he
has been able to reduce within the most limited dimensions.
He presented a model to the Society.

The proceedings then terminated.

Corrc.^panbcncE.

M. SALOMON’S PORTRAITS.

Sir, — .Although the controversy as to the source of superiority
in M. Salomon’s pictures has already occupied more than a
reasonable amount of public attention, there still remain some
questions which should, I think, bo answered.

1. Has M. Salomon over said that all his pictures were
untouched '?

2. Has any competent authority said his pictures were all

untouched, or, as a rule, untouched? I ask this question
because I see tl^a correspondent in the of Jan. 31,

signing “ ScrutatW,” affirms that you have made such state-
ments ; and as I have only recently commenced taking the
News, and in the numbers 1 have read I find that you constantly
affirm that many of the pictures are touched, I am curious to
know the cause of the discrepancy. “ Scrutator ” refers to
pages 4-81, 534, and 545 of the News, as containing statements
that these pictures are untouched. The first passage is quoted,
and it distinctly states that M. Salomon’s portraits are un-
touched.

3. Has any one, whose word or judgment would carry weight

with photographers, seen the print which “ Scrutator ” says he
analysed ; or is there any evidence, beyond an equivocally
worded anonymous letter, to prove that any such examination
was made ?

4. If it bo true that such examination was made, and that
one print was found to be touched, does it follow that all were
tonclied ?

5. Has any one else produced similar results by means of
touching ?

G. What is touching? This question seems absurd ; but the
word seems of doubtful meaning. In its ordinary sense it is
understood to bo applying a few touches to remove defects or
produce improvement, and all photographers are supposed to do
it. Young ladies for touching and mounting are in frequent
requisition. But when used in reference to .\I. Salomon's prints
it seems generally to imply what used to be understood by
“ working up ” or covering the photograph with sepia or Indian
ink. — Yours truly, Veritas.

[We will answer our correspondent’s questions categorically,
although we think that it should scarcely be necessary to
answer any of them. 1. We have repeatedly stated that M.
Salomon has not put forth any statement or question of touch-
ing at all. 2. We have from the first very distinctly stated
that some were a little touched, some considerably touched,
and some untouched ; also that the best were untouched, and
that the characteristic excellence was in nowise due to touch-
ing. We have constantly repeated this statement as to the
touching, and have never said anything which, even by irnpli-
c.ition, could be understood as a statement that all the portraits
were untouched. We have turned to the pages of the New.s
to which you say “ Scrutator” refers as containing statements
that the pictures are untouched, and find that he has been guilty
of something very like dishonesty. The passage quoted as from
the News, p. 481, is, in reality, from the Times-, it is quoted in
the News at that page, and duly accredited to the Times' Corre-
spondent. The ether two references are to our own articles,
and contain no such statement. They contain allusions
to special pictures which we had ascertained to bo untouched.
3. We have not heard of any one who has seen the ” analysed”
print. 4. Of course not, any more than because one print has
been found to bo untouched that all should be considered so.
5. We have not heard of any one who has produced similar
results by touching or any of the proposed “• dodges.” G. By
“ touching,” we presume is meant the removal of blemishes or
supplying of deficiencies, which can be effected without inter-
fering with the distinctive photographic characteristics of the
photograph, a process which most careful photographers apply
to such extent as they can to pictures. “ Working up ” is
j rather a mode of finishing, in wliich the photograph is made
j the basis of monochrome painting.— Ed.]

SILVER PRINTING.

Dear Sir, — It is with much gratification that I notice .Mr.
Bovey has undertaken to write a few jiractical articles on
the subject of printing. How important the process, aud yet
how few really possess that practical knowledge that is indis-
pensable to success ! Many, of late years, have entered photo-
graphy, and withonestride rushed intotheoperatingroom, think-
ing all other departments of very minor importance, consoling
' themselves with the idea that a boy, or oven a )’oung girl, at a
, few shillings per week, can be trusted to undertake the print-
j ing, toning, &c. ; and if any failure occurs it is either the bad
1 paper, impure gold, hard water, or all together, that are blamed,
and, as usual, all are brought in guilty except the real defaulter.

' Again, how many are allowed to conduct these processes who
; go to work in a most mechanical way, treating all negatives
' alike, as well as all papers, whether strongly salted or not !

During the last ten years I have heard it frequently remarked
I by operators of experience, when asked why they always take
such hard negatives, and, as a rule, considerably over-intensify
' them, their answer has been. Because the printing is done by
young, inexperienced hands; and that unless the negatives are
I so thick witli deposit in the lights that it is almost impossible
to over-print them, they are sure to be spoilt. No oue can
I become doctor of law, science, or medicine, without fi.*st
thoroughly accomplishing the preliminary stages to that
1 degree ; and no one should consider himself a photographer
when he alone understands the process of taking negatives.

I But those that are in this unfortunate position have a remedy,

r February 28, 1868.]

THE PIIOTOGKAPlllC NEWS.

107

which they would do well to avail themselvoa of, as it would
put money into their pockets as well as advance their reputa-
tion. The remedy I refer to is simply this : Put your printing
out. In these days, when there are men of recognized ability
who undertake printing for the profession, and can always
ensure the same good, uniform results, through working (like
our friend Mr. McLachlan) upon principles based on experience,
should be the moans of supplying the lack of that knowledge
so evidently wanted in many who call themselves photographers,
and who are either too proud to own their inexperience in this
department, or fancy it too expensive to put their printing out,
which latter is a great fallacy, inasmuch as if they reckoned up
what their failures cost them, and the inevitable result of send-
ing out inferior work, they would come to the conclusion that
they would bo in pocket by availing themselves of this remedy.

I would mention hero, in support of this, that I was much
pleased the other day with tho frankness of a letter addressed
to a trade printer of great experience from a photographer in
the country. Ho stated that ho had a fair knowledge of
operating, and could take good negatives; but, knowing nothing

ot printing, would feel obliged if would undertake the

same for him regularly. To own one’s ignorance is wise, and
will in the end bring its reward. One has only to take a cur-
sory glance at the albums found upon tho drawing-room tables
of this vast city to seo how much still remains to be accom-
plished before photography can hold a position among tho arts
that it should be the desire of every photographer to make for
it. The bad style that many have of vignetting is certainly
inexcusable after all that has been said and written on this
subject : however, these faults and failings are not, as a rule,
to be attributed to those who have taken up with photography
as an art, but to those who have simply entered into it as a trade ;
and the sooner they quit what should be a profession, and not a
trade, the better for real photographers and the better for
art generally.

Thanking Mr. Bovey for taking up tho subject in a practical
form in your valuable pages, 1 remain, yours very truly,

George Hooi’ek.

iu tbi

Development Exhibited by the Magic Lantern. — A
pretty lecture experiment was exhibited, on Friday evening, at
the Royal Institution, by Professor Roscoe, in which the pro-
cess of developing a latent image was shown to an audience on
the screen of a magic lantern. A wet plato having been
exposed to tho light of magnesium wire, under a negative, and
a latent image produced, the prepared plato was then placed in
the groove of a magic lantern, a red glass being interposed be-
tween it and the light. The developing solution being then
applied to the film containing the latent image, tho gradual
appearance of the visible image, as development progressed,
was seen by tho whole audience, as projected on the screen.
When completed, and the red glass was withdrawn, the trans-
parency Doing illuminated with the brilliant oxyhydrogen
light, the eft'ect cf an imago which had its birth under their
eyes had a very striking effect on the audience. We presume
that the operation of development would bo effected by im-
mersing tho prepared and exposed plate in a suitable glass
dipping-bath containing tho solution, and then placing the
whole in titu in the lantern.

Splitting ok Films.— Mr. T. Stothard sends us the follow-
ing regarding tho splitting of films : — “ 1 beg testate the result
of some observations on this subject. I had been troubled with
serrated splitting of the film, and, considerably annoyed, sought
for the cause. 1 found that negatives taken on tho same day,
and under similar circumstances were not all damaged. Those
with a portion of the film removed all round for neatness and
security (?) before varnishing, had gone in some cases ; of
those varnished with the same varnish (Thomas’s), but not
cleared at the edges, fewer ; and, on looking through my several
boxes of negatives taken during the last two years, I found
that none had gone of those not varnished, but coated with a
preservative albumen solution, tho receipt for which I am
indebted to Dr. Holden, of Glenarra, N. Ireland : —

Albumen white of 2 eggs

Water 1 ounce

Liquid amm, fortis 15 minims.

filtered through cotton-wool, poured on to the plato after it is
fixed and washed, and while still wet. Advantages ■. it sinks
into and supports tho film ; is of nO appreciable thickness, and
the negative therefore is in closer contact with sensitive paper
while printing ; and, as I find, freedom from cracking.”

The Forthcoming Solar Eclipse. — At tho anniversary
meeting of tho Astronomical Society, on tho 14lh inst., the
Rev. C. Pritchard, President, made tho following statement : —
“ Tho present year will be signabzed by a total solar eclipse of
almost the greatest possible duration. As probably centuries
may elapse before we shall have again an opportunity so uu-
excoptionably favourable for observing the peculiar phenomena
which are only to be seen during a total eclipse of tho sun, it
will bo a source of gratification to tho Fellows of tho Society
that two well equipped expeditions have already proceeded to
India for tho purpose of making observations during the eclipse
of August next. One of these expeditions, originated by our
Society, is under tho superintoudanco of Major Tonnant, of
the Great Trigonometrical Survey, who will be assisted by
Captain Brandroth and three non-com missioned officers of the
Royal Engineers. It is proposed to take photographs of the
eclipse, for which a reflecting telescope of tho Newtonian form
of construction, furnished with a silvered glass mirror, has
been provided. The pictures will be taken at the focus of the
mirror, without any enlargement, by an eyepiece; as was the
case with those taken by Mr. Warren Do la Rue in Spain.
Major Tennant is also provided with suitable apparatus for
observing the spectra of the red prominences and of tho corona,
and for analyzing tho light of these objects by polarization.

The Photo-Galvanometer.— a paper was recently brought
before the Royal Society by Professor Airy, on earth currents.
Currents of electricity are always running to and fro in the
earth, sometimes entering the telegraphic wires, and sending
streams of electricity through the lines of sufficient strength
to overpower the working batteries, to stop telegraphic nows
for the papers, and to send unreadable messages on their own
account. Such electrical storms are a source of great loss to
telegraph companies while they last. A few miles of wire were,
therefore, erected from Greenwich Observatory, to measure and
observe these currents, which are made to move a galvanometer
to and fro ere they enter the earth. The galvanometer is
mounted in a darkened room, and its needle reflects a ray of
light as it moves upon a sheet of photographic paper, whereby
variations in tho current are continuously recorded. Professor
Airy's paper, read before the Royal Society, pointed out that
some connection exists between the movements of tho earth
currents and the declination magnetometer, for both are
affected at neaily the same time.

Photographs of the Belgian Volunteers.— The civic
guards of Liege, following the example of their Antwerp
brethren, have resolved to present Miss Bunlett Coutts with
their photographs, enclosed in a beautifully bound ornamented
album.

Photography at the American Patent Office.— In the
annual report just issued from the Patent Office at Washing-
ton it is stated that henceforth photogarphy will be used for
renroducing and multiplying the designs of patented articles.
Tho Reporter says “ Tho drawings now number over 100,000,
and are becoming torn and soiled by the constant but legitimate
wear to which they are exposed. Photography seems to offer
the only means for renewing them. For some time past I have
had it in contemplation to have photographic copies of uniform
size made from the current issues and the drawings of former
patents, so as to furnish to each examiner a copy of all drawings
appertaining to his class, enabling him to consult them with-
out going to tho draughtsra.an’s room, where the space is insuffi-
cient for tho purpose. It has been my purpose to commence
by photographing each week tho current issues and several
hundreds of tho back issues, so as gradually to accumulate a
full copy of the record, and, where a drawing may be lost, to
take a photographic view of the model which might stand in
its place. Tho copies thus made would be of even size, and
smaller than the average of the originals, which would enable
them to be placed in compact form, and greatly to economize
the room occupied by them.”

Seduction in a Photographic Studio. — -V case was
heard in Court a few days ago — one of a class, happily, not
common in photography — in which a photographer residing at
Mile End was the defendant in an action for seducing a young
lady w'ho was assistant in the reception-room. The Court
awarded X250 damages.

108

THE PHOTOGRAPHIC NEWS,

^■0 ®omsp0n&cuts.

EsQriEER. — The card enclosed tindoubtcdly contains hypo, or
some compound yielding sulphur, causing fading of the print ;
we should scarcely have been prepared, however, for such a
deplorable amount of fading and discolouration from such a
cause as th« card exhibits. It appears, however, very probable
that the deplorable condition of the picture is duo to the
presence of the hypo. 2. The cracking in the negative film,
of which you send us an c.tample, is curious and of a kind not
common, although wo havo seen a similar case before. The
varnish appears quite int.act, whilst the film of collodion is
clearly divided. AVc cannot satisfactorily explain the cause.

J. Jj. — You must go to more authentic and trustworthy sources
for information before you base arguments thereon. The
“fact” that M. Adam-Salomon did not receive medallistic
honours at the French Exhibition, or that it was because he ad-
mitted that his photographs were touched, is not a fact, but a
fabrication. M. Salomon received a silver medal for his photo-
graphs at the Exhibition ; and he was not asked any questions

5 by the jurors as to the touching, nor made .admissions of one
kind or another. The extent to which any of them is touched
is, in most cases, easy enough to distinguish, and neither re-
quires admission or denial, as it in nowise aftects the peculiar
excellence of his pictures ; nor does the question of touching
affect the les.son which photographers shoubl derive from them.
You must not run away with the notion that the sketches in
question give the slightest idea of the pictures ; their real charm
— which consists chiefly in the grand masses of light and shade —
is entirely hacking. You must see the prints themselves to
form an idea.

Alcohol. — Methylated spirit and methylated ether are frequently
used by manufacturers of collodion. Rcdistillation is the only
effectual method of rectifying spirits. By keeping it in a
bladder, water passes through the membraneous hag, leaving the
spirit behind, and so strengthens it by ev.aporation of the water ;
but this is not practical upon any large scale. •

A Subscriber. — Refer to our advertising pages, and after select-
ing such as appear likely to suit you, indicate them in your
next by a figure or letter ; we can then advise you without making
invidious distinctions.

T. Stothard. — A varnish of which the chief ingredient is boiled
oil will make calico waterproof, and also transjiarent ; but all
such materials for making fabrics waterproof eventually become
yellow. Thanks for the hint, which we give in another column.

J. A. — White blinds will, of course, answer a similar purpose to
stippling the glass. We approve your resolution, and hope you
will have success, 2, Your doublet or portrait lens will answer
best for enlarging and copying.

W. J. A. G. — It was curious enough that you should get any pre-
sentable result in such a mode of operating ; but, as you remark,
the prints would not pos.scss value for pr.ictical purposes. The
possibility of performing the ordinary dark-room ojierations in
the presence of any ]iro))ortion of actinic light depends, of
course, for immunity from injury, partly on the sensitiveness of
the plate, and partly on the rapidity with which the operations
are performed. Your letter did not contain the example of a
fabric for dark tent, concerning which you make inquiry.

A Provincial Photographer. — To begin with, the focus of your
condenser— eight inches — is much too long for convenient use in
enlarging with artificial light ; one with a focus half that length
will answer better. The artificial light should bo placed at a
distance from the condenser a little less than its solar focus, and
the focus of the condenser, bringing the light to a point, should
bo on the front lens of the combination used for enlarging.
The condenser must be larger than the negative to be copied,
and the negative should be sufTiciently near the condenser to get
perfect illumination all over. The further from the condenser
it is placed the smaller will be the portion of it illuminated, as,
of course, the cone of r.ays diminishes in diameter as it leaves
the condenser.

C. W. S. — The unequal development of your enlarged prints is
due to unequal dryness of the print when the developing solu-
tion is applied. In the formula which you quote it is intended
that the paper should be used wot, in which case you would have
no inequality. 2. The formula in question is suitable for deve-
lopment, but not for printing out. In the production of enlarge-
ments printed fully out, without development, you cannot do
better than use the ordinary albuminized paper printing process,
and tone in the regular way. The only modification which en-
larging renders desirable is the use of a more highly salted
albuminized paper and stronger silver bath than usual, in order
to secure greater sensitiveness.

Waterloo, — As a general rule, the transparent positives neces-

[February 28, 1868.

sary for producing enlarged negatives do not need intensifying,
as great density is not required, but rather softness and fullness
of detail. We cannot tell you the reason why your positives are

. wetik without seeing them, or knowing something of the means
whereby they are jiroduced.

Tony. — You will find a useful article on the Positive Collodion
Process in our Year-Book for 1864. 2. Bottles which have
had solutions of silver or gold may bo cleansed with strong
cyanide of potassium ; those which have contained iron solu-
tions with sulphuric acid ; those which have had collodion with
ether and alcohol.

J. C. D.— The general proportions of your proposed studio are
very good ; but it would be better a foot higher at the caves and
one or two higher at the ridge. 2. For tho dark room, a sky-
light is quite inadmissible; you must have tho light from a
window in front of you. in order, with convenience, to examino
the progress of development in jiroducing negatives.

R. J. — Theoretically, tho back lens of tho triplet for enlarging
should be placed next tho screen, and the front lens next tho
light ; in practice we believe that it docs not much matter.
2. It is better to place the negative in a frame, which will inter-
cept all light not passing through it. 3. It is important that
the focus of the condenser should fall on the front lens — that is,
the lens next the screen — of tho enlarging lens. 4. If you use
a solar camera for producing enlarged negatives, use the con-
denser if you have .sunlight, and the exposure will be exceed-
ingly short. If there be no sunlight the condenser is uscles"-.
5. For producing enlargements on paper, by means of the solar
camera, using tho paper wet from the .sensitizing bath is tho
best plan. As a rule, with sunlight the exposure will bo
decidedly shorter than with artificial light, using the same pro-
cess. 6. Of course you must focus by the lens. The negative
must be in such a relation to the condenser as to be imperfectly
illuminated. If it be too far off the diameter of the cone of
rays will be insufficient to illuminate tho negative all over; if
too close to the condenser, intensity of illumination is lost.
The best position is that where the diameter of tho cone of rays
just covers the negative. -V compilation from our pages of the
material to which you refer would doubtless be useful to man, ;
but it is uncertain that its publication would bo remunerative.
It may possibly bo done, however.

T. C. (Brixton). — With the exception of Col. Sir H. James’s book
there is no work published on photozincography or photolitho-
graphy. The best definite information you can obtain will bo
found in Mr. Baker’s article in our Year-Book for 1867. Col.
James’s book is published by Longman and Co.; the price is
12s. 64 ; it is a good book, but does not enter into minute
technical details or manipulations.

W. Bonehill. — The photograph from painting of a prize ox was
duly registered,

.Amateur, A. W. — It is a somewhat difficult matter to advise you
upon, ns tho best professional photographers are generally
indisposed to be troubled with pupils, and those willing to receiv
them are not always the most capable. There are, however®
exceptions. We will make some enquiry and let you know*
privately.

.Amateur (Pan). — We suggested that tho plates might have
been used before, because the lines seemed much like the result
of lines of a former image imperfectly removed from tho plate.
The suggestion you make as to the constant moving of tho plate
up and down from the moment of immersion, and the possibility
that the plate might not be perfectly immersed each time, will,
we think, re.adily account for the lines, which, if we understand
rightly, were not in the direction of the dip, but at right angles
to it. As a pause in the immersion of the plate will cause a
lino, .so repeated imperfect immersions immediately after the
first immersion would produce a series of linos. Wo shall bo
glad to hear any further details.

Received ; Dr. Liesegang’s “ Der I’hotographische Kohlo-
Druck,” and “ Abridgments of Specifications Relating to
Photography,” Part II., 1860-65.

Several Correspondents in our next. Several Articles are again
compelled to stand over.

♦

IJfiotograp^s lirgistrrrb.

Mr. IIoconTOs, Preston Rectory, IVellington,

Photograph of Maphoon.

Photograph of Maphoon’s Eldest Son.

Photograph of Maphoon's A’ouiigeat Son.

Messrs. PooLZ a.nd IIisd, Bradford,

Elerea Photographs of .Mr. and Mrs. Joshua Poole.

Mr. M. Am.Kxo.'i, Bradford,

Litiiograph of Rev. W. M. Punshoo.

Messrs. Downkt, Neircastle-on-Tyne,

Photograph of the Bishop of Tennessee.

Photograph of the Rev. C. Moody.

Photograph of (he Rev. J. M. Uellciv.

THE PHOTOGRAPHIC NEWS.

Voii. XII. No. 496. — 3Iarch 6, 1868.

CONTENTS.

PAOE

PermAnRanate for Rectifying Old Baths 109

The Carbon Process, not Braun's 110

Visits to Noteworthy Studios 110

Echoes of the Month. By an Old Photographer 112

Pictorial EHect in Photography. By II. P. Robinson 113

Printing by Development 114

On Certain Phenomena observed in the Photegraphic Image.

By M. I'Abbe Laborde 115

PiOB

More Photographic Piracy of Engravings IIS

Proceedings of Societies— Oldham Photographic Society IIT

Correspondence — “Photography and Disease "—Health versut
Chemicals— Common Water for Nitrate Bath : Permangan-
ate of Potash 117

Talk in the Studio 119

To Correspondents 120

PERMANGANATE FOR RECTIFYING OLD BATHS.
From various communications which have reached us it
appears probable that the use of a permanganate for recti-
fying old nitrate baths containing injurious organic matter
will become common, as it is, in the various cases brought
rnder our notice, successful. A few further ob.scrvations on
the best mode of proceeding seem, however, to be desirable,
to aid experimentalists in securing the best result. One of
the chief errors to be avoided is adding excess of the per-
manganate, through Impatience to secure a speedy eflect.
If the permanganate be added cautiously and in small
quantities, the organic matter, especially the most injurious
part of it present, will be oxidized and destroyed ; and no fur-
ther result will take place. But if excess of permanganate be
added, and especially in strong solution, permanganate of
silver will be formed, and as this is soluble in water to the
extent of about four grains to the ounce, a portion will
remain in solution. The precise action of this salt in the
bath remains to be ascertained ; but it is probable that it
will be analogous to that of nitric acid. But another
danger may, possibly, arise from its presence : the sursatura-
tion of the bath with a comparatively insoluble salt gene-
rally induces a tendency in such salt to crystallize out, and
so become a source of pinholes in the negative. Perman-
ganate of silver is formed in the shape of fine needle-shaped
crystals of a bronze colour when strong solutions of nitrate
of silver and permanganate of potash are mixed. We have
heard of one case in which pinholes followed the addition
of permanganate of potash to a bath ; and this, there is
little doubt, was due to formation of the minute crystals in
question. Dilution and fdtration of the solution effected a
cure.

We remarked, above, that the injurious portion of the
organic matter piesent in a bath would be first removed by
the action of a permariganate. This may require explaining
to some of our readers. The ether and alcohol which
accumulate in a nitrate bath are comparatively, if not
entirely, innocuous whilst they remain in the bath without
change ; but they generally give rise to the formation of
aldehyde and similar bodies, which have reducing action on
salts of silver, and so induce fog j and it is with these sub-
stances that the first reaction of the permanganate will take
place, and if only sufficient be. added to effect their oxida-
tion the tendency to fog will be removed, and no further
change effected.

The following letter, one of several recording successful
results which we have received, suggests one or two further
comments which may be useful : —

“ Dear Sir, — I have experimented with the permangan-
ate of potash, as suggested by Mr. Johnson and yourself in
last Friday’s News.

“ I had about 60 ounces of very old bath, which I was
awaiting an opportunity of boiling down, having tried
nearly all other known remedies — such as rendering neutral
and sunning, adding cyanide and sunning, boiling, &c. — but
to no permanent use.

“ I procured the dark purple crystals, and dissolved 20
grains in one ounce of distilled water, and added the whole to
my bath gradually, shaking well between each addition. The
solution rapidly assumed the colour of clay, very difficult to
see how things were going on. So I determined to filter,
and, finding it still smell very strong of alcohol, or old rum,
I determined to add, gradually (the colour of the bath again
becoming very dense), until all smell had disappeared,
which required 30 grains more in IJ ounces of water ;
again filtered. The deposit this time was of a very deep
choeolate colour. I then weighed with the meter, and
found it had dropped from 40 to 36 grains; and being
slightly acid to litmus paper, I neutralized with a 10-grain
solution of caustic potassa, and then added a few drops of
dilute nitric acid. I then tried a plate, and found it a com-
plete success ; how long it will remain so has to be tried.
I enclose you two prints from negatives taken before and
after doctoring ; the difference will be apparent without
marking. — Yours respectfully, M. Duront.

“ Carlisle, February 26, 1868.”

We may remark, at the outset, that the prints enclosed
show very satisfactorily the improvement which had been
effected by the treatment employed. But it seems evident
from the description that an unnecessary excess of the per-
manganate had been employed, too little time being allowed
for the reactions to be completed before adding more of the
permanganate. A 20-grain solution has generally been re-
commended : but we should recommend for general use
among photographers a still more dilute solution : one con-
■ taining 10 grains to the ounce will probably answer every
purpose. The bath to be treated should be turned out into
a beaker or bottle, and a small portion— say a drachm — of
a 10-grain solution to a pint of nitrate bath added, the solu-
I tion being then agitated. If the pink colour rapidly dis-
appear, a little more may be cautiously added ; and when a
faint tinge ot the pink or purple colour remains, tbe solu-
tion should be set aside for a few hours to allow the reaction
time for completion. It is not necessary to go on adding
permanganate until all trace of the smell of alcohol is
removed, as a portion of that body may be present without
producing injurious results. The “chocolate-coloured de-
posit ” would be binoxide of manganese, and, probably, a
little permanganate of silver, as the bath is described as
being reduced in strength. It should be remembered, how-
ever, that the strength of a solution as ascertained by its
specific gravity is not very accurately indicated after treat-
ment of this kind.

110

THE PHOTOGRAPHIC NEWS.

[March 6, 1868.

We hope shortly to lay before our readere the result of
some experiments with permanganic acid, by which we
believe all the advantages of the potash salt may be secured,
and, at the same time, immunity from some of the possibi-
lities which we have indicated.

In a former article we suggested that permanganate of
potash might be found useful for oxidizing the final traces of
hyposulphite in silver prints. Experiment shows, however,
that its action cannot be rendered available, the prints
becoming discoloured by its action. The albumen de-
composes the permanganate, and itself becomes stained
with the brown tint of the binoxide of manganese formed.

THE CARBON PROCESS, NOT BRAUN’S.

W E had occasion, some little time ago, to correct a statement
by the Abbe Moigno, in which he spoke of the carbon pro-
cess so successfully worked by M. Braun, of Dornach, as the
discovery of that gentleman. As error has frequently
a singular vitality, we again feel it our duty to correct a
similar error, repeated with much circumstance, by our
English contemporary the Athencenm, as such a statement
by a journal of considerable influence is likely, if uncontra-
dicted, to carry weight, and might possibly be hereafter
quoted as evidence. In a recent notice of the admirable re-
productions of M. Braun, now exhibiting at Leggatt’s
Gallery, in Conduit Street, and at Colnaghi’s, in Pall Mall,
our contemporary says : —

Some few years since it was aimounced that M. Adolphe Braun,
of Dornach, a French subject, had devised a method of reproducinfr
the admirable results of photography with perfect success, and, what
was of hardly less importance, unchallengeable permanence. Also,
it was stated that the artistic world was to have the benefit of this
method by its being employed to copy, in complete fidelity, drawings
by the old masters, and of their pictures, such as broad or monochro-
matic treatment offered fairly to the chemicals of the camera. This
desirable method is styled the carbon process. Photography had
long before done all, or nearly all, that was to be desired in' tran-
scribing faithfully, but beyond that nobody trusted the salts of silver,
which, protean as they are before the light, and affected by time, too
often left of a costly and exquisite reproduction nothing better than
a sere and spotty waste of paper. Folks wondered why these im-
fading transcripts of photographic copies — improved upon ordinary
photography as they art — were not brought to England in larger
numbers than private hands could bear. Here, at last, they are to
be deeply enjoyable, and purchasable cheaply with wealth and am-
plitude of choice from half the famous cabinets of Europe. Messrs.
Colnaghi, of Pall Mall East, and Messrs. Hayward and Leggatt, of
Comhill, have hung the walls of large rooms with copies so exact,
that It would be next to impossible to decide between tiiem and the
originals ; and in such numbers, that almost all the great masters
arc displayed, as it were, by their first thoughts and swiftest work-
ings at home, before the models supplied the bare and crude materials
for art in the grandest pictures. What mav be bought for a few
shiUmgs must be .shoivn by noting the proniinent items out of a
gathering which is so very great aud rich in beauty and associations
that It would supply the means of amplest satisfaction to the best-
stored minds — a whole education to the tyro and the amateur.

A facsimile imperishable, as the men of science sav, and perfect,
Angelo’s original study* for maternal

X^ight, on the Medicean tomb at Florence, may be had for 7s. 6d
It IS a drawing preserved in the Louvre, in Italian chalk, on paper
that IS now grey. * ^

A\o have not space to follow our contemporary through
an admirable criticism of this and the other works produced
m carbon, wliich concludes by a statement that the drawings
in the British Museum are in course of reproduction by the
same prwess. Our duty here is simply to repeat what we
have before stated, that the process used by M. Braun is
solely and in every detail that of our countryman, Mr. J.
W. Swan of Newcastle-on-Tyne, whose French patent was
purchased by M. Braun, who now most successfully carries
out the instructions and arrangements which Mr. Swan
visited Dornach to introduce. We are glad to he able to
state that there is every probability that the valuable draw-
ings of the British Museum will he reproduced by this per-
fect and permanent mode of securing facsimiles. We shall
shortly be able to announce more precise details of this
project.

VISITS TO NOTEWORTHY STUDIOS.

Mr. S.iRONY’s Studio at Scarborough.

We shall next ask our readers to accompany us to one of
the largest and handsomest establishments devoted to photo-
graphic portraiture in this country : we probably risk no
error if we say in the world. Metropolitan photographic
establishments in which considerable business is done are
often very much limited in extent and convenience by the
exigencies of position; whilst ordinary provincial establish-
ments are generally bounded by the limited requirements of
the business; but a first-class fashionable watering-place,
with opportunities <'ou“l to those of London for the crea-
tion of a lucrativ '••nsive business, generally ofifers at

the same time unhmi’ic.’- lacilities for building and organ-
izing an establishment as complete and comprehensive as
the largest business requirements or the boldest enterprise
may demand ; and hence it happens that, in such places,
some of the noblest buildings devoted to photography arc
to he found.

Mr. Sarony’s cstahlishmcnt is probably the most extensive
of the class. It is a magnificent building in the middle of
a square ot handsome residences. If it had been of Gothic
instead of Italian elevation, it might easily have been mis-
taken for a church. As it is, the first impression is that it
is a Town Hall or some other public institution. The build-
ing itself is 153 feet by C6 feet, and is surrounded by a
garden consisting of ornamental lawn and shrubs, the extent
of which is '2 iO feet by 180 feet. Ascending a broad flight of
steps, and entering a spacious vestibule, a series of reception-
rooms on either hand are seen, each devoted to a certain class
of specimens, for every style of picture produced iu the
cstahlishmcnt has its own apartment, where it may he dis-
played to advantage without being killed by the presence
of another style of work. Artists know well that oil paint-
ings and water-colour drawings hanging in juxtaposition
mutually injure each other ; the water colours appear to lack
force by contrast with the oil paintings, and the latter seem
to lose delicacy and purity in the presence of water colours.
Here, then, each class — plain photographs, photo-crayons,
porcelain pictures, water-coloured photographs, and oil paint-
ings— has its'appropriate gallery, where its qualities may ho
fairly examined under fair conditions.

Ascending the broad flight of stairs leading from the
vestibule, we enter the largest of these reception-rooms, de-
scribed as the drawing-room — for we may rtma k that every
room in the house has its name and puipose inscribed in
gilt letters above the door. The drawing-room is a magnifi-
cently decorated and haudsomelj’ furnished apartment, 50 feet
long by 33 feet wide. The decorations of the room are in
exceedingly fine taste, and, although extremely gorgeous,
the tout ensemble is quiet and harmonious. Without enter-
ing into details of description, it may enable the reader to
form some conception of the character of the room if we
state that we understand that about two thousand pounds
were expended upon its complete equipment. On easels, on
tables, &c., fine examples of water-coloured portraits arc
scattered about this room, which is, we understand, during
the season, generally crowded with fashionable visitors.

Our readers would risk some bewilderment if we were to
ask them to accompany us through the 59 rooms into which
the building is divided; 33 of which will be devoted to
business during the coming season, 21 rooms, the number
hitherto used, having been found insufficient. Ascending
from the drawing-room and passing various dressing-rooms,
painting rooms, enlarging rooms, aud rooms devoted to
different branches of the business, we reach the studio or
glass room, which we are agreeably surprised to find is
not uselessly large: it is just large enough for perfect
efficiency, but not so large, as in some cases we have seen,
as to sacrifice efficiency to appearance.

The studio permits the most rapid working of almost any
that we have ever seen ; the exposures in flur presence in the
month of January averaging from five to seven seconds

March 6, 1868.]

THE PHOTOGRAPHIC NEWS.

Ill

with a Dallmeyer’s No. 2 B lens and the second or third
stop. In summer the exposures must be nearly instantaneous.
The total length of the studio is 27 feet ; its working width
does not exceed 10 or 12 feet, although more space could be
included if required. Of the length, 10 feet at the end,
where the camera stands, are quite unlighted, something in
the nature of a tunnel. The side-light, which faces north,
is 14 feet feet long and 9 feet high ; the top-light — the
form of the room being that of the penthouse or lean-to —
is 14 feet long by 8 feet broad, both top and side-light
being clear glass. A small portion of high front light can
be used, which is placed at the point where the tunnel com-
mences ; it is usually, however, covered with blinds. About
3 feet at the end where the sitter is placed are opaque side
and top ; a white calico blind at the top, over the head of
the sitter, is the chief blind used ; a white blind for reflect-
ing light on the shadowed side is at times used, where the
character of the head or the effect desired renders it neces-
sary. In summer, direct sunlight is prevented from entering
any part of the studio by narrow blinds placed on frames
outside. Mr. Sarony contemplates stippling the whole or
part of the skylight in imitation of ground glas.s, so as to
subdue thel top-light a little, making the side-light the
dominant light. With the present arrangement, however,
the results produced are very fine, bold, delicate, and well-
modelled.

Mr. Sarony always, in producing card negatives, works on
a plate 12 by 9| inches. Upon this plate eight distinct
portraits are taken, consisting at times of as many different
positions of one person, or of the portraits of several persons.
Usually each plate contains the portraits of at least two per-
sons, and sometimes of four. The camera is provided with
one lens, and a repeating back giving eight single exposures.
At first glance this mode of working seems to involve several
difficulties : there is the danger of the plate drying and pro-
ducing stains, from the length of time which roust elapse
when eight distinct exposures, with varied arrangements,
are given between the excitement and development of the
plate : and there is the still more serious difficulty of uniform
printing from images of possibly unequal density ; and the
further difficulty of some portraits on the plate having
occasionally to be rejected. Notwithstanding this, Mr.
Sarony regards the mode of working as economical and con-
venient. To make it so, it is evident, however, that two im-
portant qualifications in the photographer are imperatively
necessary : we mean rapidity and certainty in operating.
These Mr. Sarony possesses in an essential degree. In the
negatives we saw, a singular uniformity of excellence and of
printing qualities prevailed, and whether they contained one,
two, or four persons, as a rule all seemed good, although it is
quite certain that at times some of the portraits on a plate
must be rejected. In rapidity of posing and arrangement,
and in securing variety, grace, freshness, and spirit, in his
poses, we have rarely seen Mr. Sarony’s rival. In one case,
of which we especially noted the time, a lady received eight
diflerent exposures on one plate, some sitting, some stand-
ing, and all graceful ; the operation was completed in ten
minutes.

It must not be forgotten, however, that for much of this
rapidity in securing varied poses, important facilities are
given by Mr. Sarony’s patent posing apparatus, or head
and body rest, which we noticed some time ago ; which, by
the readiness with which it is adapted to almost any position,
materially aids the clever artist in rapidly and efficiently
carrying out his arrangements ; and that the security and
support it gives the sitter materially lessens the waste of
time and spoiling of plates which would otherwise occur
from moving.

The most important part of the work in the establishment
consists in the production of enlargements for colouring in
diS'erent modes ; and the facilities for effecting this work are
exceedingly complete for working either with sunlight or
the oxyhydrogen light, a Monckhoven’s apparatus being
used for the former. In some cases, in working on canvas, a

developing process is used, but recently Mr. Sarony has
chiefly used the carbon process in securing a basis for im-
portant paintings. Mr. Sarony has, we understand, secured
the sole patent of Mr. Swan’s process for Scarborough, and
intends next season to prosecute it with vigour. A steam-
engine of two-horse power was in course of erection during
our visit ; it is intended for aiding in making and drying
the carbon tissue.

A spirit of active enterprize, in which no effort of any
kind which may comluce to the excellence of results or to
the convenience of sitters is spared, seems to govern the
establishment. Fixed at one end of the studio, and ready
for use in a moment, is a copying camera in which trans-
parencies can be produced from a negative as soon as it is
taken ; the transparencies placed in the huge magic lantern
or enlarging apparatus with the oxyhydrogen light, and
projected on the screen amplified in such degree as may be
required to enable the sitter to form a very perfect idea of
the finished effect of the enlarged picture from any one of
the negatives taken, and permit a ready and certain selection
from the choice presented. This is one mode in which the
convenience and satisfaction of the sitter are consulted and
expansion of business promoted. Another, recently intro-
duced, is the production of a cabinet negative of each sitter
requiring a card. The camera, with a plate taking four
cabinets, and repeating back, is placed just behind and to
one side of the card camera, the exposures being simul-
taneous. At the completion of the actual order the cabinet
prints are shown, and, of course, many sitters are pleased to
obtain excellent portraits in such a satisfactory size and style
without additional trouble.

The coloured work possesses a degree of excellence rarely
attained in painted photographic portraits, artists of the
highest skill being employed in each department of the
work. During the season a large number of artists are
employed, some of them being retained throughout the year,
the best work requiring skill, and time being inevitably in
arrear at the end of each season. An excellent illustration
is here afforded of the influence of photography on the pro-
fession of the miniature painter, which at one time it was
alleged to have ruined. Several of the best artists in this
establishment earn each from five to six hundred pounds
per annum. On one occasion Mr. Sarony made an arrange-
ment with a miniature painter of reputation to colour bis
work, guaranteeing him a thousand pounds per annum ; the
amount the artist actually received for work done in a year
was considerably more than that sum. In the colouring of
the portraits in Mr. Sarony’s establishment the principle of
division of labour is usefully carried out, some artists being
engaged on flesh and some on draperies. For instance, in
the portraits finished in water colours, the draperies and
backgrounds are all painted by an artist of high reputation,
whose portraits are familiarly known in the once popular
and fashionable Books of Beauty which were annually pub-
lished ; they then pass into the hands of a gentleman with
rare skill in painting heads, to be finished.

We have referred to the use of carbon printing as a basis
for the oil painting ; but if the finishing of any photo-
graphic portrait render it independent for permanency upon
the process by which it is produced, it should be so here.
The enlarged image having been duly produced by tlie
photographer, the canvas passes into the hands of an artist,
who works on it in black and white, producing an admirably
finished portrait in monochrome; and as this is all solid colour
the portrait must remain, even if the photographic image
fades. After this treatment it passes into the hands of the
artist, who finishes it in colour. The portraits of this class of
work, which we saw, by the chief artist in this department,
were admirable examples of oil painting, equalling the
majority of the portraits which we find in each year’s Iloyal
Academy Exhibition, and surpassing some. There was a
gratifying absence cf the hard, crude, raw, opaque effect too
common in oil-coloured photographs. The flesh painting was
solid and firm, healthy and pleasant in colour, a luminous

112

THE PHOTOGRAPHIC NEWS.

[March 6, 1868.

and transparent eft'ect pervading tho whole picture. The
prices for this class of portraits, we are glad to 'add, are
commensurate with the work, ranging from twenty to a
hundred guineas.

We should simply confuse our readers, without edifying
them, if we were to ask them to accompany us through
evei'y room, devoted, from garret to basement, to portraiture,
in this large establishment. It is throughout a noble monu-
ment of photographic enterprise, the creation of individual
skill and energy. Few men have more daring and energy than
Air. Sarony, few more readiness or versatility in resource, few
more aptitude in seizing occasion and manipulating circum-
stance to business ends, and these are all elements in
securing a great success; but underlying all this, and form-
ing a solid basis for the connection gained by business tact,
is a thoroughly fine artistic ta.ste, and a rare degree of
photographic skill, the result of natural aptness, and the
practical experience of more than a quarter of a century
spent exclusively in photographic portraiture. Air. Sarony
commenced the photographic profe.ssion as a D.aguerrcotypist
in Canada, in 1842, and has practised it in this country, in
its various phases, since 1844. Ili.s career has been a singu-
lar and adventurous one, full of interesting and instructive
episodes, which we may one day detail. Not the least
gratifying of these incidents is recalled to our memory by
the sight of two silver medals, one from the Board of Trade,
and one from the Royal Humane Society, for “ saving life.”
The incident is probably fresh in the minds of our readers,
when, a few jears ago, during a memorable and terrible
storm. Air. Sarony plunged into the boiling surf to save the
lives of men from a vessel broken to pieces on the Scar-
borough rocks, and how he brought to shore the body of
his companion in the heroic work. Lord Alfred Beauclerc,
whose life was beaten out of him by the tuibulent waters.

AVe have visited Air. Sarony s studio in winter, and ob-
tained a brief glance at its cap.acity and arrangements: we
shall probably revicit it again in the season, and ask our
readers to accompany us further through its varied and
suggestive departments.

ECHOES OF THE AIONTH.

BY AX OLD rilOTOGRAPUEB.

PiiOToaRAPHic Piracy — AIr. AIcLaciilan's Discovery —
Exhibition of Photographs — Brains in Photography —
The Discovery of the Carbon Process — “ Punch ” and
“ Fun” on Photography — The Photographic Society of
London — The Societies.

I have often been puzzled by observing that certain forms
of crime or misdemeanour are regarded by society, or some
portions of it, with a very lenient eye ; and it is generally,
moreover, to a class of crimes which, in a high code of
morality, would be regarded as without palliation, that this
gentle consideration is given. A tradesman is, for instance,
in the constant habit of giving short weight, and defrauding
the poor of five or ten per cent, of the small jiittance which
is to keep body and soul together. After having continued
this practice for years, and acquired by it many hundreds
of pounds, he is perhaps convicted, and, after paying a
trivial fine, again proceeds on the even tenor of his way, not
scouted from society, not branded, not ruined. So if, instead
of giving short weight, he adulterates his goods, he may
generally escape scot free ; whilst the starving wretch
who steals a loaf of bread must, if convicted, inevitably
bear the taunt for life of having been a gaol-bird.

The reflection is very trite ; but I am reminded of it by
the recent convictions for piracy at the Guildhall. Piracy
has too long been regarded by many with a leniency similar
to that extended to adulterations and similar peccadiloes.
It has been regarded as something illegal, but scarcely im-
moral ; and if it were managed so ns to just e.scapc the law,
it was rather clever than blameable. If Air. Graves, for
instance, after spending twenty thousand pounds upon

bringing out an engraving, had the misfortune, through
neglect of his own or of any of his people, to issue a single
impression not bearing the publication line, the Philistines
might be upon him, his plates might be pirated, his outlay
wasted, and himself ruined, without obtaining protection
from the law, or much sympathy from the public. In most
cases where photographs have been so pirated, all kinds of
singular impediments have, by authority, been thrown in
the way of obtaining redress, and convictions have been
difficult to secure.

When, therefore, in two recent cases. Sir R. AV. Carden
has inflicted fines amounting in the aggregate to £380, it
strikes many people with a refreshing sense of justice.
The cases, as reported, appeared to be without any defence
beyond legal technicalities. I remember some time ago iu
these columns pointing out that the question of piracy had
two sides, and that where proprietors of pictures had, for
purposes of their own, voluntarily resigned the protection
of the law by neglecting to comply with the conditions upon
which the law gave them a secure property in their ideas,
they ought not to complain that these idea.s become the
common property of the public. In these cases, however,
the convictions were obtained for the piracy of clearly defined
property, for which every pains had been taken to secure
the protection of the law ; and few people will, wo appre-
hend, be sorry that a severe penalty has been enforced. I
hope that, for the credit of the art, the recent cases will
serve as a terror to evil-doers for some time to come.

I glean from your recent remarks on Air. AIcLachlan’s
discovery that my formerly expressed idea that there is really
something in it is correct: how much it seems we must wait
to learn. But the fact that two gentlemen like Air. Spiller
and Air. Le Neve Foster, after having listened to the state-
ment, required to verify it by experiment, suggests that they
were neither in a position to exclaim “Eureka”! nor
“ Aloonshine ” ! That, at least, is the deduction I draw
from the slender premises yet accessible.

There have been two or three exhibitions of photographs
open in London lately, which those of your readers who
have opportunity would do well to visit. A fine collection
of carbon prints by Braun, chiefly of reproductions, is
exhibited at Leggatt’s Gallery in Cornhill, and a similar
collection at Colnaghi’s. There is also an exhibition of
Airs. Cameron’s pictures at the German Gallery in Bond
Street, the photographs at which have won many favourable
opinions from the art critics. Tliere is something rather
amusing intli 'inode in which this praise is bestowed : in
some cases with something like an apology, on the ground
that they are so little like photographs. The Athenaeum is
rather perplexing, for whilst “ warmly commending ” them
to the " general student and artist,” it remarks, in reference
to those of them who “ aim at that which is properly
hrain-work, the less said about them the better tor all
parties.” Now, since tho sole merit possessed by Airs.
Cameron’s photographs belongs solely to the brain-work
put into them, and is due not to mechanical, chemical, or
manipulatory excellence, nor to technical superiority of any
kind, but is solely the result of the artistic feeling and artistic
treatment which give them a value in spite of technical
shortcomings, it is odd enough, surely, to condemn the
brain-work and praise the results. This is, however, mere
inconsistency ; but the same journal, referring to the exhi-
bitions of carbon prints, announces the process, with much
circumstance, to be the discovery of AI. Braun. After the
publicity which has been so repeatedly given to the fact
that the discovery of carbon printing as a practical process
is due to an Englishman, and that it only belongs to AI.
Braun by purchase from Air. Swan, it is surely something more
than inconsistent merely, or careless, in a journal like tho
Athenaeum, to gravely make such an announcement.

It seems that Punch thinks the old idea of taxing photo-
graphs worth reviving. A penny stump is such a small
tax on each picture that no one would object to pay it.
Punch thinks. But unfortunately, it would not, I fear,

March G, 1868.]

THE PHOTOGRAPHIC NEWS.

113

come out of the pockets of the purchasers. The normal
price at present of a card portrait is one shilling, and it
would be very dilhcult to induce the public to pay Is. Id.
The photographer would have to bear the brunt, and it
would simply amount to an average impost of 8 per cent,
upon the total amount of business done by photographers
generally. If the principle were carried out and applied
to all trades, it would certainly render an income ta.x un-
necessary ; and if applied to photography, there could be
no reason why other industries should not be similarly
taxed.

I see that Fun also has been interesting himself in photo-
graphy, and has evidently been reading your pages, for he
contrived to have a laugh at one of your correspondents.
What a pity that he should first nii.squote, and then laugh
at the blunders he himself has made. Scarcely worthy of
Fun, this ! It is possible to wear the cap and bells, and
yet be accurate in such a little matter as a (potation.

I am glad to see that the Photographic Society of London
commences its year with a prospect of greater success and pros-
perity than it has possessed for some time. It has been not a
little amusing to hear the charges of mismanagement, espe-
cially of a financial kind, which have fromtime to time been
brought against it during the last few years, chiefly by those
who never contributed a shilling to its funds, and who there-
fore could have no legitimate concern in their expenditure. It
has, however, been generally understood for some time past
that the finances of the Society were at low water ; and seeing
that the whispered statement has generally been accom-
panied by an intimation that it had at one time possessed
funded property, which, like a spendthrift, it had got
through in some unknown manner, your recent explana-
tion of the way the money has gone has, to my knowledge,
done good service, and satisfied many worthy persons.
Only one or two of the large items referred to seem to have
been for objects which could not advance the art, and one
of these is of a nature which should silence cavilling on the
score of expenses in one quarter, at least.

The annual meeting promised well for the interest of the
coming year. Mr. Johnson’s suggestion for rectifying old
baths has been employed successfully in more than one
instance coming within my knowledge. Why was perman-
ganate of silver, as proposed by Mr. Crookes, not more
generally tried ? I presume, becau.se the salt was not
found generally in commerce. Jlr. Solomon’s production
of a fine enlargement in half a minute by the mag-
nesium light seemed to take everybody by surprise, but
left no doubt about the success. The interesting photo-
graphic experiences of Dr. Mann in tropical climates,
the new phase of landscape photography by Mr. John-
son, and the photo-lithographic and photo-engraving
experience of Mr. Griggs, which are promised in meetings
yet to come, must give great interest to the proceedings ;
and such anticipations must help to maintain and increase
the vitality of the Society.

The paper read at the North London Society, on glass for
photographic purposes, should, and doubtless will, attract
an amount of attention to a neglected subject which it is
surprising it has not hitherto received. The possibilities of
change of colour in glass are unfortunately beyond the con-
trol of the photographer ; but an occasional examination of
a broken pane is easily made, and it would well repay a
ortraitist to have his glass room re-glazed now and then, if
e could, by doing so, shorten his exposures by one-half. In
any case, it should call attention to the importance of occa-
sional thorough cleansing. At the South, Mr. Taylor’s
suggestion for the use of safety-valves in gas bags, and Mr.
Fry’s Omnium Gatherum, were capital papers. At the Edin-
burgh Society, Mr. Davies read a paper on a desirable im-
provement in mounting view lenses. Some of M. Salomon’s
portraits were exhibited, and elicited some judicious remarks
on their beauty from the Secretary; and a commendable
protest from kir. Davies against the Vandalism of a proposal
to destroy one of the pictures in order to ascertain if it were

touched, as he was not aware that any disavowal of the aid of
the pencil had ever been made by JI. Salomon ; nor, he might
have added, I think, by any one else for him. One gentle-
man held a different opinion as to their beauty, and thought
that many of them were such as hardly any true artist could
have perpetrated. I hope that after such a verdict, M. Salo-
mon will feel sufficiently ashamed of his work. At the
Manchester Society, Mr. Nolon read a paper on apparatus
and Materials for the production of o.xygen. The annual
soiree of this society was a success. An elo(juent and ex-
haustive address by ilr. Green, President of the Bradford
Society, at a recent meeting, well repays perusal. Several
of the provincial societies seem to have fallen into abeyance,
but those still in a state of activity seem, from the papers
and discussions, to be in a healthy condition.

O

PIGTOUIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Co.MPOSITION AND ClIIAEOSCURA FOR PuOTOGRAPUERS.

BY II. P. ROBINSON.

Chapter VI.

“ In the fine art? that cimpositioa is most excellent in which the differ-
ent parts most fully unite in the production of one unmingled emotion, and
that taste the most perfect where the perception of this relation of objects,
in point of expression, is most delicate and precise.” — Aliton.

“The unlearned eye first admires painting as an art of imitation; it is
only from the progress of our sensibility and the practicai cultivation of
our minds that we begin to comprehend the greater compositions of genius,
after which the unity of expression is felt to be the great secret of the power
of painting.”— Sir Thomas D. Lauder.

“The great object of composition being always to secure unity — that is,
to make out of many things one whole— the first mode in which this can be
effected is by determining that one feature shall be more important than ail
the rest, and that the others shall group with it in subordinate positions.” —
Ruskin.

LInity.

In my first chapter I spoke of unity as one of the essential
constituents of a successful picture. In some respects it
would have been better to have considered what was meant
by unity in that place, but it would have delayed me in
placing before the student the law of balance and contrast
in which I was anxious to secure his interest at the outset.

In speaking of unity as one of the essential elements of
composition, I did so from a firm conviction that whatever
beauties a picture may contain, however exact its imitation
of nature, correct its arrangement of lines, beautiful its
colour, extreme its finish, or great the dexterity of handling
manifested, no perfect sense of satisfaction will be conveyed
to the eye if the lights are scattered, if breadth of light
and shade be not preserved, or if two or more episodes, un-
connected with each other, appear on the same canvas.

Unity has been well defined as “ the keystone of nature,
and expresses the harmony of the Divine mind as rendered
in creation.” Unity can only be attained by a study of
first principles. It is the law of nature that principle shall
precede details ; in the account of the creation of the world the
general design is described as first laid down, and the details
as following. Unity is so simple that it is often overlooked ;
but no success in any other qualities desirable in a picture, as
I have already said, will compensate for its absence. In pho-
tographs, where there is no colour to distract the attention
from the design, it is especially necessary. It is the absence
of unity in the arrangement of the figures in a photographic
landscape that so often mars the beauty of an otherwise
effective picture. It is too often the practice to scatter
figures, dressed inharmoniously with the scene, over thefore-
giound of a landscape, without any reference to one another
or the propriety of their being there at all, and so unity is
disregarded and lost.

Like most of the elements which constitute a good
icture, unity is a quality more easy to feel than describe;
ut I think I shall not be far wrong if I define it as the tit
connection of all parts to a perfect whole. The province or
function of unity is to combine and bring to a focus the
secondary qualities, such as variety, contrast, symmetry, &c.

lU

THE PHOTOGRAPHIC NEWS.

[March G, 1868.

It is equally opposed to scattered ideas, scattered lines, or
scattered lights in a picture. In nature, light, when broken
in its passage, though the amount be diminished, is rendered
more irritating to the eye. We can bear the full, unin-
terrupted splendour of the setting sun, but when its rays arc
cut up and divided by passing through a screen of leaves and
branches, the irritation affects the least educated eye. This
feeling of irritation, caused by spotty lights, more properly
belongs to the subject of light and shade, and will be spoken
of in its proper place further on ; but there is a unity of
lines and a unity of action that must be considered, more
especially in the composition of figures ; but unity of pur-
pose is as necessary in the expression of a landscape as unity
of action is in the figure-subject. Alt objects must assimi-
late in one point, however <li.ssimllar they may be in others.
There must be some conformity of tone and relation of line,
however great the variety in the leading characteristics of
the view.

In photographing any object, whether landscape, portrait,
or group of figures, one leading idea must be maintained.
The fact that has to be stated must not be clouded with con-
fusion. The work should constitute one whole, it should
fully pronounce its own meaning, there should be nothing
left for verbal explanation. A picture should not require a
showman ; a j icture that does not tell its own story is as
tiresome as a volume overlaid at all parts with notes and an-
notations to explain that which should need no explanation.
Ill a landscape will always be found some object of more
importance than the rest, to which all other parts are sub-
ordinate, and to which all other objects lead ; it will be the
duty of the photographer to choose such a position for his
camera as will increase this effect, so as to make the most of
the principal object, or the subject of the picture, and to
allow no rival to be near to detract from the full effect. A
very common instance of the loss of unity in photographic
landscapes is in the position and action in which figures are
placed. I have an example in my portfolio, a description of
which will illustrate how much mischief may be done by
this disregard of unity.

The scene is a rural lane crossed by a brook, and closed
in with trees. Halfway down the lane, growing on the
flower-covered bank, is seen the trunk and gnarled roots of
a grand old oak, which receives the principal light, wdiich
is repeated in the water, and gradually diffused through the
picture. Stretching from the left are the dark and graceful
branches of a sycamore tree, which, extending partly over
the trunk of the oak, by the opposition of their dark leaves
in shadow, increase the brilliancy of the chief mass of light,
and assist in leading the eye to the principal object. There
is no mass of light so large or so high in tone as that on
and around the tree trunk — not a line out of place ; and it is
altogether one of those scenes on which the eye loves to
linger, and which can be quite expressed by photography.
And yet this is one of the most irritating pictures I ever
saw. The cause of the irritation is supplied by compara-
tively a very small part of the whole ; but it is there so pal-
pably, that I keep the picture only as a warning, and never
look upon it for pleasure. In the centre of the picture,
cut out sharply against the light, looking straight
into the camera, having no part in, and, appa-
rently, caring nothing for the lovely scenery
around, is this figure. And thus one of the most
beautiful photographs I know is spoilt by this
ridiculous incongruity, which destroys all unity.

If two or three village children had been intro-
duced, naturally engaged picking flowers from the
bank, they would have appeared like a rich cluster
of jewels in an appropriate setting. ^ -

The same remarks apply equally to portraits or groups,
of which more in the proper place; as the subject will
receive fuller treatment in the section devoted to light and
shade.

In this chapter I direct attention to a principle rather than
to mere rules, which can be expressed in so many words. But

I must impress thus early upon the student this dominant
idea ; that if a picture is to be successful, it must have a one-
ness of purpose, a oneness of story, a oneness of thought, a
oneness of lines, a oneness of light and shade. Everything
must have a meaning, and the meaning must be the object
of the picture ; there must be nothing “ to let.”

I am the more desirous the student should “ feel ” what
unity is, because unity and balance together constitute the
chief mechanical elements of pictorial effect, and may exist
altogether apart from any story to be told or intention to
be expressed in a picture, although the telling of a story
rightly is a part of unity, which seems paradoxical. These
two, balance and unity, should therefore be thoroughly un-
derstood first, and other elements of harmony, such as refer
to Intention, subordination, keeping, &o., are not the leas
important, but wilt always be all the more perfectly under-
stood and expressed after the student has thoroughly
grounded himself in the more mechanical elements ; as,
however prolific a man may be in ideas, he cannot express
these ideas intelligibly until he has learned a language and
its grammar, or laws of construction. Balance and unity
are principles of construction, upon which must be based
every intention to be expressed in the picture. I lay
the greater stress upon this initial idea, because it has too
often happened that the art-teaching which has been sup-
plied to photographers has dealt rather with the thoughts
to be expressed than on the modes of expressing them ; and
it is of little use endeavouring to teach a man to write poetry
until he has learned to spell.

PRINTING BY DEVELOPMENT.*

During the winter months, when daylight is weak and dull,
and there is little of it, the process of printing by develop-
ment offers a useful and precious resource available for the
pvoduction of prints. The process, which is likewise very
suitable of application in producing enlargements by means
of the solar camera, is similar in its manipulations to the
ordinary collodion process, where the image is obtained by
the aid of a reducing agent ; and the materials employed in
both cases are almost identical.

FIRST METHOD WITH CHLORIDES.

Salting Bath.

Chloride of sodium (common salt ... 0.5 grammes

Hydrochloric acid ... ... ... 0 drops

Rain water ... ... ... ... 375 cub. cents.

The paper is immersed in this bath, and allowed to re-
main therein for two or three hours, after which it is taken
out and dried.

Sensitizing Bath.

Nitrate of silver ... ... 30 cub. cents.

Citric acid ... ... ... 5 grammes

Raiu or distilled water ... 250 cub. cents.

The paper is floated on the bath for three minutes, and is
then drained and suspended on clips, care being taken to
remove any accumulation of liquid at the edges or in the
corners. As soon as the paper is nearly dry, it is exposed
to light under a negative or upon the screen in the solar
camera, until the appearance of a faint image is observed.
With a negative exposed to direct sunlight, the duration of
this operation should never exceed three or four seconds ; in
I bad weather a minute, or even more, will be necessary.
When the impression is sufficiently distinct, the paper is
withdrawn from the frame, and placed, face uppermost, upon
a glass plate somewhat smaller in size than the sensitized
sheet ; the top and bottom edges of the paper are then folded
under the grass, and the whole placed at the bottom of a
largo gutta-percha developing dish.

» ilonittur de la Photographic.

March 6, 1868.]

THE PHOTOGRAPHIC NEV/S.

115

Developer.

Pyrogallic acid 8 grammes

Citric acid 4 „

Water 190 cub. cents.

A quantity of the developer, sufficient to cover the paper,
is then poured into the batn, which is then tilted a little
on one side ; by a steady movement the solution is then
made to flow smoothly over the surface of the print in such
a manner as to prevent the formation of ripples or back-
flowing of the liquid. This is a very important point in
the manipulation, for the slightest unevenness of flow in the
developer will produce the same injurious eftect upon the
print as it would upon a collodion plate. The development
is very soon accomplished, as rapidly as with the wet collo-
dion process, and demands the same amount of care and
vigilance. When the operation is judged to have gone suf-
ficiently far, the developer is drawn oft' by means of a tube
fitted to the bottom of the bath, and the print is then care-
fully washed by means of a rose. It is fixed with the fol-
lowing solution : —

Fixing Bath.

Hyposulphite of soda ... 30 grammes

Water... ... ... ... 500 cub. cents.

The prints are immersed in the fixing liquid, and allowed
to remain there until the whites have attained the requisite
urity : this requires an interval of from ten minutes to
alf an hour, and when properly fixed, the prints are finally
well washed to remove all traces of hyposulphite.

the image is brought about very rapidly, at the end of two
or three minutes ; in cold weather the operation may be acce-
lerated b)’ employing a somewhat stronger developer, or by
slightly warming the solution. The gallic acid, when dis-
solved, possesses a strong tendency to become mildewed, and
a small piece of camphor or a drop of essence of clove should,
therefore, be added to the solution to prevent the arrival of
such an occurrence. An under-exposed print is very slowly
developed, and the prolonged action of the acid imparts a
dark, uniform colour to it, weakening all the half tones ; on
the other hand, an over-exposed print becomes rapidly deve-
loped, and must be promptly removed from the developing
bath to prevent the whites becoming covered. The best
prints are those in which the gradation is very regular, and
the impression is somewhat weaker than in the finished
photograph. The prints are washed and fixed in a bath
containing —

Hyposulphite of soda ... 30 cub. cents.

Water 625 „

The pictures remain in the fixing bath for a quarter of an
hour, and are again washed. If the aspect of the prints does
not prove satisfactory after this operation, a gold toning
bath may be resorted to, to improve their appearance ; any
of the well-known formulae may be adopted. If the whites
do not appear perfectly clear after development, they may
be improved by immersing the prints after they have been
well washed in a bath containing 30 grammes of chloride of
lime and 300 cub. cents, of water.

SECOND METHOD WITH ALBUMEN.

Salting Bath.

White of egg...

Distilled water

Chloride of sodium

Bromide

310 cub. cents.
470

4 grammes
4

The salts are dis.solved in the distilled water, and the
albumen then added to the solution; the white of egg should
be beaten up to a froth, and allowed to stand in a cool place
for several hours, when the clear liquid is carefully decanted
or filtered oft' and added to the salting bath.

The paper is floated upon the bath in the ordinary man-
ner for about three minutes, and then suspended by wooden
clips to dry. When dry it is placed in a long metal box,
and plunged into a deep saucepan, full of boiling water,
care being taken that the water does not touch the paper,
but that the whole surface of the latter is subjected to the
temperature of the steam. This operation, which is insti-
tuted for the purpose of coagulating the albumen, will be
more successful if the hot steam is allowed to come into
contact with the albuminized surface ; but at the same time
this part of the process is not absolutely necessary, as the
coagulation may always be effected in the sensitizing bath.

Sensitizing Bath.

Nitrate of silver
Distilled water
Citric acid
Alcohol

... 30 cub. cents.
... 375

... 12 grammes

... 30 cub. cents.

The paper is sensitized, and dried in the ordinary manner.
An exposure of eight to ten seconds will suffice in the sun-
shine, but a period of several minutes is necessary in a weak
or diffused light. It is only when the image has become
perfectly visible that the exposure can be deemed to have
been sufficiently long.

Developer.

Gallic acid 3 grammes

Distilled water... ... ... 60 cub. cents.

The operation of developing is best conducted in a gutta-
percha or glass bath. The print is first slightly moistened
in order to make it adhere to the bottom of the bath, and
the latter being tilted, the developer is poured in, and then
made to flow evenly over the surface of the paper ; care must
be taken that the liquid covers the whole surface uniformly.
If the exposure has been nicely regulated, the development of

THIKD METHOD WITH AN IODIDE.

Salting Bath.
No. 1. — Nitrate of silver

Distilled water ...

No. 2. — Iodide of potassium
Distilled water ...

3-8 grammes
60 cub. cents.
27 grammes
62 cub. cents,

The salts are dissolved separately, and the two solutions
afterwards mixed, producing a yellow precipitate of iodide of
silver. Sufficient concentrated solution of iodide of potas-
sium is now added to dissolve fhe whole of the precipitate,
and the bath is then in working order. The paper is floated
on the liquid in the usual manner for about three minutes,
drained, and hung up to dry ; it is afterwards floated upon
a bath of distilled water, the sheets being placed in pairs
back to back, and allowed to remain in the water for several
hours, care being taken to turn them over now and then.
By this treatment the surface of the paper assumes an
uniform pale yellow colour; the sheets are subsequently
withdrawn from the bath and dried.

Sensitizing Bath.

Distilled water 800 cub. cents.

Solution of aceto-nitrate of

silver ... ... ... 15 „

This last-named liquid is composed of —

Nitrate of silver 30 grammes.

Acetic acid ... ... ... 60 cub. cents.

Distilled water 300 cub. cents.

If the operator has no wish to provide himself with a supply
of aceto-nitrate of silver, he may make use of the following
formula;, which is less complicated : —

Distilled water ... ... 800 cub. cents.

Nitrate of silver ... ... 12 grammes.

Acetic acid 5 cub. cents.

(To be continued.)

ON CERTAIN PHENOMENA OBSERVED IN THE
PHOTOGRAPHIC IMAGE.

BY M. l’aBBE LABORDE.*

The last number of the Bulletin contains an article by M.
Sidebotham, in which that gentleman enumerates the pre-
sence in photography of certain curious effects, the causes

* Read before the French Photographic Society.

116

THE PHOTOGRAPHIC NEWS,

[March G, 1868.

of which he is able but imperfecily to explain. My object
is (o discuss the most common among them, in order to show
that in photographs of scientific subjects one should not be
too hasty to attribute to the action of light that which may
possibly be produced by some other cause.

When two objects, the one white and the other black, are
represented in a photograph, touching one another, the con-
trast is often exaggerated at the points where they meet, the
white appearing more white, and the black more black.
Many causes may tend to the production of this acknow-
ledged fact; but before looking about for vague and uncertain
reasons, let us first see what may be produced by a well-
known cause connected with the circumstances under which
the developer is used. When the developing agent is poured
upon the expo.sed plate, it encounters a film of nitrate of
silver spread equally over the whole surface ; as soon as the
blacks have appeared, the decomposed nitrate of silver
in those parts has yielded up its metal, while on the other
portions of the negative, where the light has made but
a faint impression, it still remains almost intact. From the
parts of the negative upon which it has acted feebly,
the nitrate of silver diffuses itself over the adjacent blacks,
and re-inforces the margins of those portions ; and as
it cannot give without losing, the whites bordering upon
the blacks thus become more transparent. If the negative
is agitated, this action, which is always more energetic
wherever the whites and blacks touch one another, is pushed
further ; it is for this reason that a negative which is moved
quickly to and fro during development comes out more
rapidly during the first few moments, because the nitrate of
silver not decomposed on the whites is made to pass and
repass over the blacks. All these effects .are repeated when
nitrate of silver is added to the developer for the purpose of
intensifying the negative photographs.

Photographs of the ordinary description do not suffer
from these effects, but may even be benedtted by them ; but
in photographing scientific subjects — as, for instance, in the
reproduction of celestial bodies — it is necessary to take these
imperfections into account,»for we must not attribute to the
light that which is due to subsequent causes. The best
means of preventing any error in this direction is to de-
velop the image promptly, to wash it immediately after-
wards, and, if it requires intensifying, to use an agent which
is not quickly redaceable, thus preventing the diffusion of
action from the whites to the blacks.

The following solution appears to me well adap’ted to the
purpose, inasmuch as it may be employed in full daylight
after the picture has been fixed ; its action is very slow, and
the density of the negative may be controlled, therefore, with
the greatest nicety. It is as follows : —

Pcrchloride of iron ... ... ... 1 part

Bichromate of potash ... ... 3 parts

Water 150 ,,

The negative should he well washed before the employ-
ment of the solution, in order that every trace of the hypo-
sulphite of soda may be eliminated, for if the negative is
treated with the solution prior to its being fixed with hypo-
sulphite, the image becomes weakened, and may disappear
altogether.

Two films of nitrate of silver may be said to exist upon the
latent imago : firstly, that which runs freely over the surface
after the sensitizing of the plate, and to which the developing
agent is added ; and, secondly, that with which the iodide
is impregnated, and which it is very difficult to remove
entirely — a fact demonstrated in certain dry-plate processes,
where several washings are insufficient to remove the salt,
and it is necessary to employ an agent to remove the last
traces of the nitrate. It is this last-named film of nitrate
which, conjointly with the developer, produces the picture
in the w.ay it has been painted by the light ; the free nitrate
upon the surface intensifies the image in the manner I have
already mentioned. An image washed after development,
and exposed to the action of light, assumes the appearance

of a positive, doubtless for the reasons given above, for the
nitr.ate of silver not decomposed, which still impregnates the
whites of the picture, has the effect of blackening the same ;
while the blacks, where the nitrate has already become
decomposed, do not undergo any change whatever.

A negative intensined to e.xcess sometimes yields a print
in which the whites appear to encroach upon the neigh-
bouring portions, the fine and strongly-lighted lines ap-
pearing larger than in nature. Can this effect be attributed
to radiation similar to that produced by a bright light upon
the organ of vision, or is it due to a lateral diffusion of
light? It is possible that the solution of this problem may
likewise bo found in the subsequent action of the nitrate of
silver in conjunction with the developer. In fact, if nega-
tives of this dscription are carefully examined, it will be
found that the blacks appear in relief ; but this relief has
not been produced only in a vertic.al direction, and the
silver ought to have been deposited laterally, something
after the manner in which it is found upon a strip of copper
which has been plunged into a solution of silver; whence,
therefore, come these blacks upon the negative, which
trespass beyond their true limits.

I have observed, in very rare instances, a fact with regard
to collodion, which occurred more often at the period when
negatives were taken on paper ; the whites of the print were
bordered by a brown line, which likewise surrounded the
blacks. This effect was produced, above all, when I added
nitrate of lead or acetate of lime to the gallic acid for the
purpose of hastening development, and when the picture
thus treated remained untouched for some time. I was of
opinion at the time that the deposit formed upon the blacks
became slightly diffused, and impregnated the whites ; but
the regularity of the dark margin, and the circumstance
that prolonged washing was incapable of removing the same,
seemed to invalidate this explanation. The fact, however,

I mention, in order to show once more that we should not he
too hasty in attributing to light effects which, in reality,
may be produced after the exposure of a negative to its
action.

»

MORE PHOTOGR.APHIC PIRACY OF
ENGRAVINGS.

A.votiie a serious case of photographic piracy was brought
before Sir R. W. Carden, on Friday, at Guildhall, in which
a conviction in fifty cases was obtained, and fines to the
extent of X250 inflicted. The case is thus reported in the
daily press ; —

Henry Ashford, 3, Queen Street, Cheapside,printscller and photo-
graph dealer, was summoned before SirR. W. Carden by Mr. Ilcnry
Graves, of Pall Mall, publisher and engraver to the Queen, to
answer fifty charges of unlawfully selling, on the 5th of February
last, thirteen photographs of a painting tailed “ My First Sermon,”
of the copyright of which Mr. Gravas was the proprietor ; al.so of
unlawfully .selling the following photographs, of which the defendant
was not the proprietor, thirteen copies of “ My Second Sermon,”
twelve of “ The Railway Station,” six of “ The Morning before the
Battle,” and .six of “The Evening after the Battle.” Mr. George
Lewis appeared for Mr. Graves, and Mr. Trchemc for the
defendant.

John Cattermolo said he was in tho employ of Mr. II. Graves.
From instructions he received he entered into communication with
Mr. Ashford. On the 3rd of February he received a letter from him
directed to Mr. Clayton, a name he assumed. lie had received thirty
letters signed Henry Ashford in answer to letters asking for goods,
which had been delivered in con.sequence of those letters. Mr. Ash-
ford acknowledged the receipt of the money.

The correspondence extended over several months. Letters were
then put in from witne.s.s, signed “John Clayton,” ordering good.s,
and paying money in half notes and Post Office orders, the defend-
ant’s answer acknowledging receipt of money on tho same date, also
a letter dated February 7, 1868, containing the other halves of the
notes, and further orders ; and the answer to that, stating that tho
previous orders had been executed.

The witness said ho sent a person named King to Southampton,
and he brought a parcel. He subsequently sent him to Brighton,
and ho brought another parcel thence, containing twelve “Railway
Station,” thirteen of “ My First Sermon,” and thirteen of “ My
Second Sennon.” He sent £7 4s. to the defendant, the price of six

March 6, 1868.]

THE PHOTOGEAPHIG NEWS.

“ Mominp: before the Battle,” and six “ Evening after the Battle,’
but they had not yet been delivere<.l. In assuming tho name of
J. Clayton ho did so for the purpose of detecting tlie defendant. He
had paid between ,£40 and £o0 to the defendant for photographs he
had forwarded in order to detect him.

William King (in Mr. Graves’s employ) gave confirmatory
evidence.

Mr. Ilcniy Graves was then called, and proved tltc registration of
the painting of the “ Uailway Station.” He had never authori.sed
any one to make photographs of his engravings except tho one of
each made by Mr. Spencer for the purpose of registration. The one
plate of the “Railway Station” had cost him upwards of £2o,000.
The photographs were taken from his engraving. The charge for
the engr.iving was £10 10s., and the photographs could bo produced
for 9d. by the maker. Mr. Graves proved the registration of the
other cngra\-ings. He purchased the “ First ” and “ Second Sermon”
for £1,700. In consequence of tho piracy he had not got back the
money the paintings and engravings had cost him. lie had never
made and sold photographs of his engravings. The photographs
were newly made. The publisher’s line was on the photographs,
showing that it was made since the plate was publi.shed. The
photographs had even pirated the “ trade mark.”

Mr. Treheme cidlod Thomas Ashford, brother of tho defendant,
who said he had been in partnership with him up to last year. He
now carried on business at Newgate Street. He know nothing of
Cattcrmolc or Clayton, and never hoard of them while ho was in
partnor.ship with his brother. \ letter produced February 3rd was
not in tho defendant’s handwriting. Ho did not know whoso hand-
writing it was in. The five letters produced, which had passed
between the defendant and Mr. Cattcrmolc, were in the defendant’s
handwriting.

Mr. Treheme said Mr. Graves had entrapped tho defendant into
an illegal act, and urged that he ought to have photographed the
pictures, and put a stop to the practice of which he complained. He
then urged that the convictions could not be made on each summons,
but on the whole as one sale. There was only one offence.

Sir R. W. Carden said it was quite clear that Mr. Graves did not
instigate tho defendant to sell those photographs, ho being a dealer
in photographs. It is only through the machinery Mr. Graves em-
ployed that it was possible to establish a c,ase. Ho was very sorry
that in one week, in the City of London, he had been called upon to
adjudicate upon two cases of monstrous fraud. Hero was a little
book issued by the Photographic Protection Society, and the only
parties he saw named in it were H. Ashford, the present defendant,
and S. B. Beal, who was the defend.ant a few days ago. It appeared
to him that Mr. Ashford and Mr. Beal had established this society
for tho purpose of promoting tho interest of photographic trading,
and defending it fi'om attacks upon the alleged ground of piracy.

Mr. Treheme said that the date of that publication was February,
I860. The society was in existence then, but it was not now.

Sir R. W. Carden said that Mr. Ashford and Mr. Beal were put
forward as the managers of the institution, which ho had no doubt
whatever was established for the protection of them.sclvcs, and them-
selves only. They stated that they had largo funds, and he hoped
there wa.s’ enough to pay any penalties that might be impo.sod.

Mr. Treheme said unfortunately there were not.

Sir R. W. Carden avas glad to hear that people had not been
trapped, as he might call it, into subscribing to this society. He
was .sorry tlnit two tradesmen in the City of London could act so dis-
honestly. As to there being but one offence, if a man could .sell five
hundred or five thousand photographs in one lump, and only pay a
penalty of £10, there would be no protection at all, and therefore tho
penalty would bo not only for every offence, but for every copy
issued, and ho was sure that this was what the Legislature intended.
There had been fifty cases proved before him, and ho should inflict a
penalty of £0 for e,ach case, or, in default, one week’s imprisonment ;
that w.is to say, £2o0, or fifty weeks’ imprisonment.

Mr. Treheme applied for a case to be stated for a superior Court.
Sir R. IV. Carden said the application must be made in \niting,
and, in the meantime, the defendant could pay the fines under pro-
test. The fines were accordingly paid under protest.

of

Oldham Photographic Society.

The ordinary meeting of the above Society was held on Thurs-
day, February 27th, the President, Mr. John Gkeex, in the
chair.

After the minutes of the last meeting had been passed,

Mr. J. R. Hentoh said that he was not quite prepared to
read his paper “ On Outdoor Photography ” that night, but
hoped to be ready against the next meeting. He would there-
fore read an extract from tho Photographic News, on a visit
to M. Salomon’s studio ; it might prove interesting to those
who had not read it.

Mr. Beverley announced that ho should shortly read a
paper on the “ Dry Plato Process.”

A vote of thanks was passed to Messrs. J. and J. Ilolderiiess,
of Preston, for five cartes for tho album, which were much
admired.

There being no other business, the meeting then terminated

Cormgon&tnrc.

“ PHOTOGRAPHY AND DISEASE.”

My Dear Sir, — I was much interested by your article in
tho News of last week on “ Photography and Disease,” having
been a severe sufteror myself ; and shall have much pleasure
in aiding, to any extent in my power, tho discovery of the cause
of the deterioration of health amongst photographers.

It will bo well, however, to endeavour to prove, in the first
place, that tho practice of photography as a profesiion i.s
destructive of health ; and hero I am anxious to make myself
rightly understood. I do not mean to assert that photography
cannot bo entered or carried on as a profession without sullbring
in bodily health; on tho contrary, I believe that if tho matter
is well understood, and care bo taken, any injurious effects may
be avoided ; and, having suffered, my own case is a proof that
it is possible to recover. Hence tho importance of some atten-
tion being given to the subject. I believe, too, it will be found
on inquiry that a considerable number have suffered in a very
similar manner to myselt and tho cases mentioned last week.

I know personally of three or four such cases, and will en-
deavour to obtain a statement of tho symptoms and any
interesting particulars. If all whoso attention may be called
to the subject from this correspondence will record their experi-
ence, it may load to some practical result. Tho medical gen-
tleman who attended me in my illness (and who is very
eminent in his profession) is much interested in such cases,
and wilt bo glad to obtain any reliable information on tho
subject.

My own opinion is, that tho ill effects cannot be attributed
to any one chemical agency, but that they are tho result of
breathing for several hours every day an atmosphere contami-
nated with noxious fumes arising from tho collodion, developer,
and, in some cases cyanide, to which may probably be added,
absorption of poisonous substances through the skin, when tho
system has been already debilitated irom over work, both of
mind and body. You remark, very truly, in your note to “ A
Sufferer’s ” statement, that “ tho symptoms described are too
common outside of photography.” “ Any occupation which
overtaxes the nervous system, induces sedentary habits, and
especially which occasions irregularity in taking food, may
induce, in a delicate constitution, all the symptoms mentioned,
quite apart from photography.” But 1 feel convinced that
these symptoms are very much aggravated in the case of
photographers. True, in all the cases with which I am ac-
quainted the system has certainly been overtaxed. There is a
very great temptation to this in tho case of any one who is very
fond of the pursuit, and has also to make his living by it. Ho
IS never satisfied with tho result he obtains ; each improvement
only makes him more anxious for higher attainments ; hence
many hours are spent in thought and experiment ; and then,
when rest is required, there is tho work which must bo done.
The result is, that exercise in fresh air is neglected, and work
continued to unreasonable hours. Meanwhile, the excitement
and pleasure afforded by the pursuit blind him to any symp-
toms of injury to the constitution until it is almost too late for
recovery ; too late, at least, for care and exercise alone to
effect a cure. Indigestion, wind spasms, violent colic pains,
extreme nervousness, and something like local paralysis are
induced, until the sufferer is brought to such a state of weakness
as to be unable to digest any solid food. So violent at times is
the pain, that the sufferer is convulsed, and symptoms not un-
like poisoning by strychnine produced. The face assumes a
leaden hue, the limbs become rigid, with the hands lightly
clenched, and the back arched, so that tho body rests on tho
back of the head and heels. But is it possible tfiat this can
in any way result from the practice of photography ? I can
only answer that such has been my experience since I became
a photographer ; and although not of a very robust constitu-
tion previously, I had never suffered in like manner. Whilst
I continued at work I could obtain no permanent relief ; but

118

THE PHOTOGRAPHIC NEWS,

after a few weeks’ residence in the country and entire cessa-
tion from work tlie symptoms entirely left me, and I gradually
recovered strength. With one exception, I have had no return,
as 1 now content myself with leaving the manipulations to an
assistant. The exception to which I refer occurred last spring,
when I was loft without assistance at a few days’ notice. A
fortnight’s work in the dark room was again sufficient to bring
on most of the symptoms I have described, although not so
violent. A fortnight’s rest in the country again recovered
mo : and since that time I have continued to enjoy sound
health.

I venture to think, therefore, that my case is somewhat con-
clusive in pointing to the inhalation of the noxious fumes as
a very great aggravation, if not the cause, of the suffering. I
ought, perhaps, to say that my manipulating room is by no
means small, and is provided with considerable ventilation. — I
am, dear sir, yours very truly, J. M. BuRaESS.

“ PHOTOGRAPHY AND DISEASE.”

Dear Sir, — The two letters printed in you r article of Friday
last under the above heading seem to mo to require notice, as
apparently having an interest for all engaged in the practice of
our art. At the same time, your own remarks thereon are at
once so true, so judicious, and I had almost said so exhaustive,
as to leave little to be desired, save that corroboration or other-
wise to be obtained from the opinions or experience of other
practical authorities.

As a photographer of very long experience, and also as
having been originally educated for the medical profession, I
may, perhaps, venture to give my opinions for what they may
seem worth. Of experience in any cases of injury to health in
any way attributable to the use of our ordinary chemicals I
am happy to say I have had none, either in my own person or
in those of my somewhat extensive list of friends and acquain-
tances, professional and amateur, largely or in a smaller w.ay
practising photography.

I will commence with the second of the letters in your article,
as containing the more definite statement. In this, the writer
(referring to chloride of silver as the supposed cause of his ail-
ments) seems to forget that but little of that salt is present in
the “washing waters,’’ they containing chiefly — and, in the
case of soft (rain) water being used, entirely — the nitrate in
solution; and if any effect be produced on the system, it must
surely be by the soluble, not by the insoluble, compound. It
is a rule admitting of scarcely an exception, in therapeutics,
that the activity of a body introduced into the s3’stem depends
on its solubility, either in water (e.^., iodide of potassium) or
in the juices of the alimentary c.anal, as carbonate of lime,
though per se insoluble, is dissolved by acid in the stomach ;
or, in a third case (an example of which may be found in
mercurial inunction), where the metal, in a finely divided state,
is, by application to the tninnest portion of the skin in com-
bination with fatty matter, made to effect an entrance into thy
animal economy. So also many solutions are now used be
hypodermic injection {i. e., are forced into the cellular mem-
brane underlying the cuticle), and so become absorbed, it not
being found by any means sufficient, even in the case of
soluble salts (e.y., acetate of morphia), to apply them to the
unbroken skin. This would seem to dispose of the supposition
of the effects complained of being due even to the nitrate, the
soluble salt, of silver. And I would further remark, as to the
frequent use in surgery of the solid nitrate ns a caustic to
extensive sloughs and raw surfaces of every kind, no instance
of deleterious eff’ect is on record from such procedure. Of
course the questien must be looked at in two aspects : Does
the silver in any form find an entrance into the system ? and,
if so. Does it produce evil consequences? Tlie first question I
should be inclined to answer in the negative ; and, for still
stronger reasons, to bo stated presently, I say “ No,” to the
second also.

Nitrate of silver, and the oxide also, are favourite (and in
many cases I have known them to be effectual) remedies for
certain forms of obstinate dy’spepsia, they being administered
in the form of pills, in doses of a grain or more, once or twice
daily ; the only evil, so far as I am aware, attending their
employment being the liability to discolouration of the skin,
which is often permanent, arising obviously from the silver
entering the fluids of the body, and being so conveyed to the
surface. Sir Thomas Watson, in his admirable “ Lectures on

[March 6, 1868.

the Principles and Practice of Physic,” mentions these reme-
dies ; and, if my recollection servos me, he says that of several
cases of discolouration which have come under his notice, more
have followed the use cf the oxide than of the nitrate, clearly
showing that the nearly insoluble oxide must have been taken
up by the flui'^s of the stomach ; and yet no mention is made of
any further deleterious effect being produced.

Dr. Alderson, the accomplished President of the Royal Col-
lege of Physicians, in his Lumleian Lectures, delivered at that
College in 1852, “ On the Effects of Lead on the System,”
mentions various methods in which that highly poisonous metal
may be introduced into the blood : and in every method de-
tailed by him— such as the contamination of drinking water,
the diffusion of minute particles in oily matter, or as finely
divided dust, carried into the lungs — the principle I have men-
tioned is evidently Dome in mind. I think, therefore, that it
is a fair inference, from the first of these authorities, that silver
has no such effect as supposed by your second correspondent ;
and, from the latter, that it must bo soluble salt, if any, which
is the "fans et origo mali.”

With regard to the loss definite accusation against any par-
ticular chemical, as contained in the first of tlie letters, I am
disposed to agree with you, that such symptoms are “ too com-
mon outside photography.” It may well be that your corre-
spondent is not too careful, if working large plates, to avoid
inhaling the highly-stimulating v.apours of ether and spirit
necessarily given off during coating ; and in that c.ase it is
not unreasonable to suppose (indeed, I have myself expe-
rienced it occasionally) that a degree of reaction may follow
the stimulating effect, and these two states, if continued, may
produce, by their alternate action, forms of dyspepsia and he-
patic derangement similar to those produced by indulgence to
a great extent in spirituous liquors.

"ifou have touched on one too probable cause of derange-
ment, viz., irregularity in taking food. I know this is often
a source of trouble to the elass “operator,” and well do I
remember at one time being grudged even a quarter of an
hour for luncheon and rest during the most fagging work,
and at a time when, with one assistant, I was taking for
the generous employer forty portraits or more in a day.
Such men little know how they are in every way defeating
their own dearest object, money-making ; for I hold, even
on physiological grounds, that the man who has an inter-
val of rest and needful refreshment as a break towards the
middle of the day, returns with renewed vigour and zest to his
work ; and if he be fortunate enough to have engaged with a
man who values his service.^, and who will not cast him adrift
as soon as the busy season wanes, his continuance in health is
a matter of interest to his employer as well as to himself.
Still, to the disgrace of many gentlemen, this and other matters
of kindness and consideration to those with whose services they
cannot dispense, and for whose work they take credit as their
own, is a point utterly ignored.

Before concluding, one word as to a far more likely chemi-
cal to be in fault, viz., the chloride of gold, an agent more
active in the system than even bichloride of mercury —
abundantly soluble, re.adily absorbe<l. It was at one time
{Lancet, November, 1852) mentioned as a remedy in scrofula ;
but, from tho care mentioned as necessary to bo observed in its
administration in small fractions of a grain, it is evidently
thought by those most conversant with its effects to be a
dangerous remedy. How, then, may it not bo liable to aftoct
some of us ? Most of us are more prone to dip our fingers into
tho “ toning bath ” than into any other solution, and doubtless
this is not unattended with risk.

1 remember, when having met with groat success in using
Hardwich’s citrate of soda toning, some ten ,vears since, I intro-
duced tho plan in an establishment, one of tho printers cau-
tioned another as to its use, saying that one of his acquaintances
had been laid by with sores on tho hands and arms through its
employment. I did not see the case myself, nor have I ever
met with a similar one since ; but it shows the need of care.
No doubt, from long habit, one gets indifferent, and runs risks ;
bnt by tbo use of proper precautions the actual contact of most
of our chemicals with the skin may bo obviated, or reduced to a
minimum.

Apologising for tho length of this note, and hoping it may
reassure your correspondents in some measure, 1 am, dear sir,
faithfully yours. Geo. Robt. Fitt.

March 6, 1868.]

THE PHOTOGRAPHIO NEWS.

119

HEALTH VERSUS CHEMICALS.

Dear Sir, — In the Photographic News of last week I find
two photographers ask as to their causes of sufiering, and are
inclined to attribute their illness to one or other of the chemicals
they use.

Next to cyanide I believe there arc no worse oheniicals in
general use than methylated ether and alcohol, with the free
iodine usually found in many of tho collodions 'lO'v manu-
factured. These are quite sufficient to cause anyo*i® who has
many plates to sensitize to feel very unwell, unfif for work,
and inclined to be careless about other manipulations- Some
guide-books actually advise that dirty plates should be cleaned
with old collodion with an addition of iodine. Th's, I know
from practice, is most injurious to the eyesight, as well as hurt-
ful to the health of those who inhale methyl and iodine. I
usually coat my plates in a glass studio, and then take them
into the dark room to place in the nitrate bath, covering the
bath over with a brown paper cap, and not shutting the door of
the room until the plate is ready to take out of the bath. Even
with this large space to work in, I am constantly told, when
away from work, that I smell horribly of collodion : to such an
extent does tho vapour impregnate everything that comes iu
contact with it, and, of course, the breath also.

Wher, formerly, in tho habit of buying my collodion ready
made, I almost thought I must give the fine art up, in con-
sequence of the eflcct tho effluvia had on me ; since then I have
generally made my own collodion, and advise all others to do
the same. My manufacture is not quite so sensitive as some I
can purchase, but I find it does not injure my health when pure
spirit is used. It answers much more surely for dry plates,
and ray nitrate bath now keeps in good working order double
the time it formerly lasted. It is also cheaper to make collo-
dion from pure spirit than to buy methyl collodion.

The receipt is most simple. The only difficulty is in pro-
curing good pyroxyline, if you do not make that also. In
making collodion, never use from one sample of pyroxyline
only, but take from a mixture of at least half a dozen different
lots, so as to make an average.

Plain Collodion.

11 ozs. pure ether at 4s 2s. 2d.

10 ozs. pure absolute alcohol at 5s. ... 2s. Cd.
150 grs. pyroxyline at 2s. 6d. ... Os. lOd.

lodizer.

7 ozs. pure alcohol, 812 at 4s. 6d. .. Is. 7d.
8-i grs. iodide cadmium "j 161 grns. ]

42 grs. bromide cadmium >-at Is. 9d. lOs. 8d.
35 grs. iodide ammonium J (say) J

5s. Cd.

2s. 3d.

Total cost of 28 ozs. collodion 7s. 9d.

Or 5s. 6d. per pint of 20 ozs.

Add a few drops of tincture of iodine to the collodion before
using — ^just to make it a straw colour — and it wilt keep good
for many months. M. W. J. S.

Lavender Hill, Wandsworth, March 2nd, 1868.

PS. — Tho plain collodion to be drawn off with a syphon, so
as to bo clear of sediment ; and the iodizerto be filtered through
paper.

COMMON WATER FOR NITRATE BATH.— PERMAN-
GANATE OF POTASH.

In June last I was at Fountain’s Abbey taking views, and,
by accident, a lady’s dress caught the corner of my tent and
upset it, and wasted all my silver bath ; and as I was four
miles from Ripon (the nearest place that distilled water could
be got), it was not pleasant to walk that distance and back
witli a bottle of distilled water ; but as tho bath that had been
wasted had been made of common water before I left home, I
saw no reason why I should not make up a bath with the water
that was running close by, as I had several ounces of nitrate
of silver in my box. I took a largo can and wont to the river
and filled it, but as there had been rain tho day before, the
water was a little sandy and muddy. I measured out GO ounces
and placed a few crystals of silver in it ; after shaking well,
filtered it, and then dissolved the proper quantity of silver to
make a 30-grain bath. I then tried a plate. The negative
looked a little misty. No. 1 print enclosed is from tho negative.
I then added one drop of strong nitric acid, took another plate,
which made all right. Nos. 2 and 3 prints wore taken after
this drop of acid had been put in tho bath. I will leave you to
judge whetlur they are or are not as clear as though they had
boon from negatives done ia a bath made with distilled water.
I may say that I took more than a hundred negatives after
these, in the same bath, and all worked as well.

It may bo said that iu another part of the country the
nearest river water would not work so well. All I can say is,
I have never met with a failure in that direction, and I have
worked in almost all parts of England, taking views. I also
have used the water that runs in the rivers through tho valleys
in Switzerland with the same good results ; but, in nine times
out of ten, simply taking tho proper quantity of water and
adding the silver will make a first-rate bath, even without filter-
ing; but should there bo any signs of milkiness, then filtering
will be necessary.

I have been trying tho permanganate of potash cure for an
old, foggy bath, and find it to answer for that purpose better
than anything I have ever tried before. I enclose you some
prints to show tho difference before and after tho addition of
tho permanganate. This bath, that tho negatives of these
prints were taken from, was one to which cyanide of potassium
had been added, but would not cure it. Carbonate of soda had
been put in it and sunned for two days in very bright sun, then
it would not work without fogging the negative. I then got a
little permanganate of potash and made a solution of 20 grains
to the ounce, and added as much as made the bath the
colour of dark sherry, which remained that colour for about
ten minutes ; it then gradually began to turn brown, and went
on in that direction for about two hours. I let it stand about
another hour, and a rusty-looking deposit began to go to the
bottom of the bottle. I then run it through a clean filter, and
it filtered as clear as possible. I then tried a plate, and it
made a negative in every respect as clear and as good as any
new bath would in the best of conditions, and with only one
application of the iron developer, which, it will bo as well to
say, was made with sulphate of iron 20 grains, sulphate of
copper five grains, glacial acetic acid one ounce, spirits of wine
half an ounce ; the time ot exposure was about the same as
with a good new bath. Perhaps, Mr. Editor, you will examine
the prints done before and after the addition of the perman-
ganate ot potash, and state how far you think it has accom-
plished the object.— I am, sir, yours truly,

George Willis.

32, St. Nicholas Cliff, Scarbro’, March 2nd, 1868.

[Tho examples enclosed fully illustrate our correspondent’s
statements. — Ed.]

Sir, — As there has been some correspondence lately on the
use of common water for photographic purposes, perhaps a few
remarks may not be amiss from one who, like Mr. N. K. Cherrill,
has proved that distilled water is not at all necessary for any
of the baths or other solutions used. From the commence-
ment of the collodion process I have never used any other but
common water for developing solutions, &c., and for some
years have used only common water for tho negative bath.
By the same plan that Mr. Cherrill recommends — viz., by add-
ing about half a drachm of an old negative bath to about
forty ounces of common water from any pump or river, then
filtering, and adding the proper quantity of silver, as usual
for a bath— it works well and makes clear negatives. If it
should not do so on trying the first plate, a single drop of nitric
acid has put all right.

itt tht ^tubic.

Portraits a la Salomon. — We have just received some
exceedingly fine examples of portraiture from Mr. Notman, of
Montreal, treated after the manner of M. Adam-Salomon, and
in many points resembling them. We shall have mora to say
respecting them shortly.

Enamel Photographs. — We recently had an opportunity of
examining some of Mr. Joubert’s photographic enamel minia-
tures produced by a modification of his patented process. The
results are admirable, soft, round, and delicate, yet lacking
nothing of vigour, and many of them excellent in colour. Mr.
Henderson recently exhibited some very promising specimens
by a process ho has recently worked out, the details of which

120 THE PHOTOGRAPHIC NEWS. [March 6, 1868.

ho does not make public. Wo believe that there is a more ex-
tonded popularity in tho future for this kind of photograph
than it has hitherto obtained.

Curious Cause of Weak Prints.— A correspondent calls
our attention to a singular cause of flatness and weakness in
prints. An example recently sent to us had tho appearance
of having been produced from a weak fogged negative, but
was, wo were assured, obtained frosa a very vigorous negative.
He now explains tho cause as follows : — “ You will perhaps
remember that some weeks ago I sent you a print, on roller, of
group of lady and boy, asking you if you could tell mo tho
reason of the want of force it showed. Not having seen tho
negative, you attributed the fault to that being fogged, or
some other fault that you thought belonged to tho negative. I
have since obtained brilliant prints from tho same negative,
and have discovered the cause of tho badness of several prints
that were made at first, and wore like tho one I sent 3'ou.
My brother, who had made tho prints, to prevent tho paper
cockling, had dried tho cloths, &c., which formed tho packing,
and had put them on tho paper while still warm, and thus
spoilt the print.”

Sugar in the Printing Bath. — A correspondent, J. S. W.,
sends us an example of the value of sugar in the printing bath,
with tho following note : — “ Having derived much valuable
information from j’our pages, and as you request points of
practice, I enclose you a bit of paper sensitized three weeks
ago, and a print taken on some of the same paper, and as dark
before toning. Tho bath had suffar in it, as rocommended by
Mr. Bovey, to whom many thanks aro due, but who would
hardly recommend so severe a trial as to its result. You will
judge for yourself.” The enclosure is an interesting picture,
and a good print.

®0rrcs^oubcat.?.

C. E. F. — Condy’s fluid is a solution of permanganate of pota.sh,
containing, we believe, about 20 grains per ounce of tho salt.
It may be used for removing organic matter from either printing
or "negative bath. A more dilute solution will, however, be
safer to use. See an article on the subject in our present number.
Tho same instructions are applicable to the printing bath. Per-
manganate of potash may he obtained of most chemists.
2. The enamel paste with a basis of wax like that referred to
may be obtained ready foru.se of various dealers in photographic
materials. Newman’s enamel paste an.swers well. You may
prepare such a material yourself bj' dissolving pure white wax
or parallino in an essenti.al oil, like that of lavender, in propor-
tion to make a stift’ paste.

Acid Gold. — Tho object of neutralizing chloride of gold for
toning purposes is to secure a condition in which the gold will
be readily thrown down on the print. When excess of hydro-
chloric acid is pre.sent, it is often dillicult to secure satisfactory
toning action. If you secure good toning results with an acid
bath there is no reason why you should not use it ; hut it is
important in such case to rinse the prints very thoroughly before
immersing them in tho fixing bath, as otherwise the acid in tho
print would decompose the hypo, and cause sulphur toning.

W. J. A. (i. — The waterproof fabric you enclose will answer well
for covering a tent ; but it will be desirable to have an arrange-
ment in a font so covered for ventilating purposes. 2. The price of
the rhiladdphin /Viotoyrffyi/ier is 50cents(2s.)each monthly num-
ber. 3. We have seen so called “ instantaneous ” pictures pro-
duced on <lry jilates ; but they were not what wo should term good.
Tho term is, of course, purely relative ; we hear many things in
photography called good which arc, in our estimation, very
inferior indeed. Wo have taken instantaneous sea views on
Dr. Hill Norris’ extra rapid dry plates, which were pronounced
“good for dry jilates,” hut which were poor when judged by a
standard of excellence attainable on wet ]>lates.

C. M. (Rennes). — We have carefully tested tho mounting cards
of tho stereo prints, and do not detect tho presence of hypo or
other sulphur compound. After a careful examination, we can
only come to tho conclusion that, owing to some oversight in the
manipulation, or some impurity in the hypo, the prints were im-
perfectly fixed, and contained, after finishing, insoluble hypo-
sulphite of silver, which decomposed under tho action of moisture
and light whilst mounting. 2. The cracking of the negatives of
which you send example seems most probably due to damp acting
upon some trace of a hygroscopic salt left in the film, either by
imperfect washing, or from washing in water containing traces of
some such salt. Rubbing with very finely powdered charcoal on
a tuft of cotton-wool will fill up the cracks considerably, and

sometimes permit of the production of a tolerable print from
such a negative.

Como. — For direct sun printing with the solar camera, without
development, a similar process may be used as for ordinary print-
ing in the pressure-frame. If tho paper be prepared expressly
for the purpose, a strong solution will increase sensitiveness ;
about 15 grains of chloride of ammonium to each ounce of albu-
men may be used, and a silver bath of 80 grains to tho ounce.
For development printing with the solar camera, 8 grains of
bromide of potassium, 4 grains of chloride of ammonium, and
3 grains of gelatine in an ounce of water form a good salting
solution. This paper may be excited on a 60-grain silver bath
containing about 5 drops of acetic acid.

D . M. A. (Montrose). — There are several modes of taking several
images on one plate ; whether yours is new or not we cannot, of
course, tell you without knowing tho details. The expense of
protecting the method, if new, would be somewhat heavy, as it
could only be secured by patent, which would cost upwards of
£50 for the first three j-ears, and between £200 and £300 for tho
whole term a patent can run ; namely', fourteen years.

W.^.lton Adams. — Mr. M'erge, at Mr. Hughes’, 379, Oxford
Street, is a clever Daguerreotypist, and he will probably under-
take a commission to clean and recolour a Daguerreotype for

J'OU.

Obedient Serv.\nt. — Thoroughly damping the engraving all
over before mounting it, and also damping the mounting-board,
will doubtless remove the cockling which exists. After mount-
ing, let the mounted picture dry under firm pressure.

G. Stewart. — The excited samples of paper, after exposure, give
such stains as you describe ; the pieces, which we excited did not,
but there were a few spots of discolouration. Nevertheless, we
are inclined to believe that the fault is in the paper. We notice
that, on removing it from the silver bath, it possesses an offen-
sive smell of sour and decomposing albumen. It is probable
that the paper has been kept in a damp place, and some decom-
position in the albumen set up.

W. G. — The singular and polj'coloured bronzing which remains
after toning and fixing is unusual, and we cannot certainly
indicate the cause. The use of a weakly salted paper and a
strong silver bath with negatives possessing much contrast is
a common cause of bronzing. Try tho use of a weaker silver
bath.

A Provincial Photographer. — For enlarging by means of
artificial light an ordinary magic-lantern condenser will answer
well. A combination formed of a double convex and concavo-
convex in contact will serve your purpose. If you apply for a
magic-lantern condenser, instead of for a conden.ser for enlarg-
ing, you will receive the right thing.

Novice. — Undoubtedly a coloured transparency of a painted glass
window will do it more justice than an ordinary paper print.

2. A very roughlj- coloured print, taken on tho spot, will servo
ns a guide for the colourist. 3. Your doublet will answer well
for the purpose ; but we cannot possibly give you any idea of
the exposure necessary, as so much depends on tho light, tho
colours in the window, &c. You can only ascertain certainly by
experiiiient.

A. McD. — We fear that tho matter is a swindle, and, if we are
rightly informed, the instrument is quite worthless when sup-
plied. You can obtain the Year-Book by post on sending
Is. 2d. to our Publisher.

Novice II. — .Alcohol performs no office in the developer beyond
making it flow freely over tho plate. Methylated spirit will
answer perfectly.

Rev. a. S. (Devizes). — The description in question is published
in two numbers of the Puotoorapiuc New.s, October 18th, and
November 8th. In our experience, and that of tho majority of
our friends, the process answers perfectly if the plates are used
within a week after their preparation. The best commercial dry
])lates we know are those of the Liverpool Dry Plate Company.
Wo have never met with a failure even after long keeping.

Beginner. — It is probable that increasing your north light and
removing the south light will give you improved results, as you
suppose ; but tho lack of definition in the enclosed print is not,
wo think, due to imperfect illumination. It is prooahly duo to
the use of a lens with short focus with too large an aperture.
Try inserting a smaller stop, and send us another example.

Collodion. — It appears probable that you had over-iodized your
bath ; and diluting with distilled water, filtering, and then
strengthening will prove a remedy. 2. Better try the morphine
alone. In tho majority of hanti, it has answered well. That,
or Mr. England’s process, will probably best serve your purpose.

3. Rive paper gives tho most brilliancy, and is most suitable for
soft negatives ; Saxe paper gives tho most softness, and is suit-
able for hard negatives. For good negatives, we prefer Saxe.

Bona Fide and several other Correspondents in our next.

NEWS.

CO N T

rAOB

The London Photo^phic Society 121

Keeping the Nitrate Bath in Order 121

Simple Methoil of Waxing Prints 122

Restoring an Old Bath with Permanganate 122

Foreign Miscellanea 122

Photographic Printing in Silver, Theoretical and Practical. By

W. T. Bovey 122

On the Cause of Deterioration of Prints Mounted on Cardboard,

with Odt Borders. By MM. Davanne and Fordos 124

Pictorial Effect in Photography. By H. P. Robinson 125

M. Braun's Collodion 128

Acetate of Lead in the Printing Bath 1'2T

NTS.

PiO*

A Good Keeping Collodion. By W. .1. Land 127

Kolarging by Magnesium. By J. Solomon 127

Removing Varnish from a Collodion Film without Injury. By

V. J. Bloede, Chemist 121

Proceedings of Societies — North London Photographic .4ssocia-

tion — London Photographic Society 12S

Correspondence— The Coffee Process. — Rectifying Baths —

“ Photograpliy and Disease”— Mr. Anderson’s Enamel

Process— To Touch, or Not to Touch 129

Talk in the Studio 131

To Correspondents 132

Photographs Registered 132

THE LONDON PHOTOGRAPHIC SOCIETY.

The conviction wc recently expressed as to the vitality of
this Society received satisfactory confirmation at the meeting
held on Tuesday evening last. An excellent paper by Dr.
Mann, on “ An Amateur’s Difficulties in South Africa,” and
the discussion thereon, engaged the greater part of the
evening, leaving no time for a further communication from
Jlr, J. R. .Johnson on the use of permanganate in rectifying
disordered nitrate baths. Amongst other interesting objects
shown, we may especially note some exceedingly fine por-
traits after the style of M. Adam-Salomon, exhibited by
ilr. Fradelle and by Mr. S. Fry, the pictures of both gentle-
men pos.sc8sing many of the characteristic qualities of force
and chiaroscura belonging to those of the great French
artist.

But good papers, interesting discussions, and fine ex-
amples of photography have not been rare at the Society for
some time past ; and it is to a gratifying announcement
made by the Chairman we especially refer, as illustrating the
vital interest taken in the Society by its leading members.

^Ir. Reade announced that, to aid in giving anew impulse
to the Society, Mr. 11. P. Robinson had volunteered to pro-
duce during the year an especial subject-picture for the
Society, and present each member with a print. Mr. Henry
Claudet had undertaken to present each member with a
jirint from the last negative taken of his father, the late
Mr. Claudet, the portrait having the additional interest of
having been produced by the topaz lens which Mr. Claudet
had recentl}' liad made. Mr. II. Claudet here happily illus-
trates his own cordial feelings towards the Society, and con-
firms the statement wo recently made, by his desire, as to
the absence of any feeling of antagonism between his late
father and the Societj'. Mr. England had also undertaken
to produce, during his summer tour, an especial negative,
for the purpose of presenting prints from it to the members.
It is prob.able that the pictures of the two first-named gentle-
men will be ready for presentation sometime this year; that
of Mr. England may possibly be delayed until the beginning
of next year, as the opportunity for producing such a pic-
ture as Mr. England may desire for the Society can only be
taken in such part of the season’s tour as may bo suitable.
We congratulate the members on the promise of three such
pictures, and we echo the statement of the Rev. J. B. Reade
from the chair, that such offers from such gentlemen prove,
“ in spite of the breezy little notices got up from time to
time intimating that the Society was going down, that its
motto was still Excelsior."

KEEPING THE NITRATE BATH IN ORDER.
We are indebted to Mr. Rejlander fora practical suggestion
for the preseivation of the nitrate bath, which seems as
philosophical as it is, he informs us, efficient in practice.

Reflecting recently on the causes of fog, stains, and other
troubles arising from the condition of the bath, he arrived
at the natural conclusion that they were due to the pre-
sence of bodies with an abnormal tendency to reduction.
The nitrate bath, he argued, should not contain anything
which is in itself sensitive to light, or anything which is
readily reduced by the action of a developer, except in those
parts forming the image. The plate, when it leaves the
bath, should contain nothing which will be readily reduced
without the action of light, and where light has not acted
reduction should not readily take place. That, of course, is
a proposition familiar to every photographer who attaches
due value to clean shadows. These conclusions arrived at,
Mr. Rejlander resolved to employ light as the touchstone of
j the condition of the bath and the remedial agent at the same
time, commencing to remove the evil as soon as it indicated
its presence. As the nitrate bath should not in itself be
sensitive to light, nor contain substances so sensitive, he
resolved to use light as a detector of the presence of any
I intruder in the bath ; and instead of sunning his bath occa-
sionally to gel rid of such intruder, he resolved to do it con-
stantly, to detect the first approach, and eliminate the first
appreciable accumulation, of organic matter. In short,
opposed to all old rule, he keeps his nitrate bath constantly
in daylight when not employed in sensitizing plates.
Whenever any foreign substance which combines with silver
or tends to reduce its salts is present, the action of light
will reveal its presence by the di.scolouration and turbidity
which will ensue, and it will, at the same time, commence
its elimination by reducing it, so that it may he removed
by filtration. Jlr. Rejlander states that he has now been
trying the plan for some little time with complete satisfaction.
When he finds a bath discoloured by the action of light, ho
knows, of course, that it is not fit for use ; but by constantly
keeping his baths in the light, tli9 work of elimination
going constantly on, filtration generally removes the matter
thrown down by light, and he always has a bath in perfect
condition, yielding him brilliant and clean negatives.

There is the possible objection to this method that light
will aid in setting up injurious decomposition in the organic
matter accumulated in the bath, which might otherwise for
some time have remained inert, producing no injurious effect
by its presence. This argument will, however, be chiefly of
weight against the use of the bath in an intermediate con-
dition, when light has acted sufficiently to initiate decom-
position without completing the reduction. Other objects
may arise in the course of extended experience ; but, in the
meantime, the suggestion seems valuable, and is worth a trial.
In the early days of the collodion process the strictest care
was enforced as to the preservation of the nitate bath from
even a passing gleam of light. Since then sunning has
become a recognized remedy of the utmost value for an old
disordered bath ; and it is possible that the continued action

122

TIIH PIIOTOGRAPIIIC NEWS.

[March 13, 18G8.

of light may aid in the constant elimination of the gradual
accumulation of such bodies as produce fog or other abnormal
reductions.

SIMPLE METHOD OF WAXING PRINTS.

Mr. Blanchard has called our attention to a simple method
of waxing prints, which he has been practising some time
with great success, and which he finds quite as effective,
with much less trouble, than the ordinary method of em-
ploying enamel or encaustic pastes in the usual way.

Instead of employing white wax, which is frequently
adulterated with fatty bodies and .so rendered comparatively
worthless or absolutely injurious for finishing photograplis,
he fakes common bees’-wax and dissolves it in benzole,
making a solution of about the thickness of cream. From
two to three drachms of bees'-wax dissolved in an ounce of
benzole we find, by experiment, gives about the right
result. This is smeared all over the face of the print, the
benzole evaporating almost as quickly as the preparation
is applied. It is then polished by means of brisk friction
with a clean cloth ; we find that a silken fabric answers best.
The result is a rich depth in the shadow, more detail in
the lights, and a waterproof surface which will materially
protect the picture from various injurious influences. After
this treatment the surface is hard and firm, and does not
reailily mark with handling; and if it eventually becomes
dull, dusty, or a little marked, brisk rubbing with a piece
of clean cloth restores the polish. Mr. Blanchard finds that
this mode of finishing the prints is quite available com-
mercially : a couple of girls engaged on the work, one
applying the wax and the other giving the polish, rapidly
get through a large number of pictures. The tint of ordin-
ary bees’-wax does not communicate any perceptible colour
to the prints.

RESTORING AN OLD BATH WITH PERMAN-
GANATE.

We have within the last few days applied the permanganate
remedy to an old bath sent up to us a few weeks ago by a
correspondent for examination. It consisted, according to
the description, of a mixture of an old bath which had been
evaporated to dryness, and rcdissolved in distilled wate.r,
with an equal bulk of a new silver solution. Such a mix-
ture might have been expected to work well, but it did not.
It was described as giving streaks and other markings
which could not be got rid of. In our hands, although the
streaks were absent, it yielded a thin, poor negative, with a
grey, foggy deposit, not loosely on, but in, the film. The
result was the same with two or three samples of collodion.

In this instance we employed Condy’s fluid, which is
accessible to all our readers, being sold by most dispensing
chemists, who rarely keep the salt in crystals. To six ounces
of the nitrate solution about twelve drops of Coiidy’s fluid were
added, the solution being briskly agitated. 'The purple tint
at first produced gradually changed — in about five minutes
— into a grey, and in about a quarter of an hour all purple or
pink tint had disappeared, a light-brown coloared turbidity
only remaining, which was filtered out. and a plate was
tried in the solution. A vigorous image, but slightly veiled,
was the result. As the solution was quite neutral when
tested with litmus paper, a drop of nitric acid was added,
and another plate tried. The result now obtained was a
perfectly clean and vigorous negative, dense, and with a fine
bloom in the lights, and absolutely clean and transparent in
the shadows.

To a small portion of the original solution we added the
permanganate solution in a much larger proportion. This
was several houi-s before it lost the pink tint ; the precipi-
tate, which was of darker brown than before, was found, on
examination, to contain permanganate of silver mixed with
the sesqui-oxide of manganese ; thus illustrating that the
addition of excess of the permanganate only issues in waste
of silver.

J^orcriju "j^U.TCcU’ducu,

Photographing Coast Scenery from the Sea.— M
.Julius Kruger, of Stralsund, publishes in the Photographische
Correspondenz a very interesting paper on photographing coast
scenes from the sea. lie has secured some very charming views
of Sassnifz, a small watering-place in the island of Rugen, and
he has been led, by the success of his enterprize, to publish the
details of the method by which the pictures were produced.
The principal conditions required for the production of a good
photograph are perfect stillne.ss and rigidity of the camera, and
the reflection upon the ground glass of a sharply defined image.
To ensure these conditions it was impossible to work from a
boat or raft, as even during the finest weather the same would
bo subject to slight oscillation; M. Kruger, therefore, con-
structed a large tripod-stand composed of three masts, each
measuring thirty feet (the depth of the sea at the point selected
for operating), and these, having boon firmly braced together
and loaded with a few heavy chains and weights, were lowered
at the desired point, which had previously been marked by a
small buoy. The camera was fixed to the top of this stand,
and a small row-boat, provided witli a dark tent and the neces-
sary appliances, contained the operator. At first, great diffi-
culty was experienced in exposing the plate, as the boat was
continually drifting away from the camera ; and it was im-
possible for the operator to hold on to the stand, or to keep the
boat in position by rowing, as either mode of proceeding had
the efiect of shaking the camera. By mooring an anchor at
the prow and stem of the boat this difficulty was overcome,
and, by the employment of a very small diaphram, the picture
did not suffer any injury from an exposure of two or three
seconds more or le.ss. M. Kruger believes that it would be
quite possible to work in water of much greater depth, although
it may bo assumed that in most cases the sea is never much
deeper than thirty or forty feet in such close vicinity to the
shore.

Photographic Enterprize in Austria.— In the same
journal is published a computation of the number of carte-de-
visite photographs which have been produced in Austria during
the past year, and which shows that photographic tr.ade is by
no means at a stand-still in that country. Half a million dozen
of pictures is the supposed number, which, calculated at three
florins per dozen, would give a total of a million and a half of
florins received by Austrian photographers.

Securing Firm Films. — At a recent meeting of the Berlin
Photographic Society some discussion took place as to the best
method of producing a firm, adherent collodion film. Dr.
Vogel gave it as his opinion that the quicker the solvent
evaporated the firmer wouM bo the film, and it is for this
reason that better films are obtained in summer than in winter.
Ho suggested that collodion manufactured for winter use
should contain an additional quantity of ether. M. Grune
believed that a rotten film was tlie result of employing collo-
dion prepared with imperfectly-washed gun-cotton which had
been treated with alkali.

Phototypes.— The Photographische MUtheilungen contains
a capital engraving, said to have been produced from a plate
from which 30,000 copies had previously been struck oft'. It is
a so-called phototype, and is a reproduction of a pen-and-ink
sketch ; it was produced by the process ot MM. Burchardt
Freres.

Photographic Relief Fund. — Both the Berlin and Ham-
burg Photogr.aphic Societies have been endeavouring to estab-
lish a fund for the benefit of photographers’ widows, but,
unfortunately, up to tho present time without success.
Meanwhile, tho formation of a mutual assurance society is
contemplated.

PHOTOGRAPHIC PRINTING IN SILVER, THEO-
RETICAL AND PRACTICAL.

BY. W. T. BOVEY.

Rem.ark3 on Photoorapiiic Papers, etc.
Measured by its rapid growth, or the precocity that has
characterized its every stage ot development, photography
has no parallel. Although its existence in a practical iorm
scarce reaches thirty yearn, yet its history admits of distinct

THE PHOTOGRAPHIC NEWS.

123

March 13, 1868.]

divisions: First, the era that was inaugurated by the re-

nowned Daguerre ; second, the revolutionary advent of
collodion as a photographic agent; and it might bo re-
corded, as an interesting fact, that a worker of Archer’s
invaluable process, whose experience dates beyond some half
a dozen years, numbers with tlie pioneers whose exquisite
fkill and undaunted perseverance have elevated the art of
photography to a position of importance, which linds a
ready recognition among all classes of society.

The rage for stereographs which for a time ran rampant
did much towards popularizing the art, but it is to the carte
mania that photography is indebted for the proud position
it has since •nttainod. No sooner was that style of por-
traiture in miniature form introduced, than the public,
enamoured with the novelty, eagerly crowded the photo-
graphem’ studios. A race for excellence was the result ;
and experimentalists joined heart and soul in searching
out the conditions requisite to secure the maximum of sensi-
tiveness, delicacy, brilliancy —in a word, perfection. In
))ursuit of these the indefatigable explorers laboured un-
ceasingly; nor did they prospect in vain, .as the objects
sought were speedily discovered; and had the discoveries
which enabled all that was needed in the production of a
negative to be held in subjection been supplemented with
some satisfactory contrivance by which the positive proofs
would bo mechanically leproduced on a paper surface, photo-
graphy, apart from the demands of educated art, might
have been pronounced a perfect success. But it unfortunately
happens that from the birth of the collodion process a
hydra-headed difficulty has presented itself, in the fact
that the picture so delicately and beautifully traced in the
collodion film cannot, with freedom from the elements of
uncertainty, bo satisfactorily impressed on paper ; and as
the problem of unswerving succjss still remains an open
one, the reason of failures and the me.ans to overcome
them are the questions on which I now enter ; and the first
in the order in which I propose dealing with each subject
that presents itself being paper, that of paper I now, with-
out further digression, proceed to discuss; and as I am
desirous of being understood by all readers, I shall here
dismiss the rules that belong to strict composition, and
write as if I were engaged in friendly chat.

My troubled reader, I have listened attentively to the
numerous failures you describe, and which you attribute to
“ that abominable paper,” and, by way of consolation, my
endeavour will be to remove the erroneous impressions which
have found a harbour within your bosom. You say you
are unable to get at the tone you aim at ; your pictures
are weak, washy, aud mealy ; in every sense of the word
miserable failures ; and, as a slight relief from your troubles,
you thrust the bulk of your difficulties on to the shoulders
of the paper dealers. Stay, friend ! suspend false reasoning
whilst I endeavour to sot you on a better and more reason-
able track. You will doubtless admit that the object the
dealer holds chiefly in view is to secure customers, and how-
ever dishonest in the core a dealer may be, self-interest
whispers in his appreciating ears, ‘‘ Get customers ; and
when, by advertisement allured, to retain them in these
days of trying competition you must keep and supply the
best po.ssible article.” And the anxiety to observe this
sensible advice is made evident by the improvements which
of late years have been eft'ected in th.i manufacture of photo-
graphic j apers by continental manufacturers, who, for once,
have distanced Albion, and have left their English com-
peers far behind ; so far, indeed, that the papers which are
chiefly — I might say invariably — employed for direct photo-
graphic printing arc jrurchased in the continental markets,
and are recognized as Saxe papers when procured from
Germany, and Hive as manufactured in Franco. Both
kinds, by separate workers, are made special favourites, be-
cause their varying qualities meet the variable demands of
negatives that ditl'cr in their printing qu.alitics. Saxe
]>apers, being of a soft, porous nature, are proved best
adapted for printing from vigorous negatives that need the

softening influence exercised by the paper named ; whilst
for feeble negatives the Rive p.apers are found most suitable
for obtaining the best results, because of their hardness of
texture, which renders the paper more impervious, and thus
retains the picture on their surface. In my own practice, for
general purposes I much prefer the Saxe papers, on account
of their desirable working qualities ; and the article as pre-
pared by the celebrated Steinbach, of Malmcdy, is as near
perfection as I believe it possible to go.

Saxe papers have, as now made, a pleasing blue tint;
Rives have a creamy hue, and the reputation of this last-
named paper suBers much because of its proneness to
stars and comets, which have been erroneously attributed to
the proximity of the mills in which the papers are pro-
duced to some kind of iron works. The great iron works,
however, may be sketched in the form of a brass or iron
button, which the rag-sorters have carelessly overlooked. In
justice to paper-makers, I shall find occasion, in due course,
to point out an unsuspected reason of metallic blotches,
which, I trust, will remove some amount of the odium from
the parties usually blamed. It will be unnecessary for mo
to deal exhaustively with the unprepared papers by de-
scribing their varying weights and thickness. I shall there-
fore proceed with a description of the treatment papers
undergo when handed over to the tender care of the (mis-
called) “ photographic paper manufacturers.”

As I before observed, the point held most prominently
in view by the paper preparer and dealer is to secure for
use the highest class of material his money can purchase ;
and he takes care to examine closel}' every sample he pur-
chases to satisfy himself that the texture is of the finest, tho
surface of the smoothest description. When satisfied with
the article provided, he proceeds with the preliminary
operations, which advance the paper a stage in a photographic
direction. In the treatment to which the papers are sub-
mitted, two distinct principles have to be considered : first,
the elements of sensitiveness which are supplied by the
chloride employed ; second, an organic agent must bo sup-
plied to impart stability and vigour, without which the
hypo solution converts a silver print into an unsightly
affair indeed. Now, as the relative proportions of the agents
named by modifications exercise an influence that changes
the character of the silver prints, the paper preparer has to
arrange his formulaj to meet the varying requirements of
his jiatrons. Some few years ago, when “ soot and white-
wash ” was the facetious character attached to photographs,
a highly salted paper was gener.ally used, and consequently
a strong silver solution was an absolute ncce.ssity ; but at
the present time, negatives by improved chemicals and
treatment are more perfect, which renders a strong salted
paper unnecessary ; indeed, papers weakly salted have
therefore become the rule, and their introduction has
enabled photographers to improve the beauty of their pic-
tures to a remarkable extent.

The desirability of paper dealers informing their customers
somewhat concerning the amount of salt present in the
papers they supply has frequently been urged by the editors
of photographic journals. But the information would be
next to useless to its recipients, who can, if they please, give
a near guess without assistance, if they will examine the
prints as they leave the printing-frame. The larger the
proportion of chloride salt present, the deeper is the violet
tint observable in the print, and the greater is the reduction
in the hypo bath, A weakly salted paper prints more red on
account of a large portion of the picture being composed of
reduced albuminate or other organic salts of silver. The
paper selected for examination should be perfectly dry,
and the printing should be conducted in diffused light ;
otherwise the test is not a reliable one, as dampness removes
the violet colour, and sunshine woubl, by rapidly reducing
the organic salt, impart a red tint to the picture.

The chloride salts which may be employed for salting
papers are numerous. Alaking the salt of ammonium an
exception, I can see but little difl’erenee in the results pro-

124

THE PHOTOGIIAPHIG NEWS,

[March 13, 1868.

(luted by the remainder, if the variations in equivalents are
allowed for.

I just now observed that an organic substance is provided
to impart vigour; but, setting aside plain salted papers, it
performs a double part, its presence being necessary in keep-
ing the picture on the surface of the paper, without which
the larger portion of the delicacy observable in a good nega-
tive would be lost in the body of the paper. With refer-
ence to the question of exact reproduction, it is probable
that no paper surface registers faithfully all the details seen
in a perfect negative: its extreme delicacy has no echo.
This is made perceptible if we compare a collodio-chloride
jrrint with its duplicate formed in albumen ; but, in the
absence of something better, the substance last named has
been selected for the most active photographic service, and
is the article well known as being the chief agent used in
the preparation of photographic papers. Although an albu-
men may be procured from the blood of slaughtered beasts,
it may be accepted, as a rule, that no paper preparer who
has a sensitive nose or a reputation to preserve, will use any
other kind of albumen than that procured from the freshest
of eggs ; and as he is compelled to advertise his wares as
something special and distinct from all otlicrs, the honest
dealer finds a field for his ingenuity in the varied propor-
tions of salt admissible, which enables him to number
his papers or apply fanciful names to his heart’s content.
And as albumen admits of admixture with water, a keen-
witted paper albuminizer, who makes the running in
the race of competition, may, if it so please him, advertise
single, double, or treble albuminized papers with but little
extra labour be.stowed in their preparation. Unless the first
coating of albumen is coagulated, no advantage is gained
by applying a second floating ; but the highest glaze is
attainable by using the thickest part of the albumen.
It should, however, be understood that the highest glazed
j)apers are the most liable to blistering, which, I think,
is most reasonably accounted for by attributing the
cause to imperfect coagulation of the inner surface of the
albumen, so that, when an influence (hereafter to be ex-
plained) is exercised by the washings that follow fixation,
the albumen quits its hold of the paper, and blisters directly
form.

It is quite possible to prepare a highly ghazed paper with-
out having recourse to strong albumen ; in such case the
jiores of the paper are filled in with some neutral material
— such as carbonate of lead — which is brushed on the paper,
and subsequently smoothed and polished. The difficulty
experienced in procuring a satisfactory paper with an
enamelled surface has prevented its general use. I hope,
however, that I shall shortly be in a position to pronounce
the difficulty removed.

And now, in conclusion, a word to those who are sighing
and longing for a self-acting paper, warranted free from
failings or failures. My dear grumblers, the papers sup-
))lied to you and me, and all ot'aers, are probably by the
same makers, manufactured in the same mills, and, if pro-
cured from respectable dealers, they are, photographically,
juepared with the same kind of material ; and the only reason
wliy one paper is found to suit better than another is because
the salting formula varies as adopted by various makers,
and as you will not, or cannot, modify your mode of work-
ing to suit the paper, you have, perforce, to go the rounds
of paperdom until you find an article that meets your
desires, lienee A’s paper just meets the wants of 11, whose
toning solutions are most unmerciful in its bleachings, and
II is in raptures ; wliilst G, whose gold solution does not
bleach at all, is wishing A at Jericho, and his paper with
him, because of the over-vigorous lot of pictures the paper
has produced ; and so matters unamicably jog on. Poor
paper alburoinizcrs have more blame than praise bestowed
on them, and the question arises: Why? Because our
toning operations are based on false principles ; because we
liave been straining at complications, where all should be
.simplicity. But, taking things as they are, why uot dcalci-s

supply papei-s suitable for all customers? My dear Querist,
would you like to be clerk of the weather, if you were bound
to comply with the wishes of all wishers? Imagine the
task, and you can understand why j>aper albuminizers fail
in their efforts to satisfy all comers. With this remark, I
close the subject of paper for the present ; and 1 may
announce that my next article will be on the important
subject of sensitizing solutions.

ON THE CAUSE OF DETERIORATION OF PRINTS
MOUNTED ON CARDBOARD, WITH GILT
BORDERS.

BY MM. DAVANNE AMD FORDOS.*

JI. Fordos recently rsceived from a photographer residing
in a ju'ovincial town in France a series of cartc-de-visitc
pictures, all of which had been rendered useless by the form-
ation upon their surface of very minute bhaclc spots. Imper-
fections of a similar description had previously been noticed
by M. Davanne, whose attention had been called to the fact
by M. Dauvois ; and at that time M. Davanne attributed
their causes to imperfect fixing. On attention being called
a second time to the subject, and assurance being given that
the prints thus injured had been manipulated with the
greatest care, it was deemed desirable to make an investiga-
tion into the matter.

Inspection alone was sufficient to banish all suspicion that
the prints had been imperfectly washed, for if such had been
the case, the hyposulphite of soda, being contained equally
throughout the print, would have had the effect of injuring
the picture in a more general manner ; or had the damage
been visible in certain places only it would have taken the
form of large yellow spots, always increasing in size. The
idea next suggested itself that the fixing of the prints had
been incomplete, and that the hyposulphite of silver formed
in the print when the latter first comes into contact with
the hyposulphite of soda had not been completely dissolved
out, but had resisted the action of subsequent washings.
Imperfections similar to those under investigation may bo
caused in this manner, but in such a case the damage
becomes at once apparent, and would be remarked as soon as
the prints were mounted. Besides, with spots of the kind
just alluded to, the print, when viewed as a transparency,
exhibits opaque patches corresponding to themselves on the
surface; while in the present case the colour was destroyed
by tlie minute impeifections and the transparency of the
print not interfered with.

The information given by the photographer who pro-
duced these injured prints was to the effect that with the
same materials in the same batch of prints, some of the
pictures produced become damaged, whilst others remained
perfectly free from blemish ; for this reason it was supposed
that the cause of deterioration existed in the cardboard.

Following up this idea, it was thought that tlie cardboard
might contain some minute proportion of hyposulphite of
soda, a material frequently used in the manufacture of
paper. At the same time, if such were the case, the hypo-
sulphite ought to have attacked the print in a more uniform
manner, for it would be distributed in solution throughout
the entire bulk of the paper ; and even admitting, as an
extreme case, that it had become crystallized in minute
particles upon the surface of the board, it is evident that the
moisture contained in the mounting material would have
at once dissolved these crystals, and prevented them from
remaining isolated in certain places only. Again, the
hyposulphite of soda introduced into the jraper pulp might
have been subjected to partial oxidation by the bleaching
chlorides, and the traces of sulphur thus disseminated might
afterwards have exerted a destructive action; it is just
possible that this might have occurred, but in such a case a
much larger number of pictures must have suffered, and at
present we have to do mciely with exceptional cases.

• Bead before the French rholograi<hic Society.

Mauch 13, 1808.]

THE PHOTOGIiAPllIC NEWS.

125

A last hint might help to solve the difKculty ; the im-
perfections occurred only in pictures surrounded hy gold or
bronze borders, anil not U2>on those ornamented with borders
of a different description. It was probable, therefore, that
the bronze {)Owder was the cause of tliese innumerable spots,
and, in order better to understand this reasoning, it is suf-
ficient to call to mind that the method of printing cards of
this kind is different to that generally pursued. The design
is first printed, with adhesive varnish, upon the card from a
lithographic stone, and the bronze j)owder is then sprinkled
over it ; the powder adheres to the varnish, and a design is
thus pro'luced in bronze or gold. I’ut the paper emj)loyed is
not so smooth but that it can retain uj)on its surface minute
particles of the powder, which thus remain under the mounted
photograph, and may lead to the deterioration of the print,
supposing the bronze material contains any noxious matter.
Now it so happens that these bronze j^owders are mostly
composed of bisulphide of tin — that is, a comjround of sul-
phur and tin — and this material may, from the mode in
which it is manufactured, contain traces of free sul{)hur.
To be convinced of this, it is merely necessary to rub a small
quantity of the powder in a mortar together with a little
water, when the characteristic odour of rotten eggs will at
once proclaim the presence of sulphuretted hydrogen. It
can easily be undei'stood, therefore, that the most minute
trace of powder of this description present in the pores of
the paper would soon produce an injurious effect upon an
object so delicate as a photographic print.

Ihere is no doubt, therefore, that the inurerfcctions in
question are due to the cause stated above, and tlie attention
1 of photograthers and manufacturers of cardboard is therefore
drawn to the subject. Although the consumption of mounts
of this description may not be very large, still it will doubt-
less be interesting to many to know the manner in which
photographs may be affected by their use.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Bei.ng Lesso.ns in

CoMimSlTION AND CuiAROSCUKV FOR PHOTOGRAPHERS.

BY H. P. ROBINSON.

Chapter VII.

‘■In the study of our art, as in the study of all arts, somethinff is the
result of our own observation of niture ; something, and that not little, the
effect of the e.-camplc of those who have studied the same nature before us,
and who have cultivated before us the same art, with diligence and success.
— .SVr Joshua Reynolds,

Having commenced this series of jrapers with the determina-
tion to connect all I have to say on pictorial effect with
photography, and to demonstrate the application of the
different forms of composition with our art, this seems a
proper occasion to give a sketch from a photograph, showing
in what manner the rules of art— as far as already ex-
pressed— have guided the photographer in the selection of
bis subject. The sketch on this jiage gives the leading
features of a delicious little iiliotogra])'i of a scene in the

lake district — “ Derwentwater, Cats Bells in the distance ” —
by Mr. Mudd. And I may point out, as a singular instance
of the possibility of the photographer moulding his mate-
rials to his wishes, the fact that a landscajie by Mr. Mudd
is rarely to be met with the composition of which is not
nearlj perfect. From a large collection of his works now
before me, I am not able to select more than two or three '
in which there is felt any want of balance, unity, and liar- I
mony ; and this small minority consists of local views, or I
portraits of places interesting from their association, but
which do not appear to have been tractable in the hands of i
the artist. Although the art is properly concealed, the
trained eye can discover and admire the many ingenious
devices he has adopted to hide a defect, to discover a beauty,
or to throw more prominently forward the chief point of [
his subject. All have admired Mr. Mudd’s charming pic- |
tures, but few have cared to enquire to what their excellence

was chiefly due, but have been content to attribute it to his
jierfect manipulation of the collodio-albumen jirocess, a
method of working which he has made his own, but which,
notwithstanding its excellence, does not account for the
skilful arrangement of his subjects. The same remarks are
equally true of the pictures of Air. Bedford. In the works
of these gentlemen nothing apjiears to be done without a
jiurposo. If a figure is introduced, it jierforms some import-
ant function in the composition, either to lead the eye, to
emphasize a point, to throw back the distance, or to collect
some scattered liglits or darks together, by which breadth
is gained and confusion avoided. If the jioint of view ad-
mits of a picturesque foreground, whereby an unpictorial
princijial object may be made into an interesting picture, it
is secured ; nothing seems to be forgotten that could increase
the effect or help to please the eye. And as this occurs in
the larger number of views taken by both gentlemen, it

126

THE PHOTOGRAPHIC NEWS.

cannot be laid to the account of chance, but must be the
result of knowledge.

The sketch gives a very faint idea of the original photo-
graph. It is printed from a photo-type block, by Jlr.
Griggs, of the India Museum. The relief was taken from
a rough sketch, made experimentally to test this process, and
sufficient care was not taken to produce a finished drawing,
the draughtsman being under the impression that a rather
coarse cketch was necessa’y, instead of which a drawing
full of detail would have produced a very much better
result. However, the photograph is in the hands of, or has
been seen by, so many of my readers that this slight and
imperfect sketch will suffice to recall the original to their
memories ; and I apologise to Mr. Mudd for presenting such
an imperfect translation of his beautiful picture.

The first thing that will strike the reader of these lessons
as he looks on the original is the admirable way in which
balance has been obtained by the boulders in the foreground ;
the next, the immense distance that is felt between the fore-
ground and the distant mountains. This effect is almost
entirely produced by the arrangement and opposition of the
dark stones in front. If the stand-point for the camera had
been shifted a few feet either to the right or the left, a very
diffeicnt and much less valuable picture would have been
produced. The stones in the one case would have been ex-
cluded from the picture, and the distance looked flat ; in the
other, the stones would have been either in the centre or on
the right side of the picture, under the dark trees in the
middle distance, thus having all the darken one side of
the picture and all the light on tne other.

As I am writing, a young friend who has just commenced
his study of art by reading “ Howard’s Sketchers’ Manual,”
tells me the removal of the stones to the other side would
produce the “wedge” form of composition, which, ho is
told, is much used by landscape painters. This is quite
true, and agrees with all I have yet said, because all angular
composition must, more or less, partake of the form of the
wedge, which is the basis of many of the finest compositions.
Let the student bearin mind, however, as an axiom, in arrang-
ing his masses in this form, th.ai the point of the wedge must
be supported. Without such support the picture will convey
the uncomfortable impression that some of the principal
masses will slip down. And I would here guard my readem
against the error of my young friend, that of jumping to
the hasty and imperfect conclusions which a superficial
familiarity with the technical names by which various forms
of composition are designated, without an uuderstanding of
the principles upon which all pictorial effect must be based.
I would strongly recommend the student of these lessons to
blend his reading with practice, endeavouring to produce
photographs in which art rules arc embodied and illustrated.
Above all things, avoid the glib parrot-like parade of art
terminology, which, without art practice, is such a con-
temptible thing to all earnest men.

One of the most precious qualities of the photograph that
has suggested these remarks is its perfect expression. It is
not that of repose so much as of perfect serenity. It sug-
gests to the mind one of those lovely days of which not a
dozen occur in a twelvemonth, when the sun shines with a
white light, and the breeze is hushed so stilt that you can
hear the bee hum and the trout leap in the lake, — one of
those days when, to the photographer, fortune helps art, but
also one of those days on which, with such a photographer as
!Mr. Mudd, art helps fortune, and is not content with mere
unselected looking-glass truth.

I have spoken of the expression of this picture. Some
may doubt that such a thing was possible in landscape
photography ; but it is so, to a very great degree. Some
scenes demand that they should be rendered in a sparkling
and lively manner; others, such as portraits of places, with
all the dry matter-of-fact of mechanical art ; others, again,
are better expressed under the gloom of approaching twi-
light. 1 have before me two photographs : the one so
absolutely expresses the effect of early morning that you

[March 13, 1868.

feel the chill, bracing air as you look at it. It is difficult
to explain how this is obtained. The scene represents the
outskirts of a distant town round which runs a river. The
distance is composed of hills. The sun shining on the slate
roofs of the distant houses causes so many glittering spots
of light, which, however, are well grouped together. The
river also shimmers in the sunlight, forming a broad curved
line of light stretching across and into the picture; the
foreground is composed of a steep bank. The photograph
in this state would look scattered and without unity ; but
on the bank is placed the figure of a girl with a basket
gathering ferns. The figure is by far the blackest spot in
the picture, hut possesses touches of the highest lights caused
by the strong sunlight, which gathers together and repeats the
lights in the distance and on the river. This figure has
the effect of reducing the whole into harmony. The con-
clusion is, that the glittering lights, like sparkling dew,
give the effect of early morning, but which, if not corrected,
would have a scattered and disagreeable effect, but which
is quite compensated for by the figure which brings them
into a focus.

The other picture is a view of the pool at Burnham
Beeches, in which the effect of the commencement of twilight
is perfectly given. The sun is sinking behind a screen of
trees, defining the branches and trunks with a thin edge of
light. The darkest mass of shadow is in the centre of the
picture, relieved by some white ducks on the bank of the
pool, and which serve to enliven the only part of the picture
that was in danger of dullness. No figure is introduced,
and the whole expression is that of solitude and gloom.

In looking over my portfolio 1 met with another photo-
graph which will illustrate what I have advanced. In this
picture, which is by Mr. Durrant, a breezy day is perfectly
expressed. It has not that appearance of jx-trified motion
which is sometimes the defect of instantaneous photographs
of the sea, but you feel that the w'ind is stirring the trees,
although it is evident that nothing moved while the picture
was being taken, and the exposure must have heen con-
siderable. The clouds, which are from a separate negative,
appear to skim through the sky with a very lively motion.
These examples will, I hope, tend to show that photography,
even in landscape, need not be the lifeless thing we find it
in average productions.

M. BRAUN’S COLLODION.

Most photographers are familiar with the charming stereo-
graphs of Alpine scenery issued by Mr. Braun, a class of
picture in .vhich he has had no rival but Mr. England.
I)r. Vogel, in his recent letter to our excellent I’hiladelphia
contemporary, gives the following as the formula of the
collodion used, which, our readers will observe, is very
similar to that of the collodion generally used by Mr.
Eugland. Braun’s formula standi as follows: —

1. lodizcr.

Ether

... 250 grammes

Alcohol

... 200 „

Iodide of cadmium

... 14 „

Bromide of cadmium

... y

2. Plain Collodion.

Alcohol

... 250 grammes

Ether

2.50 „

Cotton

15 „

1 and 2 arc mixed in the given proportions. If the ccllo-
dion appears too thick, it is diluted with equal parts of
alcohol and ether.

Silver Bath.

Nitrate of silver ... ... 8 to 10 grammes

AV'^ater ... ... ... ... 100 „

Developer.

Water

Brotosulphate of iron
Acetic acid...

...1000 grammes
- ’lO „

60 to 80 „

March 13, 1868.]

TIIK riIOTOGRA.PIIIC NEWS.

127

ACETATE OF LEAD IN THE PRINTING BATH.

At a recent meeting of the Philadelphia Photographic
Society, Mr. Newton exhibited some prints which excited
much admiration. The process by which they were pro-
duced was iis follows : —

He floated the paper for half a minute on —

Nitrate of silver
Magnesium
Potassium ...
Acetate of lead
W ater

2o grains

25 „

25 „

5 >.

1 11. ounce.

Toned in a bath made as follows

Carbonate of lime. . .

„ magnesium...

,, baryta

Water

1 grain
1

1 ..

1 11. ounce.

To which gold was added in quantity sullicicnt to produce
the desired effect.

A GOOD KEEPING COLLODION,
ny w. j. LAND.*

Havino made a series of experiments with a view of ascer-
taining the best-keeping and most generally useful bromo-
iodized collodion, I tind the following formula to yield an
article which combines, in a high degree, live excellent proper-
ties that a negative collodion should po.ssess, viz : great stabi-
lity and sensitiveness, fine flowing qualities, full intensity,
and capability of producing extremely delicate details. This
collotlion works well when ten days old, and excellently for
two years afterward. Samples of the collodion, now twenty-
two months old, produce faultless negatives as regards the
above-named qualities. It is yet almost colourless, and its
sensitiveness scarcely impaired. In working qualities it is
very similar to Dr. Vogel’s excellent standard collodion,
but possessed of greater keeping qualities, which I attribute
principally to the bromide of magnesium. It would please
me much to have others experiment, and report upon the
good qualities claimed for this collodion, which, 1 believe,
is without a superior.

Formula.

Plain collodion containing 3-5ths

(by volume) of pure alcohol ... 1 ounce

Pure bromide of magnesium ... 3 grains

Pure iodide of cadmium ... ... ,,

The plain collodion used in the experiments was four
mouths old.

ENLARGING BY MAGNESIUM.

BY J. SOLOMON.f

Before giving you a practical illustration of the method of
producing enlarged photographs by means of the combus-
tion of magnesium, a few words on that singular metal may
not be out of place.

Magnesium was first discovered by Sir Humphrey Davy,
in 1807. He reduced magnesium under the most powerful
electric apparatus that had been made in his daj's. Some
years after Mr. Deville obtained the metal by acting on the
chlorides of magnesium and ammonium with sodium, but
only a few grains were obtained after a troublesome and
costly operation.

Bunsen reduced magnesium by decomposing the fused
chloride of magnesium by means of the electric battery, .and
the metal so obtained was pressed into wire. In 1859
Professor Roscoe, of Manchester, instituted some experiments
to show the intense nature of the light emitted from com-
bustion of the magnesium, and these experiments were pub-
lished in 1801.

* Philadelphia I'hotographer.

t Read before the North'Londou Photographic Association, March 4tb, 1868.

Sonst.adt, of Nottingham, was induced to go into a series
of experiments, as it appeared manifest that, if magnesium
could be obtained on a large scale and at a reasonable
price, it would be a gre.at boon to the art of photography.
In the year 1863 Sanstadt patented his process, which is as
follows : —

The m.agnesia of commerce — that is, carbonate of mag-
nesia—is acted on by hydrochloric acid, and chloride of
magnesia is formed. To this chloride the chloride of potas-
sium is added, and these are fused together. These in turn
are pLaced in crucibles with sodium, and the magnesium is
obtained in sm.all globules, almost as minute as dust. This
residue is rvell washed and placed in a large iron refiner,
which is placed in .an intensely hot furnace, where it remains
from fourteen to eighteen hours, when the metal volatilizes
and passes down a tube running through the centre of the
refiner, and the metal is found at the bottom in a large
lump. It is not yet suited for making wire, because of the
impurities it contains ; it is therefore broken into small
pieces and again refined. Sometimes this refining has to be
repeated three times or more, and each time it loses in re-
fining twenty-five per cent, of the metal introduced. The
pure metal is cast into ingots, then drawn into wire, and
.again pressed between hot rollers to make it into ribbon.

Jlagnesium is the lightest known of .all metals, being onc-
sixth of the weight of silver. It is a very good conductor
of heat, and the most energetic generator of electricity
known; hence it is now much used instead of zinc for gal-
vanic belts.

^Magnesium is mostly known for its lighting properties,
and its use and aid to the art of photography is now a fact
established. It is used by the army in Abyssinia, and can
be aitached to balloons, which would prevent any ambush
surprise, and can be used as rocket signals, or for lighting
up at night the entrance of vessels into a harbour; or for
throwing, by the aid of reflectors, its light into the deep sea
at night, so that divers can examine the keel or sides of a
ship, on an accident happening at night to the lower parts
of the vessel. The light is .also used in cx.amining the rifled
and other cannon, as any trifling crack or flaw is easily dis-
tinguished by its means. It is the e.asiest light for copying
oil paintings, giving every shade of colour, producing all
the minute shades of half-tone ; and an artist is now explor-
ing and taking photographs of everything interesting in
the cat.acombs of Rome.

Having said so much concerning magnesium, allow me to
say a few words concerning the magic lantern.

It contains in itself all requisites for producing perfect
enlargements of the slides which are inserted, and which
for the purpose in hand are in the form of thin sharp
neg.atives. With a good light (such as that of m.ague-
siurn), a good condenser, and an achromatic object glass
(or, more properly, an achromatic portrait combination)
what is there to hinder the enlarged image thrown upon the
screen from being both sharp and true to all the gradations
in the negative? The principle of enlarging is to throw
an im,age upon a screen, which screen shall be composed of
sensitive paper, on which, by after-developing or otherwise
the image shall be strongly and visibly impressed. For
great brilliancy, albuminized paper prepared with iodides
and bromides may be employed ; or for great softness of
design, either rice surface paper or plain paper, such as
Hollingsworth, thick Saxe or Rive, can be used. The ex-
citing solution is nitrate of silver, with a few drops of acetic
acid added.

The image h.aving been allowed to act on this sensitive
p,aper for a portion of time varying from twenty seconds
upon and according to the degree of enlargement required,
is afterwards developed by a solution of gallic or pyrog.allic
acid ; and, when the development is considered sufficient,
it is fixed by means of hyposulphite of soda. These
remarks arc only of a gener.al nature. I now proceed to
supplement them by actual experiment.

128 THE PHOTOGRAPHIC NEWS. [March 13, I8(i8.

REMOVING VARNISH FROM A COLLODION
FILM WITHOUT INJURY.

BY V. G. BLOEDE, CHEMIST.*

It is often a great desideratum to remove a film of varnish
from a negative or positive picture. Not only are mafiy
pictures, especially ferrotypes, spoiled by unskilful or care-
less varnishing, which produces “ ridging ” on the plate, but
the glossy surface of the varnished picture, acting as a
powerful reflector, renders the clear and perfect copying of
the same impossible. An unvarnished ferrotype can be
copied almost, if not quite equal to the original ; while one
that is protected with a film of any kind of varnish never
copies clearly, but always more or less blurred and fogged.
Even to the print, a badly varnished, “ ridged ” negative is,
in some cases, highly detrimental. Though, iu many cases,
very desirable, no piocess has been hitherto known, as far
as we are aware, which would thoroughly remove all adher-
ing varnish, without the total destruction of the collodion
film ; and in placing before the practical photographer a
sure and simple method accomplishing this result, we feel
confident that it will prove of much value to him.

Our method of removing the varnish from a picture, and
which leaves the delicate film of the collodion cleaner and
better than ever, is by means of the vapour of alcohol. Place
a small dish or saucer containing about two ounces of alcohol
upon a moderately hot stove, and when it begins to boil,
hold yoar picture in a slanting direction, in such a manner
that the alcoholic vapour strikes directly upon the film of
varnish. Here it is rapidly condensed, and, absorbing the
gums, runs oft the plate in large drops. In a very few
seconds the plate will be perfectly clean, and every atom of
the varnish have disappeared, leaving the collodion film in
its original delicate condition. The alcohol, in the form of
vapour, seems to have a peculiarly powerful action upon the
varnish gums, and in this form one ounce is more efficient
in removing the gums than when the plate is washed in
one pint of waim alcohol. If a large quantity of plates are
simultaneously treated, the drippings may be collected, and
will generally be found to be of the same consistency as the
original varnish used upon the plate. A very convenient
way of working this process is with a fuming-box such as is
used for fuming or ammoniatiug silvered paper. A dish of
well-heated sand may be placed upon the bottom of the
box upon which the alcohol is placed, then, after fastening
the plate to the cover of the box in the usual manner, this
may be closed. In the course of a few moments the var-
nish will be found to be entirely removed. Though the
sphere of this process is rather limited, it will, nevertheless,
undoubtedly find many useful applications.

grorcfbiufj.'i of

Noutii London Photographic Association.

The annual meeting of this Society was held in Myddelton
Hall on the evening of Wednesday, March tth, Mr. W. W.
Kino in the chair.

The minutes ol a former meeting having been read and con-
firmed, the Secretary read the following

Annual Report.

Y'our Committee, on presenting their report for the past
year, congratulate the Society on its continued prosperity.
Tliough they cannot but regret that the number of papers has
not been so large as could have been desired, yet the following
list will show that the session has not been quite devoid of
interest in that respect : —

On the producing of diffusion of focus in photographic
images, and the effects produced by the use of very small aper-
tures or stops, as required when including a large angle of view
— By Thomas Gnibb, M.R.I.A.

* Philadtlphia Photographer^

Remarks on landscape photography, and the apparatus em
ployed— By E. Dunmore.

What branches of photography will be found most amu.siug
and interesting to the amateur — By J. Bockett.

Architectural photography — By W. W. King.

Artistic pictures photographically considered — By E. Dun
more.

Glass for photographic purposes, and the changes of colour to
which it is subject — By G. Wharton Simpson, M.A.

They would also call attention to the apparatus which various
manufactories have kindly exhibited, and especially to the i>ho-
tographs which have been brought before your notice, amongst
wliich, as deserving particular notice, must be mentioned the
largo photographs of Krupp’s steel manufactory, in Prussia, and
some exquisite transparencies by Mr. W. Bedford, one subject
of which was your presentation picture for last year. It is
much to bo desired that this branch of photography should bo
more generally followed up. The surplus, as will be seen by
the account submitted by our Treasurer, Mr. Hill, is good, and
will enable your Committee to distribute a l.irger number of
prints than they have done in any former year ; but they will,
as heretofore, however, confine the distribution to that of prints
possessing more than average merit, and may point with some
degree of satisfaction to what they have done already, inter
alia, in securing such a beautiful specimen as that of Holy
Street Mill, by our member, Mr. Francis Bedford.

In conclusion, your Committee would again urge on the
members the importance of the contribution of papers for the
meetings, and the exhibition of pictures and apparatus at the
same, which always possess an interest lor those who are really
earnest in photographic pursuits.

The Treasurer’s account is as follows : —

Treasurer in account -with titc Xorth London rhoto'jrajihic
Association.

Dr.

£ *. d.

Cr.

£ .«. d.

Balance

.. 38 15 1

Expenses from last year.

. 8 18 U

Subscriptions

.. 37 16 0

Prints, journals rent, and

Arrears

.. 1 11 6

sundries

. 29 6 9

£78 -1 7

Balance

.. 39 17 10

Balance

Examined,

.. 39 17 10

£78 2 7

.IlME.S 0oOPIB> .. ....

J. Whboe ]^'^<litors.

4/A .VarcA, 1863. D. IV. HILL.

The ofticers for the ensuing year were then elected as
follows : —

President-. Charles Woodward, F.R.S., J.P.

Vice-Presidents ■. G. Wharton Simpson, M.A.; W. W. King ;
A. Gosletf.

Treasurer : D. W. Hill.

Honorary Secretary ; John Barnett.

Committee-. J. Bockett, W. Bedford, C. J. Belton, W.
Cooper, E. Dunmore, F. W. Hart, T. Ross, and W. Shave.

It was propo.sed and carried, after some conversation, that
the January meeting, which, coming so early in the month and
close upon the time of Christmas festivities, was often incon-
venient, should in future bo postponed at the discretion of the
Committee, who should announce the arrangements made at
the Uecemher meeting.

Mr. Solomon then read a paper on the magnesium light
(see page 127) and, with the aid of Mr. Allen, proceeded to
demonstrate its value for enlargements, using the apparatus ho
has devised for the purpose. The exposure given was sixteen
seconds, and the enlargement, although good in other respects,
was considerably over-exposed.

Some conversation followed, in which Mr. Allen stated that
ten seconds’ exposure would have been suflicient. The paper
was prepared in accordance with the formula we recently
described, and develojied with a hot solution of gallic acid.
Where rapid exposures were for any reason desirable, hot de-
velopment was an advantage ; but for certainty and brilliancy
ho preferred cold development.

Mr. Werge exhibited a couple of photographs on albumin-
ized paper, which had been printed about twelve years, and
were as pure and fresh in colour as they wore on the day they
were produced. He attributed theirpermanencyto the method of
alternate cold and hot washing which he had recently de-
scribed at a South London meeting. The subject of one of

Marce 13, 1868.]

THE PIIOTOGRAPIIIO NEWS.

12'J

the pictures was a charmingly artistic illustration of tlio “ Song
of the Shirt,” and of the otlier, “ The Sowing Machine.”

Mr. DuNvroRE exhibited some brilliant prints produced with
a concentrated light.

Mr. Goslett exhibited several examples of glass which
changed in colour from exposure to light.

A conversation on the subject followed, in which Mr. Goslett
stated that the common green sheet glass was the least liable
to change, and therefore most suitable for glass houses. A
21-ounce glass was of suitable substance.

After some further conversation and several vot !S of thanks,
the proceedings terminated.

London Piiotookapiuc Society.

The usual monthly meeting of this Society was held in the
Architectural Gallery, Conduit Street, on the evening of
Tuesday, the 9th inst., the Ucv. J. B. Keade in the chair.

The minutes of a preceding meeting having been read and
confirmed, the Hon. Win. I’etro was elected a member of the
Society.

The CiiAiR.MAN then read an eloquent extract from a speech
intended to have been delivered by the late Sir David Brewster
before the Royal Society of Scotland, but, in consoquenoo of
the illness which resulted in his death, read for him. It
pointed out in forcible terms the value of photography as an
adjunct to scientific education, a subject which he (the Chair-
man) was glad to say occupied much more attention now than
it did when ho was a boy, for his schoolmaster would at any
time have rather have seen him construing a line in Horace
on the beauties of the fields, than have seen him gathering or
studying the beautiful flowers so described. Wo shall print
Sir David Brewster’s remarks in our next.

Dr. Mann then read an interesting account of tlio dilllculties
of an amateur in South Africa, and exhibited many interesting
landscapes and portraits illustrative of ethnological types. His
paper wdll appear in our next.

Mr. Frank Goode said tliat as ho had somo experience in
photography in the four quarters of the globe, ho might offer
one or two remarks on the subject of the paper. Ho was him-
self a groat stickler for the wet process, and did not believe, as
a rule, in any necessity for the use of dry plates. He had spent
about seven months photographing in the East, and had used
it entirely. One of the greatest difficulties which arose con-
sisted in the difficulty of transport of materials, and also of the
great heat affecting the chemicals if they were not suitably
packed. He had had his packing-cases lined with felt 2.) inches
thick. This was, of course, a somewhat expensive process, but
the result was worth the cost, as it kept everything quite cool.
His collodion bottle.s were packed in tin cases surrounded with
s.iwdust. He was from home nine months, and the quality of
the collodion steadily improved from the time he commenced
using it — two months after he started— to the end of the time.
He liked the developer old also, and would, in future, always
take care to keep a gallon of developing solution prepared in
advance. He had very little time allowed by the dragoman of
their party, often having not more than two hours to produce
six or eight negatives and unpack and repack all his wot appa-
ratus. Nevertheless, ho would use the wet process again. Dry
plates would, of course, be occasionally useful for an emergency,
where time could not be allowed for getting ready wet appa-
ratus, when the steamer only touched for a short time at
any place, but he would rely on the wet for all general
purj loses.

Mr. S. Fry was glad that Dr. Mann had recognized the iin-
jiortance of getting negatives without after-intensifying, and
the advantages which the gelatino-iron developer afforded for
such a purpose. In reference to the morphine process his faith
had been a little shaken, some plates prepared a few months
which ho had recently tried having lost sensitiveness almost
entirely.

Dr. Mann said, referring to the remarks of Mr. Goode, that
no doubt a skilled professional photographer would get good
results by almost any process and under any circumstances.
It should not be forgotten, however, that photography was
more difficult in South Africa than in the desert, as tho mois-
ture, as well as the heat, was so troublesome in Africa. His
appeal to the members of tho Photographic Society was for a
process which an amateur might work with some degree of
success under the difficult conditions he had described. He
should especially have liked to know of any one who had any

experience with tho plan of exposing tho plate whilst still in
tho bath.

The CiiAiR.MAN, after proposing, in complimentary terms, a
veto ot thanks to Dr. Mann, announced that Mr. II. P. Robin-
son had volunteered to produce ono of his well-known charm-
ing pictures, and present a copy to each member of tho Society
as a presentation print, klr. II. Claudet had also volunteered
to present each inomber with a print from the hiat negative of
his late father, which had an especial interest from having been
taken with his topaz lens. Mr. England had also promised,
when on his summer tour, to produce a special negative for tho
purpose of presenting copies to tho members. These things
would prove, in spito of the breezy little notices which appeared
now and then announcing that tho Society was going down,
that its motto was “ excelsior,” and of this tho public, as well
as themselves, would become assured.

The CiiAiRM.AN called attention to a little work exhibited by
Dr. Powel, in which an account of tho ascent of tho Picterbotli
Mountain, in the Mauritius, 2,81 1 feet high, was illu--tratod by
photographs. Ho also called attention to some fine specimens
of portraiture by Mr. Fradclle. That gentleman, on being
appealed to, explained that, having an opportunity of spending'
a few hours in the studio of M. Salomon, those pictures wero
the result of an effort to produce results in a similar direction.
Mr. Fry exhibited some very fine portraits of a similar class.

The UiiAiuMAN said that tho Secretary had received a further
communication from Mr. Johnson on the use of pernianganato
for rectifying the nitrate bath ; but as tho hour was late anil
Mr. Johnson was unaUo to bo present, he would defer its read-
ing until another occasion. At tho next meeting, also, Mr.
Griggs would road a paper on tho application of photography
to press printing, illustrating tho process by demonstration
before the members.

After somo votes of thanks, the proceedings terminated.

€^0rrtsg'oui)£ttr£.

THE COFFEE PROCESS.— RECTIFYING BATHS.

My Dear Sir, — I observe, among your Answers to Corre-
spondents, that you hope for some information from mo on tho
subject of the Coffee Process. I confess I have not much more
to give than I gave some months ago, tho only source of
deterioration in negatives lying in tlie age and failing qualities
of tho nitrate bath. I have found that by proceeding as I shall
presently describe, this fickle tluid may bo bronght to a state
of perfection for tho production of negatives, and rondorod
equal to a new bath, it not superior.

I generally use 10 ounces of bath at a time for It by 9 plates,
and when this becomes slow and gives hard n -gatives, I set it
aside. After working up somo GO or 80 ounces of solution, I
put the whole into a very large pircelain capsule, which I
place upon an iron frying-pan filled with sand over tho hot
plate in the kitchen, and cover tho capsule with an inverted
glass funnel. I then evaporate rapiilly to perfect dryness, and
the liquid, which at first was clear and bright, becomes black and
discoloured from the precipitation of the organic matter. Tho
salt now froths up violently, filling tho whole capsule ; nitrous
fumes aro disengaged ; the froth sinks to tho bottom ; and tho
nitrate of silver enters into a state of fusion. I keep it thus
quietly fused for seven or eight minutes, after which 1 remove
sand-bath and all from the tiro, and let it slowly cool. It this
is done carefully, the capsule will not crack ; but if too much
nitrate is left, the salt, in becoming solid, contracts, and ailheres
so strongly to the porcelain that a fracture will result. When
quite cold, 1 add distilled water, which in a few hours dissolves
tho salt, and, after filtering, I measure the density of tho result-
ing solution by tho argentometer, and add sufficient water to
dilute it to 3-5 grains to tho ounce. Then, to every IG ounces
I add one drop of pure nitric acid, which I find quite sufficient
to keep the shadows of the negative clear.

If any of your readers will only try this plan — which, after
all, involves but little more trouble than tho usual system of
doctoring a bath — they will find that, with ordinary com-
mercial collodion and an iron developer of 15 grains with
15 minims of acetic acid, first-rate negatives are produced, re-
quiring no after-intensification whatever. As the conditions in
this case are unvarying, tho result being the production of an
absolutely pure solution of nitrate containing a trace of pure

130

THE PHOTOGRAPHIC NEWS.

[March 13, 1868.

iodide of silver, there seems no reason to suppose that the
same very desirable consequences will not always follow from
its use. I need not add tliat tho production of satisfactory
coffee plates or collndio-albumen plates by Mr. England’s
method will necessarily follow from the employment of this
excellent bath.

Forgive me for the space I have occupied, but the matter is,

I think, of sufficient importanco to warrant some notice being
taken of it. — Faithfully yours, N. Jocelyx.

FlorcMe, March 2, 18G3.

PIIOTOGR.VPIIY AND DISEASE.

Dear Sir, — Your article on “ Photography and Disease,’
and tho correspondence thereon, I hope will have the effect of
making many photographers take a lit le more care to guard
themselves against the inhalation of noxious fumes and absorp-
tion of poisonous solutions. A great many operators and
printers aro so fearfully careless in tho uso of the various
photographic chemicals that tlie wonder is wo do not hear more
of their ill oflects. I cannot understand, for instance, why so
many will persist in tho uso of cyanide of potassium. Then,
again, citric acid may he in many cases substituted for the
volatile acetic acid ; the inhalation of tho vapour of this acid, I
am firmly convinced, is most injurious, used, as it frequently is,
day after day in small and ill-ventilated dark rooms. I think,
with Mr. Fitt, that the contact of the skin with tho solution of
nitrate of silver, in print w.ashing, is not so very injurious ; but
in my opinion the hands should be dipped as little as possible
into tho gold toning baths. It would be well if all employers
would provide their printers with india-rubber gloves* for use
in tho operations of toning and fi.iing. In my time I have
toned a considerable quantity of prints, and I have had two or
three very painful sores upon the hands. On one occasion I
suffered intense pains for a fortnight, and scarcely slept during
that time. My general health being: remarkably good, I cannot
but think that tho gold bath w.as the cause of my sufferings.
I should like to know if others have found themselves similarly
affected. I’erhaps Mr. Bovey could tell us something of the
matter.

Your correspondent, M. W. .1. S.,f writes of the injurious
effects of collodion used for plate cleaning. Why use it?
There aro other plans to effect this purpose ns well.

I consider it as a duty all operators owe themselves to take a
brisk walk after work, and so exhale as much .as they can of
the ether they may have inhaled during the d.ay.

Hoping that this subject may be thoroughly discussed in your
pages, I am. dear sir, yours very truly,

Stonehouic, March Qlh, 1868. A Preventive Man.

PHOTOGRAPHY AND DISE.VSE.

Dear Sir, — In your chemical analysis of the compounds
used in photography you have always been most willing to lay
particulars before tho public, and oblige your numerous friends
and readers. Would you enlighten my ignorant self the dif
ference in ph}'sical strength between an operator and his
employer.

1 see in your last a correspondent evidentlv finds out a plan
to save his own health by allowing “ an assistant ” to do the
“ injurious ” part of tho work. Does ho think employers and
employed are made of a different kind of clay ? If not, surely
his discovery will fail in bestowing much benefit upon his
unfortunate fellow-beings who, unlike him, aro compelled to
work. — I am, dear sir. yours, &c.. Sufferer.

March \0th, 1868.

[The question opened by implication in our correspondent’s
letter is a wide one. Ho implies that an employer is not
justified in paying others to do for him things which would be
inconvenient or even injurious to himself. A wide question of
social philosophy is involved which we have not space to
discuss here ; but wo may point out that, admitting tho prin-
ciple implied, our correspondent would not be at liberty to
employ colliers to hew coals or sailors to reef topsails on a
stormy night, or persons to engage in a thousand uncomfortable

* The employment o( horn forceps is best. They are simple, convenient,
and clean.— Ed.

t The signature to the letter in our last, " .M. tV. J. S.," should have been
“M. W., Junr.” The initials belong to a well-known and highly esteemed
amateur of considerable experience.— £d.

or dangerous occupations which conduce to public comfort.
To narrow the question to tho case of photographic operators,
we always urge on employers the importance of securing to
their operators the fairest conditions possible tor doing their
work, such as tho uso of well-ventilated dark rooms, the
disuse of unnecessarily injurious chemicals, &c.; but surely
no one would argue for a moment that an employer in deli-
cate health was acting unfairly or selfishly in engaging an
assistant to do a certain class of duties for which he personally
felt himself unfitted by reason of his delicacy. The portraitist
fully engaged in the studio, whether ho bo employer or em-
ployed, has frequently quite suflicieiit strain upon his nervous
system in the duty of managing difficult sitters, without further
depressing his energies by the atmosphere of the dark room ;
whilst 'he who is fully engaged in the dark room would
scarcely be in the best condition for bearing with tho whims
of sitters, and making artistic pictures of awkward persons. —
Ed.]

PIIOTCGRAPIIY AND DISEASE.

Dear Sir, — I have read with much interest tho various
letters on “ Photography and Disease.” It is a very important
subject to every photographer, and every person who has any-
thing to say, for or against, should not hesitate to say it, so
that our beautiful art may not be condemned unless clearly
proved guilty.

Tho majority of your correspondents seem to hold tho opinion
that photography is, however praclise<l, unhealthy. That w.as
my own opinion for a long time ; hut as it was from tho first
contradicted in my own experience, I have no hesitation in
saying that no person has given tho matter more careful atten-
tion than I have done daring the past six years, and I now
say without hesitation that I do not believe that photography
is in itself more unhe.althy than numbers of other professions
and businesses that wo hear no complaints about. It affords
greater facilities for abuse, and is so fii.scinating that it lures
its lovers to over-exertion, and then it receives all the blame.

When 1 commenced the practice of photography, about six
years ago, I had been troubled with a cough for eight or nine
years, and knowing that it was considered to bo unhealthy, I
was naturally anxious in the matter. Being very fond of tho
art, and determined to learn it thoroughly, j-ou may be sure I
did not spare myself; and it rather surprised mo when I found
that my health was improving. I then concluded that
although in general unhealthy, photography w.as not so to me,
and that some of the chemicals did me good. That opinion
was confirmed by a medical friend, wdio, knowing that photo-
graphy was considered to bo unhealthy, felt at a loss to account
for my slow but steady improvement in health in any other way
than by attributing it to the fumes of cyanide and ether ; but ho
cautioned mo as to their dangerous nature. At the time I wrote
tho particulars to you, and you were so kind as to publish them.
That was more than two years ago, and my health still con-
tinues better ; but I have carefully watched the effects, and
now believe that neither cyanide nor ether, nor any other
chemicals, aflect mo, either injuriously or beneficially. The
great temptation to over-exertion in summer, and irregularity
in taking food, are, I believe, greater enemies to photographers
than their chemicals.

As I have done nearly all tho work in my business during
these six years except print and mount, I have had to do with
all the chemicals commonly used ; and as I have frequently
wrought from six or seven o’clock in tho morning sensitizing,
printing, and toning, till nine or ten o’clock at night, I had
plenty of them.

I know a gentleman who commenced photography lielioving,
with many others, that it was very simple, aud that he could
make lots of money at it. Ho did not trouble liimselt to learn
“ tho reason why ” of anything, and knew little about his
chemicals. Ho got tolerably fair negatives, and took a good
deal of money ; but he lost more than he gained. He mixed
his cyanide by guess, and, judging by the manner in which
it cleared the negative, I should imagine it could not bo
weaker than 10 or 12 per cent, of cyanide, and frequently the
bottle was left uncorked. Ho was very careful to have clean
hands, and ho kept in tho kitchen a solution of cyanide for
washing them wdiich could not contain less than 12 or 15 per
cent, of cyanide. Tho parlour was above tho kitchen, and I
have heard his sister say that when sitting in tho parlour she
could easily smell tho cyanide when her brother was washing

THE PHOTOGRAPHIC NEWS.

131

March 13, 18G8.]

hia b.'tnds in tho kitchen. I could give other instances, but
that one is enough of tho action of chemicals. Aud is it, then,
any wonder that people suffer ?

If photography is so unhealthy, there can bo no difficulty
in proving it if people come forward; and if not, let all true
lovers of the art bestir themselves, and wipe away tho stain,
and prove that photography is not unhealthy to men of intelli-
gence who know how to use without abusing it. — I am, dear
sir, yours very truly, D. Welch.

Keiery, March dth, 1868.

MR. HENDERSON'S ENAMEL PROCESS.

Sir, — In your last week’s impression of tho Photooraphic
News you did mo tho honour of noticing some enamels ex-
hibited by mo to a few of the members of the South London
Photograj)bic Society. Allow mo to make a few remarks con-
cerning tho same. My process is in every respect different to
any other (as far as I am aware), except that preparations of
the same metals are used. By my process I am able to get a
great variety of tones, from a blue to rod or black. Jly only
difficulty at present lies in my inability to get a suitable
material (sutficieutly hard) to fire them on. I am experiment-
ing in manufacturing enamel, and hope shortly to overcome
this difficulty. Simultaneously with working out my process, I
have hit on several useful (if not valuable) discoveries : viz., a
permanent printing process on paper without silver, or any
white or bl.ack surface ; a new intensifier ; and a more suitable
picture for tho magic lantern. A transparency (without silver,
I say again) can be burned in on glass, and curved, so that
when the imago is reflected on the screen there will bo less (if
any) marginal distortion ; any density and colour may be
obtained.

I am sorry I cannot give tho photographic world tho benefit
of my experiments, for reasons explained before to you. Apo-
logising for troubling you, I remain, sir, yours respectfully,

A. L. Hexdeusox.

PS. — I forgot to say that my process is particularly applicable
for porcelain, or any glazed surface.

49, King William Street, E.C., March 10. 1868.

[Tho importance of the incidental discoveries which Mr. Hen-
derson mentions, as well as of his enairrel process, will, we are
sure, occasion regret to Mr. Henderson himself, as well as to
ourselves and to tho photographic world, that ho cannot with
propriety make public the result of his labours. But when a
gentleman has devoted much time, thought, and money to the
perfecting of any discovery or invention, it is perfectly clear
that he is entitled to the advantages of such discovery. We
regret to say that the temper iu which many discoveries and
inventions, when publisheil freely, have been received by por-
tions of the photographic world has not been of a character to
induce experimentalists to be content with the scanty and oft-
disputed honours of discovery. — Ed.]

TO TOUCH, OR NOT TO TOUCH,

Sir, — When I read, in the letter on the 106th page of your
valuable journal of 28th February last, regarding M. Salomon's
portraits — I need not quote tho remarks, as I believe there are
very few photographers who have not these pages to refer to —

I was reminded of some recent experience of my own.

I am a travelling photographer, and having often heard of j
the great excellence of the photographs of a Mr. Collins, Clon-
mel, who has acquired at least a provincial celebrity, I, for
curiosity, recently visited that town to see the pictures. They
far exceeded my expectations, but, to be candid, it appears to
me some of them are “ touched ” and some are not. I must |
confess, however, I have seen nothing to come up to tho general |
detail and engraving-like softness of these pictures.

But whether these or M. Salomon’s portraits, or any others |
which excel, are touched or not, I feel that professional photo- i
graphers are sadly in error in condemning a photograph for
being “ touched ” to advantage, as it is a rare occurrence to .
find one which is not. Many very excellent pictures, as wo all [
know, if left in their original state would be quite objectionable, '
through spots or lines of a detrimental nature, which will occur |
with the most cautious and expert manipulator ; and if “ touch-
ing ” (as it is called) be a crime, few of us are guiltless. For
my own part I am quite incompetent to “ touch ” in any further I
degree than is necessary to remove marks or spots ; but because [

I lack artistic talent, I should consider it very dishonest to con-
demn what 1 cannot accomplish. We know that tho very best
photograph, unaided by the artist’s pencil, is often deficient as
a work of art. Perhaps, however, it may be foolish to encourage
“ touching,” as its success may prove ruinous in incompetent
hands. I know that I have altered tho likeness in almost all
cases where my ambition tempted mo to its practice beyond
certain limits, and I fear that wo must come to tho final con-
clusion that no photographer can attain the highest excellence
in portraiture if he have not something of the skill of a minia-
ture painter. Boxa Fide.

o

Salk in the StuMo.

Photo-Relief Prixtixg. — Mr. Woodbury’s process of photo-
relief printing has now come into actual commercial operation,
and Uisderi and Co. are publishing somewhat extensively
c.abinet portraits of various members of tho royal family pro-
duced by this means. M. Uisderi was summoned a few days
ago, by the Prince of Wales, who was desirous of receiving an
explanation of the principles and practice of this method of
printing.

PiiosPHORESCEXT SALTS. — At the meeting of the Chemical
Society on Thursday evening, 5th instant, the President ex-
hibited some interesting examples of phosphorescent salts
arranged in series so as to imitate the colours in the solar
spectrum. A butterfly, also, with gorgeous wings extended, was
constructed by placing the various salts, in patches, behind the
glass jdato of a pressure-frame. These illustrations were tho
work of M. Gaifte, and were said to have been prepared from
the sulphates of baryta, lime, and other earths, by reduction
with carbon to the state of sulphides. They are very similar
in character to the series of phosphorescent salts arranged by
Prof. Becquerel for tho Conservatoire des Arts et Metiers, in
Paris. To start tho phosphorescent activity of tho chemical
salts the frames were exposed to the intense light given out
during tho combustion of about six inches of magnesium
ribbon.

More Piracy. — Mr. Isidor Gorson, a printseller, of 71,
London Wall, was summoned before Sir Robert W. Carden by
Mr. Henry Graves, of Pall Mall, the eminent publisher to tho
Queen, for selling fourteen photo.rraph3 of engravings of which
Mr. Graves possesses the copyright. After some evidence,
Mr Beard took an objection to four of the summonses which
referred to the copyrights which -charged the defendant with
copying “ a painting or tho design thereof,” and urged that
there was no evidence to show that these were copies of a
painting. — Sir Robert W. Carden reminded Mr. Beard that the
words were “ or the design thereof.” — Mr. Beard contended they
were the same thing. With regard to the other summonses,
they were for fraudulently selling photographs with the name
of a person on them as the maker who was not the maker.
There had been no evidence of fraud, and without that there
could bo no conviction. If, however, tho worthy magistrate
decided on convicting defendant, ho hoped Sir Robert W.
Carden would grant him a case. — Sir Robert W. Carden said
that it was impossible to believe that there was not a guilty
knowledge on the part of tho defendant. He would not fine
him the full penalty of £10 in each case, but in the mitigated
penalty of £5, or one week’s imprisonment in each case,
making £70 or fourteen weeks’ imprisonment. In Franee it
would be imprisonment without a fine ; he trusted he should
see tho time when that would bo the law in England.— The
fines were then paid under protest.

Pexsiox to Lady Brewster. — A pension of £200 per
annum has beeu conferred on Lady Brewster by the Govern-
ment, in consideration of the scientific labours of her husband.

Patext Law Reform. — At a recent meeting of tho Inven-
tors’ Institute, on Thursday last, Mr. R. Marsden Latham read
a paper “On the Desirability of Assimilating our Patent Laws
to those of France and America, to enable this Country to
Maintain its hitherto almost Uncontested Superiority in the
Mechanical and Chemical Arts,” After some discussion, the
further consideration of the subject was postponed until the
next meeting.

ViGNETTiXG in THE CAMERA. — Various methods have been
employed for the purpose of vignetting tho negative so as to

132

Till'] iMIOTOGRAPilIC NEWS.

secure uniformity and save trouble in printing. Mr. Kejlander
mentioned to us, a few days ago, a plan which he had been
using with success. A piece of card, with a suitable aperture,
is placed in the camera, an inch or two in front of the sensitive
plate, wliich was then duly exposed to the object to be taken,
the image, of course, being vignetted by the card in the camera.
Tlie edge of the plate would, however, bo transparent, and if
used so would yield a vignette graduating info black instead of
into white. The next operation is therefore to place in the
camera, in jdace of the card, a piece of glass or mica, witli the
centre blackened and rendered opaque to protect the image
already received on the sensitive plate. Tlie margin, being
then exposed to light, becomes, on devefopment, dense and
opaque, and produces a satisfactorily vignetted negative.

®0rm|jonb£nts.

Delta. — For new plates we generally prefer the use of a cream
or paste of alcohol ami rotten-stone. Water ami rotten-stone,
or water and whiting, will, however, answer. For plates which
have been used, dilute nitrie acid is good, or a eream-like solu-
tion of whiting and water, with about half a drachm of cyanide
of potassium added to each ounce. 2. Permanganate of silver
will render almost any sample of water sufficiently pure for all
photographic purposes. It is not an article kept in commerce.
No doubt such a firm as Messrs. Hopkin and Williams will pre-
pare it for you. 3. Rod blotting-paper pressed in contact with
the back of the plate will, we believe, serve. Mr. Gordon uses
burnt sienna, we believe. This is kept in a moist state, and
applied with a broad brush.

Venator. — You had better have glass on both sides of such a
studio as that you describe. The amount of glass you describe
will probably serve. 2. The lens you propose to use is scarcely
sufficiently long enough in focus for cabinet portraits ; but u.sed
w'ith a small stop it will serve. It is the only lens we know
which is so well suited for producing both cards and cabinets.
A studio of 27 feet long will answer. 3. We shall be glad to
see the plate- bo.x. 4. \Ve shall have pleasure in showing you
the Salomon portraits if you call at our residence. Wednesday
you will certainly find us at home.

W. J. A. G. — Of course the tent will be kept accessible to fresh
air when not in use ; but we should also prefer, with a perfectly
waterproof covering, to have a moans of admitting air whilst
operating. Five or ten minutes, a period sometimes necessary,
in a small tent in hot weather, with the fumes of chemicals, render
ventilation desirable. As to the mode of admitting air without
admitting light, yen have only to remember that air will turn
round any number of corners, and that light will not, to devise
a satisfactory means of ventilation. An aperture underneath
the table part of your tent will serve ; or an ajicrture any-
where, covered with a loose apron. In some tents a ventilator
is placed underneath the small tank which stands on the
top of the tent. 2. Although, with some forms of bellows
camera, you can get some of the advantages of the swing-back,
you cannot get all, nor can you get them so perfectly or so
conveniently. You could not, by keeping the front portion of the
camera level, and tilting the part containing the plate, obtain
the advantages of the swing-back. The principle to be remem-
bered in getting correct images of buildings, &e., and avoiding
converging uprights, &:c., is that the plane of delineation (that
is, the sensitive plate) must be parallel to the building to be
delineated. 3. The instrument you mention was good eight or
ten years ago, but has since been superseded by better instru-
ments. 4. For the purpose you describe we should select No. 3.

Old Suuscriher B. B. — Gum Regialine is an American prepa-
ration, sold fo.‘ the purpo.se of mounting photographs ready for
use. Of its nature or qualities we have no information.

G. Y. — There is only one work published on the subject of photo-
lithogra))hy or photo-zincography ; that is the work of Col. Sir
H. James, published by Messrs. Longman at 12s. 6d. It does
not enter into minute technical details of the process.

F. W. P. (Chelmsford). — Mr. Morley, of Islington Green, whose
announcement you will find in our advertisement pages, is the
most likely.

Q. Y. — Primarily, the collodion you use is not the best suited to
the purpose of transferring. It has not sufficient body, and does
not give a tough, tenacious film. The wax should be rubbed off
the plate, but still a thin and almost imiierceptiblo film should
be left on. The addition of a few drops of a saturated solution
of wax in ether added to an ounce of collodion will facilitate
the transfer. From your letter we glean that you apply the
gelatine to the collodion film. This is not right. You should

[March iS, ISC^.

have gel.atinized paper ready for use, which should be applied
to the wet film and pressed in contact. If the gelatine be ap-
plied warm to the plate it will sometimes permeate a porous
collodion, and make it difficult to transfer ; but the gelatine on
jmper merely becomes adhesive by contact with cold water, and
could not permeate the film. We have recommended the use of
plain gelatinized paper for the purpose of getting rid of the high
glaze which you .seem anxious to secure. To secure this in its
l»erfection you should use the enamelled paper prepared in
France expressly for the purpose, and which is sold ready for
applying to the wet film without further preparation. The wet
method of transfer is the simplest, but if you prefer the dry you
may facilitate the transfer by adding a little alcohol to the
water in which you immerse the plate before stripping. The
plate you sent to us we immersed for an hour in warm water,
and removed the film without difficulty, but found that the film
was not very suitable. The printing and toning were good.
The card you send is an albuminized print treated with gelatine
and collodion, or “enamelled,” as it is termed, in the manner
we have often de.scribed. Those of Disderi’s are, on the con-
trary, camera-printed images on collodion, transferred to the
French enamel card or paper — to which we have just referred —
and then mounted in the ordinary way.

E. Kenyon. — Mr. Hart, who.se address you will find in our
advertising columns, will, we believe, supply them. 2. A clean,
thin, delicate transparency is necessary for the lantern when a
weak light is used, and the weaker the light the more clean and
delicate the transparency should be ; but there is no special mode
of producing transparencies suitable for lamps with weak light.
3. Read the article on Double Printing in our Year-Book for
1864. Where an object projecting into the sky is large, it is
necessary to cut a mask to lit it ; but in case of flag-staffs and
similar objects, you may print your cloud negatives over them
without danger.

D. G. (P'ews). — Your question is scarcely quite clear. You ask
why the albumen leaves the paper after toning, and refer us to
the card enclosed as an example ; but the card affords us no
evidence that the albumen has left the paper, as it possesses an
even, good surface, although not very highly glazed or albumin-
ized. Possibly you mean that the surface of the finished print
is not as highly albuminized as the original paper. Such a
thing may happen from two causes ; either the use of a nitrate
bath deficient in silver, or too short floating on a strong nitrate
bath. In either case the whole of the albumen film is not per-
fectly coagulated, and a portion of it is dissolved in the sub-
sequent operations of toning, fixing, and washing. The lighting
and general qualities of the card are pretty good.

R. S. — The edges should be turned up, so as to make a dish of
the picture, and the gallic acid solution poured in. 2. After
developing wash well, and then fix in hypo in tho usual way.

H. W. — AVe have not ourselves tried the chloride of lithium or
tartaric acid in tho collodio-chloride of silver process, having
had difficulty in getting good results with our own formulae.
The chloride of strontium we prefer, and citric acid. See our
last Year-Book. If you use chloride of lithium, little more
than half the proportion neces.sary of the strontium salt must be
used. Tartaric acid may be substituted for the same quantity
of citric acid. The formula mentioned is suitable for paper or
glass. 2. Vigour and depth depend partly on the presence of
free nitrate, and on the presence of citric acid ; and also some-
what on having plenty of body in the collodion. 3. The chloride
of calcium for drying purposes may be dried in an oven.

Beta. — We will give you our best opinion when the specimen
arrives.

Phototypes. — We have received from some correspondent two
examples of jihototype prints, from pen-and-ink shetches, but
no advice cr memorandum concerning them.

H. S. — See notes on the rectification of your bath on another
page.

J. L. — The name is, as you suppose, merely one of the many
aliases of the same person. It is not of .sufficient interest to be
worth exposing.

IlYPO(ciiONDRiAC) has not sent us his name in confidence.

Several articles i'i type are compelled to stand over until our
next.

Several Correspondents in our next.

{)f|otograpf)S IvrgistcrrH.

Mr. K. P. Recks, Eastham,

Photograph of Mr. W. Crowther.

Mr. J, D. Waymooth, Nailsea,

Two Photographs of Rev. F. Brown.
Messrs. Downey, Newcastle-on-Tyne,

Photograph of Justice Lush.

THE PHOTOGRAPHIC

NEWS.

Vot. XII. No. 498.— il/arc/t 20, 1868.

CONTENTS.

PiOS

The Use of Common Water in Photograph; 133

Photographic Exhibitions in London 131

Photograph; in South Africa 131

Photographic Pirac; 135

Pictorial Effect in Photograph;. B; II. P. Robinson 133

Some further Experience witn II;posulphite of Ammonia in

the Toning and Fixing Bath. B; Nelson K. Cherrill 137

The Magic Lantern and Photographr. B; James Martin 138

Last Words of Sir D. Brewster on Photograph; 139

PAGE

Further Remarks upon the Use of Permanganate of Potash.

B; J. R. Johnson 139

Photographic Difficulties of an Amateur in South Africa. B;

Dr. Mann — — HO

Proceedings of Societies— South London Photographic Societ; . Ill
Correspondence— Photograph; and Disease— The use of Dis-
tilled Water-Blisters in Albuminized Paper 112

Talk in the Studio 1‘13

To Correspondents 113

THE USE OF COMMOM WATER IN
PHOTOGRAPHY.

Tub use of distilled water in photography, especially for
the nitrate bath and some other purposes, has so long been
held as one of the most sacred canons of the art, that any
suggestion to supersede it by the use of common water is
regarded by many as rank and dangerous heresy. In a
correspondence which has appeared in our columns during
the course of the last few weeks this question has been dis-
cussed, Mr. Nelson Cherrill taking the initiative in advocating
the disuse of distilled water and the use of common water
for all photographic purposes. In this recommendation ho
is joined by some others, especially by a photographer so
capable and experienced as Mr. Russell Sedgefield, who
states that for many years past he has abandoned the use of
distilled water in all his photographic operations.

If distilled water always meant pure water, and secured
the immunity from the troubles which impurities in the
bath engender, the mere question of its slight additional
expense would be scarcely worthy of consideration, and we
should be indisposed to entertain any suggestion for its
abandonment ; but it unfortunately happens, as the ex-
perience of too many photographers bears witness, that dis-
tilled water is frequently not pure water, and that fog and
other defects in a new bath, which have caused weeks of
trouble, have, after an exhaustive process of searching, been
traced to the distilled water of which the bath was made.
Dr. Anthony, in our Year-Book for 1867, pointed out the
difficulty in obtaining distilled water free from organic con-
tamination : the use of the same apparatus fordistilling essen-
tial oils and distilled water, carelessness as to the luting,
and a variety of other causes, tending to the impurity of the
water even wheu distilled purposely ; whilst the use of the
water condensed from waste steam is another fertile source
of trouble in what is supposed to be pure water.

Seeing, then, that distilled water is too frequently impure,
and is often an unsuspected source of fog, it becomes worth
while to enquire whether it cannot be dispensed with alto-
gether. In suggesting the use of common water, the first
difficulty which arises is the indefiniteness of the term and
the variability of the substance. The meaning the term is
intended to convey is the water in common use for domestic
purposes, such as drinking, cooking, and lavation. This, of
course, is derived from various sources, and is of very
variable quality. In most large towns in the present day
there is a water supply from some river or lake j in some
cases it is obtained from wells ; and in a few instances from
the rainfall. In all these cases it is certain to contain more
or less of organic contamination ; and in the two first cases
the water generally contains in solution various inorganic
bodies, chiefly chlorides and carbonates. In London the
water supplied by the difl'ereut water companies varies a

little in quality, but contains an average of from 17 to 20
grains per gallon of inorganic matter (chiefly chloride and
carbonate, calcium generally furnishing the base), and from
2 to 3 grains of organic matter per gallon.

As a general rule, these substances can be easily removed
by the action of light and oxide of silver. Half a dozen
years ago, Mr. Barber, at the North London Society, ex-
pressed a conviction that if a nitrate bath were rendered
alkaline and sunned before use, it did not matter whether
it was made of distilled water or not. At the same time ho
exhibited various examples of distilled water to which he
had added one grain per ounce of nitrate of silver, and then
exposed them to light. In all cases they exhibited the
presence of organic matter.

Incidentally, he pointed out the importance of rendering
the weak silver solution alkaline before exposing it to the
light: a sample rendered alkaline and exposed to light had
precipitated its organic matter and become clear ; another
sample, rendered just neutral, and exposed during the same
time, had become black and turbid ; whilst an acid sample,
under similar treatment, became discoloured under the action
of light, but gave no precipitate.

With the water of the New River Company, in London,
we have for years made printing baths, and have never
experienced any difficulty , and with the same water wo
have, adding a grain or two of nitrate of silver per ounce
and sunning, made a negative bath which worked well.
Mr. England informs us that in his last summer’s tour, in
which he worked only dry plates, he rarely used distilled
water for washing them, the water accessible in the majo-
rity of instances being rain water, kir. Mudd remarks that
in his dry plate operations he never uses distilled water for
washing. Mr. S. Fry has fo' many years, and in dift'erent
parts of the country having different qualities of water, used
only common water for the preparation of the printing bath,
and has derived the positive advantage of preserving tho
solution from becoming discoloured. We might multiply
examples in which the disu.se of distilled water, for all pur-
poses but the preparation of the negative bath, had been
attended by success, if any good purpose could be served by
enforcing the argument.

But our chief purpose is to point out that one of two
coui'scs is desirable in regard to water. Tho photographer
should distil water for himself, or resort invariably to some
means of purifying tho water distilled or otherwise, before
employing it for a negative bath. An intelligent corre-
spondent— who, in reply to Mr. Cherrill, strongly enforces
the importance of using distilled water, and speaks of the
certainty to be derived from its use — e.xplains the satisfaction
it has afforded him, by mentioning the fact that bo distils
for himself. I’hotographcrs who purcha.se distilled water
should, before making a nitrate bath with it, either add
about a grain of nitrate of silver to each ounce, with

134

THE PHOTOGRAPHIC NEWS.

[March 20, 1868.

sufScicut caustic potash to reader it alkaline, and then sun
it; or add a trace of permanganate of potash to it. In
either case they oxidize and get rid of the organic contami-
nations so commonly present, and secure pure water for the
bath. This might be done with a stock of water in advance,
and would generally save the subsequent trouble, too fre-
quently necessary, of sunning a new bath before satisfactory
results can be obtained.

The second course is perhaps simpler, and will be found,
we believe, as efficient ; but it involves the heresy of discard-
ing distilled water. Since the latter will generally require
purifying before it can be used with safety, it is just as easy
to begin by purifying common water. This may be effected
by means of permanganate of silver, which will remove at
once both organic and inorganic impurities, and yield the
much desiderated article — pure water. Permanganate of
silver is not at present an article in commerce, but will
doubtless soon become so if a demand for it should ari.se.
Those of our readers accustomed to chemical manipulations
may easily prepare it for themselves, by mixing warm solu-
tions of permanganate of potash and nitrate of silver in
equivalent proportions,* and, on cooling, the permanganate of
silver will separate in needle-like bronze-coloured crystals.
This will be found to be soluble in the proportion of 4
grains to an ounce. The purple solution added to common
water, a little at a time, until it ceases to lose colour, will
effect the purification required.

PHOTOGRAPHIC EXHIBITIONS IN LONDON.

There are, at the present moment, three or four exhibitions
of photographs in London which, although not extensive,
are interesting, and will repay the trouble of a visit from
those of our readers who have opportunity.

At Colnaghi's, at the the West End of London, and at
Leggatt and Hayward’s Gallery, in the East, may..be seen
an extensive collection of carbon prints, produced by Braun,
of Dornach, by Swan’s process. They consist of reproduc-
tions of the drawings of the most famous of the old masters,
which are found in the Louvre at Paris, and the galleries of
Vienna, Florence, and other continental cities. Many of
these are from studies in red chalk, s.qiia, &c., and are, in
each, reproduced in facsimile, and are, in many cases, undis-
tinguishable from the originals. Of the beauty of these
results, and the inestimable value of this process for multi-
plying and perpetuating the rare and, in many instances,
the already perishing drawings of the grand old masters,
we have often spoken, and need not dwell on the subject
now. We rejoice to know that, by the operation of a com-
pany now in the course of formation, the same permanent
reduplicating process will shortly be performed for the
almost unknown art-treasuivs at present buried in the
British Museum, and other collections in this country. One
of the most important applications of photography, the
popularization of works of fine art, has hitherto been almost
overlooked, if not quite neglected, in England. It is satis-
factory to know that, now that it will be commenced in
earnest, a permanent printing process will be employed in
effecting it. In the meantime, wo recommend our readers to
form an idea of the importance of such a project by visit-
ing either the exhibition in Cornhill or Pall Mall now open.

At the German Gallery in Bond Street, Mrs. Cameron
exhibits a very extensive collection of her studies and por-
traits. Our own opinion on this style of work has been
already recorded. There is, in many cases, much evidence
of art feeling, especially in the light and shade, the com-
position, so far as form is concerned, often being awkward.
The subjects of many of the portraits — such .as Sir .John
Herschel, Henry Taylor, Holman Hunt, Alfred Tennyson,
and others — are full of interest in themselves, and are often
noble in form and appearance, a circumstance which alone
gives a value to the exhibition. Not even the distinguished

* 170 graios of Qitratc of silver to 158 grams of permaugaoate of potash.

character of some of the heads serve, however, to redeem the
result of wilfully imperfect photography from being alto-
gether repulsive: one portrait of the Poet Laureate presents
him in a guise which would be sufficient to convict him, if
he were charged as a rogue and vagabond, before any bench
of magistrates in the kingdom.

The attempt at the Crystal Palace to reproduce, in instal-
ments, the best portion of the British display exhibited in
Paris last year, can scarcely be called a success. Of the
photographic contributors, only five put in an appearance
at Sydenham. Mr. Blanchard exhibits some large beads
and portrait studies, which have very fine qualities. In
addition to the Zealot and a Praying Monk, which were in
Paris, there are some large heads with much of the old-
m.aster-like effect— to coin a phrase— of Mrs. Cameron's pro-
ductions, without the slovenliness of execution. A head of
Mr. Blanchard himself is very fine, round, rich, and finely
modelled. Some other heads are characterized by the same
massiveness and force. Mr. England exhibits a number of
his charming Swiss views, in which it is interesting to note
that those produced from dry-plate negatives are absolutely
a little softer and more delicate than the prints from wet-
collodion negatives. Mr. Pouncy exhibits carbon prints on
paper, canvas, and wood, of various degrees of excellence,
some of them being exceedingly good. M. Adolphe Beau
has some fine portraits, possessing much art excellence.
Messrs. Caldesi exhibit some interesting medallion portraits,
in which the portrait is surrounded by a name or description,
produced on the medallion by double printing, in the manner
described some time ago in our pages.

PHOTOGRAPHY IN SOUTH AFRICA.

In Dr. ilann’s interesting record of the difficulties of an
amateur in practising photography in South Africa, which
will be found on another page, there are two or three expe-
riences which suggest a word or two of comment.

One of the circumstances recorded, as stated, appears
sufficiently startling, especially when regarded in the rela-
tion to canons which at one time prevailed in relation to the
nitrate bath. He describes the extraordinary success of a
friend who was in the habit of pouring nitric acid into his
bath in an unmeasured stream, “ revelling in a nitric acid
sea of unknown and unguessed depth.” As we fancied on
listening to the narrative, we found, on subsequent inquiry,
the doctor’s friend used in this bath a collodion containing
a large proportion of a bromide. The nitric acid, which,
used in conjunction with a simply iodized collodion, or one
containing only a trace of a bromide, would produce total
insensitivencss, with a freely bromized collodion not only
secures cleanliness, but permits a very high degree of sensi-
tivenes.s. We do not here enter into the rationale of the
question, but simply recall the fact too little known, or fre-
quently forgotten. The fine, large, instantaneous pictures
of Colonel Stuart Wortley were produced in a nitrate bath
containing from two to three drops of nitric acid in each
ounce of nitrate solution; and the collodion employed con-
taineil not less than two grains of a bromide in each ounce
of collodion. A thin, delicate, fully-detailed image was
obtained with these materials, with very short exposure, the
retpiisite vigour being secured by subsequent intensifying.
We refer those interested for further details to the paper of
Colonel Stuart AVortley, which appears in the Photo-
ORAPUic News, vol. vii., p. 76.

Another difficulty referred to by Dr. Mann is the rapid
gliitinizing of the collodion by the evaporation of the
solvents, which was not got rid of by the addition of fresh
alcohol and ether. This the doctor refers to certain im-
provements introduced into the manufacture of collodion
some eight years ago, tos anterior to that period he never ex-
perienced such trouble.s. The “ improvements ” here referred
to consist, probably, in the more common use of cadmium

THK PHOTOGRA.PHIC NEWS.

135

March 20, 1868.]

of pyroxyline, togclatiniz: the collodion and render it u°
manageable if used too thick. In the use of cadmium salt
there is at times a balance of advantages and disadvantages '
whilst they render the collodion more stable, and preserve
sensitiveness, they also tend, if used with a pyroxyline
yielding a horny film, especially when newly mixed, to
glutinize the collodion, rendering it difticult to coat a large
plate without producing a lumpy, uneven layer. There are
two remedies for this ; the use of a pyr(/xyliue made at a
high temperature, and somewhat dilute acids, which yields a
limpid collodion, the physical properties of which arc not so
rea(lily injured by the cadmium ; or adopting the practice
of Mr. England, whose collodion is generally mixed at least
a twelvemonth before it is used. The addition of a portion
of an alkaline iodizer is, of course, valuable in checking this
tendency to glutinosity in the collodion ; and when bromides
are freely used, a collodion so prepared will preserve its sen-
sitiveness for many months, even at the high temperature of
the tropics.

Probably, for amateur purposes, a good dry process, such
as Mr. England’s, would involve the fewest difticulties.
The plates could be prepared in the evening when tempera-
ture is cool, and as many days ;n advance as by experience
the plate may be found to keep perfect. The impedimenta
of the tourist would be thus reduced to a minimum, and,
whilst his anxieties and risks would be materially reduced,
his attention could be solely devoted to the selection oi his
subject. The plan adopted by Professor Piazzi Smyth, of
exposing the plate whilst in the bath, scarcely seems
adapted to meet the difficulties described. If it be difficult
to get a film free from lumpiness on the one hand, and re-
ticulation on the other, it is clear that negatives possessing
such physical defects will yield but sorry enlargements.

PHOTOGRAPHIC PIRACY.

The meanness and immorality of piracy are so manifest to
simple-minded, honest men, that it should seem something
like a waste of words to enter into di.scussion to prove its
iniquity. When one man has expended time, thought, and
money in giving embodiment to an idea of which he hopes
to reap the profit to be derived from introducing it to the
public, it cannot require argument to prove the dishonesty
of him who filches that idea, and deprives its owner of his
legitimate profit. Nevertheless, it is possible to surround the
subject with complications sufficient to bewilder the thought-
less, and to enable the dishonest to urge some specious pleas
in justification of their mal-practiccs. We ignore the plea of
public utility which has been put forward, inasmuch as it is
perfectly clear that public utility can never bo served by
private wrong. But it was at one time plausibly urged that
where publishers of engravings h.ad, for the purpose of in-
creasing their own gains, neglected to comply with the con-
ditions upon which the law guaranteed them protection, they
had practically surrendered their copyrights, and given the
ublic a right to take possession of that which had virtually
ecome common property.

In the recent cases at the Guildhall, in which conviction
has been followed by heavy penalties, there were, however,
neither complicating nor extenuating circumstances. Well-
known copyright engravings, in regard to which all the re-
quirements to secure legal protection had been satisfied, were
extensively and knowingly pirated, and the penalty in-
flicted was most richly merited. Nevertheless, it' the state-
ments of an esteemed contemporary are correct, there are
circumstances connected with the mode of detection which
are calculated somewhat to lessen the sympathy with the
grievously wronged prosecutor. The Stationer complains
system in which the unwary, and possibly the ignorant,
are entrapped into breaches of the law by the artifices of
hired informers whose sole object is to secure a conviction.
We quote at some length from our contemporary : —

“Mr. Graves is perfectly justified in protecting his rights.

but we do not like the spy system he has established. Such
a principle is thoroughly at variance with English notions,
and ought not to be countenanced. I’crsons who are willing
to try to entrap others into committing an offence are them-
selves morally guilty. Indeed, they are a nuisance to
societj% ami cannot be styled respectable members of it.
We do not assert that Mr. Graves has ordered his myrmi-
dons to resort to underhand ways to detect offenders against
the law of copyright; but we opine that any man who will
permit himself to follow the occupation of a hired informer
is an individual who will not be over-scrupulous as to the
means he employs to attain his end. Apropos of this, we
know instances where quasi customers have called upon
vendors of photographic scraps, and urgently asked them to
procure certain copyright pictures. A few days after their
proposal has been m.ade a stranger has opportunely called
upon the dealer, and offered some of the precise photographs
that were required. lie has asserted that he is in pecuniary
difficulties, and must realise his stock at any sacrifice.
Tempted by the favourable terms of purchase, and feeling
compassion for the assumed wretchedness of the traveller,
hawker, or whatever he may be, the shopkeeper makes a
random bid, which in the end is accepted. Again the cus-
tomer calls, and expres.ses his great desire to possess the
copies previously asked for. In an unguarded moment the
dealer exhibits his illegal purchase, makes an illegal sale,
and so brings himself within the meshes of the law. This
is no isolated case ; and though we cannot assume that there
has been collusion or conspiracy between the impecunious
man and the lavish customer, it is not without the range of
probability. It is therefore possible that some of the prose-
cutions instituted may have had their origin from such
circumstances as are above indicated, though we acquit jMr.
Graves from being a party to such proceedings. That
gentleman is a patron of high art, and expends his money
with a lavish hand. It is therefore a duty he owes to him-
self to protect his interests, though we fail to see what pecu-
niary loss he sustains in the individual transaction when one
of his own servants buys for his own use copies of his own
works. The loss can only be a presumptive one, founded on
the idea that other copies have got into circulation. In the
prosecutions referred to several months were allowed to elapse
before proceedings were instituted ; and in permitting such
an interregnum to occur we consider Mr. Graves to have
committed an error. Having in view the ruinous effects of
dealing in copyright photographs, wo hope that our sub-
scribers will refrain from dealing in such contraband ware.
And they must bear in mind that the number of prosecu-
tions which are reported in the papers do not represent the
whole of the proceedings that are instituted, inasmuch a.s
many actions have been privately settled. It is also well
they should know that not only are they liable to bo fined,
but they also lay themselves open to a civil action for
damage-;. The law, therefore, permits them to be doubly
amerced for the commission of one offence, than which there
cannot be a more unjust enactment. To punish a man twice
for the same offence is not in accordance with our national
views of jurisprudence, and the law which allows it should
be repealed.”

In reference to the last remark, it must be borne in mind
that the punishments permitted are of a widely different
nature, and can scarcely in both cases be regarded as punish-
ments inflicted by the law. The law inflicts a penalty for a
breach of its own provisions. But besides breaking the law,
the pirate robs the owner of the copyright of a portion of
his profits, and the law permits him, on proving his injury,
to recover damages to such extent as he can show that he has
suffered. His interest in the penalty may very inadequately
recoup him for his lo.sses, and surely there is nothing unfair
that the honest trader should receive compensation for his
losses to the fullest extent they can be proved to exist.
Further, if piracy can be made unprofitable, it will soon
cease to be practised.

In regard to the employment of informers, we hope that

136

THE PHOTOGRAPHIC NEWS.

[March 20, 1868.

Mr. Graves and others in his position neither instigate nor
encourage such a system ; for whilst they have suffered
grievous and irritating wrong, the use of such vile tools
will scarcely secure a remedy, or, at any rate, uot without
risking much injury. The informer's net will probably
secure shoals of the ignorant, unwary, and comparatively
innocent dealers, whilst the greatest and most cunning
offenders will escape scot free. In the recent cases there can
be little doubt that the oft'enders risked the penalties with
their eyes open, and no sympathy need be wasted on them
on the score of being entrapped into the offences of which
they were convicted.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Beino Lessons in

Composition and Cuiaroscura for Piiotoqrapiiers.

BY II. P. ROBINSON.

Chapter VIII.

" What i3 beautiful must be decided by each man for himself and at his
peril. There are some who maintain that all nature is beautiful. Fortu-
nately, we can now disprove this monstrous position by our daily experience
of photographs. Kven if they were quite true in effect, form, or expression,
they would often be none the less ugly. They are usually planned and
made by men of some chemical knowledge, but tasteless and entirely un-
acquainted with fine art. Consequently, the photographers uncon.sciously
offer us tbe'mean and ugly mixed up with some beauty.”

Fine Art Ouarterly Rerieio.

Composition based on the diagonal line — the form of arrange-
ment to which the foregoing chapters have been principally
devoted — having been considered, it appears to be a fit time
to say something on landscape composition generally, the
more so, seeing that I have already' urged the student to
accompany his study of these lessons by practical attempts
to carry out the instructions from time to time brought under
his attention. A few hints on his general mode of procedure
in attempting landscape work may, therefore, be of service
here.

Elegance in landscape composition, in views where no
extraordinary object suffices in itself to engage the attention,
appears to demand free sweeps of lines contrasting each
other ; a fine vigorous foreground, which — especially in pho-
tography— should .be made use of to govern and correct those
parts of the picture which are beyond the control of the
artist ; a middle distance that delicately melts into the
distant mountains and into the sky. Lines, and light and
shade should be so arranged that the eye is led into the pic-
ture and allowed something to rest upon ; that something
should be the theme on which the picture is built. If there
are any ugly lines in the view that cannot be got rid of by
change of position, or by opposing lines, or masses of light
or shadow in the foreground, then the background of the
landscape — the sky — must be made use of, and, by the dis-
position of the clouds, much bad composition may be
remedied.

There are several things worthy of the careful considera-
tion of the landscape photographer before he packs up his
traps and takes the field. The first is a meteorological one.

Without a favourable state of the weather, the most per-
fect manipulation and skilful arrangement would be worse
than useless: they would be thrown away upon subjects that
might have been better done under more propitious circum-
stances. Nothing is more annoying to a conscientious
photographer than to know that a greater degree of perfec-
tion might have been attained than that which ho has
effected, except, perhaps, the possession of a negative too
good to destroy, but not good enough to print — a negative
just so much short of perfection as to cause regret that it
ever was done.

The most perfect day for pure landscape operations is one
on which the wind is still ; and when I say pure landscape I
do not include sea-views, which are, perhaps, more grand, if
not more beautiful, under the influence of wind than in a
placid condition. It has been said that nature is insipid when
in a quiescent state, and that it would bo better to sacrifice

sharpness than to tolerate tameness ; but, apart from all photo-
graphic considerations, what can be more beautiful than the
majestic calm of a still landscape? The great charm of a
line twilight consists more in the serenity and quietude that
reign at that period of the day when —

“ All the air a solemn stillness holds,"
than in the fading light and in the dying of the day. In-
cidentally. another fine effect of contrast may be here men-
tioned. Who. when taking an evening walk in the country,
has not felt the effect of the twilight calm increased and en-
hanced by the sudden sound of the slamming of a distant
gate, or the bark of a dog in a neighbouring farmyard ?

Of all faults photographs possess as pictures, that caused
by the motion of the object photographed is one of the worst.
This is especially true of foliage ; and if a negative is
found to have this defect to any degree, it should be rubbed
out at once. Still waters, as a rule, are best on quiet days.
Gusts of wind partially skimming over a lake adds surface
to the water and vivacity and life to a picture, it is true,
but there is great beauty in the grand reflections in still
water, which is so exquisitely rendered by our art.

The light, usually held to be of the first consideration in
photography, is here placed second, because if the subject
be not in a fit condition to be photographed, it would be
useless to have it well lighted. It should be taken as an
axiom that most landscape subjects should be sun-lighted.
Nature certainly looks more beautiful in sunlight than in
shade (there are, of course, exceptions). A landscape with-
out sunlight, especially if it be an extensive view, is usually
flat and low in tone, and this tameness would certainly not
be lessened in the photographic transcript, for if a subject
have not sufficient breadth of light and shade to give relief,
the landscape photographer’s powers of producing that
desirable quality are very limited, and the attempts to do so
generally result in hardness ; besides, who would prefer the
cold, dull, prosaic effect of daylight to the warm, cheering
glow of “ nature’s smile.”

In selecting a sunny day it is not necessary that a cloud-
less sky should be chosen ; on the contrary, a dark blue sky
is very non-actinic, and a day on which white clouds float
lazily over the heavens, occasionally obscuring the sun, a
day that often comes after rain, when nature looks fresh and
cheerful, is the best that could be chosen for landscape
photography.

The choice of a subject is the next thing that should claim
the attention of the photographer; and now will be the
time when the student will show his capability in artistic
treatment. Here let me earnestly entreat the student to
follow my advice in one thing ; let him determine to be con-
tent at first with one subject ; to work at it with all his heart
and soul until he has got the best possible representation of it.
Even if it take a summer, let him determine to produce a
masterpiece. A complete triumph over one subject is worth
more, both as a study and as a picture, than the indis-
criminate picking up of any quantity of dull and feeble
commonplaces. If a lot of mere photographs are wanted,
it is better to send a man to manufacture them ; it will be
found much cheaper also ; but the study necessary for the
production of a perfect photographic landscape is worthy
of the attention of a superior intellect.

Now comes the question how to produce this masterpiece.
It is of no use taking a camera with you the first time
you visit unknown ground in search of subjects. When
you have selected your subject, and are satisfied it will make
a good picture, let it command your individual attention.
Consider it as a painter would, if he were going to make a
large and important picture of the scene ; consider the best
time of day ; visit it several times during the day to notice
how the changing position of the sun alters the light and
shade and shape of the masses. It is too often the practice of
photographers to work with the sun behind the camera, so
as to get all the light possible on the subject, forgetting that
it is not light alone that they want, but light aud shade. The
charm of sunlight depends very much upon aspect. This

March 20, 1868.]

THE PHOTOGRAPHIC NEWS.

137

must bo carefully considered by the student. Some sub-
jects are better with the sun coming from the side, and
others with the sun more behind the view, skimming the
edges of objects only with its rays. Having chosen the sub-
ject, then fi-x the exact spot for your point of view ; this will
give you less to think of when you bring your camera next
day. Remove any obtrusive boughs that appear likely to
interfere with the view. And, lastly, think if there is any-
thing you could do to improve the already well-considered
composition. Make up your mind if a dark or light spot is
required in the foreground to give balance, and if a figure
would answer the purpose, and what kind of figure, bearing
in mind that broadcloth and black hats are no improvement
to a country landscape, and that harmony between animate
and inanimate nature must be imperatively preserved.

When you are perfectly satisfied that your view presents
tbe best possible aspect, that you have your figures and all
else quite ready, you may begin to think of your chemicals,
which I would rather you consider as your tools, over which
you have perfect command, rather than as a series of scien-
tific problems on which you are about to make experiments.

There are other considerations which I intended to include
in this chapter, but I have filled my space, and must reserve
them for the next.

♦

SOME FURTHER EXPERIENCE WITH HYPOSUL-
PHITE OF AMMONIA IN THE TONING AND
FIXING BATH.

BT XEL30N K, CHERRILL.

As I mentioned in my paper on the use of Hyposulphite
of Ammonia (published on the 7th of February) that I pro-
posed to continue my experiments with that sub.stance, and
that should any further successful results be obtained I
would send a further communication on the subject, so now
I intend to do. I have, since the publication of my former

E, continued my experiments with much success ; and,
g a few more observations to make on the use of hypo-
sulphite of ammonia, I think it time to send some illustra-
tions of the progress made up to this time.

In the first place, I have availed myself of the thoroughly
practical suggestions contained in the leader on the “ Elimin-
ation of Silver from the Whites of Albuminized Paper
Prints ” (page GI), and with considerable advantage. In
my original formula I u.sed two drachms of sulphate
of ammonia and three ounces of hyposulphite of soda.
The paper above referred to says, use an ounce of the
ammonia salt. Now, my idea was, that the hyposulphite
of soda would do almost all the fixing, and that its action
only wanted to be very slightly supplemented' by a little of
the hyposulphite of ammonia to render its action quite
perfect ; and therefore I suggested adding only so small a

Eortion of the sulphate of ammonia as two drachms. I have,
owever, tried the larger, or, at least, a larger, portion of this
salt, and find from it great advantage.

Having tried this, to satisfy myself as to the practical
working of the bath I made up the following, using up in
it the old bath mentioned in the News of February 7tb,
and which had been made up some days previously : —

Water

Hyposulphite of soda
Sulphate of ammonia
Acetate of soda . . .
Gold

... IG ounces
... G „
about I ounce

2 drachms
10 or 12 grains.

The gold which I use is only very slightly acid, if at all.
To correct any acidity, however, which it might convey to
the bath, I added just a trace of ammonia to the solution
before putting in the gold (somewhere about one-third of a
drop). If the gold were very acid, no doubt the safer plan
would be to neutralize it separately.

This bath has remained in occasional use ever since, and
is now, to all appearance, in as good working order as it
was at first, I have made up waste from time to time with

a little fresh solution of hyposulphite of soda, and each
time of using it I have added just a little gold, to prevent
it from “jibbing,” as Mr. Hughes says. I have treated the
solution with no particular care, always leaving it in the
dish in the dark room. At first I left it uncovered, as
recommended by Prof. Towler, but finding dust, &c., accumu-
late, I filtered it, and have since kept it covered up with a
glass plate when not in use.

I am sorry that I have no record of the number of prints
which have been fixed in the bath, but there have been a
considerable number from first to last. The only apparent
effect produced in the solution is a very slight discolouration
and a little sediment ; this latter I attribute entirely to the
chloride of silver being precipitated by the impurities of the
water, as I have, of course, used only common water in these
experiments. This precipitate, when the bath is used, be-
comes stirred up, and renders the solution milky, but does
no further harm. I have not, in any instance, washed the
prints before immersing them in the solution. In some
instances I have toned prints four days after printing (two
of the horses sent are done so, and the other printed and
toned the same day), and I have found no difference in the
result. Any kind of paper seems to tone well (I mean any
good paper), and the results are equally good with a GO-grain
bath or with a 20-graiu and gelatine, as recommended some
time ago by Mr. Palmer.

Your readers will now be anxious to know what are the
fixing powers of the bath after being so used. I will pro-
ceed to describe the treatment of the two half stereo prints
which have been tested for silver in the whites.

Messrs. Mawson and Swan, with a courtesy which I have
always received from them, had no sooner read my last paper
in the News than they sent me a letter stating that, to aid
in my experiments, they had forwarded me some hyposul-
phite of ammonia, in order that I might try its effects. The
next day the salt came in a railway parcel, done up in several
sheets of paper. The appearance of the .stuff' is that of the
soda salt, and it has about the same moisture ; it has been
kept ever since in a stone jar, with a loose cover, without
getting any more moist. Just as I was about to use this
sample for some experiment, a letter came again from
Messi-s. Mawson and Swan, stating that, by accident, an
impure sample had been sent me, at the same time asking
me to put it on one side and wait a day or two for a fresh
supply. Of course, under these circumstauces, I did not use
any of the impure salt to form a toning bath ; but I have
used a solution of it, one ounce to about eight of water, as
a refixing solution for the prints after they came from the
bath above mentioned. The last batch of prints from the
toning bath were passed through this refixing solution, each
print remaining in it about three minutes.

The two half stereo prints (enclosed) are typical examples
of the result produced : the one ot a dark tone having been
a full time in toning bath, and so exposed, of course, to its
most perfect fixing action ; and the other, of a browner colour,
which was produced in a comparatively short time in the
toning bath. Both these were treated, after the extra fixing
mentioned, with a solution of hydrosulphate of ammonia
one drachm, water one ounce. The dark one enjoyed the
influence of this solution for fifteen minutes, the light one
for ten minutes. It will be seen that, though the half-tones
have been turned very yellow by this solution, the whites
are very little stained by it; certainly much less so than
those I forrnerly sent, and very much less than would be the
case with prints fixed only in the soda* salt in the usual way.
The general quality of the toning may be judged of by the
few samples enclosed.

I think, from what I have stated, we may conclude that the

* It should here be stated that this experiment illustrates that the use of
a second fresh bath ot hyposulphite of soda is valuable in diminishing the
amount ot silver left in the whites, the imperfection in the sample of hypo-
sulphite of ammonia consisting in the fact that it contained a large propor-
tion of hyposulphite of soda, as we ascertained from the examination of a
sample sent to us at the same time.— £d.

138

THE PHOTOGRAPHIC NEWS,

[March 20, 1868.

toning and fixing bath made up as recommended is certainly
a solution which deserves further investigation ; its results are
certain, its manipulation easy, the tones it gives arc good, the
time it takes to produce them is not excessive, and, finally,
the fixation, aided by a short immersion in hyposulphite of
ammonia (a confessedly imperfect sample, too), is perfect ; for
I think if prints will stand the test to which these have
been submitted there is not much fear of their fading from
silver left in the whites; that is, from imperfect fixation.

I hope to investigate the matter more fully anon, and look
forward with much pleasure to the receipt of the pure sample
of hyposulphite of ammonia promised from Newcastle, as 1
cannot but think it will prove even more efficient than the
mixed salt hitherto recommended. It does not seem to me
there will be any difficulty in getting this ammonia salt
when wanted, as another chemist, ot high repute among
photographers, says, in a letter received a few days back :
“ I shall be happy to supply as much hyposulphite of
ammonia as photographers call for.”

1 hope that those photographers who take an interest in
these experiments will make some trials for themselves, as it
would be useful and good in all ways to have the results I
have described confirmed by independent testimony ; and
should any discrepancies arise, the discussion of them could
not fail to elucidate some joint of interest connected with
the matter, and might add greatly to the usefulness of these
remarks.

THE MAGIC L.VNTERN AND PHOTOGRAPIIY.

BY JAMES MARTIN.

No. 8.

Sincerely hoping that the instructions given in the fore-
going jjapers will enable those of my readers who persevere
to paint and mount in its holder the jihotographic trans-
parency or outline with success, I now proceed, according to
jiromise, to describe the various sorts of lanterns, their appli-
ances, how to light, and how to use them.

Lanterns are made of various sizes, governed by the size
of the lenses to be used ; therefore, before commencing to
make one, that question must be decided, as it will not only
govern the size of the lantern, hut its cost, its portability,
and its general utility. The most useful sizes are those
having the condensers of from 3 to 4 inches in diameter.
A smaller-sized picture than 3 inches in diameter will con-
tain very little subject-matter. When the condensers are
above 4 inches in diameter, the expanse of everything
belonging to the apparatus is enormously increased, it
becomes very cumbersome, and only fit for a large hall or
jmblic lecture-room. As 3j-inch pictures arc almost uni-
versally sold, and to this sized lantern the quarter-plate lens
can be fitted as objective, I will give the details and mode
of construction of a suitable lantern.

The bodies of lanterns arc usually made of japanned tin,
sheet iron, zinc, or other suitable metal ; they are also made
of wood lined with metal. The toj) and chimney should, in
all cases, be made of metal only; and the joints seamed,
not soldered, as the great heat might cause the solder to
run. When the body is made of wood, the parts should be
screwed together like a well-made camera. The dimensions
of the body of a lantern for lenses of the size recommended
are as follows : — Height, 15 inches ; length, inches ;
breadth, 6 inches; height of the chimney, 13 inches;
diameter at the base, 4J inches, tapering to 21- inches at the
upper small end, where it must have a crook or bend, to jire-
vent the light from showing into the room. I jirefer having
a door at the back and side, and this jilan will be found
most convenient. The door may be about 4 inches wide,
and must bo of sufficient height to allow of the lighted lamp,
with its glass chimney fixed, being placed on the lamp-
stage while being held upright. There must be a stout wire
handle affixed to the upper part of each of the two sides.
The door is placed on the right-hand side, except when

lanterns arc made to be used in pairs ; in that case the doors
are one on the right-hand side of one lantern, the other on
the left-hand side of its fellow. A circular orifice is made
on the top, round which a collar is fixed of about three-
quarters of an inch in depth, in which the chimney fits. In
the front a round orifice is made of 3J inches in diameter,
and its height from the base must be governed by the height
of the lamp or other means of lighting to be used, and so
arranged that the centre of the flame shall be opposite the
centre of the orifice. The nozzle of the lantern consists of
a cone with an aperture corresponding with that cut in the
front of the body, and placed at its larger end upon a metal
plate, to be fixed at a distance of one inch from the lantern,
having inside this plate another which is allowed to play
freely in front of the body by two springs. The slide is
placed between the loose jilate and the body. The nozzle
may be made to slip on and oft the front of the body ; this
method will be found very convenient for packing, as when
two lanterns are used the chimneys and lumps can be packed
in one, and the nozzles with their lenses in the other, and
the whole contained in a square box of comparatively small
dimensions. In front of the cone there are two tubes fitted,
one within the other, so that the inner one slides easily in
and out in the outer one ; and at the back are placed the
focussing lenses when it is intended that a portrait combina-
tion shall be used. I should recommend that either the
cone should be turned of wood, or have a wooden face at its
smaller end, so that the flange of the lens may be screwed
to it. This method will prevent any necessity of trusting
(perhaps) a valuable lens in the hands of an unskilled work-
man, a proceeding most certainly to be avoided. Inside the
lantern, close and opposite to the opening cut in the front,
must be placed the condenser, fitted in a bolter or flange as
may be. About one inch from the bottom is ^aced the
lamp-stage, having a sliding arrangement to regulate the
distance of the lamp from the condenser, and moved to and
fro by means of a wire handle passing through the back
of the lantern. A small circular rim is made in the centre
of the stage, in which the lamp is placed ; and in the centre
of this rim a hole is cut to enable air to pass up the tube of
the lamp. Holes are also cut round the sides for the purpose
of ventilation. The lamp-stage can be so arranged that it
can be removed altogether, and the hydro-oxygen light used
when required.

The efficiency of the lantern depends in the greatest
degree upon the quality, jiosition, and suitability of the
lenses emjiloyed. If they are not of the jiropcr description
and focus, and jdaced at the right distance fiom the light
and from each other, no satisfactory result will be obtained.
The use of the largest lens is to concentrate or condense the
rays of light from its source upon the focussing lenses, and,
hy thus bringing them into proper relations, increasing the
brilliancy of the jncture thrown on the screen. This lens is
called thecondenser. The glass used for thecondensers should
be of the very best quality, free from specks, bubbles, and
stri.x, especially when a strong light is used, as every imper-
fection is then shown and enormously exaggerated. A plano-
convex or a meniscus lens may be used of about five inches
focus, but the compound condenser, consisting of two lenses
so curved as to give a brighter and flatter field, is far pre-
ferable, although more costly. The front or focussing may be
either a quarter-plate portrait lens or a plano-convex lens of
about four inches focus ; or, still better, a pair of them,
having the same equivalent focus.

The best form of lamp is the cup lamp, on the Argand
jirincijde ; and the best oil, jnire sperm, with gum camphor
added as before advised. The best Florence oil is also very
good for the purpose, adding the camphor as before.

Let me here seriously caution my readers not to use any
explosive or mineral oil in paraffine or other lamjis inside
the lantern, as, from the great heat engendered, there is
imminent danger of explosion. Common coal gas is all but
useless, as it affords much less light than a good oil lamp.

114, High Street, Ilfracombe, Devon.

March 20, 1868.]

THE PHOTOGRAPHIC NEWS.

139

LAST WORDS OF SIR D. BREWSTER ON
PHOTOGRAPHY.

Tns following are the remarks written by the late Sir
David Brewster, as a part of the address intended to have
been delivered before the Edinburgh Royal Society, had
illness not prevented : —

In most of our provincial towns there is a museum of natural
history and antiquities, which would be a valuable auxiliary in
teaching natural science in the neighbouring school. But even
where no such collection exists, a small museum might be
established in the humblest of our schools. Within their own
narrow sphere objects of natural history might bo obtained, and
many a private collection in the district would surrender a
tithe of its specimens for public use. Our Industrial Museum,
too, might distribute a portion of its overflowing collections ;
and even the British Museum might contribute some of its
innumerable duplicates, and bring into use its accumulated and
unproductive treasures. Itinerant museums, like the itinerant
libraries, might bo chartered in the same cause, and might sell
or exchange the duplicates which are found iuditlercnt localities.
By these means our school museums might obtain specimens
of the more important rocks which form tho carpentry ot our
globe, of the metallic ores, aud tho metals themselves which
are in daily use, of the more precious minerals whicli are em-
ployed for the purposes of art or ornament, and thus give to
the youthful student some knowledge of tho world on which
he resides, and of tho elements ot civilization which it em-
bosoms. In the departments of Zoology and Botany we cannot
expect to collect specimens for our schools; but our travelling
menageries and the museums and botanic gardens of our prin-
cipal towns would supply, to a great extent, tho means of
instruction.

But even when these are beyond our reach, photography, and
the stereoscope, which gives relief to its pictures, might bo
advantageously employed. Tho photographic process will give
us accurate representations of those objects, both of nature and
of art, which it would bo desirable to describe and to explain
in the instruction of youth. In the department of Zoology
the picture might be often taken from tho living animal, stand-
ing before the camera in vigorous life and transcendent beauty ;
or, when this cannot bo done, from tho fine specimens of zoolo-
gical forms which adorn our metropolitan and provincial mu-
seums. With equal accuracy might bo represented the osteology
and integuments of animals, the framework which protects lilo,
and to which life gives activity and power. Tho trees and
plants, too, of distant zones will show themselves in true relief—
the Banyan clinging with its hundred roots to tho ground ; the
Bread-fruit tree, with its beneficent burden ; or tho deadly
Upas, preparing its poit:on for tho arrow of tho savage or the
poinard of the assassin. With no less interest will the school-
boy gaze on the structures ot tho ino.-ganic world — tho minerals
which have lain in the earth beneath his feet, tho crystals which
chemistry has conjured into being, displaying to him their geo-
metric forms, infinite in variety, and interesting from their
rarity and value. Painted by the very light which they reflect,
he will see the Koh-i-uooi and other diamonds, and tho huge
rubies and sapphires and emeralds which have adorned tho
chaplet of beauty and sparkled in the diadems of kings. The
gigantic productions of the earth will appeal to him with equal
power— the colossal granites which have travelled in chariots
of ice, tho precipices of ancient lava, tho Doric colonnades of
basalt, and tho fossil giants of the primeval world, which trod
the earth during its preparation for man, and have been em-
balmed in stone to instruct and to humble him. In acquiring
a knowledge of physical geography, of tho grander aspects of
nature, their representations in relief wilt bo peculiarly instruc-
tive. The mountain range, whether scarred with peaks or
undulating in outline ; the volcano ejecting its burning mis-
siles ; the fixed or the floating iceberg ; the glacier and its
moraines ; and oven the colossal wave, with its foaming crest,
will bo portrayed in all the grandeur of nature. Tho works of
human hands, too, will stand before the scholar in their pristine
solidity or their ruined grandeur ; the monuments by which
sovereigns and nations perpetuate their names ; the pyramids
(with their mysterious legacy to science), the gorgeous palaces
of kings, the garish temples of superstition, and the bastions
and strongholds of War will be seen as if the observer were
placed at their base and warmed by tho very sun which shines
upon their walls. Although few of our village youth may

become sculptors, yet the sight of ancient statues, in actual
relief, and in their real apparent magnitude, cannot fail to
instruct and to refine them. To gaze upon the masterpieces of
ancient art, standing in tho very halls which they occupy, or to
contemplate the che/s-d'aeuvre of modern or living artists, with the
sculptor himself standing by their side, must excite an interest
of no ordinary kind. The works of the architect, tho engineer,
and the mechanist may also bo exhibited in full relief at our
schools — tho gigantic aqueducts of ancient and modern times ;
tho viaducts and bridges which span our valleys and our rivers ;
and the living machinery in our factories and workshops, which
toil daily for our benefit, and supply the commerce of the world.
With such means in our power, cheaply obtained aud easily
supplied, a largo portion of scientific instruction may bo instilled
into tho youth of our schools, familiarizing them with tho
works of their Maker, and preparing them for the reception of
that higher revelation with which these truths of science can-
not fail to liarmonizo.

o

FURTHER REMARKS UPON THE USE OF
PERMANGANATE OF POTASH.

BT J. R. JOUN30N.

[The following is the communication forwarded to the last
meeting of the Photographic Society by Mr. Johnson.]

Since I bad the honour of calling attention to this sub-
ject at the last meeting of the Society, I have had further
experience of the use of the permanganate, and have elicited
some facts which arc worthy of note, and which I wilt
describe. Before doing so, however, I will make a few
remarks with the view of removing some misapprehension
as to the nature of the salt used.

It is not Condy’s fluid of which I recommend the use,
but pure permanganate of potash, which may be obtained
from any dealer in pure chemicals, in the state of deflnite-
shaped crystals and of nearly absolute purity. These dis-
solve readily in about sixteen times their weight of water,
forming a rich violet solution. A solution of about ten
grains to the ounce will be found of convenient strength.
On dropping this solution into the bath, the latter assumes
a brilliant reddish -purple hue, which is due to the forma-
tion of permanganate of silver, if the bath be neutral; or
to permanganic acid, if the bath bo acidulated with nitric
acid. Both these substances appear to act with equal
power ; but I strongly recommend that the acid be first
neutralized, as there is then little doubt that the manganese
from the deoxidized permanganate will be precipitated as
the peroxide; whereas if nitric acid be present, a portion of
this may be taken up in the presence of organic matter to
form nitrate of manganese.

Only a small quantity of the permanganate solution
should be added at one time. If it be added in too large a
proportion, the permanganate of silver (which is sparingly
soluble, requiring lO'J times its weight of water for solution)
is precipitated, and not only reduces the strength of the
silver bath, but becomes useless, being carried out of the
range of the substance to be oxidized. The colour which the
bath first assumes changes gradually to a brownish olive
hue, while the bath becomes turbid from the precipitated
oxides. A further small quantity should then be added,
and the reaction again watched, until completed. By this
means the whole of the noxious ingredient, whatever it may
prove to be, is removed, and the bath is made to work as
clearly as before.

Care should betaken to leave no excess of the permanganate
in the bath, as I find that it acts as a most powerful retarder
or destroyer of the latent image, even when in small quan-
tity. I believe that the same may also be said, to some extent,
of the nitrate of manganese, for an acid bath appears to
work more slowly after being acted upon by the perman-
ganate, even when no excess of this salt has been left in the
bath.

Fortunately we possess a very ready mode of eliminating
all excess of permanganate, even if it should exist in con-
siderable quantity. All that is necessary is to pass a solu-

140

THE PHOTOGRAPHIC NEWS.

[March 20, 1868.

1

tion containing it once or twice through a paper filter, when
every trace of the salt is removed by the action of the
cellulose of the paper reducing the permanganate. As the
colour is a sufficient test of the presence of the salt, no diffi-
culty exists in this respect. But for this facile method of
separating the permanganate and detecting its pressure, the
process would be impracticable, as the retarding action of
the permanganate is most energetic.

rnoTOGRArmc difficulties of an amateur

IN SOUTH AFRICA.

BY DK. MANN.*

The act to which I stand committed to-night, of appearing
before the Photographic Society of London w’ith an “ Ama-
teur’s Difficulties,” is a bold one, and stands in need of some
apology. Indeed, I may as well make a clean breast of it from
the beginning, and confess that the proceeding itself is the last
and largest “ difficulty ” in my budget. It is only after some
delay and consideration that I have ventured upon the course.

I have but little to tell, and still less to show. But, on the
other band, I have much to ask. It is matter of familiar and
general knowledge that the grandest and highest branches of
human science are also the most liberal and cosmopolitan.
Tbo photographic societies of the world have done much to find
for the pursuit that engages their attention a forward position
among these high and liberal branches of human knowledge.
It is not for me, in this presence, to say that the Photographic
Society of London is in this particular not one whit behind the
very best of its colleagues ; but it is for me, in this presence, to
say that I have designedly and discreetly put faith in this fact,
and drawn upon the indulgence of an association devoted to the
advancement of a liberal art, in laying aside my repugnance
to appear with my small amateur dish at so distinguished and
well-appointed a board.

In further deprecation of my proceeding, I should, perhaps,
also add that, to my own mind, it seems well worthy of consi-
deration that in the now somewhat large class of servitors who
carry small dishes — namely, that of the so-called “ amateurs ” of
scientific pursuits— there are many who are circumstanced like
myself ; that is to say, who have a deep and intelligent interest
in the principles and progress of some branch of knowledge and
art which has raised and eompactod itself into a definite prac-
tice and profession, but who, on account of the exigencies and
strain of other important demands upon their time, can only
meddle with such matters at fitful, brief, and uncertain inter-
vals, but who, nevertheless, ean incidentally turn such an art as
photography to most excellent account in carrying out investi-
gations in other important fields. I have myself pretty well
followed all that has been done in photography, as I have fol-
lowed what has been done in physiology, in astronomy, and in
other branches of research, on account of the intrinsic interest
there necessarily is for the informed and intelligent mind in the
knowledge itself. But I have practically dabbled with the pro-
cesses of the art ; I have qualified to carry my small dish, and
write myself down “ amateur,” because I have desired at the
least possible expenditure of time to be able to secure certain
enduring records, notes, and suggestions of matters and objects
that have come under investigation in a somewhat out-of-tho
way field of research. Now, on looking back upon my labours
and doings in this particular, I am of necessity painfully con-
scious that I have lost many records that I should have been
but too glad to secure ; and that 1 have wasted many valuable
hours that I should certainly have turned to account, if I could
have had cither my present experience or better guidance at
my start among the difficulties that I have to speak of. I am
quite aware that there are amateurs who can and do achieve
excellent results and marked success, even among such obsta-
cles as 1 have had to llounder amidst. But I need not say such
amateurs are of the " cream scientific of the earth.” It is not
for such Men that the light of experience and the fetters of
technical instruction are required ; they move under the inhe-
rent force of the inspiration and fire that is within them. Tbo
light of experience and the fetters of instruction are required to
enable less gifted and more ordinary mortals to accomplish
useful, satisfactory, and steady work. I think it is now quite
possible to apply the suggestion contained in those remarks to
the marking out of a photographic process which shall bo at

* Read before the ]>)ndon Photographic Society, March 10th, 1868,

once convenient, handy, and sure for ordinary scientific travel-
lers in remote countries and hot climates ; and I fancy that my
own cxiierience has given mo some inkling of the instrumen-
tality by which this may bo done. If ever again I return to
the field where my own work has chiefly lain during the past
ten years, I shall hops to do so in the possession of some such
advantage. I am quite sure I shall be more Ukelv to do so if I
succeed in getting the members of the Photographic Society of
London to realize what the precise difficulties are with which
their amateur brethren have to eontend in circumstances such
as I am about to describe, and to consider the suggestions
which I purpose to submit. Here, then, is the second argument
which has contributed to bring mo into the predicament in
which 1 stand.

A third influence has also operated in over-ruling the natural
instincts of my diffidence and modesty ; and I am sure you
will forgive me if I let you into the secret of this. Having re-
cently returned to England, to which 1 am bound by very
strong scientific and social sympathies, after an absence of some
years, I am personally very glad indeed to avail myself of this
pleasant opportunity and excuse to scrape an acquaintance with
men so deserving of esteem as the photographers of England.

To pass on from apology to matter ot fact : the great cause
which underlies the difficulties the photographer has to deal with
in Natal, the South-African land where my own experiences
have been gleaned, is that it is a nearly tropical land, where
molecular and chemical change are energetic and quick, and
where actinism is capricious and slow. But this is not all.
The season of summer, when the natural temperature is at the
highest, is a season of frequent rain and superabundant mois-
ture, when the air very closely resembles that of the hot-house
conservatories at Kew ; but when, also, as if that were not a
sufficient photographic embarrassment, there occur at frequent
intervals dry land-winds or siroccos that shrivel the leaves of
trees and shrubs, and that cr.ack the substance of wooden fur-
niture by their parching touch. In the winter season, which
is a period of moderate temperature and of almost unbroken
sunshine, and when the perplexed photographer rejoices in the
opportunity of getting out of the “ frying-pan,” he is unfortu-
nately almost sure to find that ho has only jumped “out of the
frying-pan into the fire ;” for at that season, when South-Afri-
can nature has got rid of her superabundant dripping moisture,
slie perversely, and, I must add, most unfairly and inconsider-
ately, extemporizes a long period of “ yellow calico.” Through ■
oat tbo dry winter the face of the country is more or less
continuously covered with burning grass, and the sky is encum-
bered with a clinging and almost permanent veil of safTron
smoko, which at times makes the photographer sigh for the
chance of again getting back from the fire into his “frying-
pan ” — a “ prison-house ” photographical, whoso “ secrets ” I
now proceed to reveal.

There is one very important condition that underlies all
“ frying-pans,” namely that of temperature, which now, in the
first place, claims a few pointed words. The mean temperature
of the year in Natal, at the height of 2,000 feet above the sea, is
G4‘7 degrees. On the coast the moan temperature of the year
is a trifle above G9 degrees. The mean temperature of the six
months of summer is G9 degrees, and the mean temperature of
the six months of winter GO degrees. The mean temperature
of the several months varies from 55-2 degrees to 71'8 degrees.
In winter the temperature of the day ordinarily rises above 70
degrees. In summer it commonly rises somewhere between 80
degrees and 8G degrees, and, when the dry land-wind is blow-
ing, to somewhere between 8G degrees and 97 degrees. But
higli temperatures occur at all periods ot the year. Thus,
during n period of eight years I have recorded the tempera-
tures of the air in the shade, hereafter named in each of the
specified months of the year, namely : —

January

• ••

• ••

... 930

February

• ••

... 971

March

... 92-8

April

• ••

... 89-6

May

• ••

... 85-2

Juno

• ••

• ••

... 78-2

July

• ••

... 82-2

August

...

...

... 89-8

September

...

...

... 95-4

October

... 960

November

• ••

... 97-2

December

• ••

• ••

...

... 97-6

March 20, 1868.]

THE photographic NEWS.

141

I fear that very few of my present audience can altogether
realize the pleasure of laying a collodion film in a tent under a
blazing sunshine at these temperatures, as 1 have done, es]ie-
cially when the only sarajilo at command has been a cadmium
one, with an African ticket of naturalization of some twelve
months’ date.

Collotlion is naturally the first substantive topic that rises to
the surface as I proceed to tell my tale ; and I think, in regard
to it, I may at once and roundly state that the collodion, on
the whole, I met tlie least trouble with, was the simply-iodized
samples prepared by Mr. Thomas, of nine or ten years ago,
which used to cover the glass with a thick yellow creamy film.
I rarely had any other trouble with those samples than their
getting slow of action after long keeping. They certainly were
easier to work with — both on tho ground of cleanness and of
mechanical firmness — than any other kind that I have used.
I was rarely troubled with stains of development with them in
the most unmanageable temperatures, and I was never
annoyed with the splitting and separation of films. After the
introduction of tho improvements in tho manufacture of some
eight years ago this was altogether changed. Every sample of
collodion that then came to me was affected by the same per-
verse idiosyncrasy of being extremely difficult to lay after the
bottle had been opened for a few hours, or perhaps days. In
anything above tho lowest temperatures it ;;elatinized in ridges
before it could bo got off tho plate, even with tho quickest hand-
ling ; and this, ns a rule, I found the radical defect of all the
cadmium collodions in South African conditions and circum-
stances. I was at one time exceedingly delighted with some
thin collodion of Mr. Hockin’s that I lit upon accidentally. It
worked with great ease and pleasantness, and gave mo plates
with deep shadows and abundance of half-tone. But in every
case this collodion covered itself with close reticulations after
drying. Three, if not four, different tubes all gave the same
result, both in my own hands and in those of a really able
friend, acting independently. I have not a single plate left of
many which were made with these collodions ; the separation
of collodion films from the glass, upon re-wetting for after-in-
tensification or handling, is of very common occurrence. This,
no doubt, is duo to the positive imiwssibility of having tho glass
actually dry when the film is laid in the warm, almost satu-
rated, atmospheres that have to be dealt with. Vapour is again
settling on the glass the instant it is removed. Another very
unpleasant form in which this influence, and probably in con-
nection with it the inequality of drying (almost sure to bo en-
countered under the circumstances) operates, is tho sudden ex-
plosion of the film, some time after its complete drying, into a
myriad of fragments. Some hours after the jdato has been put
by and considered all safe, cracks, like tho fissures of starred
glass, suddenly radiate in alt directions, with a mischievous
rustle. Of a very considerable number of studies of Kaffir
domestic architecture that I made upon one occasion, and that
I valued for a special reason, all my best specimens have been
destroyed from this cause.

I have no doubt whatever that long keeping of collodion in
temperatures such as have to be braved in Natal does not
answer. The mechanical texture of the collodion undergoes
deterioration ; and no amount of dilution with ether and alcohol
to keep down tho thickness of the liquid to convenient work-
ing density, can be relied upon on this account. In my own
practice I always found the mechanical imperfections exaspe-
rated by extemporaneous additions of the solvent.

Here, then, comes the first point to which I desire to draw
attention, and upon which I wish to seek counsel. I incline to
think that the most satisfactory course that the amateur could
a<lopt, in such external conditions as obtain in countries like
Natal, would be to keep the pyroxyline in a dry state, and to
have a good supply of the proper solvents constantly in store in
small, well-closed receptacles, and so always to prepare just
what collodion is likely to bo required for each occasion some
fourteen or twenty days before it is to bo used. It would possibly
be still better to prepare the pyroxyline itselt from time to time ;
but this the amateur, who is otherwise pressed with occupation,
will never do. It may be perhaps necessary that I should hero
again remark that it is solely from tho amateur point of view
that I am bringing forward my plea. I am speaking of men
who, after weeks, or perhaps months, of forced abstinence from
photographic pursuits, suddenly find some stray days, or some
chance opportunity, when they can turn the art to account, and
reap passing pleasure in its practice, if they have only tho
means at hand of doing so with fair certainty of working with-

out too great consumption of time, and with at least average
success. The professional photographer can always arrange to
have his collodions arriving from England at convenient
intervals, and in a constant stream.

The nitrate of silver bath is far less troublesome in sub-
tropical climates than tho collodion ; it is easily kept in fair
working order; but there is one point in regard to it that may
bo worth a passing mention. My own practice was almost
invariably to neutralize with freshly prepared oxide of silver,
and then add as little nitric acid as I could work with. But I
had a friend and companion in arms in Natal, who was natu-
rally an exceedingly good manipulator, who used literally, when
out on an excursion in tho hot season, to pour nitric acid into
his bath in an unmeasured stream, and wire used continually
to get good results in this way, whilst I was still floundering in
streak and fog. My friend was originally my own pupil in tho
art, bnt ho passed by his master at a very early period of the
pleasant connection. From my own inability to get myself
boldly and freely out of my earlier convictions and beliefs, I
could never quite bring myself to follow tho bold lead of my
companion. But in illustration of tho results of his heroic
practice, I am able to submit to tho Society some failures of my
own by the side of successes of my friend, both produced at
tho same time and by tho same materials, and in tho presence
of very unfavourable conditions of temperature— tho only dif-
ference in tho two cases being that I was painfully and
obstinately frying to feel my way out of neutrality by tho
most cautious advance, while he was simidy revelling in a
nitric acid sea of unknown and unguessed depth. 1 am also
able to submit at least one specimen of an instantaneous
photograph made by this bold practice under the hot sun-
shine. In this illustration tho curl of the breaking sea is
clearly rendered.

{To be continued.)

|^UorccMu0.«5 of

South London Puotogkaphic Society.

The usual Monthly Meeting of this Society was hold in the
City of London College on tho evening of Thursday, March 12th,
tho Rev. F. F. Statham, M.A., F.G.S., in tho chair.

Tho minutes of a previous meeting were read and confirmed.

No paper having been provided for the evening, the Ques-
tion Box was examined, and of several questions introduced
which had received tho sanction of the Committee, one referring
to tho use of permanganate of potash for rectifying disordered
nitrate baths was selected for consideration, and was, on tho
invitation of the Chairman, opened by

Mr. Johnson, who briefly related his experiences as already
described in our columns. In his more recent experiences ha
had found it desirable that the bath should bo neutralized be-
fore adding tho permanganate. Care should also be taken not
to have excess, for he found that permanganate present in tho
bath tended to retard the formation of tho image, and so
destroyed sensitiveness. Ho had also found that a 10-grain
solution, as recommended by Mr. Simpson, was strong enough.
The colour was an excellent test as to the proper quantity : if
it were added a little at a time until the faintest trace of a pink
tint remained in the bath, the effect would bo produced, and
this trace would bo removed by contact with the organic matter
furnished by the filtering-paper in tho course of one or two
filtrations. In reply to some questions, he said that tho accu-
mulations in old baths which caused fog were undoubtedly of
an organic character. Tho alcohol and ether becoming
oxidized by the iodine, nitric acid, &c., doubtless formed, as
Mr. Simpson had suggested, aldehyde, which, having a reducing
tendency, caused fog ; and this body was removed by tho
action of the permanganate.

After some conversation, in which the Chairman, Mr. Pierce,
Mr. Johnson, and others, teok part,

Mr. Whauton Simpson detailed tho results of some experi-
ments with the permanganate of potash (see p. 122 in our
last).

In reply to some further questions, Mr. Johnson said that
when the bath at once became brown and turbid without passing
through tho pink stage, it was clear that too much of the per-
manganate had been added. He thought that Condy’s fluid
should not be used, as it was often impure. If the permangan-

142

?H3 PHOTOGRAPHIC NEV/S, [March 20, 1868.

ate were added a little at a time, the whole of the alcohol and
ether would be oxidized before any excess of permanganate
would remain.

Mr. Simpson said it would bo scarcely desirable to proceed to
that point, inasmuch as alcohol and ether in their normal con-
dition would not exercise any injurious eftect, and their perfect
oxidation would cause an accumulation of carbonate and acetate
of potash in the bath. As it fortunately happened that the
aldehyde formed by the decomposition of the alcohol, &c., which
was the source of fogging, was acted upon and removed first by
the permanganate, there was no need to add excess, which
would tend to waste silver and injure sensitiveness. Any body
which readily gave up oxygen would necessarily retard the for-
mation and the development of the images.

Mr. Sebastian Davis, after referring to the old method of
testing water for organic matter, in which, after evaporation,
the residue was burnt to aseertain the jiroportion of organic
matter present, and pointing out the superiority of the present
method, remarked that in order to examine the eolour more
perfectly it was customary to place the water to bo tested in a
tube two or three feet in length, in which the colour could be
readily seen, lie agreed with Mr. Simpson as to the retarding
action of a permanganate, as it was a salt containing seven
equivalents of oxygen, which it readily gave up ; and the pre-
sence of such a salt during development, by peroxidizing the
iron, would materially check its reducing action.

Mr. Haut suggested, in order to avoid the risk of adding
excess of permanganate, that a small portion of the bath might
be taken, and, alter precipitating the silver with a* chloride, the
permanganate might bo added to the water cautiously until all
organic matter was removed. By this means an estimate of
the quantity required for the whole bath might be torraed.
Ho would like to know if Mr. Johnson had examined the preci-
pitate to ascertain if nothing but sesquioxide of manganese was
thrown down.

Mr. Johnson said the quantity of precipitate was so small
that he had not attempted such an examination, lie thought,
however, that the reactions had been so fully stated by Mr.
Crookes in the News, that no doubt need he entertained on
the subject.

After some desultory conversation, in which Mr. Hart sug-
gested the importance of photograiihers publishing a record of
their results with this remedy, and stated his thought that a
portion of the silver would bo thrown down as well as oxide of
manganese,

Mr. Si.MPSON stated that he believed not until excess had
been added. The precipitate thrown down in the first case he
had described, in which he used care to avoid excess, was of a
ditferent character to that thrown down when excess was
added. The first was of a cold brown tint, the second of a
purple brown tint, and, when examined, was found to contain
permanganate of silver.

Mr. Johnson said that there could be littlo doubt that the
safest and most elficieut plan would bo to use permanganate of
silver, as suggested by Mr. Crookes.

Mr. Blanchaud said that he had used Condy's fluid in one
case to a hath, and had doubtless, although ho used very
liitle, added more than was necessary. A plate ho tried
Was free from fog, but it was covered with fine needle-shaped
crystals. On diluting and filtering, all this was removed, but
still the bath worked a littlo slower.

Mr. Johnson again said that he thought it unwise to use
Condy's fluid.

After some further conversation,

Mr. Foxi.EE said that he had never had any difticiilty in
getting cleanness with doctored baths, but they never gave
him so much sensitiveness as an undoctored bath.

Mr. Simpson said that in the hath he had tried the sensi-
tiveness was greater after treatment than before, lie believed
that Mr. Blanchard had repeatedly found a corrected bath
gave quicker results, as well as belter, than ho could obt.iiu
from an uncorrected bath. '

Mr. Blanchard said that he often found that a bath treated
with carhonato of soda and sunned gave him the highest sensi-
tiveness and the highest quality.

Mr. Fitch confirmed this view.

Mr. Foxlee said that his corrected baths were not slower
than before correction, but slower than the new hath made
with the purest fused nitrate of silver in the market.

After some further conversation, Mr. Foxlee described a
bath which sunning failed to improve, its fault being a ten-

dency to turning red in the shadows during intensifying. It
was suggested that this delect would furnish matter for an
evening’s discussion.

The subject was then closed with a vote of thanks to Mr.
Johnson.

The Secbetap.y exhibited an old developed Talbotype, of
which scarcely any trace was left. The print was cut up and
divided amongst several members for experiments in revival.

Mr. Simpson exhibited a carbon print, produced in Berlin,
by Swan’s process, which appeared as the frontispiece to a
German translation of his (Mr. Simpson’s) work on Photo-
graphy in Pigments.

The proceedings then terminated .

The next meeting, in April, will be devoted to examination
and conversation upon photographs, which members are re-
quested to bring for the purpose.

PHOTOGRAPHY AND DISEASE.

Sir, — I think the question now being discussed in your
columns, as to whether the practice of photography is un-
healthy or not, must in a great degree be settled by the testi-
mony of experience.

After sixteen years’ handling and inhaling the deadly agents
we use, I have had no symptoms of sufiering from poison, and
I am convinced that if the dictates of common sense were
followed, no danger need bo apprehended from their use ; but
if discretion is not used, we know that a man may lose his life
by eating roast-beef and plum pudding. If prudence is neces-
sary in the one case, it is surely doubly so in the other ; other-
wise the consequences will bo the samo.

During this period of my practice I do not pretend to say
that I have not many a time been ailing with headache, and,
I am not ashamed to say, “ heartache ” also. What with the
everlearning which the progress of the art has rendered neces-
sary, and the hard struggle to keep the “ cart on the wheels ”
through the withering blast of unscrupulous competition, I
have often wondered at my own endurance. I am sure, sir,
that you will agree with me when I say that I feel it no small
mercy to have come thus far out of the battle with unimpaired
health and a comfortable prospect.

I have watched the course ot many who prefer “ gold to
honour some have gained the prize ; others, in their haste to
bo rich, have fallen, to rise no more. This hit-or-miss policy
has of late come sadly to grief, for the good and honest reason
that it has out-generalled itself ; hut for photographers proper
there never has been a brighter prospect. Those who have
striven to do their best fur the art and their patrons have
gained a position which is as essential in the science of trade
as it is in the science of war.

Photography must always bo a worrying and trying profes-
sion, hut I believe that the worst is past, and that health and
wealth are in store for the future. W. Hall.

Brighton, March \7th, 1808.

THE USE OF DISTILLED WATER.

Sir, — The important question recently raised in your
columns by Mr. Cherrill, as to the necessity of using distilled
water in photography, although ably discussed by some of
your correspondents as well as by the gentleman raising tho
question, has scarcely, I think, been set at rest. Mr. Cherrill
himself tells us that he dispenses with distilled water ; Mr.
Russell Sedgefield, an old and experienced photographer, makes
a similar statement. Statements of practice are always of
considerable importance ; hut I should like to know the reason
why of two or three points. In the first place, what consti-
tutes “ common water” ? In tho next place, presuming it to
be, ns I fancy it is, the ordinary water used for domestic pur-
poses, does not this vary considerably in quality, according to
the source from whence it is derived? And do not many
samples contain chlorides, carbonates, sulphates, &c., as well
as organic matter? If this be so, do wo not run considerable
risk of introducing contaminations into a now silver bath,
which may subsequently cost us much trouble to get rid of?

I am a great advocate for simplicity wherever it can be
obtained without paying too great a price. WiU you enlighten

Marcu 20, 1868.]

THE PHOTOGRAPHIC NEWS.

143

me on the subjects I have named, and also say what is the
effect in a nitrate bath of having the impurities common in
such a water as that of the Now llivor Company ?— Very re-
spectfully yours, Aquarius.

BLISTERS IN ALBUMINIZED PAPER.

Dear Sir, — It is with much pleasure I read Mr. Bovey’s
paper on the all-important subject of photographic printing,
and I am glad to find that ho, by the opinions he has expressed,
has confirmed mine, viz., that the cause of blistoriag of albu-
minized prints is most reasonably accounted for by imperfect
coagulation of the albumen.

With thanks to Mr. Bovey and the journal in which ho
writes,— I am, yours &c., Vesicula.

March 14<A, 1868.

lalk in the ^tubia.

International Copyright with Aheiuca. — .\n Inter-
national Copyright Bill has been laid before the American
Parliament. It is to be hoped that it will include works of tine
art as well as literature, in which case the provisions of the
Fine Art Copyright Act of 1868, in which photographs are
proteeted, may probably bo comprehended in the now law.

The Chemical Society’s Soiree. — On Wednesday evening,
lUh inst., the President and Mrs. Warren De la Rue held a
reception at Willis’s Rooms, St. James’s, which, notwithstanding
the unfavourable state of the weather, was attended by a
numerous and distinguished assembly, both of members and
visitors, including many ladies. The exhibition of objects was
varied and interesting. Many gems of art were displayed, in
the shape of paintings by Guido, Gainsborough, and Turner ;
sculpture, Japanese porcelain, ivory carvings, and other articles
of vertu. There wore likewise a goodly selection of etchings
by Ilanhart, photographs and photo-lithographs from the Royal
Arsenal at Woolwich, and others, illustrative of special novelties
in the way of mechanical construction. A splendid series of
now photo-enamel portraits was exhibited by M. F. Joubert.
The phosphorescent figures of M. GaifTe — the butterflies,
&c., lately described in this Journal— were exhibited by Messrs.
Murray and Heath, who sent, also, some exquisite examples of
stereo-photography. Mr. Thomas displayed his field tent in
working order, and some beautiful samples of nitrate of silver,
iodide of cadmium, and other photographic chemicals. Messrs.
Hopkin and Williams showed specimens of alkaloids, a large
bar of metallic thallium and several of its salts, also a flna
sample of hyposulphite of lime in very large and perfectly
formed crystals, suggestive of the applicability of this salt to
photographic use. The aniline dyes were exhibited in the
form of costly masses and large crystals by Mr. W. II. Perkin
and by Messrs. Nicolson and Maule. The new chloride of silver
battery, invented by Messrs. Do la Rue and Muller, was shown
in action, and gave a brilliant electric light between carbon
points separated a quarter of an inch. A variety of optical in-
struments were exhibited by Messrs. Horne and Thoriithwaite,
Murray and Heath, W. Ladd, R. and J. Beck, and
J. Browning. The last-named gentleman showtd, in com-
parison with blood, the spectrum of a newly discovered crimson
colouring matter, containing copper, extracted by Mr. Church
from the wing feathers of the Cape Lorey. Several large blocks
of Iceland spar, showing widely separated images by double
refraction, were exhibited by Mr. Ladd ; and in a room adjoin-
ing were arranged a fine display of Geissler tubes, an ozone
generator, and the new magneto-electric machine, deriving its
power from permanent magnets bent in a circular form. Beside
Sir David Brewster’s old illusion of the “cylindrical mirror,”
was shown by Mr. J. Huggins, photographer, of Norwich, a new
polarizing kaleidoscope, in which the ever-changing coloured
figures were produced by moving plates of agate, mica, and
selenite. Messrs. Beck had prepared a surprise by bringing
the microscope to bear upon the frontispiece plate — a photo-
graph— in Mr. Barry’s work on the Architecture of the Houses
of Parliament, by which the initials of Mr. Pugin were clearly
discernable in certain portions of the ornamental design.

Quekett Soiree. — The Quekett Microscopical Club held
a soiree in the laboratory and museum of University College

last Friday evening. Upwards of a thousand visitors were
present, and a very magnificent collection of microscopes ami
various other forms of scientific apparatus was exhibited.
Mr. Solomon illustrated the value of the magnesium light in
illuminating enlarged images of microscopic objects. The
evening was altogether a groat success.

Art Exhibition in Lancashire. — An intended exhibition
of works of lino art, to bo held at Darwen, in Lancashire, is
announced to bo opened in M.ay. As photographs will form an
important feature of this exhibition, those of our readers who
have pictures worthy of public display will do well to con-
tribute to what appears likely to bo an important and interest-
ing local exhibition. Communications should bo addressed,
without delay, to W. S. Ashton, Esq., Hon. Sec., Darwen,
Lancashire. ’The object is to provide funds for establishing an
Educational Institution in Darwen.

Scientific Education. — The Committee of Council of
Education at South Kensington have recently passed a minute
creating scholarships for the encouragement of scientific
instruction.

Test for the Presence of a Free Acid. — Dissolve
chloride of silver in just sufficient ammonia to make a clear
solution. If a little of the test bo added to ordinary spring
water, the carbonate acid present in the latter will neutralize
the ammonia and precipitate the chloride. The above forms
a good lecture exporimont, the test being a very delicate one. —
Chemical News.

'I'o Produce Etchings in Imitation of the Old Masters.
— A “ Practical Man ” sends the following, which has been de-
scribed before, but is still little known: — “'Take a quarteror one-
third glass plate, coat it with any kind of collodion, and then
put it into the nitrate bath ; allow it to remain for three or four
minutes, then take it out and well wash it ; stand it up to dry ;
when it is so— or appears to bo so — give it a further dry and
warm before the fire or over a spirit lamp ; then lay on the table
and trace your design as you would on a copper-plate ; then
work away with the etching point or needle, removing the dry
collodion dust with a duster or small bellows (no blowing with
the mouth) ; when finished, print in the pressure-frame as you
would a negative. For ornaments, cards, or artistic bits, good
imitations of etching may be produced at the cost and out-
lay of a lew pence.”

®0rr£S^Ott&mtS.

PHOTOGRAniY AND DisF.A8E.— A coiTe.spondent signing “ Hypo-
(chondriac)” is disposed to have a good-natured laugh at those
who attribute especially unhealthy influence to the chemicals used
in photography, and seems to think that many of the symptom.s
described are traceable to ordinary cause.s. He says, speaking
of his exijerience as an amateur : — “ My symptoms were simp ly
these. Once or twice in the course of la.st summer, after
a day’s outing with the camera, I have been visited by a most
severe cold with all its attendant miseries ; at another time with
a violent attack of indigestion ; and again, on one occasion, with a
copious bleeding of the nose. Now I am fully persuaded that all
these wore but the effects of one or more of the chemicals— may bo
the collodion, may be the silver bath, or the hypo, which, either
singly or combined, silently but surely invade the system. My
matter-of-fact friends, to be sure, instead of giving me their
sympathy for my martyrdom to the cause of science and art, would
insist that the cold was but the consequence of my lying down on
the damp grass after having worked myself up to fever heat in a
broiling sun in the smallest of tents without a breath of ventila-
tion ; that mv fit of indigestion simply arose from my having, at
the end of a hard day’s work, eaten too heartily after fasting since
breakfast ; and that, finally, the bleeding of the nose was due to
nothing but my face coming into somewhat rude contact with the
h:ind of a vulgar boor, whom I endeavoured to eject from my
angle of view, persuasion having failed. But what can you eMCct
from the ignorant, to whom our noble art is a dead letter ? You,
Mr. Editor, I am sure, will agree with me, that wo must look for
the true causes elsewhere, and that we must hold the collodion
bottle responsible, until it has clearly proved its innocence, that that
is the real culprit.” As we pointed out in our comments on the
first letters wliich reached us on this subject, many of the symp-
toms described by suffering correspondents are more legitimately
attributable to inattention to ordinarj- hygienic laws than to the
necessary influence of photography ; but sufferers naturally enquire
the cause of their sufferings, and nervous debility often depres.ses
the invalid with “thick-coming fancies.” We prefer to pomi

144

THE PHOTOGRAPHIC NEWS,

[March 20, 1868.

out, where we can, remedies for the sufifering, rather than to laugh
at the sufferers.

R. M. S. — The design and proportions of your proposed studio seem
excellent. We should use common 21-ounce sheet glass unground.
The process of grinding destroys the power of glass to transmit
light in an enormous degree (in some cases as much as 60 per cent.),
and, except when exposed to direct sunlight, its diffusing power is
not required. Wo believe that a very pale and delicate cobalt blue
glass has some advantages ; but, on the whole, we prefer the com-
mon sheet glass, as least liable to change, and, being the cheapest,
its occasiomd renewal, if it change colour, is not a serious matter.
M. Salomon, as we have stated in the News, with a glass room of
a somewhat similar character to that you propo.se, has the whole of
the skylight stippled to give the effect of ground glass. This can
be done at any time in your proposed studio if you find it desir-
able to subdue the top light permanently. Mr. Illanchard’s plan
of using starch obstructs less light than grinding or stippling
avith white paint.

W. Norman. — The second you mention — that is, the London
maker — undoubtedly .

J.tMES Cornwall. — We cannot explain the circumstances, but will
endeavour to take occasion to enquire. The work is, however, so
old and out of date that it would be of comparatively little use to
you. There may possibly be another edition prepared at some
time ; but there has been no new one for many years.

Earnest. — Your proposed alteration on the south side of your
studio will probably be an improvement. The chief error in your
lighting arrangements appears to be the management of the north
side light. One imperative condition of good light is to employ
the use of one dominant light, and not a series of distinct lights ;
the varied patches of light formed by 1, 2, 3, 4 on the north side
cannot give satisfactory results. Let the whole of the side light
from 1 to 4 consist of clear glass, iLsing blinds on sliding
rods to circumscribe the area of light when necessary. The best
lighted pictures of those you enclose arc B, !•', and G.

H. E. — Your question is much too indefinite to enable us to give
you definite information. The cheapest way to go to work to build
a glass house depends on so many circumstances. Much depends
upon whether you intend to use wood, bricks, or iron, in conjunc-
tion with glass, or which you will be permitted to use by the Dis-
trict Surveyor, should you be amenable to such an officer. A simple
oblong building of ridge-roof or lean-to form of the size you men-
tion, 20 feet by 8 feet, may be erected for from £30 to £100, de-
pending on strength, finish, position, and other circumstances.
You will find 8 feet rather too narrow ; 10 or 12 woidd be better.
Decide upon your general requirements, and then consult a builder ;
and, after deciding upon details, get a contract.

Lizzie. — We cannot give Lizzie any very satisfactory information,
we fear. Mr. Day, of 20, Cockspur Street, was, during last
month, gazetted as a bankrupt. How the subscribers to the Art
Union for the distribution of chromo-lithograidis will fare, we
caimot tell.

Rheumatic. — Your Ross’s triplet will answer well for enlarging.
2. Its focus, so far as we remember, is 8 inches ; in which case, in
enlarging a card to 20 by 15, the distance between the lens and
focussing screen would be about 56 inches. 3. A “ common
French lens ” is scarcely likely to be suitable for enlargement,
unless it chance to be a very good one. 4. Without knowing the
focus wo cannot state the distance required between tho lens and
focussing screen ; probably between 40 and 50 inches.

Tomahawk. — Your flatted backgrounds must not be wetted before
placing on a frame ; by a little skill you may stretch the canvas
pretty evenly. Attach the whole of one side with Lacks first, then
stretch gently and attach the other side, a
2. “ Flatting ’’ consists of oil paint ground with
the smallest possible proportion of oil which can 1
is applied in the same way as oil paint, but requires some manipu-
latory skill to secure an even surface. Two persons effect it best ;
one applying the paint, and another following with a “ softener ”
to blend the brush-marks.

Bromo. — We have not before met with such spots, but will give the
matter our attention, and, if possible, trace the cause.

B. Magic. — The result you enclose is very promising. Experience
alone will enable you to arrive at tho best results in any new
apidication of this kind. Possibly printing the image on glass,
and then, when all the proce.s.ses have been completed, transferring
tho film to wood, might answer, and prevent the surface of the
wood becoming rough.

L. S. — In an English inch there are about 25 millimetres. A metre
is 39 inches, a centimetre is one-hundredth part of a metre, and a
millimetre one-thousandth part. About 2J centimetres make an
inch ; and, of course, about 30 centimetres make a foot. We state
the proportion in round numbers to avoid minute fractions. You
will do well to familiarize yourself with the metrical system, which
is that most commonly used in scientific slatemcnts of mc.asurc.

H. A. — Permanganate of jHitash may be used for removing organic

d so pniceed.
turpentine and
e employed : it

matter from printing baths, as well as negative baths. Mr. John-
son objects to Condy’s fluid for the purpose as being often impure;
in our omi practice we have met irith tolerably pure samples, and
should not hesitate to use it when the permanganate in crystals
was not readily accessible. 2. The fixing bath mentioned m the
article to which you refer is exceedingly weak ; weaker than we
should recommend. The reason why a weak fixing bath is there
thought sufficient is, we presume, that in tho other part of the
formula the solutions are weak ; and the less silver salt in the
paper, the we.aker may be the bath in which the prints are fixed.
When a sulphocyanidc bath is used for toning, a somewhat weaker
fixing bath may bo used. 3. The experience of the gentleman
who warns you against intensif5dng with pyro and silver preceded
by iodine, and recommends bichloride of mercury as giving a more
st.able negative, is exceptional, and we cannot advise you to accept
his advice. We haix: not found any deterioration in negatives
intensified in the first-mentioned manner.

W. J. A. G. — Mr. Claudet did make a lens of topaz ; but did not,
we believe, get the diamond lens made, as he intended, had he
lived. Prints from a negative t.aken unth the topaz lens will be
presented to the members of tho Photographic Society. 2. The
lens you mention, if it work well, is undoubtedly cheap at the
money. You must be.ar in mind, however, that the whole-plate
lenses of French opticians are rarely larger in diameter or longer in
focus than the half-plate lenses of English opticians.

J. W. II. A.— Oil cloth or kamptulicon is best for the floor of a
studio, because they may be easily kept clean and free from dust.
Cai-pct or cocoa-nut matting maybe used, but require more care
to prevent the occa-sional annoyance of dust. The colour of the
matting would not be too light, unless a strong top light fall
uixm it.

M. Wane. — We regret that we cannot give you definite information
as to the period of receiving contributions at the Leeds Exhi-
bition.

Top-Light. — Wejshould suppose that the defect to which you refer —
namely, the faces being flat and white, and the drapery too dark —
was due to slight under-exposure. The white c;ilico diffuses tho
light throughout the rooms, but prevents direct light reaching the
model.

D. S. (Aberdeen). — The decision ns to the method of cnlarg;ing
much depends on the results desired, and the appliances and skill
vou po.ssess. If you wish to enlarge small negative-s up to (say) 12
Ly 10, then the proce.ss upon collodion and transferring is good. If
vou wish for more extended enlargements, the production of en-
larged negatives, or the use of the solar camera for producing en-
largements on paper will be better. In all such matters it is im-
po.ssiblo to say tliat any special method is the best, as each is
qualified by circumstances, and each photographer must deter-
mine for himself. Try the enlargement on collodion, and then
transfer ; this is simple, and requires but little apparatus beyond
what all photographers possess. 2. If you suc«H!d well with tho
acetate bath, do not change. We described the sulphocyanide bath
as giving special results suited to special circumstances, but not
as preferable for general u.so to the acetate bath. We prefer tho
acetate to the phosphate. 3. We do not think that the small
miniatures you mention will ever become a rage, and they could
scarcely be of much importance commercially if they were. We
cannot UTite private letters in an-swerto photographic queries : our
time is too fully engaged.

W. II. — .A properly finished Daguerreotype does not fade; but it
may become obscured by tarnish by exposure to tho atmosphere.
Tliis tarni.sh m.ay bo removed by cyanide. First wet the plate
and sec that the water flows freely over it ; sometimes alcohol is
necessary to .secure this ; then, when the water flows without
appearance of greasiness, apply a 10-grain solution of cyimide,
which will quickly remove the tarnish ; wash well, finishing with
distilled water, and dry off with a spirit lamp. This is an operation
best performed by a person familiar with Daguerreotype manipu-
lation.

W. J. I,. — We fear that wo have no correspondent at Vienna to
whom we can address such emiuirics, but will see if opportunity
serve.

R. II. Courtenay. — Thanks.

J. L. — The exposure of 90 minutes with a wet plate in land-scapo
photography to which you refer is, of course, absurd ; the statement
IS doubtless an enor of the writer, who has a very imperfect know-
ledge of such matters. 2. All tho paragraphs you name are un-
acknowledged extnicts from our own columns. 3. Probably very
speedily.

Henry Spink. — We presume that transfer paper can be obtained
of dealers in lithographic materials, such firms as that of Hughes
and Kimbcr, for in.stancc. Your letter in our next.

B. B. L. — There arc occasionally other injurious sulphur compounds
in cards besides Inqs). We shall have somelhing to s;iy upon tho
subject shortly.

Several Corrcsiiondcnla in our next.

Several articles in t\-pe arc again oompelled to stand over.

THE PHOTD&%PHIC NEWS.

VoL. xii. No. m.—lfufrch 27, 18G8.

CONTENTS.

P^GE

Bel Clement, or Preservative Nitrate of Silver 145

Dry Plates without Preservative 146

Critical Notices 146

Ventilation of Dark Rooms 143

On Collodio-Bromide. By W. B. Bolton 149

Pictorial Effect in Photography. By H. P. Robinson 150

Researches on Dry Plates. By JI. Carey Lea 151

PAGB

Photographic Difficulties of an Amateur in South Africa. By

Dr. Mann 152

Correspondence — "Lux Qraphicus” on the Wing — Gas or Oil
Lamps for the Magic Lantern — Preliminary Coating of
Albumen in the Wet Process— Some Experiments with Baths 154

Talk in the Studio 155

To Correspondents 156

Photographs Registered 156

SEL CLEMENT, OR rUESERVATIVE NITRATE OF
SIEVE II.

We noticed some short time ago the introduction of a new
salt of silver under the name of “ Sel Clement Preserva-
tive Nitrate of Silver,” intended for use in printing. Besides
being offered at a price not exceeding three-fourths of that
of pure nitrate of silver, it w.as stated to possess certain
specific advantages over that salt, especially in the fact that
paper prepared with it would keep sensitive for some time
without deterioration. In estimating the economy of any
new preparation offered in place of the ordinary salts of
silver there is one conclusion at which we must inevitably
arrive ; namely, that half-a-crown’s worth of the new salt
cannot pos.sibly contain more than half-a-crown’s worth of
silver ; but as it is by no means impossible that this silver
may be in combination with other bodies which aid the
production of good results with the consumption of a small
amount of silver, it cannot be asserteil, without experiment,
that a new salt is not economical. It is certain, therefore,
that a novelty promising desirable results is wortliy of trial.
We examined a sample placed in our hands, and ascer-
tained that it contained nitrate of magnesia as well as nit-
rate of silver, which fact we announced. We then placed a
portion of the salt in the hands of a distinguished chemist,
who is a member of ourstaff', for careful cpiantitative analysis.
From his report we learnt that the salts of silver and mag-
nesia appeared to have been mixed in about equal propor-
tions. Feeling that it would be unfair to the manufacturer
to make known the results of an analysis of his preparation
before it had been fairly tested by the public, who might be
prejudiced by a statement that less than one half of the new
salt consisted of nitrate of silver, we forbore, for the time, to
publish the details of our examination, resolving to test the
salt in practice, and also to learn the result of other experi-
ence before making further comment on the subject.

A contemporary has, however, relieved us of the necessity
for further reticence by having publi.shed an analysis, from
which it would appear that the example under examination
contained only about one-thiid of its weight of nitrate of
silver. It may be fair to the manufacturer and of interest to
our readers that we should publish the result of our analysis,
which issoraewhat more favourable to tbe purchaser than that
of our contemporary. We give it in the form wo received it
from our analyst a couple of months ago. It is as follows ; —
“The Sel Clement submitted for examination isamixture of
salts, somewhat moist, white in colour, deliquescent, and very
fusible. Reaction tolitmuspaperslightlyacid. Itconsistsof —

Nitrate of silver ...

46

Nitrate of magnesia

33

Water

21

“ The salt contains a trace of iron, but no nitrate of soda,
saltpetre, or zinc salt. It is impo-ssible to drive off the water
by fusion without decomposing some of the nitrate of mag-
nesia, which then becomes partly insoluble in water.

“ The nitrate of magnesia bears no definite atomic rela-
tion to the nitrate of silver, its amount standing between
one and two atoms to one equivalent of the silver salt.”

Our sample, it will be seen, contained 46 per cent, of
silver, whilst that of our contemporary is only stated at
34‘5 per cent.

A somewhat singular circumstance remains to be stated.
Dr. Fhipson, the English correspondent of the Moniteur de
la Photographic, mentions in his letter the fact that the
salt which had been recently introduced into this country
contained nitrate of magnesia, and makes some comments
thereon. The inventor of the Sel Clement, of whom the
Editor speaks as a chemist of well-known reputation, writes
a long letter to that journal, complaining of what he con-
siders an unfair criticism of his invention by the English
correspondent. With reference to the statement that the
new salt of silver is nothing more than a mixture of nitrate
of silver with nitrate of magnesia the inventor refuses to
enter into a discussion as to whether these two salts com-
bined exert a more beneficial effect than the silver salt alone,
but states that, besides the salts just nam d, the Sel Clement
contains two other substances which are organic, of which
one is coml>itie<l with the silver in the form of a salt, and is
slightly sensitive to light, while the other possesses the pre-
servative principle, and preserves the vvhiteness of the paper.
“What are the.se two sub.stances ? ” a.sks the inventor.
“Seeing that they are organic bodies, it will be difficult to
discover their nature by means of chemical analysis, and
they can only be detected either by chance or by researches
continued in a certain direction.” Alter some discu.ssion of
the question of novelty, in which he states his conviction
that the nitrate of magnesia had never “ been suggested,
except for the preservation of sensitive collodion, and not
for paper,” he proceeds to defend his right to keep tho
constituents of his material secret, at any rate, until he has
indemnified himself for his labours. He does not pretend
to any grand discovery, or seek to obtain honour and glory
from his invention ; he states that he merely asks for an
impartial trial of a material which possesses certain special
advantages ; and if the salt fulfils the expectations of the
buyer, he is fully content. He concludes by deprecating
the tendency of the photographic world to consider any
newly introduced material which is brought under the notice
of the public as nothing better than quackery, and refers to
the respectability of his agents as testifying to the genuine-
ness and soundness of his product.

The question of the inventor as to the other constituents of
his salt assuming the form of a challenge, we felt deserved
a reply, and having discovered no indications of organic

100

146

THE PHOTOGRAPHIC NEWS.

[March 27, 1868.

matter in the sample in our possession, we consulted the
gentleman of our staff to whom we have already referred, as to
any indication of an organic compound in the sample sub-
mitted for his examination. Here is his reply ; —

“Mr De-vr Sir, — The sample of Scl Clement received
from you on 1st February does not contain a trace of any
organic substance. I prove it in this way ; — All organic
matters contain carbon, and give rise to the production
of carbonic acid upon being fu.sed with nitrate of silver.
Quarter of an ounce of the Sel Clement was introduced into
a test tube, lilted with a cork and small delivery tube, heated
to fusion, and maintained for a considerable time iu that
state. The reddish vapours and all evolved gases were con-
ducted into lime water contained in another test-tube. Not
a traec of carbonie acid came over, for no precipitate made
its appearance iu the lime water.

“ In order to ensure the existence of proper conditions
nnder this negative experimental result, a small particle
of sugar (less than one grain) was introduced into the appa-
ratus, the cork replaced, and the fusion of the Sel Clement
continued, when ample evidence of the production of car-
bonic acid was obtained by the immediate formation of a
precipitate in the lime water.

In affirming that Sel Clement does not contain organic
matter, I would go further, and say that, even if organic
matter were added in the course of preparation, it could not
long survive the action of the boiling liquid at the time of
evaporation. Again, if the crystals of Sel Clement really
contained organic matter — such as sugar, citric acid, or other
preservatives — in admixture, they would be alterable by expo-
sure to sunlight, which is certainly not the case in that in
my possession. — I am, dear sir, yours, &c.,

" March 18/A, 1868.” “The Analyst.”

All questions of the constitution of the salt apart, however,
we think that the impartial trial for which the introducer asks
should be fairly accorded to it. Our own experiments have
not been sufficiently extended for a definite opinion ; but we
may remark that a 30-grain solution certainly gave better re-
sults than a 15-grain solution of nitrate of silver, and showed
no tendency to dissolve the albumen. The paper so pre-
pared also kept well ; but it was somewhat less sensitive, and
gave less vigour than a 30-grain nitrate solution containing
sugar. The salts afford strong evidence of the value of
nitrates — such as those of soda, ammonia, potash, or mag-
nesia— when added to the nitrate bath, and so confirms the
experience of many practical men, which has been contemned
by a few theorists.

It may be worth while to mention that nitrate of mag-
nesia was proposed as a preservative as early as 1854 by
Messrs. Spiller and Crookes, for use not only with collodion
plates, but also for use in paper, in conjunction with nitrate
of silver in the Talbotype piocess.

of an organic substance capable of combining with silver, or
that the collodion is prepared from a sample of pyroxyline
in which a trace of nitro-glucose has been formed in the pro-
cess of manufacture. The prints exhibited to the meeting
were from negatives produced on plates which had been kept
for six months, thus indicating excellent keeping qualities.
The formula) and manipulations given by M. Romain-Talbot
for employment with this collodion are as follows : —

Preparation of the Plates. — Clean the glass with care,
collodionise in the usual manner, and, when the last drop of
it ha.s nearly evaporated, plunge it for four or five minutes
into a bath composed as follows, keeping the plate in
motion : —

Nitrate of silver ... ... 15 grammes

Distilled water ... ... 150 ,,

Pure nitric acid 1 drop.

This bath, it will be seen, contains nearly fifty grains of
nitrate of silver to the ounce, and possesses an unusually
large proportion of nitric acid, which renders it probable
that a large proportion of a bromide is employed in the
collodion.

When the plate is taken out of the bath, allow it to
drain ; wash it with distilled water ; wash further with ordi-
nary water, and finally with filtered or distilled water. If
the plate be not well washed there is risk of a bad negative ;
good washing is, therefore, an essential condition ; and
should the water be of a calcareous nature, it is recom-
mended to use distilled water only. Dry at a temperature
of about 90° Fall. Thus prepared, the plate will keep
during many months.

Exposure. — Twice or three times as long as the wet
plate.

Development. — Plunge the exposed plate for from five to ten
minutes into a bath of distilled water, and from thence into
the silver bath above described, plunging the plate in and
out four or five times; and then develop with a solution
composed of —

Sulphate of iron 75 grammes

Water
Glacial acetic acid
Absolute alcohol

1,800

45

GO

When all the details are well out, wash well and continue to
develop with a solution of —

Pyrogallic acid ... ... 1 gramme

Distilled water ... ... 225 grammes

Glacial acetic acid 10 „

To which is added —

Nitrate of silver
Distilled water
Glacial acetic acid

1 gramme
48 grammes
1 gramme.

Continue with the last solution until the negative shall have
acquired the strength desired.

DRY PLATES WITHOUT PRESERVATIVE.

The use of dry collodion plates without any preservative
has been often proposed, and although tried from time to
time with some degree of success, from some uncertainty
as to the conditions upon which this success depends, flio
process has never been extensively adopted. Tu llu.- »li >
have experimented in this direction it has been tolerably
clear that the quality of the collodion materially influences
the results. One sample of collodion, simply washed and
dried after exciting, will yield a clean, bright negative ;
whilst another, treated in all respects in the same manner,
yields a thin, fogged, imperfect image; yet both samples
have worked well in the wet process.

At the last meeting of the French Photographic Society
M. Romain-Talbot detailed the manipulations necessary with
a collodion prepared by M. Harnecker, in which the plate is
simply thoroughly washed and dried after excited. The
nature of the collodion is not stated, but it seems probable
that it consists in the addition to the collodion of some trace

Fixing Bath. —

Hyposulphite of soda ... ... 1 gramme

Water ... ... ... ... 3 grammes.

Finally, coat with a dilute solution of gum, and dry the
plate.

llotitcs.

PHOTOGRAPHIC OPTICS : including the Description of
Lenses and Enlarging Apparatus. Ry D. Van Monck-
novEN, Doctor of Science. With Five Plates and Eighty-
seven Woodcuts. Translated from the French. (London :
Robert Hardwicke.)

It is a true remark, which has been oft repeated of late,
that in photography the progress of practice has continu-
ally outstripped that of theory. Processes have been long
practised with skill, and attended with success, the rationale

THE PIIOTOGHAPIIIC NEWS.

147

3Iarcii 'll, 18G8.]

of which is still but imperfectly understood. What is true
in the chemistry of photography is true in relation to its
optic.s. We do not mean to assert that opticians have
worked by rule-of-thumb rather tlian by matlieiuatical
knowledge, although that position might possibly, in some
degree, be justified ; but we mean that many photographei-s
have acquired some knowledge of the use of lenses, and of
the application of special lenses to special purposes, with-
out the slightest knowledge of their construction or of the
re.ason why a lens e.xcellent for one purpose failed in another,
or of the piinci|)les upon wliich flieir selection of lenses for
variotis uses should 1h! based. Dr. Van Monckhovon believes,
— and, we fear, with much reason— that the knowledge of
how to use a lens is “ a thing about which ninety-nine photo
graphers out of a hundred are in ignorance,” and adds, that
“ to use a lens improperly is to produce portraits false in per-
spective, buildings an<l houses falling into the street,” &c. It
is tolerably certain that more ignorance prevails in regard to
the optics of photography, even amongst cultivated photo-
graphers, than in regard to any other of the multiform
branches of knowledge requisite to constitute a really good
photographer, and that any work which may aid to disp<d
that ignorance should be hailed with welcome by the photo-
graphic community.

Dr. Van Monckhoven’s treatise on photographic optics
was issued in French about two years ago, and is now intro-
duced by Mr. Hardwicke to photographers in an English
dress. No translator’s or editor's name is appended to the
work ; but, with the exception of the insertion, in one in-
stance, of a foot-note by the Editor, attempting, but erro-
neously, to correct the author, the work seems very well done.

Wo need scarcely remark that the task of producing a
work on optics for photographers was an exceedingly diffi-
cult one. It was necessary to preserve scientific accuracy,
and it was not less necessary to deal with the subject in a
popular manner ; and in attempting both, the work ran the
risk of being pronounced superficial by scholars, and abstruse
by the unlearned. Nevertheless, without sacrificing pre-
cision— some few doubtful positions e.xcepted — Dr. Van
Monckhoven has endeavoured to write a popular book, and
has produced an addition to the te.xt books of the art which
every photographer ought to possess.

The work is divided into two books : the first treating of
optics and lenses, as applying to the ordinary practice of
photography ; and the second of the apparatus and processes
employed in enlarging.

The early chapters of the first part arc devoted to a re-
statement of the known laws of light and of optics gene-
rally, treated with especial relation to photography, and
furnishes a succinct account of the history, quality, and con-
struction of the various lenses now in use. The various
aberrations — spherical aberration, chromatic aberration,
curvature of field, distortion, and ostigmation — are carefully
considered, in connection with their causes and cure, and the
relative degree in which they each prevail in different kinds
of lenses, the copious use of diagrams tending materially to
aid the student in a perfect understanding of the author.
After treating fully of the aberrations of lenses, the author
proceeds to the classification of lenses under two distinct
heads, the aplanalic and the non-aplanatic, the former giving
sharp images over a small field with their entire aperture,
and the latter, requiring stopping down, giving sharp images
over a more extended field. It is in the treatment of this
part of his subject that the author lays himself most open
to the charge ot shackling himself with theories the truth
of which is not borne out in practice. Many of the new
lenses which have been introduced of late, and which he
classifies as nou-aplanatic, he utterly condemns as a retro-
grade rather than an advancing step in photographic optics.
All single combinations come under this sweeping condem-
nation, as well as some other lenses which possess a high
popularity amongst photographers. The reason alleged is
as follows : —

The practice of photography has established that, when the

f

to / being

image at the focus of a lens is wanting in intensity, the photo-
graphic reproduction of tliis image is itself wanting in relief, tlie
foregrounds being too black, tlio objects situated in the horizon
coiilounded with the sky, and the clouds in tlie sky replaced by a
plain ground of uniform tint; tlie jiroof, in a word, is wanting in
aerial perspective, and, if it bo a portrait, in vigour and relief.
For, to give s/mz-yj images, non-aplanalic objectives require very
small diaphragms, and generally of from

40

their focal length : hence an insuflicient intensity in the image
and the defect whicli wo liave just pointed out. Hut, exempt from
distortion, and including a considerable angle, they are useful in
some special cases, such as the reproduction of carles, buildings
situated a very short distance, or landscapes .and buildings strongly
illuminated by a powerful sun.

Ajilanatic objectives, tinder the head of which rank the triplet,
include a less angle, but do not reeptiro diaphragms exceed-

ing ^ ; and therefore they give moro artistic photographic

proofs, in which the foregrounds and the horizons are well brought
out, and the skies have clouds. If the light is insuflicient, they
are employed with a larger diaphragm ; and the sharpness of the
image is not destroyed as with non-aplanatic objectives, but only
limited to a smaller field. They can be used for portraits in the
open air, groups, and animated scenes, with their entire aiierture —
an advantage which is invaluable in practice. Lastly, the angle
they include, being between 5t) and 60 degrees, is more than suffi-
cient, because, if this angle is more considerable, the effect of the
perspective is doubtless more astonishing than agreeable.

In our opinion, therefore, the use of non-aplanatic objectives —
such as the siuqle lemt, the globe lens, Mr. Jiosx’s doublet, and that
of M. do Steiuheil — should be abandoned (except in some special
cases, which we have enumerated above) for that of aplanatic
objectives, among which the triplet is the best, as being free from
distortion.

Whilst fully endorsiug the author’s views as to the ex-
cellence of the triple, we take exception to his wholesale
condemnation of many of the lenses the abandonment of
which he recommends. For landscape purposes, many of our
best practical photographers prefer the use of a good
ordinary single lens; the wide-angle-single lens, and the
rapid stereoscopic single lens of Dallmeyer, are justly
regarded as amongst the most useful instruments placed in
the hands of photographere ; and the reputation of the
doublet of Ross is justified by the numerous admirable
photographs produced by it, and brought from time to time
under the attention of photographers. The author’s position,
so far as it is confined to a recommendation to the use of
lenses giving good definition with wide apertures, we most
cordially support, and agree with him that lenses requiring
small stops to secure definition should be abandoned, as,
besides the protracted exposure involved, the pictures pro-
duced are flat, tame, and unsatisfactory. It is only to his
sweeping condemnation of all lenses alike which come with-
in his theoretical chissification as non-aplanatic that we take
o.xception.

But whilst strongly expressing his leaning, on theoretical
grounds, to the lenses he classes as aplauatii;, the .author is
strictly fair and just in his description and treatment of the
various lenses in detail, dealing with the subject in a spirit
of scientific impartiality which is highly commcmlable.

The practical portions of the book will be re.ad by jihoto-
graphers with the greatest interest. Here is an example
relating to a subject to which the attention of photographers
has of late years been much directed, but which is by no
means yet exhausted ; —

Depth of Focuh. — Depth of focus is the property of lenses of
giving a clear image in planes of which Iho distance is unequal.
It follows from this that the ground glass jilaeed at the focus of a
lens may be moved to a very sligfit extent without the image
sensibly losing its sharpness.

To prove this experimentally, bring a camera furnished with a
single combination to bear on a landsca]>e. Bring to a focus the
objects farthest off. Wo shall .soon remark two things : the first
is, that the ground glass can bo .advanced or withdrawn to a small
extent without the sharpness of the imago of a fixed ]>lane of the
landscape sensibly changing; the second is, that if we bring to a
focus the most distant plane, many other nearer planes will still be
in focus.

The same experiment can bo made with an opera-glass, which
may be regulated for distant objects so as that they may be seen

148

THE PHOTOGRAPHIC NEWS.

[March 27, 1868.

r\ B

1 1

very distinctly. If you now direct tlie glass to nearer objects you
will also see them with perfect clearness. Similarly, by holding
the opera-glass directed on a distant object, you will .see that you
can move the eye-piece a short distance without lessening sensibly
the sharpness of the image by doing so.

It is to be observed that the depth of the focus v.-vries with the
aperture of the lens. Figures 44
and 45 make this very plain. In
,, figure 44 we make use of a lens
5 with its entire aperture. The
ih rays, r r, emanating fromadis-
^ tant point, form, after having
traversed the lens D, the image
of the point at a on a screen or
ground glass A. But if the
ground glass be either drawn
back or advanced, to C or to B,
5 for example, the image of the
point immediately spreads out
■ ‘ ill a circle, because angle a is
very large. When the same
lens, D (fig. 45), is reduced to
its central part by a stop, the image of the point is still formed
at o, but the ground glass can bo placed at C or at B, without the
image of the point becoming now appreciably altered. This is
because, in fig. 44, the rays, r r, emerging from the lens, are much
more convergent than in fig. 45.

It results, therefore, from the preceding, that a convergent lens
is capable of giving a sharp imago of planes distant from each
other, contrary, apparently, to the law of conjugate foci. But
experiment shows that it is only on the condition that those planes
are sufficiently distant from the lens that their image may be formed
near the principal focus. Thus, the nearer objects approach the
lens, the less becomes this depth of focus, as is shown by the
following short table, which gives the focal lengths of a lens
of 10 cent, focus, for objects of which the distance is constantly
diminishing : —

Distance of object. Elongation of focal length of the lens.

10,000 metres

O'OOl millimetres

1,000 „

001

100 „

01

50 „

02

10 „

101

5 „

2-04

4

2-6

3 „

35

2 „

5-3

1 „

50 eentimetres

111

25

40

33-3

30

50

20

100

This table is very instructive. It enables us to see clearly that
for objects 50 metres distant, for example, the focal length of
the lens is increased only two-tenths of a millimetre, a length
quite inappreci ible; for 10,000 metres it is increased still k?ss,
only a thousandth of a millimetre. Therefore, all objects situated
more than 50 metres from the lens will be in focus on the ground
glass, however great may be their distance.

When, on the contrary, the object is situated very ne.ar the lens —
for example, 30 centimetres from it — the ground glass has to be
drawn out 5 centimetres ; when at 50 centimetres, the glass has to
be drawn out centimetres; when the object is distant one metre,
the glass has to be drawn out 11 millimetres —quantities relatively
groat. P'or this reason, objects situated at a short distance from
the lens give sharp images only on the condition that they are very
near each other ; hence theditticulty of obtaining the image equally
sharp if this condition is not fulfilled.

Thus, then, the depth of focus of the lens varies with its aper-
ture and the distance of the objects which form the image at its
focus. It varies, also, according to the form of the lens or the
optical combination of lenses composing an objective. Conver-
gent meni.scus lenses have the greatest depth of focus when their
conc.ave face is towards the objects. Among objectives composed
of several lenses, the orthoncopic has the greatest depth of focus,
and the ordinary double combination the least. This is because the
former has generally a small aperture in relation to its focal length,
and because, moreover, the divergent lens placed along with the
anterior convergent lens renders the emergent pencils less con-
vergent. The second, on the contrary, has generally a verv large
aperture, and besides, the rays emergent from the first lens (the
one which is towards the object) are rendered still more conver-
gent by the second lens.

After giving a full description of the various forms of
photographic lenses in use, the mode of using photographic
lenses receives attention, after which the author proceeds to

the subject of enlargement, a subject ho has pre-eminently
made his own, and demonstrated by the production of some
of the finest enlargements which have ever been brought
before the public. In this part of the book the processes
and modes of working receive attention as well as the
apparatus to be employed, and much valuable information
is conveyed to which we shall probably return on a future
occasion.

In the meantime, we remark that the work is one which
every photographer ought to possess and study, and that
the photographic world is deeply indebted to Dr. Van
Monckhoven for the production of such work, and to Mr.
Hardwicke the publisher for presenting it to English
readers in an admirably neat and perfect form.

VENTILATION OP DARK ROOMS.

Mr. Ciias. Wager Hull, in the Philadelphia Photographer,
commenting on Mr. Cherrill’s plan for ventilating dark
rooms given in our last volume, says : —

“ On reading and examining it, I was convinced that the
plan alluded to of curing the evil would add another to the
long list of the photographer’s troubles, which, though it
might save his health in one way, would injure it in another
by spoiling much of his work, make him mad, ruffle his
temper, cause him to say ‘ naughty words,’ and generally bo
productive of bad consequences. If we are to have ventila-
tion in our dark rooms, it is well for us to have not only
good wholesome air, but, as well, air not charged with dust,
which would be the case if introduced, as is proposed, in the
article referred to, and which most certainly would be the
case if brought in from out of doors. Imagine a current of
air passing into our operating-room in midsummer, when
everything is dry, and all the lighter particles go floating
about through space, in entire disregard of eyes, nose, ears ,
or as, in this instance, dark rooms.

D

c

P

I B

H

A

“ By the introduction of tliis air into the dark room, I
claim that though the jihysical health of the operator might
be benefitted, his moral health would be injured, his work
would be spoiled ; therefore, of the two evils, choose the
least, of which choice there can be no doubt. ‘ How shall
we better this plan ?’ the reiider may bo asking. Very easily,
and thus : Do aw.ay with the door of your dark room, and,
in its place, build up a crooked sort of an entrance, as seen
in the cut following.

“ By this simple plan all light is cut off from the entrance,
and the room is as well ventilated as need be, without the
troubles which are certain to come from the plan first
alluded to.

‘‘ You enter at A, and, turning to the left, pass through
B, and enter at C into the dark room D. By this simple
arrangement you do away with the door, the constant open-
ing and closing of which raises, during a busy day’s work,
enough dust to produce pinholes ad libitum.

“To my knowledge, several rooms built after this plan
are an unqualified success. If any reader imagines that the
light can possibly get into his room (which I do not), then
let him make his passage B wide enough to put a partition

xMarch 27, 1868.]

THE PHOTOGRAPHIC NEWS.

149

half-way across said passage as seen at E and F, and paint
the inside of an orange or yellow colour. Should light
enough to do injury get in after this addition, then blame
the writer.”

ON COLLODIO-BROMIDE.

Br W. D. BOLTON.

In opening this subject. I do so more in the hope of inducing
others to try collodio-bromide than with the intention of in-
troducing anything new ; for though much still remains to
be done before the process will be perfect, so much has
already been accomplished that in the present state of pho-
togranhic knowledge there is, I fear, little chance of any
consiaerablo improvement being made either in this or other
procc.sses ; and until new materials are utilized, or new
methods of applying the old ones discovered, we must be
content to take things as they .are. At the same time there
is no reason why we should incur unnecessary trouble in any
of our operations when the means are at hand of dispensing
with that trouble ; and it is certainly bad policy to occupy
the whole of a fine summer’s evening pent up in a stifling
dark room, with the temperature almost at fever heat, pre-
paring half-a-dozen or a dozen dry plates for next day’s use,
when the same may be easily and comfortably finished in
half an hour, and equally good results expected.

The one advantage which collodio-bromide has over all
other dry-plate processes is the extreme simplicity of all its
operations ; and the saving of time and trouble is a m,atter
of the greatest importance, especially to those who have not
much leisure to devote to photography. Amateur's, as a rule,
belong to this latter class, and to them, therefore, it offers
peculiar advantages. If a person takes up photography as
a recreation, his aim should he to make it as much like enjoy-
ment and as little like work as possible; instead of which
some seem to try the very opposite plan. What would be
thought of a man who, of his own free will, spent his leisure
time in stone-breaking, that is supposing him not to be a
geologist ? or of another, who had a passion for voluntary
exercise on the tre.admill ? There .are m.any, I know, who
do both irnder compulsion, but they are not to be considered
as amateurs.

Most of my readers h.ave, at any rate, a slight acquaint-
ance with collodio-bromide, and do not, therefore, require to
be told that it consists of collodion holding bromide of s’lver
in suspension. The idea of dispensing with the use of the
bath by using a collodion containing the sensitive silver
salts is, I believe, very old, collodion containing iodide of
silver having been used several years ago, apd almost simul-
taneously with the publication of the collodio-bromide pro-
cess in 1804 ; then Liesegang published his experiments with
a similar process, ba.sed upon the formation of iodide of silver
in the collodion, but found it unsuitable for negative work ;
indeed, it was not until bromide w.xs substituted for iodide
that any success was obtained. For some time it seemed
doubtlul whether the process would ever become popular,
and up to last year its use w.as confined .almost entirely to .a
few Liverpool photographers ; but now, thanks to the e.xer-
tions of Mr. Mawdsley, it has been so practically worked out
as to bear comparison with any of the st.andard dry-plate
processes of the day. And now to proceed to details.

We will commence with the collodion, as being the most
essential part of the process. Though scarcely so dependent
upon the collodion as most other dry processes, there .are
still certain requirements to be fulfilled if any degree of
success is to be attained. The most important thing to bo
looked to is the age of the collodion ; before it is of any use
it should possess that quality, or combination of qualities,
generally termed “ ripeness.” The length of time required
to ripen it, of course, depends upon the bromizing salts. I
have found very little difference in the results obtained by
different formulae, provided always the collodion was of the
requisite age ; I do not care how old it is, as long as it is old
enough.

The formula I generally work with is 6 grains of bromide
of ammonium and 4 to 5 grains of pyroxyline to the ounce
of collodion, the ether and alcohol in equal p.arts. This
requires no more than twoorthree weeks toput it into working
order. Mr. Mawdsley’s formula I do not know exactly, but
bromide of cadmium is the prevailing feature. My reason
for preferring the bromide of ammonium to that of cadmium
is the peculiar effect the latter salt h.as in rendering the
collodion glutinous, which effect is only partially removed
by age. It is of the utmost importance th.at the collodion
should be as structureless as possible, for the horrors of a
mottled or crapy collodion are doubly magnified in the
collodio-bromide process. It is a well-known fact th.at if
the ether predominate over the alcohol, the collodion will
give a strong film, but very much inclined to mottling and
crapine.ss ; an excess of alcohol, on the other hand, gives an
open structureless film, more liable to break away in the
operations of washing and developing, and also more sensi-
tive. I consider it a mistake, therefore, to use the ether in
excess, but would rather incline to the opposite course, the
only objection being the difiiculty of keeping the film on
the plate, which is easily obviated by the use of a substratum
of albumen or indi.a-rubber. The former I prefer, .as there is
no bath to contaminate, and it docs its work much more
eft’ectually than india-rubber, and the trouble is so very
small that it need scarcely be taken into account.

With regard to the salts used in the collodion I may,
perhaps, say a word or two. C.admium and ammonium are
at present the only ones u.sed, but 1 see no reason why the
list should not be extended to two or three more, the bro-
mhles of lithium and magnesium .amongst the number.
The latter, which is a very unstable salt, rendering the
collodion very limpid and structureless, might with adviin-
tage be used to counteract the opposite qualities of bromide
of cadmium.

The qiuantity of silver used in sensitizing the collodion
will, of course, vary according to the formula, inconsequence
of the difference in the atomic weights of various bases. A
collodion containing 8 grains of bromide of cadmium, which
may be t.aken .as the standard quantity, would require,
according to theory, exactly 10 grains of nitrate of silver to
combine with its bromine; but in practice it is found neces-
sary to use a little more. With bromide of ammonium, of
which the atomic weight is less, G grains would be about
e(iuivalent to 8 of cadmium, the ex.act theoretic.al quantity of
silver required being 10 4 grains. The bromides of lithium
and m.agnesium being still lower in the scale, would combine
with the same quantity of silver in the proportion of 5'1
grains and 5'4 grains respectively.

The silver having been added, the next question is how
long the collodio-bromide should be kept before use, and
how long it will keep in a fit st.ate for use. There are so
many opinions on this subject that it is a difficult question
to answer, most .agreeing, however, that the sooner it is used
the better. I find it to be in its most sensitive state about
six hours after it is mi.xcd, and I al.so find it impossible to
do anything much with it when more than a few days
old.

If the collodion bo properly made, no substratum will be
required; the edges, of course, must bo tipped with india-
rubber or albumen, but as a security against accidents it is
better to take a little extra trouble and use the substratum.
A number of plates may be coated and packed away in a dry
pLace until required for use.

Everything ready, my plates “ tipped ” or albuminized
as the case may be, my mode of procedure is as follows : —
Having first filtered the collodio-bromide lightly through
cotton-wool, 1 coat the first plate. More care is required in
coating a plate with collodio-bromide than with ordinary
collodion ; if the surplus be run back into the bottle too
quickly, a streaky film is the result. The first plate is then
laid down to set whilst the second is coated ; number one is
then transferred to a dish of clean rain-water, and number
three coated, and so on, until the required number are

150

THE PnOTOGRAPlIIC NEWS.

[March ‘27, 1868.

1 allow uacli plate to set for about a minute. When
all the plates are coated and placed in water, I commence at
the first one again, and put them through the tannin, on to
the draining-rack, and tl en dry them.

If no more than a dozen plates are to be prepared, only
one lot of washing water will be required, but for a larger
number it will be safer to change it occasionally, lest the
silver should collect to an injurious extent. When dry, the
back of the glass is coated with annatto, and the plate is then
ready for exposure.

For developing, the only solutions required are : —

No. 1.

Strong liquid ammonia ...

... 1 drachm

Water

... 7 drachms

No. 2.

Bromide of potassium

... 8 grains

Water

... 1 ounce

No. 3.

Pyrogallic acid

... 100 grains

Pure alcohol

... 1 ounce

A mixture of alcohol and water may be kept also for
moistening the plates before development. The first step
is to remove the annatto, which is easily effected with a damp
sponge or cloth ; for this purpose it will be found convenient
to have a frame of wood into which the plate can be laid
face downwards so as to avoid touching the film.

The annatto removed, the plate is then covered with
alcohol and water, and washed thoroughly. Then take a
small quantity of water according to the size of the plate,
and to each drachm add one drop each of Nos. 1, 2, and 3,
which will, if the exposure have been rightly timed, bring
out the picture very quickly. When all the detail is out,
Wiish and apply another dase of developer containing two
drops of Nos. 1, 2, 3, to each drachm. Should the second
application not confer sufficient density, wash, and apply a
f liird dose of the same strength as the last. Fix with hypo,
and finish in the usual way.

That bromide alone is superior to iodide and bromide
mixed, for dry plates, I think nobody will now deny. Its
rapidity, its power in rendering detail in foliage or badly
lighted subjects, and, above all, the improved method of
development to which it is adapted, deserve the attention
of every dry plate worker.

IMCTORIAL EFFECT IN PHOTOGRAPHY ;

Beinq Lessons in

Composition and Ciii.vaoscuRA Foa Piiotoorapiiers.

DY II. P. ROBINSON.

Chapter IX.

"It is somotimes admitted that tha mere imitation of nature is not suf-
ficient to make a picture, and that some art in the treatment is required,
but nevertheless contended that students should confine themselves to the
imitatien, without any reference to the pictorial effect. But it will require
a strong argument to support the position that amateurs should be limited
to that portion which reiiuires incessant application, and debarred from
Uiose licenses to make their productions agreeable which are freely admitted
in the works of professed artists. Moreover, it is difficult to discover why
the end should not aleays, and from the first, be kept in view. — Jloward.

In making a iiictorlal representation of a scene from nature
there are many particulars worth bearing in mind, some of
which arc self-evident, but which, for the sake of order, and
for the information of those who have not arrived at even
the elementary stage of art, may be as well mentioned here.

Parallel lines are objectionable. If the horizon is bounded
by a straight line, the middle distance or foreground should
be undulating. Thid is often easily managed by a change
of position so as to get a perspective view of the foreground.
A move of a few yards will often entirely alter the lines of a
picture.

A front elevation of an object is seldom so picturesque as
the same object seen in perspective. Figure 1 is from a
stereoscopic slide, slightly exaggerated for the sake of making
the defective composition more glaring. The parallel lines

of the towers arc at right angles with the parallel lines of
the river, and the alder bush occupies a prominent position
in the centre : an arrangement than which nothing could
be worse. A position taken forty or fifty yards along the bank

Fiff. 1. Fiff. 2.

of the river would present a view as represented in figure 2,
which entirely agrees with the rules of composition as set
down in former chapters. Some writers argue that, because
the artist is not greater than the Divine Maker of nature, he
should make no attempt to improve or select nature. Now,
photographs taken from either of the stand-points indicated
by these sketches would be equally tiue, but figure 1 is pro-
bably the way in which these writers would represent the
castle, and figure 2 is how the same object would be pre-
sented by an artist. I leave my readers to select which they
would prefer.

However objectionable straight lines may appear when
many of them run parallel with one another, a few straight
lines are exceedingly valuable in a landscape, giving variety
by opposing the more graceful curves, and presenting a feel-
ing of stability in the picture. Sometimes a few parallel
lines in the distance and sky afford a pleasing contrast to
the undulating lines in the landscape. A small portion of
straight line is often of extreme value in a picture contain-
ing many curves. The lines of a building on an eminence,
or seen through trees, always add to the picturesque effect.
In the interior of a cathedral or church the straight lines
of the columns many times repeated give an idea of stability
and solemnity to be obtained by no other way.

If a picture were divided down the middle, one half should
never be a facsimile of the other. For instance, if a photo-
graph were taken of the nave of a church from the centre of
the aisle this effect would be produced. The repetition of the
receding pillars produces grandeur, but the exact repetition
of the same pillars on the opposite side would produce mo-
notony. The same observations will hold good in a great
variety of instances. A representation of a view extend-
ing down an avenue of trees, down a river, or down a street,
as in figures 3 and 4, should never, if it is possible to avoid
it, bo taken from the centre. On a comparison of figures 3
and 4 the difference of result will be seen at a glance. The

i'Vy. 3. Fiff. 4

awkward effect of placing leading objects, such as the figure,
cart, and church in figure 3, one above the other in a line,
will also be apparent.

A picture should also always be properly closed in. The
centre of an arch should never be left without any other
support than the side of the picture, as iu figure 5; but if
no more of the landscape can be included the ]>Icture should
finish at the abutment of one of the piers of the bridge.

THE PnOTOGHAPIIIC NEWS.

151

March 27, 1868.J

No doubt tho imagination of tho spectator will supply the
missiug abutm'.mt or supporf., but it is very much better to
show it in tho picture. The same remark also applies to
arches in interiors.

0.

The choice of the position of the horizon is often a matter
for serious consideration, but it may be taken as a rule that
it should never be cqui-distant from the top and bottom of
the picture ; that is, the plane should not be equally
divided between earth and sky. The exact position — whether
the horizon is above or below the centre — must be deter-
mined by the subject ; but I have noticed that the majority
of photographs seem to demand that the greatest space
should bo devoted to the earth ; while, on the other hand,
the majority of paintings and drawings have the horizon
low. This difference may probably be accounted for by the
fact that hitherto the sky has been a difficulty with photo-
graphers : first, because their endeavour has been to produce
photographs so cheap that they could not afford to print in
skies from a second negative; and secondly, because, although
here is very little mechanical or chemical difficulty in the
production of natural clouds when they exist, it is ver}’
rarely that a fine and suitable sky is found behind a land-
scape. It is scarcely probable that many pei-sons, even of
the timider sort, are deterred from introducing sky effects
into their pictures by the objections of those who, to give
some appearance of weight to their arguments, (piote lluskin,
or, worse, feebly imitate him. failing, however, to catch his
spirit or convey his meaning.

This subject is so important that I shall devote a future
chapter to its consideration.

RESEARCHES ON DRY PLATES.

BY M. CAREY LEA.*

The investigations described in the previous papers have
been continued at great length, and the effects of a great
number of substances upon tire “ collodio-bromide ’’ mixture
have been studied. To attempt anything like a description
of the results of each of these set of experiments would take
up too much space. Many scores — I might say hundreds —
of plates were exposed, and it was found that a surprisingly
large proportion of the substances tried, not merely con-
ferred sensitiveness, but often a high degree of it. Of all
these trials, which have cost very much time and labour, it
is proposed here to give only tho useful results. These
were, first, the fixing of certain principles affecting all
collodio-bromide work more definitely than heretofore
understood ; and, secondly, the discovery of two dry pro-
ce.sses of a new character, and which leave little to be desired
in facility, seAsitiveness, and excellence of result. I speak
of them as two processes ; they are, however, but variations
the one of the other, giving, however, very different results,
adapted to different conditions. These processes are, in
every way, so satisfactory, that I expect, in my own case, to
use them henceforth exclusively.

General Observations on the Collopio-Bromide
Process.

I have made a very large number of comparative trials of
collodio-bromide plates, prepared in very many different
way.s, having taken great pains as to uniformity' of exposure,
selecting uniform light, timing accurately, and developing

• Philadelphia Photographer.

the plates alongside of each other in pans filled with alkaline
developer, which had been mixed in quantity and then
poured into the separate pans, thus ensuring an exact
uniformity of treatment, a precaution especially necessary in
the comparative e.xamination of dry plates, where dift’ereuces
in tho plates and in their exposure may be so largely com-
pensated by managing the development.

It has seemed to follow, from tho results obtained, that
the highest degree of comparative sensitiveness to weak
light requires that the sensitizer employed should act on the
film in the presence of free nitrate of silver ; that is, a pro-
cess in whicn the sensitizer has been applied in the presence
of free nitrate of silver will give better detail in the shadows
when the high lights have received just their proper expo-
sure, than a process in which the plate has been washed pre-
viously to receiving the organic sensitizer. Consequently,
softness will always be promoted by adopting a system in
which the organic sensitizer has acted in the presence of
free nitrate. Contrast and brilliancy will be promoted by
first removing the free nitrate.

Whether this principle extends to other forms of the dry
rocess besides the collodio-bromide I shall not now inquire ;
ut I remark that, in the only dry process that has been
regularly adopted and carried out on a large scale for the
protection of negatives commercially, this principle of placing
the sensitizer in contact with free nitrate of silver finds a
place. I allude to that form of the collodio-albumen pro-
cess used by Mr. England. I say this, not by any means as
advocating the e.xclusive use of plates prepared under such
conditions, but as affirming that, where tne object is to secure
softness, it is best attained in that way.

Another point to which my attention has been directed is
the nature of the changes which a collodion salted with bro-
mides only undergoes after the addition of nitrate of silver.
It has been observed that when the nitrate of silver in fine
powder is firet shaken up with the bromized collodion, the
latter, if poured on glass, is bluish and transparent. After
a time it is found to have changeil its character, and gives
on glass a creamy and much more opaque film. Nitrate of
silver dissolves very slowly in collodion, and the opinion has
been, if 1 am not mistaken, that the change from tho blue to
the creamy condition marks the point at which enough
silver salt had di.ssolved to saturate the bromide, and have an
excess of silver present in the collodion.

This is very far from being the true explanation. A
collodion may have a large excess of silver present in solu-
tion, and yet exhibit the blue condition. Conversely, it may
give actual excess of bromide, and yet be creamy. In my
opinion, the creamy condition results from an action of the
bromide of silver upon the collodion itself. The following
are the conditions under which is takes place : —

The creamy condition appears after an interval, which
depends upon the temperature and upon the proportion of
nitrate of silver in excess. The higher the temperature of
the room the sooner it comes; and it comes faster in pro-
Dortion to the excess of nitrate of silver up to a certain point ;
but if a very large excess of nitrate (relatively) is present, it
comes very slowly, or not at all. Thus, when the collodion
above described was sensitized with 20 grains of nitrate of
silver to the ounce, representing an excess of C.} grain.s, no
indications of creaminess were visible after eighteen houi’s
standing in a room with fire in it. One cause of this i.s,
evidently, that where there is so much nitrate of silver pre-
sent, the bromide of silver will not remain in suspension.
For when the bromide of cadmium or other soluble bro-
mide is in excess, the bromide of silver, as is well known,
shows little tendency to precipitate, but remains for a very
long time suspended. When the nitrate is in small excess,
there is already much more tendency to precipitate ; and
when as much as 20 grains is added to a collodion of 8
grains bromide of cadmium and 2 grains bromide of ammo-
nium, the bromide of silver settles, to a large proportion,
within a few hours.

A curious fact is, that when the collodion has once passed

15‘2

TIIH PHOTOGRAPHIC NEWS.

[March 27, 1868.

into the creamy stage it lias very little tendency to return
to the blue ; so that, if more collodion be added in such
proportion as to leave a small excess of bromide, the creamy
condition still continues. I have had collodion in which
there was one grain of nitrate of silver less than suflicient to
saturate the bromide, and which was perfectly creamy.

These considerations are of no small importance in
making dry plates of any sort by the collodio-bromide pro-
cess ; for the conditions of succc.ss are, that the film shall
contain from 1 to grains of excess of nitrate of silver.
Some have directed to use no excess of silver-salt, but to
get the mixture as nearly neutralized as possible. I am
satisfied that this is a mi.stakc, and that the cleanest and
brightest picture and most sensitive films are got with 2 or
2^ grains excess of nitrate. The creamy condition is also
essential. Plates tried with even GJ grains excess of nitrate
and bluish films were very insensitive, and no good results
could be developed on them.

{To he continued.)

rnOTOGRAPHlO DIFFICULTIES OF AN AAIATEUR
IN SOUTH AFRICA.

BY DR. MANN.*

It will moke a brief, and possibly not unamusiug episode, if
I give another instance of the dash and boldness of my heroic
pupil and friend. Upon one occasion wo planned a visit to a
wild district some thirty or forty miles beyond the then fron-
tier of the colony, and still further beyond the houses of
civilized men. Wo arranged that we would take some photo-
gr.aphic apparatus with our pots and pans and everyday
camp necessaries ; and in a fit of sublime resolution my
friend resolved that ho would work with no less pretentious
an instrument than a whole-plate camera that ho had recently
imported from England. In order, however, that we might
place ourselves beyond the reach of accident, wo had two of
the steadiest of our Kaffir attendants told oft’, to bo devoted
exclusively to tho charge of two of the most delicate of our
impedimenta. One man carried, strapped over his shoulder,
my mountain barometer, which on another occasion I had
successfully and safely conveyed all round tho colony in my
travelling waggon. The second attendant boro over his back
a large full plate glass bath, in the usual mahogany water-
tight case, filled with a precious fresh solution of tho nitrate
that we had prepared with the most consummate and careful
skill for the occasion. At the end of our second day’s march
I found my mountain-barometer unpleasantly minus its mercury,
which cost the instrument a six months’ voyage to England
and back for a new tube before it could bo used in any service
scientific again. I never learned what tho process was by
which my black friend had managed so soon to get his glass
siphon emptied of its contents ; but I have no doubt in my
mind that the proximate cause of the result was the urgency
of tho caution which had been given him. He had been told
that whenever he took the case oft’ his shoulder he must never
lay it down, but stand at ease, with his charge upright, one
end upon tho ground, until ho was relieved of it by some duly
qualified and accredited hand. In all probability, in making
sure that he carried out his instructions in their full spirit as
well as letter, he had struck tho end of his case firmly down
into tho ground, to make doubly sure that it should not fall !
In dealing with these amusing people, it is never possible to be
altogether prepared for tho grotesque and perverted views they
take of tho meaning and relations of tho implements of white
men. I once had a Kaflir lad in my service who could not be
brought to believe that the kitclien dustpan was not especially
provided to cook his breakfast in.

To pass on, however, from tho barometer to tho hath. On
the third day of our outward journey, when I was just recover-
ing from tho vexation the irreparable loss of my barometer
had occasioned mo, I was jogging along upon my horse chatting
with my friend, our waggons and straggling cavalcade within
easy reach behind us, when we heard a sudden outcry a little
way behind; and on riding back to investigate its meaning,
wo found our bath-bearer struck motionless with fright, his
burthen hanging from a stick over his shoulder, but the nitrate
of silver solution running freely in streams down tho lower

* CoQtiDued from p. 141.

part of the blue striped shirt which constituted his livery. On
relieving him from his load, we found the glass bath inside
tlio mahogany case in three pieces, and the last drops of the
precious solution just loitering amidst the fragments. The
distress of the poor fellow at finding his back double-dyed with
sable, as the sun, with its well-known impartiality, actinized
the sensitized film of his cuticle, was one of tho most ridicu-
lous scenes tliat can well be conceived. At first we punished
the unknown delinquency of our attendant by telling him tho
stain was of necessity ineradicable. But the effect of this
punishmenit upon tho member of a race which believes every-
thing of this kind to have some “ witchcraft ” application was
so severe that I was obliged to pledge my chiefly word that I
would charm the stain away, so that no trace of it could bo
discovered, either naturally or supernaturally. A small stock
of cyanide of potassium in tho waggon enabled mo to fulfil my
pledge.

I must now confess that if the campaign had been entirely
in my own hands after tho destruction of our bath, I should
have succumbed under the evil, and abandoned at once all
pliotographic aspirations for that occasion. My friend, how-
ever, took the view that tho pursuit of knowledge under diffi-
culties is, in tho end, quite as pleasant, and in some sense more
profitable than walking the beaten road. Wo accordingly took
stock of our appliances. We found that we had a small supply
of dry nitrate of silver in our repertory, and, by an exhaustive
overhaul of our camp equipage, we discovered that we had an
enamelled iron dish in tho kitchen department that had not
more than half a dozen holes through tho outer enamel. These
we carefully repaired by a coating of sc.aling-wax. Wo next
bent tho largest pin wo could find into a crook, and coated that
too. We were free from all anxiety of strain in the matter of dis-
tilled water, for we had now learned that all the water in this
part of south Africa is distilled. There is no trace of lime-salts
in tho greater portion of tho country ; and the frequent rain
flows rapidly down through hard rocks of granite, slate, and
sandstones, in so pure a condition that tho natural stream can
be turned to any use in photographic work. It is rare to find
even the sliglitcst perceptible trace of cloud on adding nitrate
of silver to the liquid. For some years 1 took the trouble of
distilling water for baths, developing solutions, and first wash-
ings, but for some considerable time have fallen back upon the
merely settled ami filtered water of the surface streams for
everything, without discovering tho slightest inconvenience.
The large full plates wo of course had to abandon, ns your
kitchen forecasts had never contemplated camp-stews of that
dimension. But, by great good fortune, we had with us a small
binocular stcreographic camera ; and with this and our
enamelled dish and crooked pin, we worked throughout tho
expedition. I lay before tlie Society a series of tlie results of
our practice, which, bad as they may be if judged by the high
canons of photographic excellence, are interesting as records
of tho objects and scenes we encountered, and quite good
enough to justify my heroic friend in his dogma that photo-
graphy under difficulty, and in an iron dish, is better than no
photography at all.

There is very little to say on tho theme of development,
excepting that tlie sulphate of iron developer, of medium
strength (that is, comprising about 20 grains of the iron salt
to the ounce of water) is tho most pleasant to work with. It is
of course necessary to give somewhat more than ordinary care
to tlie manipulation of this part of tho iirocess, because tho
collodion film is almost always repellent of tho solution, and
unaccommodating to a troublesome degree, and abnormal deposit
and reduction occur, in the high temperatures that have to be
encountered, like a flash.

Tho gelatino-irtm developer works most admirably, and is
uniformly pleasant and reliable. I found Mr. Hughes’s simple
plan of dissolving a few grains of gelatine in tho ordinary solu-
tion of the sulphate of iron servo every desirable end. I sub-
mit two orthree small photographs produced with this developer
at very high, and what would otherwise have been very un-
manageable, temperatures. On account of the rapidity with
which the undesired reduction takes place, it is unquestionably
best to give full exposure to the plate, and to have as little to
do with subsequent processes of intensification as may l>e. A
weak solution of pyrogallic acid, with subsequent infinitesimal
additions ot nitrate of silver, is, 1 think, all that should ever
bo required.

Dry-plate photography is, beyond all question, eminently
adapted to tho circumstances that 1 hTve describe 1 as obtain

1

March 2?, 1868.] THK PIIOTOGKAPHIC NEWS.

153

ing in lands situated like Natal. The plates keep excellently,
can bo carried about and played with even at the most uufavour-
ablo seasons, and may bo developed days after their exposure
1 have bad dry plates, prepared in Hngland after Hill Norris’s
plan, sent out, and have used them after I have had tliem
months on hand, and very rarely experienced a failure. The
best method of handling them, in my experience, was to give
them full exposure, and then develop with a weak solution of
gallic acid, until all detail was faintly apparent. The alkaline
development is perfectly manageable, hut, I tliink, not, on the
whole, so satisfactory as the gentler treatment after full expo-
sure. I submit pictures made from dried plates, prepared in
England, and used months sub.soquently in South Africa. The
exposure in these c.ises was twenty minutes in full sunshine.
Both the albumen and tannin jirocesses worked well. 1 pre-
ferred the tannin process as being the least troublesome ; and
I have no doubt that if I hail used it more frequently, and
made myself more familiar with its handling, I should have
h.ad little dilliculty in getting very fair results. Liability 1o
harshness and patchiness in the skies was the principal fault
that occurred to mo in my working ; but this, 1 am quite satis-
fied, was duo to my own want of care, and most probably of
skill, in manipulating, and would be quite obviated with an
extended experience.

If I return to my old haunts, I shall certainly fall back exten-
sively upon Mr. England's simplification of the collodio-albu-
nien process, and upon Mr. Bartholomew’s acetate of morphine
process, employing the one when requiring plates for three or
four weeks’ keej>ing, and the other when able to prepare the
plates twenty-four or forty-eight hours before using them. I
have not yet actually used either of these processes ; but I am
quite certain, from tlieir description and the experience I have
had with dry proces.ses, that both would prove most valuable,
pleasant, and certain methods of working in the conditions and
circumstances I have named.

But there are obviously urgent reasons why dry-plate photo-
graphy, even in its best and most sensitive forms, cannot be
altogether relied upon to furnish all that the amateur requires
during a lengthened sojourn amidst objects of interest in tropical
or sub-tropical countries : and this remark at length brings me
to the threshhold of what I design to bo the main iioint of this
communication. Pending the fulfilment of Mr. McLachlau’s
promise, which, of course, I intend, in common with the rest
of the photographic world, to avail myself of wlieu the con-
summation is complete, I now incline to a direction of working
which, if there be no concealed and latent objection not yet
perceived, gives fair promise. I think, of turning the flank of
the greater part of the difliculties that have to bo braved.
Upon a recent occasion I spent a few hours with ray old friend
Professor Piazza Smyth, of the Iloyal Observatory of Edin-
burgh ; and on making a comparison of notes, he told mo that
for months ho had struggled, both at Tenerifle and in Egypt,
with the same legion of troubles that I have described, and
that he had finally only escaped from them by changing his own
strategy. He then very kindly illustrated his entire process,
and showed me a large series of results that he had achieved.
Professor Smyth states roundly that, in his own old plan
of working, he could never command, in high temperatures,
anything like certainty of result ; whereas, with his new plan of
working ho never fails. After a deliberate and eareful examina-
tion of his plates taken in and around the Pyramids, and a sub-
sequent review of all the circumstances of my own Natal experi-
ence, I have quite come to the conclusion that, in any future
campaign I may have the opportunity of entering upon, I shall
supplement dry-plate procedure with some modification of
Professor Smyth’s method of wet-plate manipulation.

The members of the Photographic Society are no doubt
aware that Protessor Smyth’s recent process consists mainly in
employing a small camera that can be carried about in the
pocket to make Lilliputian negatives on glass, which are ex-
posed to the lens of the camera wliile resting quietly in the
sensitising bath, and which are subsequently enlarged at con-
venient and favourable opportunity to any size that may be
requi>-ed. The advantages which are incidental to, and, indeed,
inseparable from, this mode of procedure, where such tempera-
tures and capricesot moisture and dryness as I haveendeavoured
to describe are concerned, are so obvious that it would be im-
pertinent to dwell upon them in this presence. The extreme
portability of the entire series of apparatus required, the pre
cision and certainty with which the exposure can bo managed,
the shortness of time, and the entire absence of all irregular

and partial drying of the film, in tlio first place, before the
actinic influence is brought to bear upon its sensitive surface,
and, in the second place, before the latent imago is developed
by the roilucing agent, will suggest themselves on the instant.
Professor Smyth works transversely upon the strips of gla.ss
prepared for the reception of microscopic objects, the negative
picture so produced being just ono inch square. Under this
management stains are altogether unknown to him, and ho can
command clear brilliant pictures at all times and under all
circumstances. The miniature pictures are so exquisite in
detail that they do not suffer in the least when enlarged to the
size of plates of the ordinary dimensions. It would bo super-
fluous hero to remark how important it is to the scientific tra-
veller to bo able to. secure, by this ingenious proceeding, an
almost endless number of miniature negatives whicli are
capable of being compactly stored in the little boxes prepared
for the preservation of microscopic slides, and which can bo
turned to account by enlarged copying on subsequent oppor-
tunities when the exigencies of travel are past.

1 should, perhaps, here add that my own inclination at pre-
sent is not to work quite so small as Professor Smyth does, but
to adopt as a standard for bath exposure the largest plate that
proves to bo consistent with easy manipulation and facility of
transport.

There is, perhaps, only ono other offender who requires to
have his name entered in this record of photographic plagues.
His name is Varnish ! 1 have found very few samples indeed,

either of amber and chloroform varnish, or of hard spirit var-
nish, that I could depend upon for printing under the South
■\frican sun. Nearly all prove tacky and adliesive under the
heating power of the direct solar rays. Hero, again, I do not
doubt that much of tlio evil depends upon the very great diffi-
culty of having either the sensitized paper or the printing-
frames themselves absolutely dry in the atmosphere that has to
be dealt with. I have lost a'considerable number of plates that
I should have been glad to retain, from adhesion of the paper
to the varnished surface in the printing-frames. The only cer-
tain means I have found of obviating this evil has been to
print only in diffused light. I adopted this practice resolutely
and exclusively during my last mouth’s sojourn in Natal ; and
I can but regret that I did not do so sooner.

I trust that it will now bo apparent what the course of pro-
ceeding is that I incline to adopt in any future need of ray own
and to recommend to amateurs in warm regions, whose object
in occasional and somewhat uncertain and capricious meddlings
with the actual processes of photography is scientific and
incidental, rather than artistic and direct.

1. I propose to use dry-plate manipulation for out-of-door
work as extensively as possible, adopting some such process as
the acetate of morphia plan whenever the plates can be used
within a reasonably short period of their preparation, but fall-
ing back upon either Mi. England’s modification of the coilodio-
albumon, or possibly upon Mr. Gordon’s gum process, where a
journey is on hand, and longer time is required. It will be re-
marked that, in selecting these processes, I am mainly influ-
enced by the consideration that all materials required for them
are such as can be easily kept always on hand in a fit state for
use in a capricious atmosphere of high temperature and uncer-
tain moisture.

2. I propose to prepare the collodion employed, at compara-
tively short intervals, in small quantities, by dissolving the dry
pyroxylino in the appropriate solvents preserved in small, well-
closed receptacles.

3. And, finally, I propose, wherever more sensitive plates and
quicker action are required, to use chiefly small plates with a
miniature camera, which allows the exposure to be made while
the plate is still immersed in the sensitizing bath. It has
recently occurred to me that, in all probability, the subsequent
enlargements of these small negatives might be very pleasantly
and satisfactorily effected upon the best forms of dry plates,
either by the use of diffused solar light under a sufficient expo-
sure, or by the adoption of Mr. Solomon’s plan of employing
the magnesium light.

The gentlemen of the Photographic Society of London will
confer a great boon upon a large class of their amateur asso-
ciates who are working in remote lands under circumstances
of special “ difficulty,” if they will consider these propositions,
and determine how far they are likely to prove sound and re-
liable in the conditions which I have described, and in what
way it may bo possible either to modify or to extend them with
advantage.

154

O^HE PIIOTOGRAPIIIG NEWS.

®0rrcs^0nbfttct.

“LUX GRAPHICU3” OX THE WING.

Deau Mr. Editor, — I have often troubled you with soino of
niy ideas and opinions concerning the progress and status of
photography, and you have pretty often transferred the same
to the columns of the Photographic News, and troubled your
readers in much the same manner. This time, however, i am
going to tell you a secret — a family secret. They are always
more curious, interesting, and important than other seeret.s,
state secrets and Mr. McLachlan’s photographic secret not e.\-
cepted. But to my subject : “ The Secret.” Wtdl, Dear Mr.
Editor, yon know that my vocations have been rather arduous
for some timo past, ami I foel that a little relaxation from
pressing caros and anxieties would be a great boon to mo. You
know, also, that I am n great lover of nature, almo.st a stickler
for it to the exclusion of prejudicial art. And now that the
spring has come and winter has fled on tho wings of tho field-
fares and woodcocks — that's Thomas Hood’s sentiment made
seasonable — I fain would loavo the pent-up city, where the
colour ot tho sky can seldom bo soon for tho veil of yellow
smoke which so constantly obscures it, and betake mysolt to
tho country, and inhale tho fresh breezos of early spring ;
gladden my heart and eyes with a sight of tho bright blue
sky, tho glistening snowdrops and glowing yellow crocuses,
and regale my ears and soul with the rich notes of the thrusii
and blackbird, and the earliest song of the lark at tho gates of
heaven.

It is a pleasant thing to be able to sliako off the mud and
gloom of a winter’s sojourn in a town, in tho briglit, fresh fields
of the country, and bathe your fevered and enfeebled body in
the cool airs of spring, as they come gashing down from the
hills or across the rippling lake or dancing sea. I always had
such a keen relish for tho country at all seasons of tho year,
it is often a matter of wonder to mo that I ever could bring
my mind to the necessity of living in a town. But bread-and-
butter do not grow in hedgerows, though “ bread and choose ”
do : still tho latter will not support animal life of a higher
order than grub or caterpillars. “ There’s the rub.” Tho
mind is, after all, tho slave of tho body; for the mind must
bend to tho requirements of tho body ; and as a m in cannot
live by gazing at a “ colt’s foot,” and if ho have no appetite
for horseflesh, he is obliged to succumb to his fate, and abide
in a dingy, foggy, slushy, and bewildering world of mud, bricks,
and mortar, instead of revelling in tho bright fields, fresh air,
and gushing melodics which God created for man, and gave
man senses to enjoy his glorious works.

But, Mr. Editor, I am mentally wandering among “cowslips,”
daisies, buttercups, and wild strawberry blossoms, and for-
getting tho stern necessity of confining my observations to a
subject coming reasonably ivithin the range of a class journal
which you so ably conduct ; but it is pardonable and advan-
tageous to allow mind to run before matter sometimes, for tho
latteris more frequently inert than the former, and when thomind
has gone a-head the body is sure to follow. Melancholy in-
stances of that present themselves to our notice too frequently.
For example, when a poor lady’s or gentlemen’s wits are gone,
lettres descachets, and some kind or u/ikind friends, send tho wit-
less body to some retreat where tho wits of all tho inmates are
gone. I must, however, in all sober earnestness, return to my
subject, or I fear you will s.ay : “Ho is going to llanwell.”
Well, perhaps I am, for I know that photography is practised
at that admiribln institution ; and now that I have struck a
professional chord, I may as well play upon it.

Lenses and camcr.is,likc birds and flowers, reappear in spring,
and, as tho season advances and tho sun attains a higher alti-
tude, amateurs and professionals arc quickened into a surjirising
activity. Renewed life is imjiarted to them, and tho gregarious
habits of man are develojied in another form and somewhat in
tho manner that tho swallows return to their old haunts. At
first, a solitary scout or reconnoitering party makes bis appear-
ance, thou another, and another, until a complete flock of
amateur and jirofessional photographers are abroad, seeking
what food they can devour; some preferring tho first green
“ bits of foliage ” that begin to gem tho woods with emeralds,
others waiting till the leaf is fully out and the trees are thickly
clothed in their early summer loveliness; while others prefer a
more advanced state of beauty, and like to depict nature in her
russet hues, v\ho:i the trees “aro in their yellow loaf.” Some

[March 27, 1868.

are contented with tho old-fashionod homcsto.ads and sweot
green lanes of England for their subjects ; others prefer the
ruined abbeys and castles of the feudal ages, with their deeply
interesting associations ; others choose the more mythical
monuments of superstition and the dark ages, such as King
Arthur’s round tables, druidical circles, and remains of their
rude temples of stone. Some delight in pictorializing the lakes
and mountains of tho north ; while others aro not satisfied with
anything short of tho sublime beauty and terrific grandeur of
the Alps and Pyrennees. Truly, sir, I think it may be safely
stated that photographers are lovers of nature, and, I think,
they are .also lovers of art. If some of them do not po.ssess
that art knowledge which is so necessary for them to pursue
advantagoously either branch of their profession, it is much to
bo regretted ; but there is now no reason why they should con-
tinue in darkness any longer. I know that it requires years of
study and pr.vctice to becomo an artist, but it does not require
a very great amount of mental labour or sacrifico of timo to
liccomo an artistic photographer. A little hard study of tho
subject as it appears in tho columns of your Journal and those
ofyour contomporaries — for I notice that they have all suddenly
become alive to the necessity of imparting to photographers a
knowledge of art principles — will soon take the scales off the
eyes of a man that is blind in art, and on.ablo him to compre-
hend tho mysteries of linos, unity, and light and shade, and
give him tho power to compose liis subject as readily as he could
give a composing draught to an infant, and teach him to deter-
mine at a glance the light, shade, and atmospheric effects that
wonlil most harmonize with tho scene to bo represented. Sup-
posing that he is master of tho mechanical manipulations of
photography, he has acquired half the skill of tho artist ; and by
studying and applying the rules of composition and light and
shade to his mechanical skill, ho is then equal to the artist in
tho tre.atment of his subject, so far as tho moans ho employs
will or can enable him to give an art rendering of nature, fixed
anil immovable.

I do not profess to bo a teacher, but I do think it is much
more genial in spirit and becoming the dignity of a man to
impart what little knowlcgo he has to others than to scoff at
those who do not know so much. If, therefore, Mr. Editor, in
tho course of my peregrinations, I see an opportunity of c.alling
your attention, and, through you, tho attention of others, to any
glaring defects or absurdities in tho practice of our dearly
beloved art, I shall not hesitate to do so ; not, however, with
any desire to carp and cavil at them for cavilling’s sake, but
with the more laudable desire of pointing them out, that they
may bo avoided. During tho coming summer I shall have, or
hope to have, many opportunities of seeing and judging, and
will endeavour to keep you duly advised of what is passing
before mo.

My letters may come from all parts — N., E., W., and S. —
so that they will, in that sense at least, harmonize with
tho nomenclature of your periodical. Whore I may bo
at tho date of my writing, tho post-mark will reveal to you.
And now I must consider my signature : much is in a
naino, you know. I can hardly call myself your “ Special
Correspondent ” — that would bo too much a la Sala ; nor can
1 subscribe myself an “ Old Bhotogragher,” for that would bo
taking possession of another man’s property, and might load to
confusion, if not to dillicultics ; neither can I stylo myself a
" Peripatetic Photographer ” — though I am one — for that name
sometimes appears in tho columns of a contemporary ; and my
own name is such a long one, consisting of nearly half tho
letters of tho alphabet. Well, I think, all things considered, 1
cannot do better than retain my old nom deplume. And with
many apologies for this long round-about paper, and every
expression of regard, I bog to subscribe myself yourobligml an 1
hiiinble servant. Lux Grapiiiuu.s.

March, 1868.

GAS OR OIL LAMPS FOR THE MAGIC LANTERN.

Sir, — While endorsing tho very admirablo recommendation
of your correspondent, Mr. Martin, relative to tho non-enploy-
ment of mineral oils for illumination with a magic lantern, I
must dissent from him in respect to the fitness or unfitness of
gas. I use g.as in a lantern having a -SJ-condenser and quarter-
plate Voightlander portrait lens, and get exceedingly good
eflects with a six-foot disc. As a practical i>hotomotrist I
know that there aro very few towns in England in which gas is
supplied of such iiidifl'ercnt quality ns to give less than the

Marcu 27, 1868.]

THE PHOTOGRAPIIIO NEWS.

165

light of twelve sperm candles when burned in a good Argand-
burner at Iho rate of five cubic feet jior hour. I also know,
from my own ex])erimcnt8 on lamps, that tbo light given by a
good moderator or Carcel lamp does not exceed ten to eleven
candles, even when the consumption rises to tbo high rate of
760 to 800 grains of oil per hour, and the lamp tends to smoko.
I cannot, therefore, understand why common coal gas (unless
it bo very common indeed, and even then the inferiority may
to a largo extent be compensated for by a larger consumption)
can afford much less light than an oil lamp.

Your corrcsi>ondent shows himself to bo so well informed on
the subject ho writes upon, that I shall bo glad to sec some
further observations on llio lumps ho considers the best to be
employed, and on the comparative effects produced by them
ami by gas flames. For my own part I will make some trials
as soon as my engagements will permit, and communicate the
results, if tlioy bo of suflicicnt interest, through the medium of
your journal. — Yours obediently, F. W. H.

London, March 20tA, 1868.

TRELIMINARY COATING OF ALBUMEN IN THE
WET PROCESS.

My Dear Sir, — Mr. Jabez Hughes, in his excellent manual,
p. 112, cautions beginners in regard to using again glass for
negatives that has once been used ; and few who have tried to
use the same plates often will do otherwise than endorse his
statement. Professor Towler, in the “ Photographer's Guido,”
recommends that a coating of dilute albumen be given to all
plates (and, of course, dried) before collodionizing ; and in
Humphrey’s Journal of last year he strongly recommends it,
more than once, if I remember rightly. Allow me to state my
experience in the matter. A few months ago I had collected
about a gross of plates, all old, and nearly all varnished, and
many of them had been used several times. I boiled them in a
strong solution of common soda, then washed them clean under
a tap, dipped them tor a short time in a dilute solution of nitric
acid, washed them again very carefully, and then, while wet,
coated them with a solution of albumen, 1 to 20 of boiled rain
water, with a drop or two of ammonia to a pint ; dried them,
and put them away for use. I have now been using tliese
plates for about six weeks, and certainly have every reason to
1)0 satisfied with them. There is no possibility by any ordi-
nary fair means to get the film off the plate ; it adheres most
tenaceously, and stains-streaks and the usual consequence of
using old plates are extremely rare. I am, in short, delighted
with the plan, but should like much to hear something about it
from others who have tried it and failed.

If albumen finds its way into the bath, of course it will soon
tell. My plan, before coating with collodion, is always to clean
the back of the plate and edges very carefully, and as the collo-
dion then covers the albumen it can b.> but very little that is
exposed to the silver solution. At all events, I have not yet
been able to see that my bath degenerates any the sooner
because of ray using these plates.

I should he very glad to learn the experience of any ot your
readers who have tried albuminizing their plates and have
given it up. Apologising for this lengthy epistle, I remain, —
Yours very truly, Kent.

SOME EXPERIENCES WITH BATHS.

Dear Sir,— In the early part of last season I had a bath of
40 ounces which was laid aside for throwing down, only it was
put in the open air, exposed to sunshine and shower. Another
and another wore laid aside for the same purpose, until there
were six ; but the sixth had bothered mo a good deal at first
with white markings, principally proceeding from the two
corners next the head of sitter inward. These markings were
half way through the film of collodion, and a little raised above
the surface ; they gradually wore awa)’, however, and, after
being used up, it was, like the other, laid aside and a new one
commenced ; but No. 7 was, if anything, worse than No. 6 in
these markings ; so I thought I would see what any of my old
baths would do for me, and took up my 40-ounce one (the other
five contained only 22 ounces of water), which did well for a
day. Next day No. 2 was taken up, and did well ; then
No. 3, &c., with all the rest. No. 7 I have beside me, and hope it
will be all the better for rest, and from having been in contact
^vitli a few collotlion films.

Having tried tho strength of the first bath, it was found to

contain only 24 grains to tho ounce, so I strengthened it and
all tho rest to 35 grains with common printing silver, an<l
wrought away with them as before, until Mr Bovoy called our
attention to sugar in the printing l)ath, when, not expecting
much more out of these old baths, and having resolved to start
afresh with new ones next season, I took it into my head to
tieat the worst of them to 1 ounce of sugar, and, contrary to
my expectations, it did well. Other four were treated to 4 an
ounce each, and they also did well, and my old friend of'tho
40 ounces got li ounces loaf sugar, and it did as well as any of
the others, I think even better; and they were all used one
after the other as before. And when, lately, our attention was
called by Mr. Johnson to permanganate of potash, I thought
these baths could not but bo full of organic matter, so I took
your advice, and got the crystals and put 1C grains into an
ounce of water, dissolved them, of course, and put 3 drops into
my 4D-ounco friend, shook it up, but no pinkish hue ; put other
3, and yet other 3, until there were 12 drops added ; let it
stand awhile, then filtered ; it was pretty clear ; but I tried
3 drops more, and no signs of tho proper hue ; then 9 drops
wore added, and at last the pink wont gradually oft' into tho
brown; let it stand an hour or two, then filtered, and got a
very transparent solution, which tho argentometer says con-
tains 34 grains to tho ounce, but I am not so very sure
about it.

The other five were treated in tho same way, and, with one
exception, aro transparent, and promise well. This one got
more permanganate than the rest to bring it to tho pink colour,
but it positively refused to yield to the treatment, so I was obliged
to let it stand awhile, ami then filter ; and this bath, after filter-
ing two or three times, had a clear pinkish tinge remaining for
a few days, but it has gradually changed into a fine light brown,
though it has thrown down no deposit as yet. I have not had
an opportunity ot trying it, or any of tho other 22-ounco ones,
but have taken a few quarter-plate negatives with No. 1, and it
promises to bo as good as a new ono. It behaved in the same
manner as I have seen new baths behave ; viz., the first plate
bad, the second better, tho third pretty good, but a slight
deposit on the shadows, which 3 drops of strong nitric acid
cleared away.

In respect to photography and disease I may say that, like
our friend, D. Welch (Piiotogkai’hic News, March I3lh,
1868, page 130), I have wrought for four years from seven in
the morning till nine, ten, and sometimes twelve at night,
doing everything in connection with tho requirements of a
small business in a somewhat remote country place (with tho
exception of a little assistance in printing and mounting), and
believe ho is right when he says “ the great temptation to
over-exertion in summer, and irregularity in taking food, aro
greater enemies to photographers than their chemicals.” — I
am, dear sir, yours truly, W. C.

Alexandria, Dumbartonshire, Scotland, March \lth, 1868.

[Some cards subsequently produced from a negative obtained
with ono of the corrected baths are very bright and clean.— Ed.]

2Dalk in tbi ^tubia.

PlIOTOORArillNG THE EcLIPSE OF AUGUST NEXT. — Tho
Athenaum says : — “ Major Tennant is going out to India to
observe tho total eclipse of August 18, with a special view to
photography and polarization, tho cost of tho exjicdition
having been sanctioned by tho Secretary of State for India.
Major Tennant will bo accompanied by three non-commissioned
officers of tho Royal Engineers, well exercised in photographic
manipulation ; so that good pictures of all that takes place
during this almost uprecedenfed eclipse may ho anticipated.”

IlYPOsui.pniTE OF Soda as Anti-Ciii.or. — A correspondent
of tho Chemical News says : — “ There is a large demand for
hyposulphite of soda by paper makers as so-called anti-chlor ;
about 200 tons per annum aro yearly consumed in photographic
operations alone, while a far larger amount is used by paper-
makers ; hyposulphite of soda is also used by bleachers of
calico fabrics. Sulphite of soda is of a more limited use, and
somewhat superseded by the hyposulphite.

Photographic Invention. — Dr. Loewe, whose name is
known to the public in connection with several secret processes
for priuting on silk, enlarging, Ac., has a singular announce-

156

THE PHOTOGKAPHIC NEWS,

[March 27, 1868.

meut in the daily press, headed “ Dr. Loewe’s Toilet is made,”
followed by the statement that in May will appear the “ First
Proof of One Year of an Inventor’s Existence in London, which
will be a page fiom the Book of England, written, illustrated,
composed, photographed, stereotyped, printed, and edited, by
Dr. J. M. Loewo, Inventor of a Printing Process destined to
make a Revolution in the Printing World.”

Carbon Reproductions. — Mr. J. F. Boyes, of “ The Aulo-
typo Printing and Publishing Company,” writing to the
Athenmum on the subject of Braun’s carbon prints, now exhi-
biting, says: — “ M. Braun is entitled to the highest credit for the
artistic taste with which he has selected the subjects, and the
care with which he has reproduced them ; but the whole credit
of the invention of the process is due to our fellow-countryman.
Mr. J. Wilson Swan, of Newcastle, who has sold the right of
vrorking his patent in France and Belgium to M. Braun. Mr.
Swan’s determination to render the process in all respects
perfect has been the reason why it has not been better known
in this country. Having achieved this result, it may interest
your readers to be informed that public attention will shortly
1)0 called to the matter, this company having just acquired Mr.
Swan’s patent for the i)rocess.”

Caution to Opticians and Photographic Dealers. —
Wo are informed that orders for lenses have been sent to more
than one photographic optician, dated from Noble Street, Wood
Street, stating that the goods are required for exportation, and
promising cash on delivery. In one case an order was supplied,
but no cash was forthcoming. In another case an invoice was
delivered, with an intimation that the goods were ready on
payment of the cash, but no further application for the goods
followed after this condition was stated. Our commercial
friends will do well to be on their guard.

Photographing Children. — A correspondent sends us a
somewhat curious advertisement copied from a Canadian
paper. The advertiser is a photographer, and informs the
public that “the pictures taken at this establishment are cele-
brated all over the world, and every where else.”! lie
announces “photographs taken in all kinds of weather,”
adding, however, “ Bring small children on bright days only,
but leave their fathers and mothers at homo.”

?Ld Correspondent.®.

A Reader op the News. — The accidental mixture of sul])hale
of soda with your hyposulphite does not render the latter unfit
for use, as no injurious ctfect will be exercised u])on the print.s.
You must take care, however, in making a fixing hath, to estimate
the amomit of sulphate of soda prc.scnt iii weighing out the hypo-
sulphite.

J. F. Butler. — The clearing jiroccss to which you refer ns prac-
tised hy Mr. Oshirne was not for the purpose of reducing the
intensity of negatives, b)it rather a step in a process of increasing
intensity. Its object was to remove any trace of deposit on the
transparent parts of a negative after development with iron, pre-
vious to further intensifying, in order to secure very dense, clean
negatives, giving perfectly hlack-and- white prints in reproductions
of prints, plans, &c. Ilis method consists in the application to
the fixed negative of an extremely dilute solution of iodine and
iodide of potassium, until any foggy deposit on the transparent

Sarts becomes converted into iialide of silver ; this is then easily
issol vod off by a solution of hvpo or dilute cyanide. You will find
the process stated on p. 485 of our Sixth Volume, or on p. 42 of
our Year-Book for 1864.

Educator. — In reproducing woodcuts you require to secure a i>cr-
fectly clean and bright negative at the outset, free from any
deposit on the .shadows, either from over-exposure or fog, Anv
trace of such a deposit will acquire colour when treated with
bichloride and a sulphide or iodide, and materially interfere with
the contrasts required in the picture. You will find the
gelatino-iron develojicr will aid you in securing bare glass
in the shadows. Vse, also, old collodian and an acid bath.
See, also, answer above, as to a method of clearing negatives of
the kind in question. One of the best modes of securing perfect
opacity is as follows ; — After fixing and washing and removal, if
neccssarj’, of any foggy deposit on the shadows, treat with a
6-grain solution of iodide of pohussium until the film is of a
uniform grey; wash, and apply a 1-grain sedution of iodide of
potassium until a yellowish-green tint is obtained; then wash,
apply pyrogallic acid and silver in the usual manner. Almost any
degree of density can bo so secured.

A. P. — Many patents have been taken out for colouring photographs
at the back, and then rendering them transparent. Wo do not
think that any of them arc now in force.

H. S. — The streaks on the print sent have much the appearance of
being due to the glass rather than the bath. Have you satisfied
yourself on this head "r The negative is a little over-exposed, and
the development pushed too far. Try adding a little nitric acid
to the bath ; expose more fully, and let us know the result.

J. C. S. — The lens you mention is not suitable for the prixluction
of interiors ; all single lenses will give you curved marginal lines.
The exaggeration of the foreground is not duo to any construction
of lens, but to the use of lenses of too short focus ; the defect is
therefore incident to all wide-angle pictures. The magnesium
lamp may be successfully used for illuminating objects for photo-
graphing ; but it is not suitable, we fear, for interiors of churches,
as the accumulation of the smoke is an objection.

F. W. II. — Thanks for the interesting exa'uples of your mode of
utilizing photography, which appears verj- valuable for the purpose

W. B. — We are not personally familiar with anv one whom we can
recommend. Mr. D. Rees, of 3ii, Broadway, Ludgatc Hill, adver-
tises lessons on moderate terms, and we have seen some of his work
in tinting cards, which is good.

W. J. A. G. — The Photographic News is published in the Office
on Friday morning at 9 o’clock. It goes to press on Thursdiy
evening, and all copies required for jiost are posted during the
night. Wo arc glad to loam that you now get your copies in
satisfactory time ; the paper was under other business management
when you received it late. We have been able during the last
few months to make many business improvements.

Enquirer. — M. Petit Je.an’s method of silvering glass is as
follows : Prepare two solutions, the first containing 3 drachms of
nitrate of silver and 1 drachm of strong liquid ammonia in an
ounce of water ; after filtration add 16 ounces of distilled water ;
then add, a drop at a time, half a drachm of water cx)ntaining 7
gr.iins of tartaric. A second solution is then prepared containing
twice the proportion of tartaric acid. The glass, having been
thoroughly cleaned and dried, is heated to about 120 deprees, and
covered with the first solution. In about ten minutes the deposit
of silver commences, and is completed in about fifteen minutes
more. It is then rinsed and covered in like manner with the
second solution ; and after about a quarter of an hour it is washed,
driwl, and polished.

Argu.s. — We shall have pleasure in inserting your communication
if you append to it your own name ; this is due to the gentlemen
whose name you mention. Honest men, whether they are fearless
and out.spokcn or not, do not make charges against others by name
whilst they conce d their own names and shelter themselves in
the dark.

R. M. G. — Your frcipicnt head-aches may possibly arise from con-
stantly inhaliner the vapour of ether. The first effect of ether is
stimulating ; the reaction is of a depressing character, and may
frc{juently be attended with head-ache. But remember that head-
aches are amongst the most frequent symptoms of indigestion, and
may arise from many causes, especially long fasting followed by
heartj' eating, by unsuitable food, by late tind hea\'j- suppers, by
want of exercise in the fresh air, by sleeping in small ill-ventilated
chambers, by excessive use of tobacco or alcoholic stimulants.
See that you avoid these causes before you attribute vour .suffering
to photi grajiliy. See that the dark room is as well ventilated ns
you can make it ; and if it he difficult to make the ventilation per-
fect, get your emi)loyer to aid you.

W. C. — Your cards have many good qualities, being generally bright
and clean. Nos. 1 and 7 we like best. The chief defect consists
in your use, in many cases, of too light a background. For
vigiiettes, the background you employ is very good, but it is too
light fur figures fully printed out, and gives a somewhat hard
effect. Your heads would gain greatly in roundness, delicacy, and
vigour if they liad a dark background behind them in place of the
light one you employ.

Henry Hele. — The book to which you refer is not recently pub-
lished. It has been out many years, and w;us reviewed in our
pages about half a dozen years ago. ’I'herc has not been any new
edition.

E. H. — M'e called once, but without seeing any one who could give
us the information. AVe will ask the manufacturer to send pir-
ticulars by j)ost.

B. M. — The patent lens will answer as well as the triple for enlarging.
2. Of the three you mention, if you only wish to purchase one, select
tho triple ; if you purchase two, then the other two, loa\-ing the
triple.

Several Correspondents in our next.

iUlotograpfis Ivrgistrrrti.

Mr. S. Tuorpson, York,

Photograph of Monameut to the Officers of EanUkillen Dragoons.
Mr. Seed, Bristol,

Two Photographs of Mr. W. T. Turpin.

One Photograph of Bishop of KiUnore.

Mr. It. Slixcsbt, Liuculu,

Photograph, from Drawing, of a Fancy B.ill.

THE PHO^

NEWS.

HIC

VoL. XII. 3, 1868.

CONTENTS.

PACE

Photogriphf and Disease 157

Actinic LiKht Transmitted by DifTorent Kinds of Glass 153

Echoes of the Month. By .an Old l’hotOj?raphcr 15S

Photographic Printing in Silver, Theoretical and Practical. By

W. T. Bovey 160

The Magic Lantern and Photography. By James Martin 161

Pictorial Effect in Photography. By II. I*. Kobinson 162

PAGE

Photography as an Aid to Archmology. By J. Henderson 163

Researches on Dry Plates. By M. Carey Lea 164

Proceedings of Societies— Oldham Photographic Society — Liver-
pool Amateur Photographic Association 166

Correspondence— Photography and Disease 167

Talk in the Studio 167

To Correspondents 163

PHOTOGRAPHY AND DISEASE.

The general tendency of the ev'iJenco furnished by the
experience of photographers as stated in many letters,
some of which we have published, confirms the position we
assumed some weeks ago, in commenting on the cases then
submitted for our advice. We expressed a conviction that the
practice of photography, when puisued with a prudent atten-
tion to the conditions of health, was not necessarily injuri-
ous ; but that the too frequent disregard of ventilation in
the dark room and studio, the careless contact with danger-
ous poisons, and the neglect of regularity in taking food not
uncommon amongst photographers, together with the con-
stant mental strain, were fruitful causes of debility and
suffering. A letter from a gentleman in active practice
as a physician, who is al.so an enthusiastic amateur photo-
grapher, confirms these views, and offers some valuable
sugge-stions for the benefit of our readers. He says : —

“ The question as to how far the practice of photography,
under fair conditions, is prejudicial to health is not an ea.sy
one to answer without reliable and statistical evidence. I
have myself been an ardent follower of the art for seventeen
years, and till last year, when I was poisoned with cyanide
of potassium, could trace no indisposition to its practice ;
but I am not disposed to regard it as altogether innocuous.

“ That it might be rendered comparatively harmless I
believe, by ordinary precautions, such as thorough ventila-
tion of the dark room, and carefully protecting the hands
by india-rubber gauntlets, or, as I formerly mentioned, by
using horn forceps in the various operations of sensitizing
paper, washing, and toning prints. No medical man can
ignore the power, for good or evil, of solutions of nitrate of
silver, gold, bichloride of mercury, iodine, cyanide, &c.
In this instance it must be for evil, as these solutions in
photographic work are all of more than average energy, and
are used in quantities, and <laily, far beyond the strength
any prudent physician would venture to prescribe.

“ We are all conscious of the penetrating odour of ether ;
how for hours it saturat.s the system, and is unpleasantly
perceptible to those not accustomed to its fumes. Long
after we have quitted the dark room it permeates the breath,
the hair, the skin, and perspiration ; and when we consider
its ausesthetic properties, designedly given for therapeutic
purposes, it need surprise no one if its large and continued
use in ill-ventilated studios cause depression, nervous tremors,
indigestion, palpitations, vertigo, and a host of other recog-
nized but ill-understood phenomena, which culminate in
the term ‘ feeble health,’ so often characteristic of the pro-
ft'ssional photographer’s condition. The dark room should
be ventilated, not only from above, but below, to allow the
heavy lumes of ether to escape ; the hands, during the
periods of developing, should be frequently washed, to free
them from acetic acid and other impurities ; and 1 would

earnestly suggest to professionals to make exercise — taken
in the air daily, both before and after work is over — a part
of their religion ; to sponge daily with cold water the whole
surface of the bod}’ ; to be temperate in all things ; in fact,
to neglect none of the usual rules of hygeine now, through
the happy spread of the daily press and popular literature,
so widely diffused among all classes.

“ If these points are fairly considered and acted upon, I
cannot think the practice of photography necessarily pre-
judicial, but I am not surprised that it should be otherwise
when I obseive in so many studios the supreme indifference
to the merest precautions : hands boldly immersed through
an afternoon’s toning into gold solutions ; studios, one
would almost think, purposely unventilated ; bichloride
and iodine intensitiers handled as if they were milk and
water; lumps of cyanide rubbed over the hands to remove
silver stains ; old collodion used to clean plates, as if the
smarting of the eyes, caused by it, were a pleasing pastime ;
and a total ignoring of all rules of cleanliness and care.

*• There is also another phase of photography which I
have never seen mentioned : how far the sight is effected,
especially in out-door photography, by the sudden transition
from the full blaze of sunshine to the comparative darkness
of a tent. I have noticed some tents so ill-lighted that
development seemed to mo to bo performed by instinct.
The tent and dark room in my opinion should be suffi-
ciently illumined by non-actinic light as to enable the
operator to read ordinary print with ease, so that all strain
on the eyes should be avoided. I am afraid many photo-
graphci’s will yet rue the day Avhen they subjected them-
selves with indifference — not to say ignorance — in spite of
frequent warning, to such subtle and malign influences,
'i’he professional photographer generally knows little of
chemic.il alBnities and their potency, and recklessly deals
with occult and poisonous materials. It behoves him, there-
fore, for his own sake, to ‘ tak tent,’ and secure for himself
all the immunity possible from the often invisible but
dangerous agencies that surround him.”

It is not from any desire to excite the alarm of any of our
readers, still less to increase the anxiety of the nervous, that
we have given some prominence to this question. Our aim
is rather, in regard to the latter, to allay apprehen-
sion, and point out that the exercise of their profession in-
volves no risk to health which may not be avoided by ordin-
ary prudence and care. The anxious and worrying nature
of the photographer’s duties —which, as a valued correspon-
dent, “ R. H. r.,” who.se letter appears on another page,
suggests, is a prolific cause of nervous debility — is not easily
removed; but photographers may avoid unhealthy conditions
without interfering with the efficiency of their general
arrangements. Upon employers we would especially urge
the importance of ventilation, for the sake of their own
health as well as that of their assistants, and also as

158

THS PHOTOGRAPHIC NEWS.

[April 3, 1868.

having an important bearing upon the excellence of their
productions. The best work will scarcely he produced
when the system is in the exhausted and depressed condi-
tion which is the inevitable result of the continuous breath-
ing of an atmosphere charged with the vapours of ether and
some other substances used in the daily practice of photo-
graphy.

ACTINIC! LIGHT TRANSMITTED BY DIFFERENT
KINDS OF GLASS.

We have been favoured by Jlr. Gaffield, of Boston, United
States, whose valuable experiments on the action of sunlight
on glass we recently brought before our readers, with an in-
teresting photographic print illustrating the degree of light
transmitted by certain samples of glass he has examined.
In this instance the experiment was intended to determine
the degree of chemical action exerted by tight after passing
through certain samples of new glass. Fourteen examples
of glass, each four inches by two, were placed side by side,
duly labelled so that each should in printing register its
own description on a sheet of sensitive paper, and sub-
mitted for throe minutes to direct sunshine ; and the
print before us presents the result of the experiment, which
is curious and interesting.

One half of the sheet was covered with glasses of the
colours of the solar spectrum in their due order — red, orange,
yellow, green, blue, indigo, violet. The nature of the colour-
ing matter used in the respective samples is not stated, and
we know that this is an important element in the power ot
Ihe glass to transmit or obstruct actinism; but we assume
that the glasses were selected each as pure and bright
examples of its colour. The red, orange, and green have,
during the exposure in question, entirely checked the trans-
mission of actinic light, and no action whatever has taken
place on the paper ; whilst, curiously enough, the yellow
shows a delicate tint of grey, indicating decided action of
light. Blue, of course, has transmitted the most actinie
light of any of the coloured samples ; indigo, however, being
sc.arcely inferior in its power of transmitting light. Violet
obstructs a very large proportion of the light, the blue having
transmitted at least three times as much. The other por-
tion of the sheet is covered with samples labelled as follows :
black, porcelain glass, Belgian sheet gla.ss, Belgian sheet
ground, American crystal sheet, English crown, French
white plate. The black glass, as might have been antici-
pated, obstructs the passage of actinic light entirely. The
porcelain glass, which is the American term for opal pot
metal, transmits light in a degree slightly superior to the
violet glass. The chemical action appears not to have been
retarded in any appreciable degree by the grinding of the Bel-
gian sheet, as whilst that glass ungrouud transmits the light
decidedly most perfectly (the paper being appreciably blacker
under it than elsewhere), the same sample ground does not
appear to transmit light in any degree less than the American,
English, and French clear samples. This is very curious, and
requires explanation, as ground glass is generally found to
obstruct a very large proportion of light — in some photo-
graphic experiments as much as 00 per cent, of illuminating
power being cut off when the light has p;issed through grouml
gla.ss. English crown, American crystal sheet, and French
white plate, appear to transmit actinic light in about the
eame degree, and decidedly more perfectly than blue glass.
The Belgian sheet is, however, decidedly the most perfect
sample of those tried in the illustration before us. This
accords with former experience which has come under our
notice regarding this glass, which is also one of those least
liable to change.

Mr. Gaflield informs us that he is still at work upon his
experiments with the changes effected in glass by the action
of sunlight. The photographic illustration of the varied
degrees of change produced by exposure during various
periods, from a day to a year, are sufliciently marked for dc-
tinito observation ; although even in a year, in many cases, j

the alteration is very slight. In the final chart of results,
showing the progressive changes in a period ranging from
one year to ten, a most valuable record will be secured, for
which the photographic community will be deeply indebted
to Mr. Gaflield, whose valuable labours will doubtless direct
attention to this subject — hitherto so little considered — in a
degree commensurate with its importance.

ECHOES OF THE MONTH.

BY AN OLD PIIOTOGRAPnER.

Health of Pi£otocjrapiiers — Disordered Nitrate Baths,
AND Modes of Restoring them — Photography without
A Nitrate Bath — Rewards to Inventors, and Secret
Processes — Presentation Prints — The Edinburgh
Committee on M. Salomon’s Prints— Societies.

The effect of the practice of photography upon the health
ot its devotees, to the discussion of which you have recently
opened your columns, is a question which touches the inte-
rests of the majority of your readers, amateur or professional,
very intimately. Your corrospondent “ Hypo(chondriac),”
who thought the complaints of photographers who suffered
from ill-health should be answered with good-natured railery,
is doubtle.ss one of the fortunate persons who enjoy good
health. “ He jests at scars who never felt a wound.” But
it has been my fortune to know a good many professional
photographers who have persevered manfully in the dis-
charge of onerous duties in spite of a sore amount of
suffering and debility, charged, if not due, to the pursuit
of photography ; and I have further known zealous amateurs
who have been absolutely forbidden by their medical
men to apply themseh'cs longer to their favourite pursuit.
The question, it cannot be doubted, then, becomes a very
important one ; Is the practice of photography injurious to
health ? We know well that many trades have their espe-
cial diseases : the painter suffers from the action of lead
salts ; the grinder from the dust of the metal he polishes ;
the looking-glass maker from mercury ; the lucifer-match
maker from phosphorus ; the electro-plater from cyanide ;
and a host of others incur, from the varied special causes
involved in their daily occupations, sufferings which em-
bitter life anil bring on early decay. Is photography
legitimately chargeable with any of these things ? This ques-
tion will, I hope, receive a conclusive answer in the course
of the discussion. For my own part. 1 think not ; and whilst
I know that many photographers suffer ill-health from causes
arising out of the practice of iheir art, I do not think that
photography is an unhealthy occupation per se. That it is
made so by ignorance, thoughtlessness, or recklessness in
many cases, howev'er, there cannot be a doubt. I have the
happiness of knowing a very Large number of the ablest
men in every branch of our profession, and I can scarcely
remember one who does not suffer seriously at times from
debility; but lam ineliued to believe that it is traceable,
in almost every instance, not to the prudent practice of
photography, but from over-taxing themselves: working
anxiously as well as energetically. With the successful, the
struggle to excel ; with the unsuccessful, the struggle to
exist; 'vith all, the heat of the gla.ss room, and the worries
attendant on the duties there : the varied effluvia of the dark
room, and the anxieties occasionally arising from pinholes,
matt silver stains, fog, splitting films, dissolving films, hard
varnish, bad paper, &c., operating on the nervous and irrit-
able temperament, which is common amongst photographers
— all these things are necessarily common causes of ill-
health incident to, but not nece.ssarily arising out of, the
practice of photography. The discussion of the question
must have the good effect of making photographers a little
more careful in the handling of dangerous poisons, and a
little more considerate, probably, of the ventilation of the
dark room. The majority of dark rooms have anything but
an agreeable atmosphere. Joey Ladle, in Dickens’ last
Christmas story, stales that taking in the vapours of wine

April 3, 18G8.]

THE PHOTOGRAPHIC NEWS.

159

“ through tho pores,” instead of through “ the convivial
channel of tho throttle,” makes a man “ muddled and
moloncholy.” I don’t think that the vapours of ether,
acetic acid, cyanide, &c., taken through the pores, can, under
the best of circumstances, have a very elevating effect, and
it must be worth a little effort to avoid them.

From the diseases of the photographer to the disorders of
his nitrate bath is an easy step. During tho seventeen
years the collodion process has been before tho public, the
nitrate bath and its troubles have been a prolific theme for
discussion. Numerous have been the remedies proposed,
and enthusiastic tho supporters of each ; but, alas ! no uni-
versal panacea has yet been discovered. Addition of the
O-vide of silver, followed by an infinitesimal dose of nitric
acid; neutralizing and sunning: boiling; freezing; pre-
cipitating as carbonate, and redissolving in nitric acid ;
dosing with cyanide, have each in turn been regarded as
the certain cure, and each remedy doubtless has its especial
value ; but tho nitrate bath is no more amenable to the
action of a universal panacea than is tho constitution of
man. Within the last month or two, three novel modes of
dealing with the nitrate bath have been brought before
photographers. Mr. Cherrill proposes to save trouble, if not
to prevent disea.se, by using common water in place of dis-
tilled water. Capital advice, I should think, when good
distilled water cannot be had, inasmuch as the photo-
grapher will begin with common water under the conviction
that it contains impurities to be eliminated, whereas he
often fancies that distilled water must be pure, and that it
requires neither testing nor treatment of any kind, a fancy
which often involves disappointment. My friend Kejlander's
remedy of keeping his bath in daylight, whenever it is out
of use, seems an excellent notion. If sunning occasion-
ally be goo.l, to throw down organic impurities which have
accumulated, the constant exposure to daylight, to throw
down these impurities as fast as tiiey accumulate, seems a
very rational proceeding. Whether any other troubles will
be induced by this mode of procedure remains to be ascer-
tained by experience. The method of curing the bath of
fog caused by similar accumulations, to which Mr. Johnson has
called attention, seems to be one of the most simple of all
the remedies ; but still we shall require the record of expe-
rience before an absolute decision is made in favour of the
use of a permanganate. I have heard in more than one
instance that whilst fog is dismissed, pinholes are induced,
by this treatment. Is this so ?

Shall we ever dispense with the nitrate bath? It is clear
that it c.an be done in the preparation of dry plates. I was
glad to see Mr. Bolton’s interesting article, again calling
attention to the use of collodio-bromide of silver, in your
columns last week. My essays with the proeess have not
been extensive, but have convinced me of its value ; and the
plates prepared by it, sent out by the Liverpool Company,
are wonderfully excellent. If such perfect dry plates can bo
prepared without the nitrate, it will be strange if we do not
eventually suceeed in superseding the wet process by a better
and simpler process, in which all the sensitive agents are
held in one vehicle like collodion. I have often wondered
that a collodion containing iodide and bromide of silver,
merely requiring immersion in a dilute silver solution to
supply free niirate. has never been brought into use.

The necessity or desirability of some means of rewarding
inventors who maj" give their inventions to the public has
often been discussed, but, unfortunately, no available plan
has yet been devised. I was forcibly reminded of the im-
portance of the subject the other day whilst reading the
letter of Mr. Henderson in your columns, in which he stated
that, incidentally to the working out of a new photographic
enamel process, he had made certain other valuable dis-
coveries, amongst which were, a permanent printing process
without salts of silver, a new intensifying process, &c. The
uncertainty and costliness of the patent system form a
barrier to this mode of protection, and although Mr. Hender-

son would willingly publish some portions of his discovery
for the benefit of photographers, ho could not do so without
publishing the secret of that part of which he wdshes to
make commercial use in order to reimburse himself for time
and money expended in working it out. The necessity,
under such circumstances, of preserving secret processes
which might be valuable in the daily practice of the photo-
grapher is much to be deplored, but at present I do not see
any reined}'.

I am glad to learn that the Photographie Society is about
to adopt the system of distributing presentation prints, and
that plenty of volunteers were found willing to provide
express subjects for distribution. Mr. II. Claudet’s offer to
present to the members a print from the last negative of
his late father, which had fortunately escaped the fire, was
a happy thought. The fact that the portrait was taken
with the topaz lens in which Jlr. Claudet was so especially
interested gives the portrait a distinctive value, not simply
as a scientific curiosity, but as a souvenir of the especial
efforts of Mr. Claudet at all times in endeavouring to im-
prove the appliances of photography. It is just the kind
of illustration of his interest in photography and of his
attachment to the Photographic Society which Mr. Claudet
would himself have had pleasure in seeing so distributed.
The three prints promised will, we doubt not, be worth
more than the year’s subscription to tho Society.

The proceedings at the last monthly meeting of the
Society were interesting. A capital paper by Dr. Mann on
the difficulties of an amateur in South Africa, a paper
written in an admirable spirit, occupied the chief part of
the evening. At the North, the election of officers, tho
reading of the annual report, and a paper on the magnesium
light, by Mr. Solomon, illustrated by the production of an
enlargement, occupied the evening. At the South, the
” Question Box ” was called into requisition, and an instruo-
tive discussion of the value of permanganate of potash for
rectifying disordered baths ensued.

At the Edinburgh Society, the Committee appointed to
examine one of M. Adam-Salomon’s prints presented its
report, which is a little puzzling. It states that the print
was first sponged, which removed the whole of the retouch-
ing, causing the high lights and the drawing of the eyes,
mouth, and shading of the face to vanish ; and that tho
print was then treated with turpentine, which removed the
encaustic which diminished tho transparency of the shadows,
and showed them to be bronzed from excessive over-print-
ing. The puzzle to which I just now referred arises from
the fact that, as the first operation of sponging, before re-
moving tho encaustic, washed off the retouching, it follows
that tho retouching was effected after the print had been
treated with encaustic p.aste,the colour being applied upon its
waxed surface, a most difficult thing to accomplish, and pre-
senting a rough, patchy effect when done ; or, having been
done on the unwaxed print, the coating of wax over the retouch-
ing. which it required turpentine to remove, was no protection
to the retouching, but permitted it to be removed by a sponge
and water. This circumstance is puzzling ; but, be it as it
may, it is not more puzzling than that tho operation should
have been undertaken at all. The prints exhibited at tho
meeting a little more th.an a month ago were, according to
the statements of the members, very palpably touched : this
being so, it ought not to have required the destruction of a
beautiful picture to ascertain a fact that was so palpable
as to admit of no discussion. The experiment is clearly
inconclusive as to the general character of M. Salomon’s
pictures. To have given it any value, the operation should
have been performed on one of tho prints which did not
appear to have been retouehed, and if the treatment to
which it was submitted demonstrated that it was really
retouched, and had deceived the eye, then a general doubt
as to the source of superior excellence in the whole might
naturally have been entertained. All that has now been
demonstrated is, that the colour upon a print, the re-

160

THE PIIOTOGRAPHIG NEWS.

[April 3, 1868.

touching of wliicli was easily detected by the eye, could be
washed off. If M. Salomon bad put tins individual print
forward as an untouched print, or if he had made any state-
ment as to the general absence of retouching in his prints,
or if any one bad put forward such claim for him, this
result would have possessed some value, as showing that
some of the prints were touched ; but, as it is, it demonstrates
nothing. I am told that it has hcen urged, in defence of
this act of Vandalism, that the print belonged to the
Society, who purchased it for the purpose. This excuse
would have been good if any one had impeached the honesty
of the proceeding ; but it scarcely meets the cpicstiou of
the good taste of a society sitting in judgment on the works
of a private individual who has never challenged the opinion
of such a tribunal ; nor docs it give a conclusive character
to an inconclusive proceeding.

At the Oldham Society, in the absence of a paper, an
account of M. Salomon’s studio, as described in the Puoto-
OR.4PUIC News, was read. Many a pleasant evening’s dis-
cussion or conversation might often be secured, I fancy, if,
in the absence of a paper, this course were pursued. The
Liverpool Amateur Society held a successful soiree.

PnOTOGRAnilC PRINTING IN SILVER, THEO-
RETICAL AND PRACTICAL.

BY W. T. BOVEY.

Remarks Concerning Sensitizing Solutions.

The sensitizing bath employed in photographic printing
has so frequently been made a subject of controversy and
apparcntlyexhaustivecomment,thatitwould seem a bold and
hopeless task to attempt further arguments with a view of
throwing any additional degree of light on the matter ; but
the absence of any fixed principle, the altogether unscientific
concoctions frequently recommended, together with the
uncertainty that attends the subject, take it all in all,
ofl'er proofs louder than can be by words expressed, that the
question of silver baths need further ventilating. Bo it,
therefore, my congenial task to enter upon the important
topic, and, if possible, to submit au hitherto unpalatable
mass of crude formulas to the ordeal of criticism, until the
whole can be harmonized and placed on a sure and strictly
scientific basis, without which it were vain to look for cer-
tainty, for nature in her operations never works capriciously
or by the rules of chance. If, in seeking a certain result,
either caprice or chance is thought to interfere, let it be
accepted as an axiom that ignorance is at the root ot the
matter. It is clear that we must try again ; wo have failed
in detecting the ruling principle.

My dear photographic reader, I now address you on a
matter which has often perplexed you, oft has set you
wondering whether some imp of mischief was the presiding
genius of the art you love and practice ; and your bewilder-
ments have not been removed by the thousand-and-one
hints you have carefully copied from the various journals
devoted to photography; and in your hour of difiicultv
you have been ready to cry : “ Oh ! for a Mentor to guide
me through this labyrinth of mystification." My dear reader,
be you 'Telemachus, I will assume the char.acter of Mentor,
and our Ulysses will be truth, as it may be applied to the
subject we arc discussing; so without further delay we shall
at once enter on the subject of a silver bath by showing, first,
the duties it has to perform ; second, the varying formulas
adopted will be scrutinized, that we m.ay discover whether
or not thorough efficiency and a due economy arc combined
in happy union.

First, then, the part a silver bath plays in the forma-
tion of a sun picture. It will be remembered that, in
my la.st, I pointed out the conditions observed by the paper
albuminizer. The chloride salts and organic matter he
adds to the paper are the preludes without which the
silver bath would prove comparatively actionless and use-
less. ^ Setting aside the adjuncts employed in sensitizing
solutions for the present, we will indulge in the supposition

that nitrate of silver only is present in solution. Now,
nitrate of silver, as I have, on more than one occasion,
endeavoured to explain, is a very unstable salt, as may easily
be shown by the insoluble compounds it forms when com-
bined with most kinds of matter for which silver has an
affinity, this being in accordance with a chemical law
that two soluble substances must readily unite, when the
resultant is an insoluble compound. The paper, by float-
ing, is brought into immediate contact with the nitrate
of silver, and the chemical operations commence at once ; the
chlorine leaves the base with which it was associated, and
unites with the silver, forming the more sensitive medium
known as chloride of silver. At the same instant a portion
of the silver forms, with the albumen, another insoluble com-
pound, recognized as an albuminate of silver, which is
erroneously described as coagulated albumen. Both these
comjwunds are sensitive to solar light, the first eminently
SO; the albuminate makes ample amends for being less so
by the additional vigour and stability it imparts to the
photograph, which is only capable of withstanding, com-
paratively unscathed, the action of the various chemical
attacks it undergoes when a due proportion of the reduced
organic body is present. Yet one more, and no less im-
portant, part has the silver hath to perform : besides satisfy-
ing the combining matter, it is imperative that it also’
supplies a jiortion of nitrate of silver to serve <as food when
reduction, by the action of light, begins. Summarizing
the whole, the duties to be performed by the sensitizing
bath may be stated as follows : —

1st. It must provide the active material to produce, by com-
bination, the requisite amount of chloride of silver, which is
the most sensitive agent present in a sensitized sheet of paper.

2nd. It has to supply tlie necessary amount of silver to
combine readily with the albumen ; otlieiwlse the albumen
is dissolved, and the print will lack brilliancy and vigour.

3rd. It must, after satiating the chemical agents, supply
sufficient free silver, without which no presentable sun pic-
ture can, in silver, be formed.

With this brief summary we approach the question of
formul.Tj such as are usually adopted by photographers, and
our business will be to select from among them the one be.st
qualified to meet the threefold conditions above enumerated.

First, then, wo purpose reviewing tlic silver bath pure and
simple, such as you, my dear Telemachus, pin your faith to.
You s.ay that your GO, 70, and 80-graiii baths fulfil, in an
eminent degree, every duty I have described. Granted ;
but cease your admiration to enquire whether either do so
strictly and economically. 'True, au ample supply of the
silver salt is present. The chloride of silver readily forms,
the albumen is quickly rendered insoluble, and a wide
margin is allowed for the supply of free nitrate. True ; but
of this last I have to complain ; the margin is too wide, if
you, by and by, admit my views concerning toning matters
to bo correct. With a well-balanced toning bath, a print
obtained from an over-dose of free nitrate is too vigorous,
and the delicacy that is the chief charm which makes up
the exclusiveness of a photograph is lost — dead — buried in
an unsightly bronzing. Here the question arises: If such
things be as ^lentor describes them, how on earth are wo
to proceed ? My dear Telemachus, ere I reply to your queiy,
let me favour you with an axiom that will, anon, prove the
correctness of the new doctrine I am endeavouring to instil
into your mind. Nature is a thrifty labourer ; she has never
yet been found using up one fraction more of matter than
is absolutely necessary. Proof : look at a silver print when
well produced ; it is bold, yet delicate, and throughout there
is no lack of vigour ; yet that picture is composed of a few
atoms of silver whose infinitesimal weight can scarce be
estimated. Why, then, m.ay I ask, do you employ so largo
an amount of the precious metallic compound, creating
waste and adding to your expenses to no trifling degree ?
Say you reduce the proportion of nitrate of silver down to
one-half: would you not supply enough and to spare?

“ 'The albumen would resent the insult by quitting the

April 3, 18G8.]

THE PIIOTOGRAPIIIO NEWS.

161

paper,’’ you reply ; and your remark brings me to dwell for
a few moments on the subject of weak baths. Probably no
greater boon connected with photographic printing was ever
presented than the suggestion offered by a certain “ Publi-
cola,” who, I believe, wa-s the fiist to propose the addition of
a neutral salt as an adjunct to the silver bath. Since that
time many arc they who have ploughed with the heifer then
provided, and numerous are the substances advised by the
compounders of weak silver baths nitrates of sodium,
potassium, magnesium, and I don’t know the number of
others that are marshalled as the possessors ol some dis-
tinct virtues when added to the silver solution. My dear
Tclcmachus, it is all “ bosh,” as Prother Jonathan quaintly
hath it. What would you think of the wisdom of Mentor if he
were to advise you to adopt a formula stated as follows : —
Silver nitrate ... ... ... GO grains

Pain water .. ... ... ounce

Aqua dist. \ „

Pump water ... ... ... ^ ,,

Snow water \ „

You certainly would imagine that much thinking had
made him foolish ; yet 1 must ask pardon when I say
that the additions often recommended as fit and proper for
the office of silver-savers are marked with wisdom equal to
the formula ju.st rendered. Seriously’, it matters not whether
nitrate of potash, of soda, of magnesium, or any pthcr nitrate
applicable, is added to the printing bath. By abundant
experiment I have satisfied myself that their operations are
on the neutral side, passive, never active; and were I not
pressed for space I could summon au array of argument that
1 think would bear me out in the assertion. As matters
stand, I simply describe the part played by the neutral salt.
When an albumen surface is brought into contact with water
the albumen dissolves, and a dried, unglazcd paper-surface
only remains. In a minor degree a similar result occurs
when a small portion only of silver is present in solution.
If, however, the density of the solution is increased, its
solvent powers are diminished. Still silver must be present,
or saturation itself will not suffice to render the concen-
trated neutral mixture capable of preserving the albumen
intact. Yet it strangely happens that the most minute
quantity of silver present will exercise an influence. I have
secured a really tolerable print with 5 grains of nitrate of
silver to the ounce of otherwise neutral saturated solution ;
without the neutral .salt the small amount of silver described
would have been lost and useless. To cut a long story short :
after a lengthened experience, 1 have arrived at a conclusion
that no better formula for a sensitizing bath can be adopted
than that given as my offering to the Ye.\.r-Book, and is

there stated as follows : —

Water ...

... 80 ounces.

Silver nitrate

... G „

Soda nitrate (pure)

- 3 „

Loaf sugar

... 2 drachms.

The reason why and the wherefore must, however, stand
over until my next, as I am unwilling to trespass on space.
And it to myself appears more prudent to cut short at once
than to risk a clip of the editorial scissors that oft shows up
in all its saddening disappointments that tantalizing sen-
tence, “ To be continued.”

TUE MAGIC L.\NTERN AND PHOTOGRAPHY.

BY J.VMES MARTIN.

No. 9.

As the single lantern is incapable of producing the beautiful
dioramic and other effects possible with the dissolving view
apparatus, I should advise my readers, if possible, to obtain
the possession of the latter. It is not so complicated as
might be supposed. It merely consists of two lanterns of
the usual construction, mounted on a stand, and moving
upon pivots in any direction, so that the disc of light from
each lantern may be thrown on the screen one exactly upon

the other, so as to appear as if there was but one. This is
essentially necessary, as many of the changes (such as, for in-
stance, a summer scene to that of winter) are produced by
two pictures, one in each lantern, the leading outlines of
which are in every respect the same, except that one repre-
sents the scene as in summer, with foliage, running water, and
green fields ; the other the same trees, but bare of leaves,
the water frozen, and the fields covered with snow. In
this ca.se, should the two discs of light not be correctly
superposed, the effect will be the same as if, when taking a
photograph, the camera has by some accident been moved
during the exposure, thus producing a double outline. The
obscuration and melting of the views into each other, called
dissolving, and from which effect the double lantern takes
its name, is effected by an apparatus fixed in front. These
are of various kinds ; the purpose of all is, that while the
light is gradually shut off from one, that from the other is
admitted by degrees, 'i’he following arrangement is one of
the most simple and effective. Two pieces of sheet iron, out
of each of which a semi-circular aperture has been cut, are
placed before the tubeot each lantern, and arranged upon slips
of wood in such a manner that, by means of a small winch,
the two pieces can be made to move in contrary directions at
the same time, so as to gradually close one aperture entirely
while the other is progressively opened in the same ratio,
until it admits the passing of the whole of the light from it.
There are various kinds of dissolving view apparatus ; such
as the binocular, which is one lantern having two nozzles,
one placed above the other ; the dioptric, in which the light
is thrown upon glass prisms, from thence upon the screen,
and lighted by the oxycalcium light (by this contrivance
only one light is required) ; and one gas bag (of this class
is the opaque lantern, which is very ingeniously contrived).
Lanterns have also been made with three sets of lenses ; but,
taking into consideration the additional loss of light, ex-
pense, and complication of arrangement, I believe that a
well-made pair of lanterns on the usual plan will be found
the most generally useful. These, with a pair of good lamps,
for small-sized pictures for parlour exhibitions, and an
arrangement so that the hydro-oxygen light can be used for
larger size.i, or when a stronger light is desirable, will leave
little to be desired. A microscope should also be added, and
will be found a most amusing and instructive addition. It
should have two powers, a lower one for large objects and a
high one for very small ones. This cannot be shown except
by the hydro-oxygen light.

I have so recently given instructions as to the management
of the oil lamp that I need not here repeat them. I will there-
fore only add that dipping the wick in vinegar, and drying
it before use, is said to cause it to burn free from smoke; but
the size and height of the lamp-glass chimney has much to
do with the clearness and brilliancy of the light. Tho
hydro-oxygen light is composed of two gases, which require to
be mixed in cctain proportions, either before or while burn-
ing. The apparatus consists of a pair of india-rubber gas
bags, generally of a wedge-shape, each of which should be
able to contain from 5 to 9 cubic feet of gas, according to the
length of time of consumption and power of light required.
These are furnished with stop-cocks, to which unions can be
attached connected with the tubes which lead to the blow-
pipes. These tubes arc better made of vulcanized india-
rubber, which will not collapse when trod upon ; about 12
feet in length each will be found sufficient ; at the other ends
these tubes are attached to T unions, from which short
tubes convey tie gases to the blowpipes, which are of various
construction. I have found those answer well that are com-
posed of two tubes, one within the other, carrying the gases
on separately until within a short distance of the orifice of
the blowpipe, where they become mixed, and so issue upon
the heated lime cylinder. By this contrivance there is so
little mixed gas that no explosion can be caused on that ac-
count. Tothese short tubesare affixed two small stop-cocks, by
which the flow of each gas is regulated as required ; before each
blowpipe is a support, on which is placed the lime cylinder.

162

THE PHOTOGRAPHIC NEWS.

[April 3, 1868.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Ciiiaroscoea for PiiOTOGRAPnERS.

BY II. r. ROBINSON.

Chapter X.

“Connection is a principle always present to the pa’nter’s mind, if he
deserve that name ; and by the Ruidance of which he considers all sets of
ohjects, whatever may be their character or boundaries, from the mostexien-
sive prospect to the most confined wood scene ; neither referring everything
to the narrow limits of his canvas, nor despising what will not suit it, unless,
indeed, the limits of his mind be enually narrow and c mtracted ; for when
I speak of a painter I mean an artist, not a mechanic. — Sir Uvedale Price.

)Vhat ij TrufA ?’ said jesting Pilate : And would not stay for an Answer ”
— Bacon.

Bbfore placing figures in a landscape, the artist should first
make up his mind whether the composition requires the
introduction of any object to add to its completeness. If it
does, do not let anything induce him to take the view with-
out the figure, because he will be doing something that he
can see could be done better with the assistance of a little
more trouble ; above all, he should avoid incongruity, and
never, for the sake of pleasing a friend by putting him in
the picture, introduce an element of discord, such as was
illustrated in the Si-vtli Chapter.

If perfect pictorial success is to be expected, no more figures
than are absolutely necessary should be introduced. One
figure more would be a useless blot, and injure the eftect.
Care must be taken that the figures compose well in relation
to themselves as well as to the landscape. In too many
photographs figures arc to be seen stragglin.g over the fore-
ground, perfect strangers to each other, to all appearance,
united by no purpose whatever, except that of having their
portraits taken at a great disadvantage. It, of course, may
happen that in some scenes in nature figures may be found
scattered over a scene in the way set forth in many photo-
graphs, and a picture of them would bo quite true, and
would, therefore, satisfy the desires of the matter-of-fact
truth-at-any-price school, who scoff at “art-knowledge;”
but it is the purpose of the artist to represent agreeable
truth, or at least truths that do not irritate the eye, as false
quantities jar upon the ear in verse. I am quite aware, and
go as far as any in agreeing, that the real enjoyment of art
is in proportion to its entire truth ; bat the agreeable sensa-
tions produced by pictorial representations are dependent in
a very great degree on the spirit and knowledge with which
that truth is rendered. Form only will not give this, neither |
will light and shade alone; but the union of both, although |
colour may be absent (but which is necessary to perfect
beauty), suggests that truth to the mind which is one of the ‘
great functions of art. The best quality of photography is |
this perfect truth, this absolute rendering of light and shade
and form ; and a knowledge that he is debarred the charms of
colour should cause the photographer to be more careful to j
make the most of the qualities which his art possesses, and ,
which arc beyond the reach of the painter and the sculptor, j
It is not open to the photographer to produce his effects by
departing from the truth of nature, as has been the practice
with the painter for ages ; but he may use all legitimate
means of presenting the story he has to tell in the most
agreeable manner, and it is his imperative duty to avoid the
mean, the base, and the ugly ; and to aim to elevate his sub-
ject, to avoid awkward forms, and to correct theunpicturesque.
Having digressed thus far in search of “ what is truth," wo
will return from the bottom of the well to our
figures.

The figures and the landscape should never be
quite equal in inteie.«t or pictorial value. The
one should be subordinate to the other. The pic-
ture should consist of ■figures with a landscape
background (if they are represented in the open air),
or of a landscape in which figures are introduced
merely for the sake of impressing a point or adding
life to the more important scene. It is true, indeed,
that pictures are sometimes produced, with good
effect, the converse of this, and the figures vie with

the scene in interest, but the subjects must be fine, or the
success will be hazardous.

It is difficult to give general directions for doing that
which must, after all, have a special consideration in each
case ; it would therefore be next to impossible for me to give
more definite directions for the introduction of figures in
landscapes than has already been stated in this and former
chapters ; but I may sum up the subject by saying that the
figure must be of the subject, as well as in it, in order that
unity may be preserved ; that it must be used with a purpose,
to give life to a scene, or to supply an important spot of light
or dark ; to give balance, or to bring other paits into sub-
ordination by being either blacker or whiter than those
parts ; and that what is to be avoided is the indiscriminate
dragging in of figures into scenes in which they have no
business, and where they do nothing but mischief. Perhaps
the best lesson on this subject is to be obtained from the
observation of photographs in which figures have been suc-
cessfully introduced — if with the assistance of a competent
teacher, all the better. For this purpose nothing could be
better than a few of Blanchard’s stereoscopic views, especially
the series taken recently in the Isle of Wight, in which the
most subtle art has “ giasped the skirts of happy chance,”
and has converted topographical views into gems of most
rare quality. Every one of these little pictures that I have
seen is made, pictorially speaking, by the figures introduced.
Not figures — mark the difference! — that he has found hap-
hazard and photographed instantaneously, although they
are chiefly so-called instantaneous views, but figures that
he has met with on the spot, certainly, but has arranged
with great judgment and taste according to their avocation,
or in accordance with the requirements of the scene. Sailors,
coastguards, children, or the more prim-looking visitors, all
look what they are, and are doing that which it is their
nature to do; and all this not only without the least
sacrifice of artistic truth according to law, but with very
great gain from an observation of the laws of light and
shade and composition as generally received.

By way of tail-piece to this chapter and to this brrnch of
my subject — for, with the exception of a chapter on the sky,
and incidentally when I come to the consideration of chiar-
oscuro, I have done with landscape composition — I give a
little vignette showing how simple a subject will serve to
make a picture. How often do photographers travel over
miles of country without finding anything they consider
worthy of their attention, although, perhaps, e.xquisite
subjects may exist at every turn of the road ! The art
of photography has arrived at a sulficient state of perfection,
in its own way, to prevent us having any fear in acknow-
ledging that it is not possessed of unlimited power; that
the sublime cannot bo reached by it ; and that its power is
greatest when it attempts the simplest things. But if It is
not the mountain that it can represent best, what art can
equal it in its representation of the molehill ? And for this
reason I conclude my chapters on landscape with an Illustra-
tion of the class of simple subjects for the representation of
which the art is pre-eminent. The illustration will show
how a basket, a hamper, a stone, a log of wood, a barrel —
all, or any of these — may be made valuable when a foreground
presents nothing of especial interest in itself, and how, hy
their presence, they at once give tenderness to the distance
and space to the picture.

April 3, 1868.]

THE PHOTOGRAPHIC NEWS.

103

PHOTOGRAPHY AS AX AID TO ARCILEOLOGY.

BT J. HENDERSON.*

Arch.bolooy has been defined as “ the science of teaching
history by its monuments ; that is, by every monument of
man which the ravages of time have spared." “ By the study
of the past we advance the interest of the present, and know
how to make use of it for the benefit of the future.”

This being the case, the reproduction by means of photo-
graphy of objects of antiquity is one among the numerous
applications of our art which is now receiving, as it deserves,
no small share of attention.

A great deal may be urged in favour of the readiness
with which copies of various objects may be made by hand,
of their cheapness, durability, and the ease with which they
may be multipli.-d; but againt these may be set the abso-
lute truthfulness which is inseparable from a photograph
when taken under proper conditions ; the facility with which
they also may be produced ; the great advantage of a stereo-
scopic combination of views ; lastly, with regard to per-
manence, the carbon and allied processes, and greater care
in the production of silver prints, point at least in this
direction, while the simplicity of our own collodio-bromide
process commends itself for yielding e.'cccllent glass trans-
parencies, which, when encased in Canada balsam, would
seem to defy the ordinary wear and tear of time.

My attention was first drawn to the subject of my paper
by reading a letter in the Times in January last, wherein
Mr. C. P. Stevens stated he had been enabled to form certain
conclusions from photographs of flint implements from
gravel pits at Malton, in reference to which a ve.Ked question
was raised. In a letter to me, from the Blackmoor iluscum,
Salisbury, that gentleman says: “I had a flint hatchet
photographed yesterday ; but for such objects photography
is not very useful, as the yellows come out too dark.”

‘‘ For matters of detail photography is admirably ailapted,
or for mere form. Our museum is set apart for pre-historic
arclijeology, and for weapons, and so on, in use by modern
savages, as illustrating the collection, and photographs of
rare forms of clubs, spears, ornaments, tools, weapons, &c., are
useful and valuable to us. We also collect photographs of the
Aborigines of various countries, and for this nothing is
c(pial to photography, because artistic licence is impossible.”
"For dolinens and other megalithicstructures photography
is a magnificent agent ; likewise for sculptured stones of the
early periods. Of course 1 do not now allude to any appli-
cation of the art as available for other than purposes of
archteology.”

" Our county archmological societies employ photography
largely in their work, and the Hampshire Society also. Some
photographs of the Roman city of Silchester were taken
rluring a recent visit of that Society to the spot.”

Many important historical monuments are in inaccessible
positions, which the artist has to visit hurriedly, filling up
subsequently the details of his imperfect sketches. 'J’his
photography does effectually on the spot. Many objects of
antiquarian interest are fragmentary, and form a mere por-
tion ; the probable outline of the whole has to be deduced ;
others — such as cinerary urns, bones, and implements, and
also Roman frescoes — when e.xposed after ages of interment,
rapidly crumble in our atmosphere, and are lost for ever. A
sketch is often attempted by a rude draughtsman, where a
photograph would render invaluable aid.

The character, date, and evident use of objects, as in the
foregoing instances, are frequently determined by the situa-
tion and other circumstances under which they are found,
and here our art is of great use.

I have, on a former occasion, referred to *' architectural
photography," and now, in relation to the archmological part
of the subject, I may add that, although the architect will
learn more by making a careful sketch of an old building,
yet you will very seldom find two sketches of the same sub-

• Read before the Liverpool Amateur Photographic Association, March 31.

ject which agree perfectly, while the time and skill necessary
tocopy the endless intricacies of detail (say) in a Gothic build-
ing, would be better spent in taking a few photogiaphs of the
same. Photographs show the difference in the courses of
ma.sonry, which often determine relative dates. They also
show the juncture of work of difterent periods and later
insertions ; and in connection with this subject I may urge
the desirability of photographing churches, &c., before and
after restoration.

As illustrating and a<lJing force to what I have said, I
may remind you of what has been done by our own Govern-
ment, by public and other bodies, and by individuals who
have employed photography for the purpo.ses I have named.

By command of Her hlajesty, photo-zincography has been
employed to reproduce in facsimile a selection of the national
MSS. of England, from the Conque.st to the reign of Queen
Anne. Thus far, 230 have been published, to which the
Domesday Book must be added. About 80 MSS. of Scotland
arc already in the hands of the public, and more of that
country, and also Ireland, are to follow. By the same pro-
cess some municipal and other archives have likewise been
copied.

The Ordnance Survey of Stonehenge and of Turnsachau
(I. of Lewis) is accompanied with illustrative photographs.

In a communication received after the rest of my paper
was written, Mr. C. J. Stevens, in speaking of the value of
the Ordnance photographs of Stonehenge, refers to his re-
marks upon them in the AtheruBuin, also to Mr. Parke’s
photographic illustrations of the “ Antiquities of Wells,”
and after enumerating photographs of Celtic and other relics
(including those of the Swiss lake dwellings), he proceeds
to say : “The stone axe from Malton, and the beds from
whence it was derived, are chiefly known to archa;ologists by
the published photographs of them ; ” and concludes thus :
" An artist is not necessarily an archaeologist, and ho may
slur over or misrepresent some trifling (to him) detail. I
have a photograph of a church, with the village, cross, &c. ;
upon the latter, even the chalk scribblings of boys are shown.
No artist would have taken this ; but in a strange country
and with all to learn about the antiquities and the people,
such minuteness is invaluable.”*

The India Ollice has published an important work with
photi'graphic illustrations: “The Textile Marufactures and
Costumes of the People of India ” ; and the Indian Govern-
ment has recently directed the whole of the ancient build-
ings of India to be photographed.

The Ordnance Survey of Jerusalem has been the moans
of many valuable photographs being taken there, and the
Hon. Secretary of the Palestine Exploration Fund also says :
“ We have already materials for almost an entirely complete
and accurate map of the country, and photogra*j)hs of more
than 300 spots and objects, large numbers of which have
never before been taken.”

There are catalogues of photographs of about 10,000
objects of antiquarian interest in South Kensington .Museum,
not to mention the numerous photographs taken of loan
anil other collections, and also at the British Museum.

While making a passing allusion to the use made of photo-
graphy by our English and other Antiquarian Societies, I
may mention that the Arelueological Society of Rome have
proposed to photograph any antiquarian discoveries they
make, and send copies to the Society of Antiquaries in
London for publication. One account says: “Mr. J. 11.
Parker is proceeding with a collection of photographs of the
ancient monuments of Rome and the Campagna, with a view
to facilitate the researches of archajological students, and
demonstrate the successive styles of Roman construction
during the periods of the kings, the republic,and the empire.”
At that date about 500 photographs had been so taken.

The mysterious remains of Egypt have attracted the atten-
tion of photographers from the tii-st. Frith was early in the
field, and was followed by Bedford, who also illustrated

* I am indebteil to .Mr. Stevens for the permission to use bis remarks,
wbioti were not intended for publication.

16t

THE PHOTOGRAPHIC NEWS,

[April 3, 1868.

Palestine, Greece, &c. The Vicomte do Rouge, in his mis-
sion to Egypt in 18G3-4, produced six volumes of hand copies
of inscriptions and 2'20 photographs.

Professor Piazzi Smyth lately took 16G photographs at
the Pyramids (many for the lantern) and 50 stereo views.
Most of them were taken “ solely with a view to procuring
aids'to scientific enquiry.” Tliey were produced on glass
slips, 3 inches by 1 inch, exposed while in the bath, and
they include eleven views in the interior of the Great
Pyramid by magnesium light. He prefers stereo views
taken with two cameras, and very justly urges the taking of
distant objects with the cameras placed widely apart. This,

I think, we might often do witli advantage, using one stereo
camera, first taking one half and then moving the camera
and re-focussing for the second half.

In this connection I ought to mention the l.abours of
Thompson among the ruins of Cambodia ; Eergusson and
Hope in Indian achitccture ; and Svaboda at the Cave of
Elephanta, likewise in kle.sopotamia and on the sites of the
Seven Churches of Asia ; llelsby has illustrated some of
the antiquities of South America ; and a new work on
Central America by Squier is, I believe, to bo illustrated by
3,000 photographs, and any one acquainted with the elabo-
r.ited monuments of that country will admit that by no
other means could fair representations be given.

It would be tedious to enumerate the volumes bearing on
antiquities which photography has illustrated, either directly
by silver or other prints, or as furnishing a ground-work to
the wood-cutter. In “ Sinai Photographed, or Contemporary
Records of Israel in the Wilderness,” Lord Lyndhurst sug-
gested the application of photography “ as the only way so
to certify their copies of the inscriptions as to silence cavil.”
Noel Humphrey’s interesting work on the ” History of the
Art of Writing ” is cleverly illustrated by photography.

Our art-science has been employed, to some extent, in
illustration of old coins and medals, also in copying old
mosaic pavements on a reduced scale. Some time since Mr.
Rejlander turned his attention to the ancient brasses for
which our country is so famous ; and, by super-imposing
rubbings on sensitized paper, obtained copies same size as
the originals. I am of opinion that negatives of the rub-
bings, reduced to a known scale, would yield equally useful
and more convenient prints.

Of the numeious works of antiquarian interest I will oidy
mention “ The Ruins of Pompeii ” ; but I may mention
that, as its counterpart in this country, " Uriconium,” a
photograph previously taken, was useful in enabling 120
columns of a hypocaust to be restored after they had been
wantonly overthrown.

Some of the details at Iona, and upwards of a hundred
photographs at klelrose, have been taken, the latter em-
bracing everything of constructive or ornamental interest ;
and it is somewhat in this spirit that I would urge the
copying, by photographic means, wherever practicable, of
such works of antiquity as remain to our own day, as well
for the purpose of study as for transmission, if po.ssible
(either in the form of negatives or prints), to posterity, to
whom the originals may be partially or entirely lost.

The portico of the Temple of Drudeia, on the Nile, was
added by Tiberius, but against this recent acquisition may
be set the fact that I'lgyptian monuments known to exist in
the fourteenth century' are now no more. Of some treasures of
antiquity now lost, only rude representations have come
down to us : for example, on the arch of Titus at Rome we
have some of the sacred trophies from the Jewish 'i'emple,
and, in this country, drawings of the famed shrine of St.
Thomas of Canterbury, only exist on portions of an un-
destroyed window, and in a partly burnt manuscript.

The idea I have suggested may appear speculative, if not
visionary ; but who shall say whether our art-science may not
be the means of much more being known hereafter of men
and things as they existed in the nineteenth century than
could have been had photography been unknown ?

Let me nclude in the words from the “ Essays of Elia ” : —

“Antiquity! thou wondrous charm, what art thou? that
being nothing, art everything ! When thou wert, thou wert
not antiquity ; tlien thou wert nothing, but hadst a remoter
antiquity, as thou calledst it, to look back to with blind
veneration, thou thyself being to thyself flat, jejeune, modern!
What mystery lurks in this retroversion? or what half
Januses are we that cannot look forward with the same
idolatry with which we for ever revert! The mighty future
is as nothing, being everything ! The past is everything,
being nothing !”

RESl'l ARCHES ON DRY PLATES.

nr M. C.VRET LE.V.*

New Processes.

I simx now proceed to describe the new processes referred
to at the commencement of this paper.

Several years ago I described a method of developing
both positives and negatives with the aid of a lead-salt. I
did not claim to have discovered that lead-salts impart
additional activity to gallic acid, but I showed how this
principle could be advantageously used. Gallic acid pre-
cipitates acetate of lead, and in the earlier experiments this
muddy mixture was employed. I showed that clear solu-
tions could be got with acetate of lead by adding a sufficient
quantity of acetic acid beforehand, which prevented pre-
cipitation ; and that with nitrate of lead no precipitation
tended to form, even without the need of employing acetic
acid. I showed that the effect of acetate of lead was so
extraordinary .as to multiply the power of the gallic acid
fifty-fold, so that, instead of using gallic acid in the pro-
portion of 5 grains to the ounce, it might be reduced, with
the aid of acetate of lead, even to I-12th of a grain to the
ounce ; and that in the proportion of 1-Gth of a grain to the
ounce it was a very powerful developer. This method was
not only extensively used, but, I am sorry to say, w.as ex-
tensively borrowed, with trlvi.al alterations and somewhat
scanty acknowledgments. In Paris it was made the founda-
tion of a secret process. Vials containing the two solutions
were sold at the rather extravagant price of thirty-eight
francs. Some of the contents having been forwarded to Dr.
Schnauss for analysis, his examination resulted in showing
that the materials used were preci.sely those which I had
indicated.

I have applied this principle in an entirely new direction,
to the preparation of dry plates, inste,a<l of to developments,
and with excellent results. A plate is coated with collodio-
bromide, and is thrown, as soon as sot, into a bath of acetate
of lead, acetic acid, and gallic acid. It is then simply
dried, without any other treatment, and so gives an ex-
cellent dry plate, very sensitive, and giving satisfactory
negatives. The details are as follows : —

In IG ounces of ordinary acetic acid (not the glacial)
dissolve one drachm of acetate of lead. Prepare also a
GO grain solution of grillic acid in alcohol. Both will need
filtering ; both will keep a long time, probably indefinitely.

To make a bath suitable for a 4-4 plate, take 1 ounce
of the lead solution, l-4th of an ounce of the gallic-acid
solution, and G ounces of water. Add the lead solution
first. No precipitate or troubling will take place (unless,
perhaps, in some w.ater containing a large proportion of
sulphates, in which ca.se, either use distilled water, or filter
and add a little more lead solution), and the bath is ready
at once. It is better to prepare three such baths, lor the
])latcs arc made so rapidly tluat, otherwise, delay will occur
for want of a bath to put the plates in.

The collodion is the same as that before recommended,
viz., 8 grains bromide of cadmium, 2 grains bromide of
ammonium, but with 7 grains pyroxyline to the ^ ounce of
alcohol and J ounce of ether. Sensilize with IG grains of
finely pulverized nitrate of silver to the ounce.

The quality of the pyroxyline to be used is of very great

* Continued from p. 1S2.

April 3, 186S.]

THE PHOTOGRAPHIC NEWS*

1G5

importance, as in most dry processes. Common negative
cotton is not suitable, but a powdery pyroxylinc of tlie
intense sort is necessary. Tliat sold as “ilelion No. 1”
gives very good results. It is curious that the intense
pyroxylines which give the least sensibility with wet plates
give the greatest with the dry. Of course, the collodion
will be better after standing a while.

To obtain a smooth plate with collodio-bromide requires
more care than with plain collodion. Pour on j)lenty,
commencing fai up the plate. Get it quickly to the upper
corners, and then bring it down as squarely as possible ;
avoid the necessity, as far as practicable, of bringing it
down first on one side and then on the other, and get it
down as straightly as possible. To do this the supply
must be abundant. Pouring off requires especial care, or
else an uneven band will be formed across the ujipcr end
of the plate. To avoid this, raise the further end of the
plate in pouring off very slowly and regularly ; give the
late a wide, slow, rocking motion. Attention to this will
e found important.

1 should have said that the plate, before collodionizing,
must have an edging of india-rubber dissolved in benzole.

The variation upon this process consists simply in wash-
ing the plate after collodionizing, and before plunging it
into the bath. Tnis makes a great difference in the plate.
Treated in this way, and with a moderate exposure, clear,
bright negatives arc got, resembling very closely those
afforded by wet plates, and showing as positives by reflected
light. The deeper shadows are represented by clear glass ;
there is a complete absence of veiling, and brilliant pic-
tures are easily got ; but the great sensitiveness of the plate
is materially diminished, the exposure is prolonged (must
be from one-half more to double), and the details in the
shadows arc not so well preserved. I prefer, therefore, as a
general thing, the first-described system, in which the plates
arc plunged into the lead bath as soon as set, and without
preliminary washing. And I would call attention to the
fact that, so far as I am aware, no one has previously pro-
posed any method in which plates prepared in any other
way, either with collodio-bromide or in any other form of
the collodion process, can be sensitized without a previous
wa.shing. This new mode of operating has the double
advantage of saving time and trouble, and giving a better
result. It seems especially applicable for the preparation
of dry plates in travelling, as the two greatest difficulties
are done away with — the nitiatc bath and the washing — for
water with which to wash the plates made on a journey is
apt to be scarce in quantity and of extremely doubtful
quality.

Another Modification.

An interesting modification of this process is one in which
the lead and gallic acid are introduced into the collodion.
For this purpose, add powdered acetate of lead to acetic
acid in as large quantity as it will take up. Add 5 drops
of this and 15 of a 60-grain alcoholic solution of gallic acid
in alcohol to each ounce of collodion, using for this purpose
the same collodion as above described, likewise sensitized
with 16 grains of nitrate of silver to the ounce ; after stand-
ing, decant the clear portion into a measuring- gla.ss, and
add, first the lead solution, stirring well up; and then the
gallic acid. Collodionize, using the same precautions as
before described.

These plates, after collodionizing and setting, will simply
need washing for about five minutes under the tap, and are
ready for use as soon as dry. The negatives obtained re-
semble in all respects those obtained by that modification
of the previous described process in which no washing is
used. They are very sensitive, and give soft pictures. All
these plates arc intendol for alkaline development, respect-
ing the proper application of which a few words should be
said.

Alkaline Development.

The form of alkaline development which I have found
most suited to these plates is as follows : —

1. Carbonate of ammonia in 20-grain solution.

2. Pyrogallic acid, 300 grains dissolved in 5 ounces of
alcohol.

3. Bromide of potassium, 2 drachms in 5 ounces of water.

I prefer to develop in pans, and take : —

Water ... ... ... ... 6 ounces

No. 1 ... ... ... ... -J ounce

Nos. 2 and 3, each j drachm

This quantity, placed in a 7 by 9 porcelain pan, conveni-
ently develops a 61 by 8 j plate. The plate, after jrrevious
wetting, is left to itself in the solution for about half an
hour. The dose of carbonate of ammonia is then trebled,
and intensity soon comes ; if it does not, the plate is left in
until it does. 1 do not recommend washing off and using
silver and pyro, but finishing entirely with the alkaline
treatment.

Management of Collodion.

It is better, after adding the silver, to shake violently,
and repeat this once or twice in an hour or two, then let
repose for twelve to twenty-four hours. In this way no
filtering is necessaiy.

After finishing a set of plates, add to the residue of the
collodio-bromide 1, 2, 3 or more ounces of the bromized
collodion, enough to more than saturate all the excess of
silver (half as much fre.sh as what remains is plenty ; more
will do no harm) ; mark the quantity on the bottle, so that,
in adding the next lot of nitrate of silver, it may bo taken
into account. Thus the operator may go on Indefinitely, as
Mr. Mawdsley has pointed out.

It must b<; well understood that even after this addition,
the collodion, though less sensitive, is still very much so,
and must be carefully preserved from light, and should bo
kept in a cool place.

Self-Developing Plates.

I published lately a description of a method of pieparing
plates which would spontaneously develop themselves in the
dark slide, given rather as a matter of curiosity, however,
than of decided utility. Continuing, from time to time,
my experiments with it, I obtained very irregular results,
especially iu respect of fogging. By continued investiga-
tion, however, I have succeeded in ascertaining the sources
of these irregularities, and in getting rid of most of them.
Of the fogging, which was the most serious trouble, I got
rid entirely. I give here the results which I found.

1. A picture which will develop itself entirely anil not
need redevelopment will require a strong, bright camera-
image, such as is only got with short-focus lenses and with
large diaphragms. The exposure must be as long as for a
common tannin plate.

2. But, with shorter exposure, a visible image can be got,
which redevelops easily to any strength desired.

3 The images lose, to an unusual extent, in the fixing,
and therefore allowance must be made for it, or else the
pictures will need to bo returned to the developing bath
for a few moments after fixing and washing.

4. Owing to the glycerine used, care must be exercised
to rock the plate, thougli, thoroughly, otherwise crapy lines
will result.

5. The same cause, the glycerine in the collodion, dimin-
ishes the adhesion of the films to the glass, causing them
to slip. This is avoided by using a substratum of albumen,
by the aid of which the plates will bear rough handling and
rough washing with impunity.

6. Fogging. — This trouble showed itself in a very per-
plexing way. Sometimes films prepared with a large (com-
parative) excess of nitrate of silver showed no trace of
fogging, whilst at others this result was precisely reversed.
It was finally ascertained that the fogging depended wholly
upon the condition of the collodion ; after fixing these con-
ditions with certainty, no difficulty was found in preparing
films so entirely free from all tendency to fog that the plates,
after removing from the slide, could be left in plate-boxes
for weeks without undergoing any change.

1G6

THE PHOTOGRAPHIC NEW8.

As iibove explained, collodion, after being silvered,
remains for a variable time in a condition that it gives
blue and transparent films, and then changes and gives
creamy opaque ones. Now, whdst the latter condition is
the best for the preparation of plates intended to be used
dry, the former — the bluish condition — is absolutely essen-
tial for plates to be used wet. This distinction is one of no
small importance, and, by attending to it, all danger of
fogging with these self-developing plates is avoided.

The best method of operating is to use the above- described
collodion, adding to it grains of nitrate of silver to the
ounce. Shake long and well, and set aside for from one to
four or live hours. The colder the temperature the longer
will the collodion remain in the blue condition, and the
longer time may be allowed for settling. Decant all but
the bottom portion into a measuring- glass, and add to each
fluid-ounce ; —

Alcoholic solution of gallic acid (CO

grains to the ounce) ... ... 10 minims

Pure concentrated glycerine ... 10 drops

If preferred to drop the gallic solution, 15 drops may be
employed instead of 10 minims. As the glycerine is too
thick to measure in a minim glass, it needs to be dropped.
Ihe gallic solution must be filtered perfectly clean. Stir up
thoroughly with a glass-rod, remove all bubbles with a piece
of paper, and collodionize the plate.

From what has been said in the previous part of this
paper, it is evident that the collodio-bromide mi.xture u.sed
for these plates must be fresh. In working with dry plates
we may save the residue by adding a certain quantity of
bromized collodion, enough to bring the alkaline bromide
into large e.xcess, and thus these portions may be set aside
to be re-sensitized when wanted. But this cannot be done
with the self-developing plates, because they must have
sensitive collodion which has never passed into the creamy
state. Collodion, therefore, for the self-developing j)lates
must be mixed, shortly before it is wanted, of entirely fresh
materials, and in a clean bottle. Such portions as may
remain over must be rejected, whether or not the gallic
acid has been added.

I have been able further to improve upon this process bv
the agency mentioned alieady in connection with the regular
dry process here described. I allude to efl'ects produced by a
lead salt. If a strong solution of acetate of lead in acetic acid
be made, and 4 or 5 drops of this be added to the sensi-
tized collodion just before use, and immediatelj’’ previous to
the addition of the gallic acid as here described, a better
])late is obtained than where gallic acid is used alone. It is
more sensitive, gives a bolder picture, and does not seem
more disposed to fog if the precaution bo used of using the
blue film.

Although this process is a curious and interesting one,
and quite novel, it is not to be compared, I think, with
those described before it. The exposure is longer, and the
films require more care to keep them on the plate. It is,
however, certainly remarkable tliat a collodion film can be
put into condition to go on slowly developing itself sponta-
neously, and yet show no disposition to fog.

CovcLUDiNO Remarks.

It has been the object of the writer in making these
researches to find a process, which whist giving thoroughly
satisfactory results, should dispense with the complicated
manipulations which render dry processes uninviting. He
believes that the processes described in this third part will
be found to have accomplished this result, especially that
one in which a plate is simply collodionized, then as soon
as set, plunged into the lead bath. It is believed that no
one before has proposed to apply a sensitizer to a collodion
plate containing pure nitrate of silver, without previous
washing, and that it is here for the first time shown that
this mode of operating gives a more sensitive plate with less
work than the ordinary methods. By the mode of proceed-
ing here directed this sensitizing bath is not rendered

[April 3, 1868.

troubled or cloudy by the immersion of the washed plate,
but T.;malns perfectly clear.

Of the various methods which he has described the
writer is dispo.sed to recommend this one, applying the
modiheation of washing before using the lead bath, where
a bright clean plate with clean glass in the deep shadows,
and plenty of contrast is desired ; for general use, however,
omitting the washing. By preparing one or two washed
plates in each set. and making a W in the corner with a
diamond, or even simply scratching a cross with a broken
file, the operator will have plates suitable for all needs, the
washed plates being reserved for wide views well illuminated
throughout, and in which it is desirable to preserve and even
to increase the contrasts which actually exist, whilst for
all other uses the unwashed plates will have the preference.

UmcfcMitgu 0f Sofcictiw.

Oldham Piiotoukaphic Society.

The Ordinary Meeting of the above Society was held on Thurs-
day, the 2Gtli iust, the President, Mr. Johh Green, in the
chair.

After the minutes of the previous meeting had been read,
Mr. James Hall was duly elected a member.

Messrs. Wolstexhulme then handed round a couple of nega-
tives, one being marked with small spots and streaks, the other
being quite good, and all that could be exi>ected. Messrs.
Wolstenbulme stated that they were both from the same hath,
taken immediately after one another, which caused a lengthy
discussion.

Messrs. Whitehead and II baton then exhibited a tent made
expressly for out-door work.

Mr. Heaton stated that the tent he considered to be the
most convenient one he over used, and he had worked in
several. It was what he might call a modification of Leak’s,
it being constructed for holding the bath, logs, and everything
requisite, and could be placed under a railway seat when
travelling. It was very much admired, and considered to bo as
perfect a tent as any photographer could wish. Mr. Heaton
then read his paper on Out-door Photography. (This paper,
owing to the pressure in our space, is unavoidably left over
until our next).

A vote of thunks w.as passed to Mr J. Schwape, of Rhodes,
for some very beautiful prints for the portfolio; also to Mr.
Heaton for his paper, which brought the meeting to a close.

Liverpool Amateur Photoouaphic Association.

The Ordinary Monthly Meeting of this Association was held on
Tuesday evening, the 31st ult., the President, the Rev. G.
Banner, in the chair.

The minutes of the two previous meetings having been road,

Mr. Green said he wished to call attention to one of the
minutes of the January meeting, referring to the picture pre-
sented to the Hon. Secretary, which had not been fully reported.
The following is the inscription upon the picture, and will
explain matters fully ; — “ This photograph, being the largest
hitherto taken by the collodio-bromide process, is presented by
the Liverpool Amateur Photographic Association to their Secre-
tary, Mr. W. Bolton, to whom photographers are mainly in-
debted for the discoverj’ of the method of jiroducing a photo-
graph without a bath ; and in testimony of his zeal in promoting
the objects of the Association.”

Mr. Henderson was then called upon to road his paper
entitled “ Photography as an Aiil to the Study of Archaiology,”
(sea p. 163) at the conclusion of which a number of very excel-
lent phototographs illustrating the paper were passed round, and
also several volumes of photo-zincographic copies of old manu-
scripts, &c., including the Domesday Book for Lancashire and
Cheshire.

A vote of tlianks having been accorded to Mr. Henderson,

The Rev. T. Banner said, that the subject Mr. Henderson
had chosen was one which might be enlarged upon to almost
any extent. Ho quite agreed with Mr. Henderson as to the
superiority of photographs over drawings. He himself had
made a sketch of a Norman gateway, near Oxford, which
had occupied him two days, and which might have been very

April 3, 1868.]

THE PHOTOGRAPHIC NEWS.

167

much better done in two minutes by photography. He also
thought that no faith was to bo placed in drawings ; he had
compared an engraving of Sardis, which was in his possession,
with one of Svaboda's pictures of the same subject, but could
trace no resemblance between the two. lie concluded by thank-
ing Mr. Henderson for the trouble ho had taken in collecting
matter for his paper.

Mr. Henderson said that whatever trouble ho had taken had
been a pleasure to him ; for ho h.ad been led into very pleasant
correspondence and instructive reading.

Mr. Newton made some remarks bearing upon the use of
photography in copying old pictures and other works of art,
the series just introduced showing the complete success which
might bo attained.

Mr. Forrest then read a paper on “ The Satchel Camera,”
and exhibited his camera and stand, the latter of which re-
received the greater share of attention. It is constructed upon
the tube principle, .and p.acks up in the form of an umbrella.

Mr. Forrest pointed out that his dark slides wero painted
yellow inside, and this he stated ho had found to completely
stop blurring.

Some discussion took place on this point, the unanimous
opinion being, that painting the back of the plato is the only
w.ay of effectually staying tlie evil.

A vote of thanks was passed to Mr. Forrest, who h.ad
gone to a great deal of trouble and expense in obtaining from
London one of Mouckboven’s enlarging cameras, which, un-
fortunately, was not put to any practical use.

Mr. Hl’uiies p.assed round two negatives on plates prepared
by the Liverpool Dry Plato Company, which had been developed
nearly throe months after exposure, which, though taken
during December, possessed so much delicacy and half-tone as to
rival any process, wet or dry.

The Rev. T. B. Banner said ho had been using some of
the same plates for portraits. He had exposed one plato one
minute, and obtained a beautiful negative, and another exposed
two minutes was ruined by over-exposure. The plates wero
not now, but were some that ho bought last j’ear.

Mr. Henderson stated that he had seen a collection of
photographs taken before the gold toning had come into use,
and though the majority of the prints were quite faded, some
still remained perfect, showing that it is possible to prevent
even a sulphur-toned print from fading.

Mr. Green's prize photograph was awarded to Mr. W. H.
Wilson.

Mr. Hughes and .Mr. IIiogin exhibited some enlargements
from microscojiic objects, which wero considered very good
indeed.

The meeting adjourned rather later tlun usual.

^orrcsgffnDiiue.

PHOTOGRAPHY AND DISE.ASE.

Dear Sir, — I feel grateful for the opportunity you have
given your readers and correspondents to discuss in your
columns the question, “ Is photography inimical to health ? ”
And, as we may expect your own judicious and careful summing
up on the facts elicited, I trust a true answer may bo
obtained.

I quite agree with Mr. Hall, in your last number, that a
perfect solution could best bo obtained by comparison of the
general photographic experience ; but then nothing short of a
special census would .avail, and of this I fear there is no hope.
For my own part, I am inclined to think that the worry and
tension of mind usually inseparable from professional work
have more to do with the deficiency of health often found
amongst photographers than the effluvia of the dark-room.
Add to this the uncertain hours and irregular strain of work
and variable times for meals, and you hive a condition of things
that in any other calling would be considered almost un-
bearable.

Looking round (mentiilly) on my acquaintances in the pro-
fession, I do not think I could point to one who is “ the picture
of health," as I might amongst (say) the grocers of my town,
and I think it is more this below-par condition that is preva-
lent th.an decided ill hc.alth, though that is not very "rare, I
believe. Men of science, aud those engaged in any brain work.

do not, I am aware, stand a chance of keeping up the physique
like him “who feeds fat oxen,”; a fact which proves that
nature’s golden mean of mental and bodily labour cannot bo
transgressed without loss; but in most other w.alks of life there
are more numerous times and hours of relaxation than, as a
rule, fall to the photographer's lot ; and hence the mind and
body, from running inoessantly in one groove, show signs of
wear and tear at length. The public, too, are scarcely so
considerate as might be desired, and often press for sittings
at holiday times (when “ decked in all their best ” no addi-
tional time or trouble is needed for a separato'dressing), and
the good-natured photographer seldom holds out against the
importunities of his customers supported by the claims of his
purse. Perhaps, also, the unfair competition, which often has
to bo mot by extra diligence aud unswerving care, aids the
pressure from other quarters ; but this, fortunately, is waning,
and for those who have weathered both the storms of prosperity
and adversity there seems a prospect of something like halcyon
d.ays.

Probably one result— and not the least — of the various com-
munications you havo received on this topic-, will bo, that
photographers will, as niucli as possible, avoid all injurious
contact with their chemicals, and believe in the wisdom of
giving that useful servant, the body, its due, by air, exercise,
and rest — things that in these “ express ” days are apt to bo
forgotten. — I am, dear sir, yours truly, R. II. P.

PS. — I have just been informed that one of the cleverest
photographers in Clifton (Mr. Beattie) has had to resign his
business from ill-health, it is thought, photographically in-
duced .

itt th ^tubicf.

The Science of the Sunbeam.— Mr. Jabez Hughes recently
delivered the closing lecture of the season at the Isle of Wight
Philosophical Society, his subject being the Science of the Sun-
beam. Our space precludes the printing here of oven an
analysis of a most eloquent lecture, which was, wo understand,
one of the most successful and brilliant delivered during the
session.

Photographic Souvenir of Tasmania. — In the midst of
the public demonstrations in honour of the visit of H.R.H.
Prince Alfred, Duke of Devonshire, to Tasmania, photography
played its part. At a farewell banquet the Prince was pre-
sented with an album of photographs of Tasmanian scenery,
which had been under the directions of the Preparation Com-
mittee, for presentation to H.R.H. the Duke of Edinburgh, from
the colonists, as a memorial of his visit to Tasmania in H.M.S.
Oalatea. The album was a most beautiful and costly volume
of improved size, bound in crimson morocco, gilt, and orna-
mented in an el.aborate and tasteful manner. It contains
83 photographs illustrative of the scenery of Tasmania, 48 por-
traits of children born in the colony, and 0 plates immediately
connected with the Prince’s visit. The title-page was drawn
by Mr. Alfred Randall, and illustrated by Mr. W. C. Piguenit.
H.R.H. was pleased to request that the Preparation Committee
would furnish him with dujdicate copies of all the ])ictures for
the illustration of a work which H.R.H. is preparing in con-
nection with his visit to tho Australasian Colonies.

A Hint as to Labelling Negatives. — A correspondent
sends us the following useful hints : — “ In putting away my
negatives, at the back and at one end of each a slip of albumin-
ized paper, about one-third of an inch wide, is stuck on ; upon
this tho No. of negative, and S. or R., according to which paper
suits the quality of negative (Saxe or Rive), and D. if (as some
subjects, I find, need) deeper printing than ordinary is required.
By this means, on taking a negative out of tho box to print
from, it tells its own tale, and produces tho same results as the
first proofs. I was led to do this from tho fact I had hail
brought under my notice, that after tho first order sent to a
photographer, tho prints wero rarely up to tho mark in subse-
quent orders.”

South IjOndon Exhibition Meeting. — Members are re-
minded that the meeting of the Society to be held on Thurs-
day evening, the 9th instant, is to bo devoted to examination
of, and convers.ation on. photogr.aphs, which members are
invited to contribute for tho occasion.’

168

TIIK I'lIOTOGRAPHIC NEWS,

[April 3, 1868.

(^orrcspaubcuts.

To Aoents and Advertisers. — Next Friday being Good
Friday, the Piiotoorapiiic News will bo published on
Thursday, April 9lh. Advertisers should send in their
Announcements not later than Wednesday, the 8th.

Educator. — The causes of collodion priving a thin transparent film
may bo various ; deficiency of pyroxylinc, deficiency of iodide, or
lack of porosity or permeability in the film will cause it. The
latter cause may bo the result of the use of a pyroxylino giving a
homy, repellent film, or the use of anhydrous solvents ; if the
latter, the addition of a drop or two of distilled water to eacdi
ounce of collodion will remove the defect ; if the former, time will
bo the best cure. If deficiency of iodide is the cause, it may be
remedied by the addition of about half a grain of iodide of cadmium
to each ounce ; but this is rarely required. The addition of a little
more pyroxylino is often of service in securing a creamy film and
a vigorous negative. About a grain of good pyroxylino to each
ounce of collodion will often elfect an improvement.

J. II. — Wo recommend common sheet glass as most suitable for a
studio, being cheapest and least liable to change under the action
of light. If a small space is to be covered, a 1.5-ounce glass will
be sufficient ; if a Larger space, a stronger glass (say 21 -ounce)
is better.

Z. II. A. — The proportion of acetate of soda you use is very exces-
sive. The usual formula is 30 grains to 1 grain of chloride of
gold ; you arc using GOO grains. You also use the bath too weak ;
10 ounces of water to each grain of chloride of gold will give a
very dilute bath ; 5 ounces of water are sufficient. The tondcnc y
of excess of acetate of soda will bo to prevent the keepjng of the
bath, causing it to become gradually inert, and tone slowly and
imperfectly. ■

F. F. — A ridge-roof room, with the side and roof facing north)
glazed, and the other side opaque, will be best. The siiace you
have at your disposal must determine the proportions. Secure as
much length as you conveniently can.

J. C. G. — We cannot recommend the instruments of any m.akcr by
name here. If you will send hs a list (you may find some in our
a<lvertising columns), distinguishing each by a number, we can
advise you as to which is most suitable for your wants.

T. S. (Bigglosw.vde). — Water purified by the addition of a little
nitrate of silver and sunning is suitable for making silver baths,
but not for other photographic purposes. It would not bo suitable,
for instance, for making a toning bath, because the nitrate of silver
remaining in solution would decompose the bath and throw down
the gold. The yellow precipitate you describe is probably oxide
of gold.

M. Cage. — In the formula to which you refer, where acetic acid
simply is mentioned, glacial acetic acid, which is that commonly
used in photography, is meant. It is only when a deviation from
the usual standard is intended that the qiialification need be stated ;
hence, when the wc.akeracidisintcnded, IJeaufoy’s is mentioned. It
is about one-third of the strength of the glacial acid. 2. The solu-
tion or paste of bees’ -wax is used after the print is mounted on
ordinary cardbo.ard. Care must, of course, be taken to avoid touch-
ing the margin ; this is easily done. Mr. Blanchard has given up
the commercial application of collodion to his prints, not because
he lost faith in it, but becau.se, printing exten.sively, his a.ssistants
complained of the effect of the ether. lie now u.ses the wax instead.
Any trace of iodine in eollodion for ja'ints would bo injurious. The
bees’ -wax treatment is cheap. 3. We saw the portrait to which
you refer, and noted, also, the want of honesty to acknowledge it.
8uoh a copy, imacknowlcdgcd, is, of course, piracy.

W. A. (Southampton). — We addi-essod the note and forwarded it.
You are probably aware that the firm is passing through the
Bankruptcy Court, which may account fur the delay to which you
refer.

W. N. AND S. — The ridge-roof form is best, placing the side towards
the north. This is the form imd position employed by the best
men. 2. The decision as to the use of wood or iron depends upon
circumstances. We should prefer wood to iron ; or, if wo employed
iron, wo should have it lined with wood.

W. J. A. O. — You will find the additional particulars you require,
beyond those given by Mr. Bolton, in our Year-Book for 1866.
A 15-grain tannin solution may be used. The difficulty in sending
out collodio-bromide of silver ready for use consists in the fact that
it is apt to precipitate in process of time, and, as Mr. Bolton states,
should not be prepared more than a few days before it is required
for mse. We are not aware that any maker prepares a collodion
especially suited to the puriwse, but should tniuk that most good
samples of plain collodion might be employed. It is probable that
thebromized collodion might be kept ready for use, and the requi-
site amount of silver added when required. If highly rectified
solvents were employed in preparing the collodion, silver might be

used in the form of a .satiuratcd aqueous solution, one ounce of
nitrate of silver dissolved in one ounce of water. 2. The so-called
moonlight scenes produced by photography are generally instanta-
neous pictures by sunlight, kept in a low tone. Mr. Breese states
that he has absolutely photographed a white statue by the light of
the moon with a long exposure.

X. Q. P. — The complete picture, and not every separate negative
from which it was produced, will need to bo registered. You may
describe it as you mention, and register it as one picture. The
smaller cojjy of it will not need registration. It is the design you
protect, ami not the especial size in which it is produced. A copy
in any size, without your permission, will be a piracy.

J. L. — By proper precautions a wet plate may be kept a couple of
hours between preparation and development. By Mr. Blanchard’s
method, recently described in our pages, he h is succeeded in keep-
ing a plate longer than that. But although a plate may be kept
that time, it would be difficult to keep foliage still for half of that
time ; and unless the attempt were made in a light unfit for the
work, or with imperfect appliances, foliage should never need any-
thing like such an exposure by the wet process. Yovi are probably
right on the personal question ; but it is better let alone.

R. M. T. — The turbidity and precipitate formed in your collodion
on the addition of more bromide ot cadmium was probably bromide
of potassium, which is very sparingly soluble in ether and alcohol.
When a collodion is iodized with a potassium salt, the addition of
bromide of cadmium will frequently form bromide of potassium,
which, if in greater proportion than about half a grain to an ounce ,
will generally precipitate. After the collodion is settled it is
bettor to pour off the clear portion than to filter. The collodion so
prepared will probably give you great vigour and brilliancy, but
a little less harmony than one containing more bromine. 2. The
more bromide present in your collodion, the more nitric acid you
may have in the bath, without loss of sensitiveness.

Out-of-Focus. — In your description of your studio you have left
all the dimensions blank, and so left us in ignorance of a groat
part of what you intended to state. Judging, however, from the
portraits and from the view of your studio, you are suffering from
insuflicient light. It seems that you are so closed in that scarcely
any direct light can reach your sitters. To satisfy yourself of
this, place yourself in the position of the person standing for a
portrait, and then look up and around» and o-scertain how much
sky you can sec, for that will enable you to estimate how much
direct light fi-om the sky reaches yoim sitter. A\'e fancy that you
will see very little. 'I’he staining of the interior woodwork is not
a matter of much moment, .\ftcr two o’clock in the afternoon
of this season the light is fast waning, and under the best of eir-
cumstancos the light at that time would not bo very good. Wo
cannot give you any opinion of the lenses ; they may l)c gowl,
but those of most French makers, being cheap, are a little un-
certain.

Varnish is disposed to have a good-natured laugh at Dr. Mann for
regretting the loss of negatives by the adhesion of tlw paper to the
varnished film vvhen exposed to the roasting in the direct solar
rays of South Africa. Certainly the test was a severe one, but
one which, wo fancy, a thoroughly good varnish made of lac
would stand without becoming sticky. Many varnishes in the
market will not stand the direct solar rays of our own temjicrato
clime.

Still. — The disagreeable smell emitted on first using your tin dis-
tilling apparatus arises from the oil and resin use! in the
manufaeture of the tin plate and in soldering the joints. It is not
wise to employ soda for removing them, since this alkali attacks
the coating of tin, and renders the metal afterwards liable to rust.
It is a common practice to boil a little bran with the first water in
now tin saucepans ; but we should advise the rejection of the first
few gallons which come over, and rely upon ordinary ilsc as the
best means of thoroughlv purifying the apparatus from such
adventitious m.attcrs. 'I'he cost of a 2-gallon tin still and
condenser may be quoted at a guinea, or rather more, according to
the sub.stance of the metal.

Venator. — Thimks for a sight of the box. It appc.ars admirably
adapted to the conveyance of plates of viunous sizes. It would not
pay you to protect it in any way, but you might show it to some
dealer, and arrange with him to make it.

Germanicus (Bangalore). — Your interesting letter, enclosure, and
photographs duly received. We will examine the prints and
reply in detail shortly. The New.s, &c., shall be duly forwaioled.

G. Lewis. — Our fourth volume is unfortunately quite out of print.
Wo are glad that you find our .Vrt Le.s.sons profitable.

C. 11. Lord. — Thanks. AVe shall m iko use of your suggestions in
our next. The prints are good and interesting.

J. S. (Glasgow). — Wo will a-scertain, and communicate with you.

A. B. C. — We should think it quite siifc.

J. B. N. — Thank.s. iVnswer in our next.

Several Corre.spondents in our next. Several articles in type are
compelled to stand over until our next.

>-V

THE PHOtMtliPHIC

‘■V ■ O '

VoL. XII. Ncu:5iii!^'Ji>n7 9, 1868.

NEWS.

CONTENTS.

PIGB

Sulphur Compounds in Mounting- Boards 169

Photography and Disease 170

Loss of Sensitiveness in Dry Plates 170

£gg-Albumen, from a Chemical Point of Yieiv. By John

Spilier, F.C.S 170

The New Photometer. By Dr. Vogel 171

Pictorial Effect in Photography. By H. P. Robinson 173

Adhesive Mediums : A Word or Two in Favour of Paste. By a

Practical Man 174

Out-door Photography. By J. R. Heaton 175

PICK

On the Cause of Deterioration of Prints Mounted on Cardboard

with Gilt Borders. By MM. Davanne and Fordos 176

Carbon Printing. By M. Carey I<ea 176

Theoretical and Practical Photography. By Homer Fellows ... 177
Proceedings of Societies — French Photographic Society — North

London Photographic Association ITS

Correspondence— Photography and Archmology — Keeping Pro-
perties of Tannin Plates — Cleaning Varnished Plates 178

Talk in the Studio 179

To Correspondents 180

Photographs Registered 180

SULPHUR COMPOUNDS IN MOUNTING-BOARDS.

The presence of hyposulphite of soda in the cards used for
luounting photographs has been repeatedly noticed as a
source of fading ; but the extent of the mischief arising
from this source, it is to be feared, is not realized by photo-
graphers generally. The number of instances which have
recently come under our attention in which disastrous dis-
colouration and fading in prints was directly traceable to
this cause induces us to offer a few further remarks on the
subject, with a view to urge upon our readers a more careful
examination of the cards upon which valuable photographs
are mounted.

Mr. England recently sailed our attention to a curious and
annoying illustration of the injurious induenceof the mount-
ing card. Of a series of his Swiss stereo view.s, produced
and printed some years ago, some were divided and mounted
on white cards, the prints being four inches by three ; whilst
those intended for stereoscopic slides were mounted in the
usual manner on yellow enamelled cards. Having occasion
recently to examine some of the small single views which
had been packed away, he found, to his surprise and chagrin,
that they all showed unmistakeable signs of fading, espe-
cially noticeable in the yellowness of the whites and lighter
tones in the skies- On examination of the stereo slides pro-
duced at the same time, on the same paper, with the same
solutions, from the same negatives, mounted at the same
time and in the same manner, and kept in the same place,
he found that these were in perfect condition, showing no
signs of fading whatever. Every circumstance in relation
to the fading and the perfect prints was precisely the same,
except the kind of mounting card used. The stereo slides,
as we have said, were mounted on the yellow enamelled cards
commonly used for that purpose, and the single prints on
white cardboard of apparently good quality. On testing
the latter, the unquestionable presence of hyposulphite of
soda was manifest, although in much less proportion than
in many samples we have examined.

It is noteworthy that it is in the whites of the picture that
the action of sulphur was most decidedly manifest. In
some cases the blacks were vigorous, fresh, and perfect in
colour, suggesting that the trace of unreduced silver in com-
bination with the albumen, not removed by the action of
the fixing bath, was most readily acted upon by the sulphur
compound in the card, whilst the blacks formed by a
thicker layer of reduced silver and gold remained un-
changed.

Where the hyposulphite or other sulphur compound is
present in larger quantities, however, all portions of a print
readily show its action. We have, on several recent occa-
sions, had mounted prints sent for examination, in which,
within a few weeks after mounting, the whole of the image
tvas changed, the whites having assumed the well known

unpleasant yellow tint, and the blacks the greenish brown
or olive tint common to the silver print in an advanced
stage of sulphurization. In all these cases the plentiful
presence of a sulphur compound was readily detected.

We use the term sulphur compound in the cards, instead
of hyposulphite, as answerable for this disastrous action,
because, whilst the evil is most commonly traceable to the
latter salt, it is not the only substance used in the manu-
facture of paper and mounting cards capable of exercising
I the injurious action to which we refer. In order to secure
. the pure cold white, or white inclining to blue, of some
papeis, ultramarine is added to the pulp in the process of
manufacture, and as this substance contains sulphide of
sodium, its presence is dangerous in a paper or card intended
for any photographic use in which it can come into contact
with tne salts of silver.

The simplest test which the photographer can employ
to ascertain the fitnes.s of a mounting card for photographic
purposes will indicate the presence of either of the sulphur
compounds to which we have referred. In the majority of in-
stances of unsuitable cards which have come under our notice
the application of a drop of a lO-grain solution of nitrate of
silver is followed immediately by the appearance of a brown
stain, which should lead to the unhesitating rejection of the
card. In some ca.ses no stain is produced immediately, but
if the card be moistened with the silver solution and put
away in the dark for a quarter of an hour, after which
time the yellow brown stain will indicate the action of
sulphur if present. Another mode of using the same test,
involving a little more trouble, but more satisfactory when a
small portion only of the hyposulphite is present, consists
in soaking the suspected card in water for a few hours, and
then adding to the water, in a test tube, a few drops of the
silver solution, the appearance of the brown discolouration
indicating the presence of hyposulphite. The only circum-
stauce which would be likely to render the use of nitrate of
silver doubtful in detecting the presence of a sulphur com-
pound would be the presence of caustic lime, which is, we
believe, used at times in manufacturing paper, to give ficti-
tious substance and weight. This, by producing oxide of
silver, would also cause brown discolouration, but the error
would be of little importance in a practical sense, since it
would only lead to the rejection of a card of very doubtful
fitness for mounting photographs.

Where the photographer is desirous of employing a more
delicate test for the presence of hyposulphite, nothing can
be more simple and accurate than iodine for the purpose.
Make a solution as follows : iodine one grain, iodide of
potassium two grains, dissolved in distilled water one pint.
Add a few drops of this, sufficient to give a delicate blue
tint to a very dilute solution of arrowroot, and fill two test
tubes with the pale blue solution. To one of these add a
little of the water in which the suspected card has been

170

THE PHOTOGRAPHIC NEWS.

[Apru. 9, 1868.

soaked, and add an equal amount of pure water to dilute
the iodine and starch solution in the other tube. This will
permit an accurate examination of the change efiected by
hyposulphite if present in the water in which the card has
been immersed. Hyposulphite of soda will quickly remove
the blue tint of the solution to which it is added by com-
bining with the iodine ; and any degree of change will be
readily observed by comparison with the otlier tube held by
its side as a standard.

To ascertain if ultramarine is present in the mounting
card another mode of testing is necessary. Ultramarine,
being a furnace product, is indestructible by fire. The
suspected paper or cardboard to be examined should be
reduced to a charred mass by burning in the air, and then
introduced into a crucible and further heated until all the
carbon is consumed. If the ultramarine is not already
visible in the ash by its colour, the blue particles should be
sought for with the aid of a lens or microscope. A charac-
teristic property of ultramarine is the change in colour from
blue to white, accompanied by the evolution of sulphuretted
hydrogen when moistened with an acid.

The photographer has, of course, no control over the
manufacture of mounting-boards, but he can exercise a
power of selection and rejection ; and the facts which have
repeatedly come under our attention point to the im-
portance of doing so. Of late, the increase in the con-
sumption of hyposulphites as “antichlor” in paper making
is stated to have advanced in enormous ratio. It is probable
that if the protest of photographers against its use in the
papers and cards to be used in photography were made
sufficiently loud and urgent to be heard and understood by
paper manufacturers, that other substances would for their
purposes be. employed. Sulphite of soda, or of lime, for
instance, would absorb chlorine with formation of sulphates
of these bases, which would be harmless. That of lime is
occasionally used, we believe, in giving whiteness to paper,
and its presence might be regarded as in no wise injurious
to the photograph.

PHOTOGRAPHY AND DISEASE.

Mil. Carey Lea, commenting in the Philadelphia Photo-
grapher on the recent communications in our pages on this
subject, considers the question is so important that if an
article were written monthly on this subject it would scarcely
be too much. He remarks : —

“ It is not in the least difficult to explain loss of health
as occasioned by photographic pursuits. All physicians
know that the proper ventilation of the blood through the
lungs is one of the most indispensable conditions of health,
and that continued exposure to vapours not in themselves
usually considered poisonous produces most injurious effects.
Such vapours are, for example, fumes of ammonia, or of
carbonate of ammonia, vapour of acetic acid, fumes of
alcohol, or of benzine. The vapours of ether and of nitric
acid are now too generally recognized as poisonous to render
it necessary to say much about them, and any one exposing
himself to their influence must necessarily expect to suffer.

“ In a word, the lungs were made for inhaling pure air, and
when they are compelled to take in chemical vapours, the
load the system has to carry is just in proportion to the
extent to which the air is vitiated.

“ It is so difficult to produce an impression in these re-
spects, that if an article were written monthly on this sub-
ject it would scarcely be too much. Rut just at present is
the moment when caution is most needed. In the spring
and autumn there are periods when the weather is too warm
for fires and too cool to work with open windows. At such
seasons, rooms have unusually little ventilation ; in winter
the fire keeps up circulation, and in summer open windows
maintain a draft. At the intermediate period there is more
than usual evil from vitiated air, and unusual caution in
avoiding its deterioration is called for.

“ Therefore, the photographer at such times should rather
maintain his fires, and keep the temperature down by open-
ing windows freely. In fact, the safety of the photographer
will always largely depend on habituating himself to a con-
stant movement of air.”

LOSS OF SENSITIVENESS IN DRY PLATES.
Professor Towler, in recording the results of some com-
parative trials of dry plates, states his conviction that most
dry plates lose sensitiveness by keeping. The plates tested
were prepared by England’s modification of the collodio-
albumen process, by Col. Baratti’s coffee process, and
Bartholomew’s morphine process. The experiments were
tried in winter, the exposures made in a good diffused light
the day after the plates were prepared. All the plates,
having been exposed for the same time with the same lens
and under all the same circumstances, were developed with
a nitro-gelatine iron solution. The morphine plate could
not bo brought to the proper intensity without pyrogallic
acid. Upou the whole, he states, that of the three, the
coffee plate was the softest, cleanest, and best negative.

After the lapse of another day he exposed three other
plates i but the time of exposure had to be lengthened for
all of them by two or three minutes. The results with
albumen and coffee were in this case about equal. The
morphine plate is stated to have come out just as rapidly as
the other two, but stopped short in the development a.s
before, and pyrogallic acid and silver had to be used
again.

On the third day the exposure had to be twelve minutes
for each plate ; with less time the impression was feeble.
For several days the experiments were continued, and during
the whole time they had to make a like increase in the time
of exposure, in order to get tolerable results. As time pro-
gressed, coffee began gradually to fail.

On the eighth day a pair of each of the three plates were
exposed for twenty minutes : the albumen plat<'8 gave
results clear and distinct, but under-exposed ; whilst from
the others the pictures could not be forced into anything
worth keeping ; they are described as ” complete failures.”

Professor Towler concludes : — " None of these plates can
be said to retain their sensitiveness beyond a few days ; and,
in a practical way, I would not think of trusting them
beyond the second day. I believe they owe their sensitive-
ness to a retention of moisture in the film, and not to any
preservative with which they are imbued. The albumen
plates preserve their working powers the longest. The
coffee plates are easily prepared, and, when used the next
day, are reliable, and produce excellent results. I do not
like the morphine plates, although they are very sensitive
soon after preparation — you cannot force the pictures easily.
Of course I have reference in these observations to the
peculiar mode of development ; my aim is to develop both
wet and dry plates with the same developer (protosulphato
of iron).”

EGG-ALBUMEN, FROM A CHEMICAL POINT OF
VIEW.

DY JOH.V SPILLER, F.C.S.

On a recent occasion it has been proposed to employ the
white of egg in a naturally moist condition as the standard
of comparison in estimating the quality, or degree of im-
purity, of potable waters, as regards their nitrogenous
organic constituents. Variations in the amount of nitrogen
contained in the white of egg have, however, been admitted,
and the proportion of water, or, in other words, the weight
of dry albumen, is suspected to be subject to variation.
Whilst engaged in come experiments upon this new method
of water analysis, in which, as I have said, albumen is taken
as the starting point, and its nitrogen (or a known fraction
of it) is evolved and estimated in the form of ammonia, it

April 9, 1868.]

THii: PHOTOGKAPHIC NEWS.

171

appeared to me desirable at once to ascertain whether or not
the moist contents of the egg lost water by evaporation
through the calcareous shell ; for if this be the case to any
appreciable extent, the constitution of the albumen within
cannot possibly remain for any length of time fixed and
definite, although the egg itself may, during this period, be
perfectly preserved from organic decomposition.

My affirmative anticipations on this point were based upon
the circumstance that a new-laid egg exhibits no cavity on
breaking the shell, whilst a stale one always contains a con-
siderable air-space ; however, to set the question at rest, I
made the following experiments : — The weight of a hen's
egg was exactly taken, and it was then supported upon a
wire tripod-stand, so that the air might have free access to
the whole external surface of the shell. Upon weighing the
egg after an interval of twenty-four hours it had lost exactly
one grain, and this ratio of loss by evaporation remained
tolerably constant during several days. As, however, the
experiment was made in the winter time, and during a
season of wet weather, I repeated it under somewhat modi-
fied conditions. Two new-laid eggs of large size were taken,
and, after their weights had been accurately determined, they
were supported in a similar manner within a bell-jar, rest-
ing on a flat glass plate, with a dish of concentrated sul-
phuric acid to absorb the water given out by the eggs. The
whole arrangement (that is to say, the dessicator and its con-
tents) was placed in a room the temperature of which was
maintained pretty uniformly between 55° and 00'^ Fah.,
and there left for six weeks, the diminution of weight being
frequently observed during this interval. In all, ten weigh-
ings were taken, and the results proved that 100 grains, or
more, of water can be abstracted under these circumstances,
whilst the loss in the intermediate periods followed a
diminishing scale, but nearly coincided with the several
intervals of time. The average loss of water by evaporation
through the shell may be stated, for the two eggs operated
upon, to have been at the rate of 2 and 2j grains respec-
tively per diem. Upon breaking the eggs at the end of
six weeks, one was found perfectly sweet and good, with the
envelope of the yolk unbroken, but the second and smaller
one was discoloured next the shell, and the albumen had
become slightly decomposed. The last results with this egg
were consequently disregarded.

The details of the experiments are quoted, for they serve
to show the proportion of yolk to white at the final stage ;
ratio of water evaporated to total liquid contents ; and the
exact weight, in each instance, of the shell with its lining
membrane, after careful washing with dilute ammonia and
subsequent drying in the air : —

Egg — No. 1.

Original weight (entire) ... ... 975-0 grains

Loss of weight in six weeks (water)... lOO'O „

Shell and membrane... ... ... 992 ,,

Yolk 317-2 „

White (by difference) 458 8 „

Egg— No. 2.

Original weight (entire) 930-6 grains

Loss of weight in three weeks (water) 41-6 „

Shell and membrane... ... ... 85-2 ,,

Yolk and white ... ... ... 803-8 ,,

It will here be noticed as an anomaly that the heavier shell
of No. 1 egg permitted a faster rate of evaporation through
its substance than No. 2. The latter appeared, however,
upon inspection, to have a smoother external surface, and to
be stronger and more compact in structure throughout.

The following table shows the actual amount of water lost
by evaporation in the two instances for the intervals of time
specified in the first column.

Loss of Weight in Dessicator {Water evaporated).

latervaU of time.

No. 1 Egg.

No. 2 Egj

Days.

Grains.

Grains.

1

3-4

... 2-6

2

6-9

... 4-7

Intervals of Time.
Days.

7

14

21

42

No 1 E„'g.
Grains.

173

34-3

51-1

100-0

No. 2 Egg.
Grains.

... 14-0
... 27-6
... 41-6

Ratio of Water Evaporated to Total Liquid Contents of the
Egg {per cent.).

Time. No.l. No. 2.

In two weeks ... ... 3-9 ... ... 3-3

three ,, ... ... 58 ... ... 19

six „ ... ... 114 ... ...

It would be difficult to prove whether or not the water
lost by evaporation from the white is partly compensated by
an accession of w-ater, by diffusion, from the yolk. No
colouring matter travels outwaids unless an organic decom-
position sets in, when all the natural barriers are destroyed,
and the several parts of the egg become merged. I am
inclined to think that this rc-distribution of water actually
occurs, since the sac of the yolk appears wrinkled in a stale
egg, as though by loss of a portion of its liquid contents.

The composition of fresh egg-albumen may be said to vary
between the following limits : —

Water 88 to 85 per cent.

Dry albumen (containing nitro-
gen 1-55 to 1-75 per cent.) ... 12 to 15 „

Other analyses have been recently published, in which the
nitrogen amounts to 1-81 per cent, and upwards, with the
minimum proportion of water. It is probable that these
latter results were obtained with eggs which had been
longer kept in stock.

The indications of change in the composition of egg-albu-
men by evaporation of moisture are not, perhaps, so decisive
as to interfere greatly with the ordinary operations followed
in the manufacture of albuminized paper ; the protracted
exposure of large surfaces of diluted albumen in shallow
dishes left freely open to the atmosphere of heated rooms
must induce a more rapid increase in concentration of the
albumen than is ever likely to occur as the result of the
natural dessication of the egg. The relation subsisting
between the yolk and white in different eggs appeals to vary
between somewhat wide limits ; and the most remarkable
monstrosity that ever came under my notice was a double
egg, united at the smaller extremities by a membranous
ligature, and without any shell ; the one sac contain-
ing all the yolk, and the other only the white. This was
laid by a hen belonging to a member of our staff, and we
have had it since August, 1866, preserved in spirit. It lost
water rapidly during the short interval previous to immer-
sion, and the yolk half seemed from the first to be less
expanded than the twin sac. From the circumstance that
it remained so in any position rve inferred that there was no
communication between the two receptacles. It should be
mentioned, in conclusion, that these latter were of the ordin-
ary size. I send you a stereo photograph of this interest-
ing object.

THE NEW PHOTOMETER.

BY DR. VOGEL.

My new photometer is intended for measuring the time of
exposure for negatives in all the photographic processes in
which the image is not obtained by direct operation, but is
brought out afterwards by a development ; such processes,
for instance, as the carbon printing process (one of the most
important applications of the instrument), enamel process,
aniline printing process, photo-lithography, for the produc-
tion of negatives, &c.

The photometer consists in a transparent scale, made from
a prepared paper, graduated in strips, the thickness increasing
in an exact mathematical proportion from one end to the
other. Under this scale is exposed a strip of bichromated
paper — Saxe paper, immersed in a 1-30 solution of bichrornate
of potassium for two minutes, and dried afterwards. Ihis

172

THE PHOTOGRAPHIC NEWS.

[April 9, 1868.

paper keeps its qualities very well for some weeks, and is as
sensitive as silver paper, and it is darkened by the liglit to a
tint deep enough for photometrical purposes.

If such a strip of bichromated paper he exposed under the
transparent scale, the strip is darkened by the light, at first
under the thin end of the scale, and this colouration will
advance to the thick end of the scale, in ratio corresponding
with the actinic quality of the light. For recognizing exactly
the point to which the action of light is advanced, numbers
are printed on the transparent scales in opaque ink, which
retards the action of light, and causes the numbers to appeal-
white on the sensitive paper.

The instrument is like a printing-frame, but with an
arrangement to open it from the glass side for observing the
number made visible by light on the bichromate paper.
The bichromate paper is cut in strips corresponding with the
length of the inner case C, which is, for placing in the strips,
opened from the lower part ; the dotted piece of wood, h, is re-

X

moved, and the sensitive strips are laid one on the other in
the case, which is then closed. In this manner the paper
strips are pressed by the elastic (dotted) spring /against the
upper side (open in the figure), and if thccover Uis closed (by
aid of the crotch a;), the strips are pressed against the trans-
parent gradtt<jted scale. This scale is fixed on a glass strip
which fornjs thie upper part of the cover D. A second cover,
L, of wood, serves for exposing the transparent scale to the
light when it is necessary to make an observation or
examine the bichromate strips by lamp-light.

For employment in carbon printing, this photometer is
brought to the light at the same time as the printing-frame
with the negative, which is allowed to remain exposed till the
instrument indicates 10, 12, 14 degrees, according to the
thickness of the negative and the sensitiveness of the carbon
paper (16° in employing Swan’s paper for a medium
negative) .

The method employed for fixing upon the number of
degrees requisite for printing any negative is very simple.
My own negatives I can at once, on inspection, divide into
three classes, viz., thick, thin, and medium ; and in order to
fix the degree of intensity I take a cartc-de-visite negative
containing three or four pictures of equal density, and ex-
pose it to the action of light with a piece of carbon paper.
When the photometer, which is exposed at the same time,
indicates 10“, I cover up one of the pictures ; at 12® I cover
a second ; and at 14® a third. Whichever degree of intensity
gives the best picture on development is the one best suited
for the negative under examination, and others of a similar
thickness. To ascertain the printing degree in other nega.
tives I proceed in the same manner, a small strip of sensi-
tized paper only being required for each experiment, just
sufiicient to cover a thin section of the negative. When
the degree of a negative has been fixed upon, I mark the
latter with the number. A little experience in the use of
the photometer and the carbon process will enable the
operator to ascertain the requi.site degree of any negative by
simple inspection ; and wlien this has been ascertained, the
process is very much simplified, for, as Wilson remarks very
truly, " if the exposure is correct, the print cannot fail to be
a success."

It may be supposed that one photometer is required for

every copying-frame ; this is, however, by no means neces-
sary, if a systematic method of working be adopted. A
number of frames are furnished with sensitized paper, and
brought into the light at the same time, together with a
photometer ; and when the instrument indicates the degree
of intensity necessary for the printing of the thin negatives,
the latter are either turned over or removed, the thicker nega-
tives being treated in the same manner when the photometer
indicates that they have also been sufficiently exposed. In
favourable weather the whole batch will be piinted in a few
minutes, and attention must therefore be paid to the photo-
meter, in order that ‘the negatives may be covered up at the
. proper time. As many as ten prints may sometimes be ob-
tained from a thin negative in one tour. If the prints are re-
quired in a hurry, and it is necessary that no time should be
lost in the printing, it is as nell to have one photometer for
each of the three descriptions of negatives (viz., for the thick,
thin, and medium) ; but even by this arrangement only
three instruments are necessary.

There is one more point still to be considered, and that is,
the sensitiveness of the carbon paper, which differs greatly
according to its manufacture, that exported from America
being almost double as sensitive as that made in England.
To ascertain the sensitiveness of a new paper, it is necessary
to make an experiment, in the manner above described, with
a negative of which you already know the printing degree.
For instance, if, with American paper, a negative is known
! to have the printing degree of 10, and with the new
paper the degree is found to be 12, then the degrees for all
other negatives must be added when printing with the new
paper.

The reason of this simple calculation is, that the degrees
of transparencies of the scale are in an exact mathematical
proportion, the proof of which I will give to you as shortly
as possible.

Imagine a series of transparent strips of absolutely the
same quality — for instance, mica, glass, paper, &c. : if the
light goes through a series of such strips, its intensity is
diminished by reflection and absorption. This diminution
will be the greater if the number of strips is larger. Suppose
the intensity of light which falls upon the upper strip will
be = 1, and the diminution by going through one strip is

such that the original intensity is reduced to -L, then the

diminution will be, after gone through — ■

the second strip = — X ;

the third strip = JL X — = ^ ;

n- n

the fourth strip = v I. _ -i. :
n-* n

therefore, if you con.struct a layer of strips like a staircase.

the intensity of light after gone through will be —

1 2 3 4 5 G ... ... 9 strips

_L i. -1 i i ^ 1

n n* n* n* n® n*

that is, the intensities of light gone through such a layer of
strips form a geometrical series.

Now, if the intensity of light is reduced in such a manner
whilst going through the strips, it is very easy to conceive
that the quantity of chemical (actinic) light which must
fall upon the layer of strips for making a visible impression
on chromate paper, which is situated under the strip, must
be larger in the same proportion as it is reduced whilst
going through the strips. It is demonstrated that the
diminutions are in the proportions-—

7t ’ n* ' n* ' n-* ’ n®’ n®” n*

April 9, 1868.]

THE PHOTOGRAPHIC NEWS.

178

therefore, the quantities of actinic light necessary for making
a visible impression under one, two, three, . . 9 strips,

will be —

n, n", n^, n'*, n*, n® ... ;

that is, the quantities of light indicated by the appearance
of the degrees of the photometer form a geometrical series,
of which the numbers of degrees are the exponents.

From this law you now make a very important conclusion
for practice ; for you receive a new paper with another degree
of sensitiveness. You have not necessarily to determine by
long experiments the printing degrees for tire new paper ; but
it is sufficient to make a single experiment with a single nega-
tive, in the manner before described. If the printing degree
for this negative on the old paper was, for instance, = p,
and for the new paper you find, for instance, the printing
degree = r, then the quantities of light for printing out the
same negative on old and on new paper, are in the pro-
portion—

„P nr ^ = nO-i-)

n’-

therefore, if you will make a print on the new paper it fol-
lows that you have necessarily a quantity of actinic light,
which is for times larger than the quantities neces

sary for printing on old paper. For this rea.son, if the print-
ing degree for any negative for old paper was, for instance,
= V, then the quantity of actinic light necessary for printing
out on old paper this negative was n” : and if you will
make from this negative a print on new paper, you have neces-
sary a quantity of light, which is times larger;

that is, = n' X = ««’ + (’'i').

Now, the exponents v r p, &c., are the numbers which I
name the printing degrees ; therefore, the printing degree
for the negative above mentioned is = v -h /• — p, and from
this follows : —

If you will have the printing degrees for any new paper,
for all the negatives, from which you know already the print-
ing degrees for an old paper, you only add the difference
between the two printing degrees, determined by a single
experiment with a single negative to all known printing
degrees of all your negatives.

1 use the instrument for carbon printing chiefly. For
observing the number made visible by light a little practice
is necessary. Recently I have used the instrument also in
reproducing photographic enamels, with the process Ober-
netter or Joubett ; also for making aniline prints (process
Willis). A transparent glass positive gave a well exposed
aniline print with 8° of my photometer ; the same positive
gave an image for enamelling (process Obernetter) with 15°
of my photometer. This shows that the aniline printing
process is much more sensitive than the Obernetter enamel

Srocess and the carbon process. For the latter, the printing
egree for a medium negative on Swan’s paper = 10° ; on
Rowell's = 11°. For photo-lithographic and similar pur-
poses. I shall try the instrument shortly. For determining
the time of exposure in producing negatives, the mode
of using the instrument is a little different from the way
above mentioned. Here a table is necessary, calculated by
myself, which I shall publish another time.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Beixo Lessons in

Composition and Ciii.vroscur.v for Puotoorapuers.

BY H. P. ROBINSON.

Chapter XI.

" Many are the landscape painters who seem, in their studies from nature,
ms if they had never raised their eres above the horizon ; and among the
roofs of the indifference of those who interest themselves in art to the
eauty that canopies the earth, may be noticed that, aUhou/h the composi-
tion and light and shade of clouds are as much within the reach of the
photographic art as anv of the other great things of nature, they are her
only beauties it has hitherto neglected. I have seen but two calotypes of
•Um. %nd these prove that it is from no want of power in the process that

skies are not as common in our photographic exhibitions as any other
subjects.” — Leslie.

"To admire on principle is the only way to imitate without loss of
originality.” — Coleridge.

The Sky.

When Mr. Leslie wrote his Hand-Book for Young Painters,
from which one of the above quotations is taken, very little
had been done towards the photographic representation of
cloudland. I shall always esteem it one of the proudest
recollections of my life that I had the honour of knowing
this great painter — one of the greatest England has pro-
duced. Ho always took great interest in our art, and it was
a good deal by liis kind appreciation of my earlier efforts,
and encouragement against much opposition, that I persisted,
whether rightly or wrongly, in my endeavours to make
photography the vehicle of pictorial effect.

But this is commencing with a digression, all the more
objectionable because it is personal. Dealing with this
part of my subject affords me an opportuhity, however, of
which I avail myself as a pleasure and a duty, to record a
personal knowledge of the interest taken by this great
painter in the art-capacity of photography.

Since the time when the Hand-Book was written (1854)
photographers have, it is true, turned their attention tc the
sky, but only in a fragmentary sort of way, and not with a
steady determination to make the most of it in their
pictures.

The importance of the sky as an aid to effect in landscape
cannot be over-rated. In a letter to a friend, quoted in
the work I have just mentioned. Constable, who was an
enthusiastic admirer and follower of nature in his works,
and who spent entire summers in painting skies, thus
writes, and his observations should be taken to heart by
all landscape photographere ; — “ That landscape painter
who does not make his sky a very material part of his com-
position neglects to avail himself of one of his greatest aids.
1 have often been advised to consider my sky as ‘ a white
sheet thrown behind the objects!’ Certainly, if the sky is
obtrusive, as mine are, it is bad ; hut if it is evaded, as
mine are not, it is worse; it must, and always shall, with
me. make an effectual part of the composition. It will be
difficult to name a class of landscape in which the sky is
not the key-note, the standard of scale, and the chief organ
of sentiment. You may conceive, then, what a ‘ white sheet ’
would do for me, impressed as I am with these notions —
and they cannot be eironeous. The sky is the source of
light in nature, and governs everything ; even our common
observations on the weather of every day are altogether
suggested by it. The difficulty of skies in painting is very
great, both as to composition and execution ; because, with
all their brilliancy, they ought not to come forward, or, in-
deed, be hardly thought of, any more than extreme distances
are; but this does not apply to phenomena, or accidental
effects of sky, because they always attract particularly.”

Although I do not think it advisable to make a too liberal
use of quotations, I cannot forbear adding Leslie’s own testi-
mony to the value of the sky, and which contains a very
beautiful thought : — “ Rocks, trees, mountains, plains, and
waters, are the features of a landscape, but its expression
comes from above ; and it is scarcely metaphorical to say
nature smiles, or weeps, and is tranquil, sad, or disturbed
with rage, as the atmosphere affects her. Hence the para-
mount importance of the sky in landscape— an importance
not diminished, even when it forms but a small portion of
the composition.”

It often occurs that a view must be taken of a scene that
composes badly, and of which, from accidents of the
ground, it is impossible to select another point of view. The
artistic photographer now has his remedy in the sky, and if
he underetands the use of it for producing pictorial effect, he
may redeem the ugliness of a scene not worth photographing
for itself, but which may be interesting from its associa-
tions.

The sky is the natural background of the landscape, and
should be of the same use to the landscapist as a background

K4

THE PHOTOGRAPHIC NEWS.

[April 9, 1868.

is to a portrait photographer, and should not be regarded as
so much waste paper, as is too frequently done, but it should
be made to throw out and relieve the principal subject, by
the direction of the cloud lines opposing the lines of the
landscape, by the opposition of light and shade, cither to
produce relief or breadth, and to generally assist iu the pro
duction of pictorial effect: unless, indeed, as sometimes
occurs — a fine sunset, for example — the sky be the chief
object represented ; then the landscape must be subordinate.

Leaving out of consideration the latter case, let us see how
far its employment as a means of effect is legitimate, espe-
cially when printed from a separate negative to the land-
scape to which it is joined iu the finished print : the only
way, in my opinion, by which the fullest value can be ob-
tained, and the utmost amount of pictorial effect can be pro-
duced ; and that not by blind chance, of which Ruskin tells
us to be independent — as would be the case if taken with
the landscape — but with that certainty which a knowledge
of art give to its votaries. It will not be necessary to give
any deh’nite instruction for the use of the sky, as the readers
of these articles will, by this time, or after they have read
the chapters on chiaroscuro which are to come, be able to
.artistically apply an object that is infinitely varied, to suit
all circumstances of composition, and is for ever changing in
its light and shade and form.

Many ingenious arrangements have been devised for the
purpose of securing the sky on the same plate as the land-
scape, and I believe there are now no chemical or mecha-
nical dilliculties in securing the two by one operation which
a clever photographer could not successfully combat ; but
before you cook your hare you must first catch it. Now,
however natural any sky that may happen to be in the
heavens at the time the photograph is being taken, it only
occasionally occurs that it is the best, or nearly the best, for
pictorial effect. This being the case, it is for the operator to
select a sky that will best suit his picture ; and in doing this
he must have a sufficiently critical knowledge of nature, and
the various phases she assumes, to prevent him departing
from the truth of nature. He must keep strictly to the
truth of nature — that is absolutely imperative — but he may
select the best and most picturesque nature he can get. Tlie
intelligent student will be ever on the look-out for what
is beautiful, and when he sees a fine effect he will alw.ays
e.xamiue the causes by which it is produced, and note them
in his pocket-book, although he may not have his camera
with him at the time.

What the photographer has to do, then, is to select and use
a probable sky to increase the beauty of his work ; but it
must be such a sky as would render it impossible, not only
for the carping critic, but also the real man of science, to say
it is not true. It must, indeed, be so true as to defy the
adverse criticism, as a fact, of the most learned meteorologist.
Surely no very impossible task to an observing student !

While the foreground of a picture should contain the key-
note of the composition, the sky should always preserve
harmonious relation to the whole picture. The various
effects of cloud and sky which may be introduced in land-
scape photography afford a vast scope for the display of the
art capacity of the operator. He can, by a well-chosen effect,
bring an otherwise unimportant .and somewhat tame dis-
tance into better keeping with the remainder of the picture ;
he can by its means supply .a deficiency in some of the
most important lines of the composition; or he can, espe-
cially in pictures with figures in the foreground, use an
effect of cloud or atmosphere to give not only relief to the
principal object, but to correct the foreground and the dis-
tance ; for although the sky is really behind the picture,
still it may form tlie connecting-link between any two
grades of colour or masses of light and shade.

J list a word in my next in reference to the absurd notions
of those who hold — I can scarcely say believe — that the
truth of nature is violated if a sky is added to a landscape
from a second negative, and that those who select nature
“ maintain in idea that the artist is greater than the Divine

Maker ” of nature, which they quote, and pervert to an
unintended use, from Ruskin, and then, as far as this part
of my subject is concerned, I have done.

ADHESIVE MEDIUMS— A WORD OR TWO IN
FAVOUR OF PASTE.

BY A PR.-lCrlCAL MAX.

As some little attention is now being directed to “ india-
rubber solution ’’ and other adhesive mediums, a few hints
may be acceptable in regard to the old domestic “ familiar”
— paste. Paste is considered a very simple thing to make.
So it is, when you know how. Milk is a very simple thing
to boil : potatoes not less simple ; but how rare to find them
properly prepared ; the first without being allowed to boil
over, and the second without being reduced to a watery
sma.sh ! The general fault in paste making is in not having
it sufticiently smooth and sulKciently boiled — not burnt.
Pastes may be made of dextrine, rice, starch, or flour.
Paste made with flour was extensively used by the old water-
colour painters; Turner, Girtin, Varley, Walmsley, and
others. If piiste were guilty of all that is sometimes laid to
its charge by photographers it could scarcely fail to injure
the tints of many of the delicate water colours used by these
masters iu producing their charming eflects. Yet their
drawings in the folios and in the frames of collectors have
suffered no further change than that of receiving the “golden
tinge of age,” a very different thing from the sickly yellow
tone of a decaying fading-away photograph. The greater
part of the pictures alluded to have been in existence more
than half a century, and, from their present perfect state
and freshness, seem to have received but little or no harm
that can be laid to the charge of “ paste ; " it being also a
generally understood fact that Turner freely used paste to
the backs of all his drawings, his fleecy cloud effects, &c.,
being produced on the fronts by copious washing anil
sponging.

To keep paste from becoming mouldy, put in a few shreds
of isinglass and a little essential oil of cloves. A good service-
able paste is made by first preparing a bason or cup full of
strong starch, according to quantity wanted, to be made
with hot water poured from the spout of a tea-kettle with
the steam well up. When the starch paste has become cold,
put it into a wash-hand basin or pan, and rub well up with
the hands — in fact, wash the hands in it ; then return the
same to the cup or basin, and put on one side to ripen.
This will be known to have taken place when the paste
loses its blue tinge, and becomes white. It will now bo
found as thick and smooth as butter, and can be spread over
paper with the finger, so as to form a clean and even film.
T.iis paste may be mixed with prepared gum ; one part gum
to two of paste. The gum should be dissolved iu clean soft
water, and then strained through flannel for use.

A general mistake in the pasting process is that the paste
is used too thin, and not allowed time to soak into the paper ;
but the moment the paste is applied down it goes, and then
commences all the eel-like evolutions of twisting, turning
up, and cockling. There is nothing more convenient for
the photographer in pasting operations than the old
“ napkin press ” of thirty years ago, when napkins and
finger-glasses were in vogue. These presses have a drawer
underneath, the bed of which is of inch-deal, on which is
placed any article — napkin, book, paper, print, or cloth —
that wants pressing to take out the creases and folds. A
piece of board, somewhat smaller than the bed, is now placed
over the articles, and the screw turned that works down from
the top rail. This arrangement will allow the article to re-
I main under pressure as long as may be needed, or till such
I time as they are firmly set and dry. Much of the failure
I attending adhesive methods and processes is more from the
I carele.ss and slovenly way in which the thiug is done than
. from the materials themselves. The addition of a few drops
I of the ten-grain solution of carbolic acid, as described in a

April 9, 1868.]

THE PHOTOGRAPHIC NEWS.

17 5

former number, will be of eervica in the gum and paste
recommended above. A very useful and available article to
keep paste, &c., in is one of the common mustard-pots that
have covers fitted to them for keeping out dust and dirt.
It is as well not to leave the brush in the paste, but to well
wash it after using, and put by for another time.

OUT-DOOIl PHOTOGRAPHY.

BY J. n. HEATON.*

Aa the time of the year is now fast approaching when pho-
tographers will commence active operations out of doors, I
thought it would, perhaps, not be out of place to offer a few
remarks on photography in the field, with a glance at the
apparatus necessary for its prosecution by the wet process.

We will commence, then, with the dark tent. I have
tiled a variety of contrivanc-s in the shape of bo.xes and
tents of almost every description for the preparation and
development of wet plates in tlie field, and I may safely say
that 1 have found none so portable or convenient as the one
now before you ; it is so easily and quickly erected — not
occupying more than two minutes — which I consider a very
great advantage when you have to move about to so
many different localities in a day. Too much attention
cannot be given to see that each and every part of the appa-
ratus is properly fitted and constructed, so that no accident
may occur when in the field. I have some painful recollec-
tions of accidents which have happened during ray e.xpe-
rience in out-door work. How provoking to the ardent
photographer when, after travelling miles away from home
in search of the beautiful and picture.sque, he at last comes
upon some glorious landscape which he has often dreamt of,
but never before seen realisijd — a wonderful combination of
foliage, water, clouds, sunshine and everything that is grand
and beautiful ; there is not a breath of wind to disturb the
most delicate blade of grass ; the purest of light comes just
in the right direction for giving the best effect to the scene ;
he is enraptured, and somewhat nervously commences opera-
tions by unpacking his tent and his chemicals — when, to his
horror, he discovers that by some m3’sterious and e.xtraordi-
nary means the camera, lenses, plates, &c., are completely in-
undated. The screws of his water-tight bath have failed to
perform the office assigned to them, consequently the nitrate
solution has free access to the box and everything it con-
tained : perhaps the glass dipper is broken, or the loose handle
for focussing has been left behind, or lost, and you are thus
debarred from proceeding any further until things are recti-
fied, which is not always an easy matter when away from
home. As Richard the Third, you might with propriety
exclaim, “ A screw ! a screw ! my kingdom for a screw ! ” It
is a good plan, in fitting out an equipment, to provide a sepa-
rate place for every article required, so that if there be any
vacant places visible, the deficiencies can be at once filled up ;
and if there be any doubts whatever respecting the working
qualities of either apparatus or chemicals, by all means try
a plate before venturing away from home. It may save you
from much useless labour, expense, and consequent mortifi-
cation.

As to cameras, I think that for ordinary out-door opera-
tions there is nothing supersedes the binocular form with
bellows body, rising front, swing back, hinged focussing-
screen, and moveable central partition. In the camera before
you — which I may here state is made by Mr. Rogerson, of
Manchester — you will observe that with this camera long or
short focus lenses can be used at will according to circum-
stances or requirements, which is sometimes a great advan-
tage, especially when working in confined situations. The
focussing is effected by means of a rack-and-pinion ; it is
more convenient to work, besides saving tha extra expense
in having a rack-and-pinion to every lens you use. Y^ou will
also observe that it can be used either in a vertical or
horizontal position, and that (unlike any camera I have

* Read before the Oldham Thotographlc Society, March 26th.

seen before) the rising front and swing back movements are
available in both cases. It is constructed for plates 7^ bj' 5,
and is suitable for a variety of work. It may be used both
in the studio and the field, taking pictures the full size of
the plate for stereo slides and cartes, the length of the plate
enabling the operator to cut his carte prints either horizon-
tally or vertically, whichever best suits the picture. He
has also considerable latitude for stereos. One half the size
of plate comes in very handy for book illustrations and for
magic lantern slides. Another advantage is that, having
only one size of plate, you only require one size of bath,
plate-box, printing-frames, &c. As a rule, the tripods
generally used for out-door photography are too low. I
think that to give the be.st effect in most cases the camera
should stand (say) from 5 feet 6 inches to 0 feet in height,
which would be about the same level as is generally seen by
the ordinary observer of nature. A longer tripod is very
useful when you wish to operate over a wall or fence, or to
plant in a stream or brook, as is sometimes necessary.

The landscape photographer should, if possible, provide
himself with a number of lenses of different focal lengths,
and have them ready for use as circumstances and occasion
would suggest.

I think it would be unwise for mo to recommend any
particular formula for the production of negatives in the
field, as so much depends upon the description of subject you
may have in hand. You ma^' wish to take a distant land-
scape, a group of cattle, a study of foliage, ferns or
grasses ; or, may be, an architectural subject ; perhaps, a
river scene, or a wateiTall. And then, again, mush depends
upon the light, the temperature, and other things combined
together, that I should consider it a piece of folly to recom-
mend one particular formula or mode ol working for any-
thing and everything you may come acro.ss. Of course
every photographer knows — or, at least, ought to know — the
value and importance of keeping his chemicals in the best
working condition possible. And should he have any par-
ticular formula or method of manipulating wet plates with
proficiency and certainty, let him stick to it, and not allow
himself to be led or carried away by the numberless for-
mulas, processes, and their modifications, that are continually
emanating from various sources. There are collodions,
baths, developers, and in abundance ; some collodions th.at
are said never to fail in giving the best results, even in the
worst of weather. Collodion is now manufactured for pro-
ducing portraits a la Salomon. There are baths which
never get out of order ; and I have seen some that, judging
from the plates which come from them, never were in order.
There are developers of all descriptions and strengths, vary-
ing from 2 or 3 grains to nearlj' 100 grains to the ounce ;
some that both develop and intensify' in one operation, and
some I hat bring out nothing but fog, streaks, stains, spot.'--,
and dissatisfaction. There are processes and formulas
enough to perplex and bewilder all who will go to the
trouble and expense of trying them. It does not necessarily
follow that because Mr. A. develops his negatives with a
gelatine solution, and gets such beautiful results, that I, or
anyone else, using the same developer, shall produce exactly
the same, or even similar pictures ; it is the knowledge of
seeing and knowing what we most require, and adapting
the same to our requirements. Why should every subject
we operate upon receive the same mechanical treatment ?
The photographer should always have two or more samples
of collodion of different characters, one giving a good
creamy film, the other a thin one; these can be used in
their original state, or mixed together, to suit any particular
subject. A small bottle contaiuing a concentrated solution
of iron is also a very valuable acquisition for strengthening
the ordinary developer, now and then, as occasion requires.

The facility of successfully developing a picture is one
that requires a considerable amount of experience, as a nega-
tive is so very easily spoiled by under or over-development.
In taking a landscape embracing some ten or twelve miles of
scenery, the extreme distance being composed of mountains

176

THE PHOTOGRAPHIC NEWS.

[April 9, 1868.

and clouds, in the middle distance we have a sheet of water,
while the immediate foreground is made up of some dark
objects, rocks, foliage, &c. If we expose a plate on this sub-
ject in the ordinary way, we shall probably find, on deve-
loping, that while the mountains and clouds in the distance
are much over-exposed, the foreground has not been exposed
sufficiently long to bring out any detail whatever beyond a
general outline. There are two or three methods of reme-
dying this evil: one is effected by means of a flap-shutter,
which is fixed either inside the camera or in front of the
lens. By these means the operator has sufficient control over
his subject; whilst securing detail in the foreground, he
does not sacrifice anything in the other parts of the picture,
but all are harmoniously combined together.

Much can also be done by the judicious application of the
developer, keeping the same more on the foreground, whilst
the development of distance, clouds, &c. are held in check ;
then, again, in the printing, by skilfully masking the dif-
ferent parts of the negative that would otherwise become too
dark.

Every landscape photographer should be in pos.session of
a number of cloud negatives of different characters, so that
he may always be able to Introduce suitable skies in his
pictures ; they will be found very serviceable when printing
li'om negatives which give white skies. Perhaps I shall
have something to say on double-printing at some other
time.

I shall not attempt to lay down any rules for selecting,
arranging, and composing the landscape ; but I would take
this opportunity of recommending to all who take any
interest in picture-making to read and study the excellent
papers by Mr. H. P. Robinson, now being published in the
Photographic News. And, in conclusion, let me impress
upon the minds of all pi-esent, who have not made a know-
ledge of art their stud}', to lose no time in cultivating it ;
and let each and every member strive to encourage, assist,
and stimulate each other, and may we all endeavour to pro-
duce something worthier and more creditable both to our-
selves, our art, and the Oldham Photographic Society.

ON THE CAUSE OF DETERIORATION OP PRINTS
MOUNTED ON CARDBOARD WITH GILT BOR-
DERS.

BY MM. DAVAXNE AND FORDOS.*

In December last we communicated to the Society a few
remarks on the appearance of certain spots upon carte-de-
visite photographs, a cause of deterioration which was seldom
met with on pictures of a larger description. These spots
were of the most minute kind, and always became visible, in
greater or less numbers, a short time after the pictures had
been mounted. The cause of this alteration in the photo-
graphs was due, we opined, to the presence of metallic
powder in small quantities upon the surface of the card-
mount ; having now completed a series of careful investiga-
tions in reference to the subject, we arc now able to state
positively that such is the case.

Our labours have been greatly facilitated by the kind
assistance of our colleagues, who, readily responding to our
call, have furnished us with information and subjects for
examination. M. Dauvois procured for us samples of the
different descriptions of powder used in gilding and orna-
menting card-mounts, and MM. Queval, Reutling.-r, Cognac,
and Jacoby, have forwarded examples of damaged pictures.

The injury is due, as we have before stated, solely to the
presence of minute particles of metal which become attached
to and attack the picture ; it being unnecessary that the
metallic powder should be mixed with any sulphurous
compound. M. Qu6vul has furnished undisputed proof of
this being the case by forwarding a few stereoscopic slides
in which a perceptible line of these spots may be traced on
the prints in those parts where a line of bronze is printed

* Bead before the French Photographic Society. See alio p. 124.

Underneath ; a microscopical examination of spots of a
similar character on carte photographs showed them to be
due to the same cause.

If a little bronze powder is strewn over a piece of card-
board, even of the smoothest description, and then dusted off'
again, there remain in the pores of the cardboard small
particles of bronze, which, although invisible to the naked
eye, are very apparent with the aid of a microscope. A
print mounted upon a card of this description soon becomes
speckled, and the little spots, which appear white upon the
surface, will be found to have a little black germ below, if
the print is raised up by means of a needle point. The
operations of mounting and rolling are often sufficient to
remove a little of the powder from the bronze ornamental
lino round the picture; and these particles, becoming
adherent to the surface of the print, likewise produce spots,
but in this case the black germ will be found to be upper-
most, and becomes visible immediately.

M. Jacoby forwarded to us carte pictures presenting the
same obnoxious appearance, but mounted on cards not with
gilt, but with red borders. We at first imagined that the
ink u.scd for these borders contained vermilion or sulphide
of mercury, and that this was the cause of deterioration ; the
spots, however, were due, as in the other cases, to particles
of metallic powder which mast have become deposited on
the prints during their sojourn in the atelier, or during their
manipulation with the rolling-press (which had previously
been used in finishing oft’ pictures with gold borders) ; for
an examination of the spots with the microscope betrayed
the presence of minute particles of bronze not yet decom-
posed. A little dust collected in the atelier where the
pictures were produced was found to contain a large
quantity of these metallic particles.

The largest and best proof remains to be mentioned ; a
small quantity of bronze powder was strewn over a picture,
and its action was then closely watched in a damp atmo-
sphere. After a short time each metallic particle was found
to have changed into a black speck, and to have become
surrounded by a white halo presenting all the characteristics
of the spots which form the subject of the present examina-
tion.

The explanation of the formation of these spots is very
simple when wo remember that the photographic image is
composed, according to the researches of MM. Davanne and
Girard, of metallic silver and an argento-organic compound,
which forms the colouration of the picture. It is this
argento-organic compound that is destroyed by the metallic
particles, which exert a very rapid and intense action upon
the print, especially when the latter has been insufficiently
toned and washed.

o

CARBON PRINTING.

BY M. CAREY LEA.

About a year since I made some experiments towards the
simplification of carbon printing, which I left unfinished,
with the intention of returning to them at a future day ;
but I have not found the time, and M. Despaquis, in his
experiments on mica printing, has hit upon an idea a good
deal similar to that which I was working on. But my prin-
ciple was of much wider application than his, so that, I
believe, I may do some service in publishing it before some
one takes out a patent for the idea.

It seems to me that if I could find a method of carbon print--
ing in which the troublesome transfers could be done away
with, carbon printing would be considerably simpler than
silver printing, because of the absence of need of toning. This
could only be done by printing through the support. I tried
paper prepared in many ways (a method which Mr. Blair has
long laboured at) without getting any satisfactory results, priu*-
cipully, I think, because the bichromate solution penetrates
irregularly into the varnished or waxed paper, and renders
it unequally adiactinic. Glass presented the difficulty that

THE PHOTOGRAPHIC NEWS.

177

April 9, 1868.]

in printing a negative, through even very thin glass used as
a support for the sensitized pigment, the sharpness would be
very much impaired.

Glass, however, offers such very great advantages, by
I'cason of its perfect transparency and its cheapness, that it
seemed very desirable to overcome this difficulty, and I
succeeded in doing so perfectly. I found that by the
device which I adopted I could print a portrait through
a piece of plate glass upon a carbon surface so sharply
that every hair was visible. This was done by using reflected
sunlight — a species of illuminatiou which, though occa-
sionally used in the negative process (for copying Daguerreo-
types) has, I believe, never before been used for positive
printing, and certainty not for the purpose here proposed,
and for which it answers equally well.

The best mode of proceeding is to place the frame hold-
ing the negative and the pigmented glass against the wall,
beside a window at which the sun enters. Then let a mirror
be placed so that the rays fall upon it almost perpendicu-
larly, and are reflected full upon the frame The sensitive-
ness of the bichromate is so much greater than that of silver
paper that even in this light four or five minutes’ exposure
are sufficient with an easy-printing negative.

After printing, all that is necessary is simply to wash oft'
the superfluous pigment, and the picture is finished. It is
an exceedingly easy process, as will naturally appear from
my description, and, what is no small matter in these days,
can be practised by any one without infringing existing
patents.

Transparencies printed in this w.ay may be looked at
through the glass, and thus are non-ieversed. The method
is, of course, not applicable to printing on opal glass, for the
support must be transparent.

I cannot doubt that, with the aid of this plan of using
reflected sunlight, modes will be found of working upon
transparent paper, such as will give good results. All pic-
tures on pigment, made without transferring, must in every
case be reversed. If it is necessary to avoid this difficulty,
the negative itself must be either reversed by taking it on
the back of the glass in the camera, or, if made in the ordin-
ary way, this mode of printing by reflected sunlight will
enable the negative to be printed through its own glass, pro-
vided the latter is free from flaws and defects.

Obviously, however, the most useful application of this
idea is to the printing upon thin plate glass, in the manner
first above mentioned. Connected with this, a few words
remain to be said as to the best method of preparing the
glass for printing.

Of course the sensitive mixture can be poured out upon
the glass. Mr. Swan, I believe, prepares all his ‘‘ tissue ”
originally upon glass, and transfers it to paper.* But as
this operation requires a special manipulation not imme-
diately acquired, it will be found simpler to purchase the
pigmented paper, and apply it to the glass. And here a
difficulty will be found. The “ tissue ” must of couree be
sensitized. If dipped into the bichromate solution and
applied to the glass, it will be found wholly impossible to
get rid of the small air-bubbles which form between the
pigment and the glass. To avoid this, put the glass first
into the pan of bichromate solution, then the pigmented
paper, pigment side down. Let it remain for the proper
time (two or three minutes), and then lift the glass with the
tissue upon it. There is not the slightest difficulty in doing
this without being troubled by the appearance of a single
bubble.

It is not necessary to remove the paper; it is, in fact,
better to leave it on. After expo.sure. plunge into cold water,
and after a few minutes peel off the paper. Finish with
water as warm as may be found necessary. — Philadelphia
Photographer.

* ThU Ua mistake. Mr. Svran prepares the paper vrlth the pigmented
gelatine direct : the paper, in an endless band, being,mad« to pass, bj the
revolution of the rollers on which it is stretched, repeatedly over the sur-
face of the gelatine preparation. — Eo.Paoro, News.

THEORETICAL AND PRACTICAL PHOTOGRAPHY.

BY HOMEB FELLOW.S.*

Theory and practice are two separate and distinct principles, as
opposite as the day-dreaming thinker and the busy, bustling
workman ; and yet they are conjoined, for the workman often
alters and adapts the dreams and theories of the thinker, for his
own practical purposes, that would otherwise be lost for general
benefit.

This philosophical fact is evolved and proved by the consi-
deration of two of the most important subjects that affect the
photographic craft at the present time.

There is a wide-spread desire among thinking photographers
to class the photographic art with the fine arts, and there is a
universal wisli to check the depreciation in the value of photo-
graphic labour which seems occasionally to overrun us, affright-
ing the timid and carrying dismay to all. The frequent
reference to these two subjects in the columns of the
journals is the best proof of their importance ; but whether
the art can bo classed and considered as one of the fine
arts by the practical photographer who engages in the business
for a livelihood, or will be judged to be a mechanical business,
to be carried on by rule and line, as it too frequently is, will
probably remain an open subject for debate for some time to
come, notwithstanding the frequent expositions that may be
made on the subject.

Those who are engaged in photographic work, that ever
dwell upon the subject, will probably believe that beauty and
grace in position, or softness of shading, is wasted upon the
awkward Hibernian whose early education has been much
neglected, and unless his hands are posed directly to the front,
with no crook nor subsidence in either shoulder, the work will
probably be rejected ns bad ; and the soft shadows, scarcely
perceptible, and prized so highly for their delicacy, will ba
greeted with the remark, “ Be jabers ! and ray face is not
dirty!” On the other band, customers of taste and judgment
may require all the finest display of a man’s artistic ability, and
bring forth hidden genius as fully as sculpture or painting on
canvas ; but the photographer who considers all who enter his
gallery with money in purse as “grist to his mill,” wdielher
Teutonic, Hibernian, or Italian, will find, in the endeavour to
satisfy and gratify his customers, that the theory of photo-
graphy as a fine art will give way to the endeavour to pleaso
his customers, and photography as a tine art sufiers.

Notwithstanding this, photography is one of the fine arts.
From the amateur or photographer who is able to say, “ Sit as
I place you, and bo content,” great conceptions of the beauty of
the human form and face may be evolved ; his own capability
will bo developed, and the inspirations of genius may be evoked,
but it will be at the expense of a photographic business.
The business man pleases his customers, the artist pleases
himself.

One cannot but envy those whose lot it is to photograph
nature in the open fields, among the whispering trees, near the
laughing brooks, where beauty may be viewed in manifold
aspects, and where they may choose their own with none to
gainsay its truth, for God made it. There the artist may luxu-
riate, feeding his mind, and ever gaining grander and nobler
thoughts from the contemplation of the Creator's magnificent
handiwork.

But the commercial value of one’s work, how shall that be
regulated? By what process shall one receive a just compensa-
tion for the combined labour of body and mind that is under-
gone b}' the photographic art-student? Theory has it that a
grand combination may be made of the craft, setting a value
upon each and every stylo of picture made, and thus securing
to all that equal proportion of profits which each thinks himself
entitled to. But practical experience proves that there are
always “ black sheep,” who wait until prices are regularly
established, and then suddenly announce, “ Card photographs,
$1.60 per dozen I” “'Whole-sized photographs for $1.00!” to
say nothing of those extraordinary persons who offer four,
twelve, sixteen, and even fifty gem pictures for twenty-five
cents ; and thereupon ensues a rush to their galleries, and their
neighbours, sick with envy, commence to lower. their prices,
until it is a hurly-burly scramble who shall make pictures at
the lowest figure, without regard to quality or cost. Yet for
this who can name a remedy ? Human nature will always be

• The Philadelphia Photographer,

1?8

THE PHOTOGllAPIIIC NEWS.

[April 9, 1868.

the same, and considerations of general welfare will too fre-
quently be sacrificed for the interest ^of the individual.

An individual photographer may remedy it, as regards his
own place of business, by making a regular custom, .and not
being dependent upon transient trade ; certain galleries may
deal only in certain styles of pictures, making a speciality of
ambrotype, paper, or painted work ; but those operators of a
middle class, wlio deal botli with the upper and lower strata of
society, must in -ike occasional spasmodic efforts to attract public
attention, or be left behind by their “black sheep” neighbours
before mentioqed. But here arises a question for the careful
consideration of the craft. May it not bo more justly and pro-
fitably done — justly for the fraternity and profitably for ono’s
self — than by a wholesale reduction in tho price of standard
pictures? There are a multitude of old and interesting
“dodges,” forsaken and forgotten, that, revived, would attract
custom without detracting from the character of one gallery.
Auto-photographs, double pictures, rose vignettes, tho ivory-
type, anything dignified with some new name and prepared in
some new shape, would, perhaps, prove an advertisement quite
as attractive as a lowering in prices of standard work. Ideas
may differ as to what constitutes stand.ird work, but tlio one
who imagines that tho old or new peculiarity introduced upon
his promises is tho standard, and consequently contemns all
who may infringe upon his prices, will surely be enlightened
by time.

The photographic work that, so far, has withstood all assaults,
and seems likely to withstand more, is case ambrotypes, card
photographs, and frame pictures. To the few who desire gem
pictures to bo considered as a standard, and long for tho old
price, “ $l per dozen,” it may be answered that gem arabro-
types can never permanently compete with case ambrotypes,
and while albums e.\ist can never supersede card-pholographs ;
consequently they must be classed with the “ dodges ” us auto-
photographs.

What, then, remains for the photographer to make his trade
steady is to keep improving in the quality of his work, and not
be frightened, nor unduly e.'ccited, because of some neighbour
falling in tho price, and consequently in tho quality of his work,
and, finding it impossible to continue at that mark, as suddenly
rising, and thus presenting tho aspect of tho weathercock,
changing with tho wind. Kemember, tho “ race is not always
to the swift,” and that such men arc constantly selling out ; and
let us not forgot that trade is dull — duller than it will be, for the
cessation of tho war stopped a demand for portraits that was
over-inflated, and it is now, consequently, over-depressed.
Therefore, grumble not, nor bo impatient, but engraft upon the
heart the motto, “Time overconieth all things.”

||rocfcMn0.‘i of Scififtic.').

Fuench Photographic Society.

A MEETING of this Society was held on the Cth ult., under tho
presidency of M. Balard.

M. Aime-Girard announced the death of M. Leon Focault,
one of their most illustrious members, who had been very
closely connected with the Society from its commencement, and
had, indeed, been one of its founders. M. Girard likewise
commented upon tho loss sustained by the scientific world
generally by tho death of Sir David Brewster.

M. Davanne stated that the Executive Committee had ap-
pointed M. Balard President of the Society, and M. Uognault
Honorary President.

M. DE Constant-Delessert submitted a positive upon glass
in which several objects had been accidentally reproduceil in
their oii;_i!ial colours. It had been obtained by exposing a
jdate duriiig a very fiery sunset, when tho landsciipo w.is bril-
liantly illuminated in gorgeous colours ; the picture was under-
exposed, and developed with iron and fixed with hyposulphite,
but not varnished. It had been kept for three or four months,
no particular care being taken to screen it from the light, and
when viewed in a flat or oblique position, the original colour of
the sky and of the hill slope were found to have been faithfully
reproduced. M. Constant says: —

“ Some time since 1 remember having heard of tho fact of an
American who had obtained natural colours in the camera whilst
taking a portrait during an eclipse of tho sun, and, on tho
occurrence of a similar pheuomenon at Lausanne about a year

ago, I availed myself of the opportunity of trying the experi-
ment. But, alas ! the result was nothing more than an ordinary
grey portrait, obtained by an exposure ot double the usual
period. Nevertheless, being in the possession of the negative
which I now submit to the Society, I thought that there certainly
might be some truth in the statement of the American photo-
grapher, and that he had obtained colours similar to those ex-
hibited in ray picture. I leave the question of tho phenomenon
to those more learned in the matter than myself, although I
may mention that some time ago, when occupied with the
Daguerreotype process, I several times obtained colour in various
parts of the clothing and drapery of my sitters.”

M. Davanne then communicated a few remarks on dry pro-
cesses by M. de Constant. That gentleman spoke highly of
the gum dry process, and stated that collodior.ized plates
coated with a solution of gum to which a small amount of
sugar had bean added were found to keep very well, and gave
remarkably soft and delicate results ; they were likewise very
rapid in their action. Plates prepared by M. Baratti’s coffee
proce.ss possessed exceptionally good keeping qualities, and
were capable of being preserved in a serviceable condition for
tW() years. M. Constant had likewise experimented a great
deal with Bartholomew’s morphine process, and was of opinion
that although it was not so rapid in its action as the foregoing,
still, for photographing objects presenting much contrast of
colour, tho method possessed a marked advantage. A very
long exposure might be given to a negative without any bad
effect, and it was only by means of this process that M. Con-
stant was able to obtain a successful reproduction of a picture
painted in green and yellow colours.

MM. Fordos and Davanne communicated another note with
reference to the destructive action of metallic powders upon
photographic positives (see p. 176).

M. Darlot presented the Society with an apparatus of gutta-
percha constructed for the purpose of preserving sensitized
collodion plates in a damp condition. The apparatus is so
arranged that the plates are quite sheltered from any move-
ment resulting from tho motion of tho water during the carriage
of the machine, and tho adherence of tho collodion to tho glass
plate is therefore not interfered with in any way. M. Darlot
exhibited a largo number of negatives taken by means of tho
apparatus by General Mongin, to whom is due tho credit
of having originated it. Some of the plates were not exposed
until four, eight, or even ten days after their preparation, and
were not developed for several hours, and, in some cases, days,
after exposure, which exceeded but little that of wet plates.

M. Jeanrenaud communicated to the Society his mode of
operating with Swan’s carbon process, and supplemented his
remarks by executing, in tho presence of the members, several
of tho essential manipulations connected with tho method.

The proceedings then terminated.

North London Photographic Association.

The usual monthly meeting of this Society was held on
Wednesday evening, April 1st, in Myddelton Hall, Mr. W. W.
King in tho chair.

The minutes of a former meeting were read and confirmed,
and Mr. J. Cruttenden, of Maidstone, was elected a member of
tho Society.

The proceedings consisted chiefly ot general conversation,
no paper having been provided for the evening. Mr. Wharton
Simpson described a print ho had received from Mr. Gaftield,
of Boston, illustrating the amount of light transmitted by
different samples of glass (see p. 158 in our last). After some
convers.ation on this subject, in which Mr. Goslett, Mr. Docket,
Mr. Shave, Mr. Dunmore, and tho Chairman took part, Mr.
Duninore exhibited a fine portrait taken with a concentrated
light. After some conversation on the subject, the proceedings
terminated.

o

Corrf5goai)£nu.

PHOTOGRAPHY AND ARCHEOLOGY,

Dear Sir, — On reading Mr. Henderson’s paper on “ Photo-
graphy as an Aid to Arcnasology,” I notice that lie alludes to
the “ labours of Fergusson and Hope^n Indian architecture.”
Mr. Henderson does not seem to bo aware that the photographs

April 9, 1868.]

THE PHOTOGRAPHIO NEWS.

179

(illustratiner the work of Messrs. Fergusson and Hope) were
taken by Colonel Biggs, R.A. ; and, I believe, ho received a
medal, at the Paris Exhibition, for the pictures in question. —
I am, dear sir, yours truly, A. W. Hosmeu.

Plymouth, April 6th, 1868.

KEEPING PROPERTIES OF TANNIN PLATES.

Sir, — As photographers will now be making arrangements
for the ensuing season, I send the following particulars, show-
ing the keeping qualities of the plates prepared by the tannin
dry process. On tho 9th of June. 1866, the plates were pre-
pared; on tho 30th March, 1868 (nearly twenty-one months
after the plate was prepared), I took the negative, from which
n print is sent herewith. The exposure was six minutes and a
half; tho day clear and bright. The minute particulars on the
walls and thatch, the -shadow on tho dial, and even tho stones
and glass in the gable of a house on the opposite side of tho
churchyard, come out as clearly as on a freshly made plate.
Tho experiment has been made also with a stereographic
plate, prepared at the same time, and with equal success. Tho
collodion was Ponting’s broino-iodizcd, newly made ; the
ghtsses received no preliminary coating ; the bath, that used
for his wet collodion ; the pro.servativo, 15 grains of tannin
and i drachm of methylated spirit to 1 ounce of water ; deve-
loper, a solution of pyrogallic acid and absolute alcohol, mixed
with nitrato of silver, citric acid, and water, at tho time of
developing. The picture did not start out, but developed
gradually ; and this is the only difference between this and a
freshly made negative. Tho plates have been kept in a com
mon white wood box with grooves, placed in a drawer in a room
in constant use, so that they were kept dry. The lens was one
of Grubb’s aplanatic, two inches diameter.

1 have thought it right to trouble you with the above parti-
culars, as they may be important to travellers, showing, as
they do, tho value of tannin plates to persons on long journeys,
or in wild districts, in cases when an instantaneous photograph
is not required. I have now used this process for more than
six years (the plates I prepare myself), and though it may bo
slower than others, it is more sure ; out of twelve plates 1 count
on eleven negatives with certainty, and generally have the
whole dozen. — Yours truly, G. W. 0.

April oth, 1868.

[The print enclosed by our correspondent is clean and bright,
showing, perhap.s, a trace of under-exposure in lack of detail
in deep green foliage and in tho dusky non-actinic trunk of a
tree. It is a striking illustration of tho keeping qualities of tho
plates. — Ed.]

CLEANING VARNISHED PLATES.

Sir,— I see in a recent News a method for cleaning old
varnished negatives. I have used the following for years
with perfect success : — Sulphuric acid (say) three parts, and
nitric acid one part ; mix in a saucer a small quantity, and
apply with a clean r.ag to the varnished side, then the other
side and edges all tho plates to be coated ; put them in a pan
or other earthenware vessel ; pile them up one over the other,
so as to let tho back of one plate come in contact with the face
of the other ; let them remain a few hours, then cover them
with water ; let them soak a day or two or more, changing the
water a few times to get rid of the acids ; rinse thoroughly in
a couple of waters, and the plates are perfectly clean. A
bucket of water should be provided beforehand, to wash the
hands occasionally when coming in contact with the acids.

Acids, after making pyroxyline, will answer the same pur-
pose by immersing the old plates in a dish. — Very respectfully
yours, C. R. Lobb.

Wadebridge, March 30th, 1868.

3DaIk itt tb£ Stubia.

Solar Enlargements on Canvas.— A correspondent of the
Philadelphia Photographer gives the following details by which
he states that fine results can bo obtained ; — “ First prepare the

canvas with a very thin solution of negative varnish, then coat

it with albumen prepared as follows : —

Albumen ... ..

. 10 ounces

Iodide of potassium

200 grains

Liquid honey

. 2 ounces.

Beat to a stiff froth, and let settle ; coat the canvas with tho
above in the following manner : — Pour a small quantity on the
canvas, and with a broad varnish-brush carefully cover the
whole surface (avoiding bubbles as much as possible), then pour
a larger quantity of tho albumen on, and float the canvas freely,
and let it drain back into tho dish. When dry it is ready for
use. It is silvered as follows: — Take a solution of plain silver
30 grains strong, acidified with acetic acid 10 drops to the ounce,
and flow it over the canvas in tho dark ; shake lively until tho
canvas has a smooth, clean look, then print, while wet, deep
enough to make the image quite plain. Then develop with a
saturated solution of gallic acid ; wash well, and fix with soda
2 ounces, water 10 ounces. When fixed, wash thoroughly ;
and when dry, varnish with a very thin coat of negative varnish,
and it is ready for tho artist. Although with the above process
I have made and sold a great many pictures of that kind, I
prefer (and so does every good oil painter) to make a sketch
through a carefully made transparent positive. In putting a
photograph on canvas by any process, it alters the condition or
consistency of the canvas surface so much that it is very diffi-
cult to preserve the purity and harmony of colours.”

Another Method of Enlarging on Canva.s. — W. M.
Gardner also gives tho following as an excellent method: —
" First prepare tho canvas. Rub it with pulverized pumice-
stone, then make a paste of China clay and water, and coat
it. When dry wash off, and, while wet, pour on a solution
of 50 grains of bromide of potassium, 10 grains of water. 5 grains
of cyanide of potassium, and set it aside to dry. When dry
silver it with a solution of 30 grains of nitrate of silver, 1 ounce
of water, i ounce of acetic acid No. 8, and print while wet.
Fix in a weak solution of hyposulphite of soda, and it is ready
for the artist. This process is far solar camera printing ; or, if
wanted to print by contact, prepare the canvas the same way.
Salt the same as plain paper, and silver it with a 40-grain silver
solution, and tone and fix as usual. This process I have used
for years, and have not had any fault to find with it.”

Collodion giving Intensity. — A correspondent writes: —
“ In August last you gave, in Photographic News, formula
for iodizing plain collodion, which formula is, I see, repeated in
the new Year-Book, page 78. I have just tried 7i ounces of
plain collodion which 1 so iodized about six months ago, and am
much pleased with the result ; the chief feature being greater
resistance to tho light in printing, enabling mo in some cases
to do without any redevelopment. I coated a plate half with
the above, and half with an ordinary sample, and the difference
in favour of that treated as you recommend is very great.”

Utilizing Old Negative Baths. — The same correspon-
dent says “ In respect of old baths, I have always used them
up by neutralizing with com. soda at a rather high temperature,
and boiling down to 60 grains sol. Used for printing, such a
bath, with addition of sugar a la Bovey, gives very rich tones,
of a maroon tint.”

International Copyright with America. — We men-
tioned a few weeks ago that a Bill for International Copyright
with this country had been introduced into the House of
Representatives, U. S., and expressed a hope that works of
fine art would be included. The American correspondent of a
daily contemporary says : — “ Frightened by tho petitions from
the friends and opponents of an International Copyright Law,
the joint committee on the library has ‘ come to an informal
understanding ’ to postpone indefinitely action on the Bills
already referred from the Senate and House. A long farewell
to international copyright !”

Old Baths. — Acorrespondent, Mr. C.R. Lobb,of Wadebridge,
sends us the following: — “A simple way of evaporating old nega-
tive baths todryness is to put the evaporating-dish in thekitchen
stove on a little sand, open the door every ten or twenty
minutes to let out the steam until evaporated to perfect dryness,
and let it slowly cool ; leave it a few hours, and the silver will
part from tho basin, and can bo removed qnite easy. I find
the above plan more rapid and much less trouble than the
sand-bath. I quite agree with all thf.t has been said : the
silver is quite equal, if not superior, to new, for making a bath.
Tho last few days I have been trying the silver for printing

180

THE PHOTOGRAPHIC NEWS.

[April 9, 1868.

evaporated from old negative baths, and I find it quite equal
to new. Sugar added to the printing-bath is a great success ;
but how long the paper will keep in summer remains to be
proved. Probably, in very hot weather, more sugar may be
required. 1 enclose a street view taken with a batli doctored
with cyanide evaporated to dryness, and made 35 grains to
the ounce, but I do not think a bath treated with cyanide lasts
long.”

Col. Burke’s Photograph. — An order was made a tew
<lays ago upon a photographer to deliver up all portraits and
negatives in his possession of a portrait of Col. Burke, which
had been published, and the registration at Stationers’ Hall
was ordered to be cancelled.

Raphael REPKODUCTroNS. — Tlio collection of photographs,
engravings, &c., of Raphael’s works, commenced by the late
Prince Consort, has been continued by the Queen. It will
ultimately be bound in about 50 or 60 huge volumes, and at the
present time a catalogue of the whole collection, which has been
compiled by Mr. Roland, formerly librarian to his Royal High-
ness, and who has had the largest share in the labour of form-
ing it. is being rapidly carried through the press. It is under-
stood that though this work is, in the first instance, intended by
Her Majesty for distribution in the way of presents among her
personal friends, foreign Sovereigns, and others who have aided
in carrying out the Prince’s plan, a special edition will after-
wards be published for the use of amateurs and Raphael
collectors.

Photographic Convention' in America. — A national con-
vention of photographers will be held in the United States in
course of the present month, to consider many subjects at pre-
sent affecting the general interests of the profession. The bro-
mide patent, the tax upon photography, the prices of photo-
graphs, and various other topics, will he brought under attention,
and motions passed with regard to them.

3;0 ®0mspan&ent5.

Photographer (Derby). — Strcak.s on the plate may bo due to
various causes : floating scum on the surface of the solution, im-
mersion before the collodion is sufficiently sot, alkalinity, insuf-
ficient iodizing, or excessive strength of the solution will tend to
this result. To avoid it, see that there- is no floating scum on
your bath, that the solution has a slightly acid reaction, and avoid
immersing the plate until the film is sufficiently set ; al.so, when
there is a tendency to streaks, keep the ^ilate in motion all the
time it is in the bath, from the moment of immersion until it is
ready for use. 2. Marblings may i Jso arise from various causes,
as they are of various kinds. If you will describe specifically
those which trouble you, wo will endeavour to help you to a
remedy. 3. For photographing interiors, double or triple com-
binations are necessary, as single lenses will give curved lines. A
portrait lens may be mode to answer very well.

W. J. A. G. — Much depends on eirciunstanccs. If a very slight
increase of intensity is required in the finished negative the use of
tincture of iodine, to turn the dcpo.sit to an olive tint, is very
efficient ; but care is necessary in using this, becau.se if its operation
is continued too long the colour becomes of a light yellow tint,
not at all non-actinic, and the molecular character of the deposit
is changed, so that light is easily transmitted, and the negative is
made less vigorous than before. The method recommended by
Mr. England, in which the varnish is removed by alcohol, and the
negative intensified with an alcoholic solution of p^To and silver,
gives a little more control over the operations. You will find it
described in detail in our Year-Book for 1867, p. 64. 2. For
intensifj-ing before fixing the use of an iron solution with a trace
of silver involves the least trouble. For intensifj ing after fixing
pyrogallic acid and silver is, we think, more efficient than an iron
solution. 3. Two thicknesses of the black twill you enclose may
be safely u.sed, we think, for covering a dark tent.

C. Burton. — Much depends on your skill and experience, as to
whether it will be wise for you to attempt to albuminize the paper
yourself. It is not a difficult operation ; but still, unless you
have had some experience, we cannot advise you to rely on your
own operations, but should rather recommend you to send the
stock of plain paper you have to some one cngagetl in the busi-
ness to albuminize for you. If you wish to try, beat up the whites
of fresh eggs thoroughly, and add 6 grains of chloride of ammo-
nium to each ounce of albumen solution. Float for half a minute,
and hang up the .sheets in a room at a temperature of from 70® to
80® Fall.

J. B., N. — If you find the collodion too thin, and the negatives are
lacking in vigour, you may, without any impropriety or risk, add

more pjToxyline ; we should think at the rate of about 1 grain to
each ounce of collodion. But your safest plan will be to experi-
ment on a small quantity (say a couple of ounces) before touching
the bulk. If, on trial, this is satisfactory, you can then deal with
the whole.

R. Gill (India). — We fear that, from some cause, a combination
which takes place between the silver and the size in the paper be-
comes decomposed before the prints are fixed, and an insoluble
silver compound remains in the paper, causing the dirty brown,
mottled, oiiaque markings seen on looking through the print. It
is difficult, without a more precise history of the case, to indicate
accurately the cause of the el’ll, but we may make some sugges-
tions which, if observed, ■will probably remove it. Sec that your
albuminized paper is not kept in a damp place, and that it is not
used when any indication of decomposition in the albumen is pre-
sent. Do not use the silver bath tw strong, nor float too long : a
40-grain bath, with three ounces of alcohol in each pint of solu-
tion. Keep the sensitized paper dry, and print, tone, and fix as
soon after the paper is prepared as possible. Use a very strong
fre.sh hypo bath. Try omitting the fuming ; we scarcely recom-
mend fuming in a hot climate unless the silver bath contain free
nitric acid. If fuming be applied, the paper should be printed,
toned, and fixed immediately after. The opaque mottling might
be due to imperfect fixation only, but, from tW discoloured appear-
ance you describe as being present before fixing, it is erident
that some decomposition takes place in the sensitized paper.
Collodion. — The proportion of water present in a toning bath rege-
lates the rapidity of the operation, but beyond that it is not impor-
tant. Various formulno vaiy in giving ftiim 2 ounces to 10 oimccs
of water to a grain of chloride of gold. In very hot weather,
when the bath is active, we should probably use 8 or 10 ounces of
water; in winter not more than 5 ounces. 2. The process of com-
plete development ought not to require anything like an hour ; a
uarter of an hour would be a full time. 3. Be so good as to state
etails of your experiment with the morphine proce.ss, so that wo
may, possibly, point out the cause of failure. 4. The use of a
trace of a bromide in alkaline development is to prevent fog, which
it docs very efiectually ; too much would retard development.

R. M. D. — The mottling and faintness of the print are duo to the
use of a weak silver bath, or to imperfect contact of the albumin-
ized paper with the solution. Sometimes, when too small a quan-
tity of the silver solution is employed, so as to cover the bottom
of the dish imperfectly, such a re.sult will follow.

J. L. — The explanation is what we anticipated ; but it merely shows
how erroneous was the original statement. An intermittent
exposure during dificrent parts of an hour is not an hour’s expo-
sure, inasmuch as the plate is not exposed during each interval in
which the lens is covered. 2. The process of covering the lens
during movement of foliage, and uncovering so as to secure the
brief intervals of stillness, is not altogether unusual ; but it requires
great care, and shows most praiseworthy patience. 3. Thanks ;
but the compilation would not possess sufficient interest for
publication.

Reader of the Xews. — The query in your former letter men-
tioned sulphate of soda. The accidental addition of phosphate of
soda to hyposulphate of .soda avould, probably, be without any
action in fixing, e.siieeially if care were taken to keep the fixing
bath of full strength. Its precise result is, however, matter which
ran only be decided by expi-riment. Phosphate of silver, if formed,
is not soluble in hyposulphite of soda. Try the effect in a small
experiment before risking many prints. 2. The dog is capital.
Young Photo. — The forms for registration are one penny each.
Our Publisher will obtain some for you if you send him stamps
and a stamped and addressed envelope. He will also super-
intend the registration if you send him the form properly filled
up, and the office fee Is., and 6d., in stamps.

Several correspondents in our next. Owing to the necessity of going
to press a day earlier this week, a larger number of correspondents
than usual arc necessarily left over.

«

?)t)ofograpf!0 Krgifitrrth.

Mr. J. COLLINOS, Cardiff,

Two Photographs of Marquis of Bute.

Mr. R. Carltli, Orassmere,

Photograph of Port Wordsworth.

Mr. R. Cadr, Ipswich,

Photograph of J. P. Cobbold, Esq.

Photograph of R. C. Ransom, Esq.

Mr. A. Clarki, High Street, Stourbridge,

Photograph of Rev. 0. H. Craufurd.

Messrs. Applrto.v, Hradford,

Lithogra]>h of Rev. C. Garrett.

Lithograph of Rev. P. McKeniie.

Lithograph of Rev. J. Katteobur j
Mr. E. Uabrisor, Newcastle. Staff.,

Photograph of Bishop Selwja

NEWS.

THE

/'V.NT

\" \ *' . I

VoL. 17, 1868.

CONTENTS.

PlOE

New Method of lateosifying ; Yellow Negatives 1$1

Mr. McLachlaa’s Discovery 181

Mr. Woodbury’s Photo-Relief Process 182

A Man's Property in his own Portrait 182

Ckipyright and Piracy 183

Visits to Noteworthy Studios 184

Pictorial Effect in Photography. By II. P. Robinson 1S5

PlOg

Jottings about Photographic Copyrights 187

Proceedings of Societies — Soutli London Pliotographic Associa-
tion—London Photographic Society 188

Correspondence— Photogi'aphy and Disease— Some Dry Plate

Hints 191

Talk in the Studio 191

To Correspondents 192

NEW METHOD OF INTENSIFYING— YELLOW
NEGATIVES.

We have to bring before our readers a new method of inten-
sifying negatives, which has the merits of extreme simplicity
and efficiency, and of preserving delicacy whilst adding
materially to the printing value of the image. Photo-
graphers are familiar with the value of the intensity which
is gained by the non-actinic colour of the deposit rather
than its thickness. Wherever vigour in the negative has to
be secured by piling up the silver forming the image there
is a risk of losing delicacy, sometimes by the granular
nature of the additional deposit, and sometimes by its ten-
dency to lateral spreading ; but where the resistance to light
in the dense parts of the image can be increased by a change
of colour rather than a material increase of thickness, the
delicacy and sharpness of the image as first developed are
retained without sensible diminution.

The method we have recently discovered consists in treating
the fixed and washed negative with a solution of perman-
ganate of potash, by which its colour is changed from the
dusky grey, common to an iron developed negative, to a tint
of a brownish yellow or olive by refiected light, and orange
by transmitted light. No appieciable thickne.ss or opacity
is communicated, but a great increase in the adiactinic cha-
racter of the deposit is produced, so that, with a compara-
tively thin and delicate negative, groat vigour is obtained
in the jirints.

The image is so transparent and delicate, almost re-
sembling, in some instances, orange glas.s, that our first
impression was that no additional deposit was produced on
the image, but that the metallic silver of which it was
formed was converted into oxide of silver, which, in a fine
state of subdivision, gave the non-actinic yellow tint pro-
duced by silicate of silver in yellow glass ; but, on further
examination, we were satisfied that this was not the only
change effected. The permanganate of potash, on coming
into contact with the silver image, is decomposed and parts
with oxygen, which combines with the silver ; at the same
time binoxide of manganese is precipitated upon the image.
It is probable that, following some chemical analogies, a
double oxide of silver and manganese is formed, to which
the colour of the image, slightly different to that of either
oxide alone, is due ; but whether this is the case, or the
deposit consists of a layer of oxide of silver and a layer of
binoxide of manganese superposed upon it, remains to be
determined by further examination. The colour of oxide
of silver is an olive brown ; that of binoxide of manganese,
when artificially prepared, a yellowish brown. The colour
of the intensified image is slightly different to either, but
partaking of both, and varies, of course, according to the
extentjto which the action is carried.

The best mode of proceeding is to place the fixed and ,

washed negative in a dish containing a dilute solution of
the permanganate, say ten grains or less to an ounce of water.
Probably a dipping-bath would answer better still. The
rapidity of the operation will depend on the strength of the
solution, and may vary from three or four minutes to a
quarter of an hour. Pouring the permanganate on to the
plate, especially if the solution be strong, is apt to cause
stains of unequal action, as the slightest pause in the flow
of the solution is apt to produce a line. The first change
observed is the change from the red tint of the perman-
ganate solution to the green tint of the manganate, the
negative at the same time acquiring a light yellowish
brown tint on the surface only. As the change progresses,
this tint deepens and passes right through the film, becoming
as apparent at the back of the glass as at the front. The
change can, of course, be stopped at any point when a suf-
ficiently adiactinic effect is secured. The intensity increases,
in some cases, considerably on drying, but is restored to the
condition of the wet negative by varnishing.

Whether this mode of intensifying will supersede other
modes in use can only be determined by experience. At
present, we offer it simply as an additional power to the
photographer, the exact value of which will be decided in
practice. The permanency of such negatives is necessarily a
question of time ; but, reasoning from analogy, we have no
reason to doubt it, as binoxide of manganese is one of the
most stable bodies with which we are familiar.

MR. MCLACIILAN’S DISCOVERY.

Mr. McLachlak’s communication to the Loudon Photo-
graphic Society, made on Tuesday night, is a most
important one. Partial as the disclosure must necessarily
be when made under the disadvantages of a brief verbal
statement at the close of a meeting, it contains matter suffi-
ciently startling for attentive consideration.

Opposed to all accepted theory and hitherto ascertained
fact, Mr. McLachlan proposes, iu working the wet collo-
dion process, to secure alkaline conditions in bath and
collodion as the means of securing immunity from streaks,
stains, and fog. lie propo.ses to get rid of the most prolific
source of pinholes, the accumulation of iodide of silver in a
bath, by destroying its capacity to hold iodide of silver in
solution. These are two of the leading results which,
amongst many others, Mr. McLachlas proposes to secure, and
he asks, assuming the facts to be true, and holding him re-
sponsible for their truth, are these conditions which it is
important to the photographer to be able to secure? We
answer that they undoubtedly are. The presence of nitric
or other acid in a bath, at present regarded as almost
imperative to clean working, must undoubtedly exercise a
disturbing influence on the primary reactions intended to
take place, in order to form iodide of silver; and a method

182

THE PHOTOGRAPHIC NEWS.

[April 17, 1868.

of working with certainty of cleanliness in an absolutely
neutral or slightly alkaline bath is in itself a power which
promises a long train of advantages of which photographers
will gladly avail themselves. The immunity from the most
fertile source of pinholes, the gradual accumulation of
iodide of silver in the bath, is an advantage that does not
require affirming.

We just briefly glance, in passing, at two of the features
of a system of working in regard to which its author pro-
mises, on occasion of fuller explanation, to point out variously
ramifying advantages. Our immediate aim is to give as
clear a resu>n§ as wo can, briefly, of the operations already
stated.

Mr. McLachlan commences with a denial of a generally
accepted proposition, namely, that a pure neutral solution of
nitrate of silver is not altered by light. Although not
apparently changed by light, he states that after exposure it
has acquired new properties. He dissolves nitrate of silver,
by preference of a given quality described on another page,
at the rate of one ounce in an ounce of distilled water, and
exposes it to the action of light; the longer the time and
the more sunny the’ weather the more perfect the result ;
but at least a month of summer weather is desirable. The
proof of new propertiesjacqulred is thus made : — To an ounce
of the solution, unsunned, add one drop of a solution of
caustic potash containing one grain to the ounce ; the result
will be the production of turbidity from the precipitation of
oxide of silver. Now add a drop of the potash-water to the
sunned silver solution, and whilst oxide of silver is formed
it is at once redissolved. A considerable amount of the
potash solution may be added, Mr. McLachlan states, to a
thoroughly sunned bath, and the oxide of silver will be re-
dissolved as rapidly as it formed. This capacity for holding
oxide of silver in solution, and preventing its precipitation,
is the source of cleanliness and freedom from fog in using
an alkaline bath.

After sunning the strong silver solution, to 1 ounce of which
1 grain of the potash solution has been added, 2 grains of
iodide of potassinm dissolved in a few drops of water are
added to 10 or 12 drops of the strong silver solution, and
the iodide of silver formed is, after washing, added to 1 ounce
of the strong silver solution, by which it is, of course, at once
dissolved. Pure distilled water to dilute the solution to a
strength of 35 grains to the ounce is now added, and this
causes no precipitation of iodide of silver, and the bath may
be used at once; but in the course of four or live days
another singular property acquired by the silver solution is
manifested : a sudden precipitation of iodide of silver takes
place, and the solution, according to Mr. McLachlan, has
lost the power of dissolving or precipitating any more of
this salt. No addition of water produces turbidity or causes
further precipitate of iodide ; and, in the course of use, no
further accumulation apparently takes place, or, at least, no
manifestation of its presence in the shape of pinholes.

Then a suitable collodion is required, for Mr. ^Iclacblan
lays great stress on the importance of harmonious relation
of the various chemicals. At a future time he will explain
the manufacture of suitable collodion ; but for the present
explains the doctoring of a commercial sample. Take a
good commercial sample of a certain type — Clawson’s is
selected as the illustration — in a red acid condition, such as
ordinarily secures brilliant and clean negatives. A plate
coated with this, and immersed in this alkaline bath, will
give inevitable streaks, brain-markings, and other troubles.
To get rid of these the collodion must be made neutral by
adding a few drops of the potash solution, and, after this
treatment, the neutral collodion in the alkaline bath will give
a clean brilliant negative — delicate, harmonious, and well
modelled, with a shorter exposure than is obtained by the
usual mode of working.

For a special mode of preparing the developer, we refer
the reader to the report of Mr. McLachlan’s remarks on
another page, and for fuller elucidation of his system of
working they must await his further communication.

It is probable that Mr. McLachlan might have done him-
self and his method more justice by a written communica-
tion, as nothing enforces precision and the absence of
redundancy more certainly than the necessity of writing.
As the matter stands, he has afforded sufficient information
to excite expectation and stimulate experiment, after which
a fuller written paper w'ill be received with greater interest
and fuller appreciation.

MR. WOODBURY'S PHOTO-RELIEF PROCESS.
Whes an important discovery is made it is scarcely sur-
prising that many claimants for the honour and possible
profits of its paternity should start up, as the vanity,
cupidity, and capacity for self deception which exist in the
world are prolific parents of such claims. But it is not
a little surprising to find, in addition to these, other claim-
ants perversely created by the carelessness or misconceptions
of the recognized recorders of progress in the periodical
press. We are not aware, for instance, that M. Braun has
ever claimed for himself the discovery of Mr. Swan's carbon
process ; but we have had very repeatedly to point out for
correction erroneous claims made for him by journals which
ought to have been better informed.

A similar error is made in the April number of our excel-
lent monthly contemporary, the Art Journal, in which an
article is devoted to the description of a method of printing,
headed “ M. Disderi's Patent.” The process is really that
well known to photographers as Mr. Woodbury's photo-
relief process, an example of which was placed before our
readers a couple of years ago, the English patent of which
was recently sold by Mr. Woodbury to a company, of which
M. Disderi is managing director. The process is mentioned,
however, throughout as “ 51. Disderi's method,” and only by
a passing allusion at the end of the article is any recognition
made of the actual originator, of this mode of printing.
“ The peculiarity on which the patent is based is the inven-
tion of 5Ir. Walter Woodbury,” it is stated, and the con-
clusion to which the whole article points, and which, if it
be not contradicted, it may be hereafter quoted to prove, is
that M. Disderi has patented a new process based upon the
relief process of 5Ir. Woodbury. The simple fact is, that
the process which has been put into operation with so muc
energy and success by M. Disderi is that which has bee
worked out in its minutest details to its present state of per*^
fection solely by Mr. Woodbury, and the origin of wdiich
has never been claimed bv 51. Disderi.

We have pleasure in noting here that the commercial
working out of the process under M. Disderi's superinten-
dence at the establishment at Brompton appears to progress
very successfully. The minor difficulties attendant upon
working out, on a large scale, a mode of printing based upon
new principles and involving many new conditions have
gradually disappeared, and excellent pictures on glass and
paper are now regularly produced, whilst the sales and orders
are already in excess of the supply.

Mr. Woodbury, who has recently been on a business tour
on the Continent, has made arrangements which will speedily
introduce his process into Italy, and also established negoci-
ations which will probably be speedily followed by its intro-
duction into Austria and Bavaria. The enterprising firm of
Goupil and Co., so well known in connection with the
extensive publication of engravings and of photographic
art reproductions, are rapidly making arrangements for work-
ing the French patent on a large scale ; and Mr. Woodbury
shortly leaves for the United States to take the proper steps
for initiating commercial operations with the process under
the auspices of a powerful company in America.

A MAN'S PROPERTY IN HIS OWN PORTRAIT.

A FEW years ago an American paper contained an advertise-
ment from a murderer under sentence of death, warning the
public that a certain photograph of him, recently published,

April 17, 1868.]

THE PIIOTOGIIAPIIIC NEWS.

183

was not issued by his authority or consent, and advising
intending purchasers to wait a few days for the issue of a
new portrait, which, he remarks, will be “ taken with
my clothes on at the time when the deed was done.” A case
recently brought before a Judge in chambers leminds us of
this case. It appears that a photograph had been taken of
the Fenian Colonel Burke in Clerkenwell prison, for the
purpose of identification, as the custom now commonly
obtains in prisons. When first asked to sit he objected,
apparently on the ground that its publication might lessen
the value of a portrait which he had already a.ssigned to Mr.
O'Halloran as part consideration for his bearing certain
legal expenses for him. On being a.ssured that the prison
portrait would not be published, he consented to sit, and
a negative was obtained. By some indirect practice it
appears the negative was reproduced by a Mr. Turner, and
the portrait announced for sale in a sensation placard as
being the only authentic portrait, and having been taken
by command. Application was npade by Mr. Merriman, on
behalf of Col. Burke, to forbid the publication of these
portraits, and the facts having been sworn to, a rule nisi was
granted.

On subsequently coming before the .Judge a decision
was obtained in favour of the application. As the case
possesses some interest, we give such detail of the proceed-
ings as we find in the daily papers reporting the case. At
the second hearing,

Mr. Merriman (for Col. Burke) said that as tliere eould, he pre-
sumed, be no answer to the case stated in his affidavits, he should
content himself by referring to them, ami to the statutes 24th and
25th Victoria, cap. 73, sections 1 and 7, and 5th aud 6th Victoria,
cap. 45, section 14, and to await the answer of his friend Mr. Shaw.

Mr. Shaw (for Mr. Turner) said that he must admit his client
was entirely in the wrong, but that he had been misled by Captain
Codd, the governor of the Clerkenwell prison. Mr. Turner was
willing to deliver up the negative and all the copies in his itosses-
sion, and to pay over to Mr. .Merriman’s client every farthing he
had received from the sale of the photographs ; but that he hoped
his lordship would limit the amount of costs, and would stay all
further proceedings against his client.

Mr. Justice WiTles (addressing Mr. Merriman). — What do you
say ? It appears that Mr. Turner is willing to do everything that
is right on his part.

Mr. Merriman said he had no objectiou to an order on the terms
asked for by Mr. Shaw, if his lordship thought he could makesueli
an order. The offence under the statute was a misdemeanor, and
as to the question of costs he left himself in the hands of the
learned Judge.

After some further remarks on either side,

Mr. Justice Willes made an order expunging the photographer’s
entry at Stationers’ Hall ; that all further proceedings of every
kind should be stayed upon the delivery up of the negative and
the printed copies, and payment of the amount received for the
sale of the pictures, to the satisfaction of the applicant, and two
guineas costs.

There appears to be some mistake in the report as to the
statutes referred to by Mr. Merriman. The statute 24th and
25th Victoria, cap. 73, is a brief Act referring to copyright
in designs, and does not contain seven sections. The refer-
ence here intended is doubtless to the Fine Art Copyright
Act, 25th and 2Gth Victoria, cap. G8. In this, the first sec-
tion defines the conditions under which a copyright can be
obtained in a photograph ; and the seventh section forbids
the fraudulent description of, or assumption of, copyright in
any work of fine art. The other statute referred to, 5th aud
6th Victoria, cap. 45, section 14, enacts that any person
feeling himself aggrieved by any false entry in the book of
registry at Stationers’ Hall shall be at liberty to apply to a
court of law to have such entry expunged, which, it will be
noted, was done in this instance.

The publication of a portrait without permission is not a
thing likely to be of common occurrence, because, both as a
matter of good feeling and policy, few photographers would
80 far disregard the wishes of a sitter ; but the question of
the legal right to. publish a portrait without the consent, or
in defiance of the wish, ot th6 original, has not before, that we
remember, been the subject of a decision in an English court.
The question was recently raised in France by Alexander

Dumas, when his portrait and that of Miss Menken were
issued in one group ; but in that case the decision was ad-
verse to the applicant and in favour of the photographer.

COPYRIGHT AND PIRACY.

We reproduce, in another page, an interesting resumi of the
facts as they stand in relation to the law of fine art copy-
right, especially in its relation to photographic piracy.
Our contemporary, the Stationer, in this article, deals
leniently and tenderly with the photogiaphic copyist and
the vender of photographic copies, believing that ignorance
rather than dishonesty accounts for the circulation of pira-
cies in a large number of cases ; and further believing that
print publishers are themselves guilty, not simply of great
folly, but also of moral wrong, in not satisfying the craving
of the public for cheap copies of works of fine art, and in
omitting to issue details of those goods in which they claim
copyright.

We have already often expressed our conviction of the
impolicy of print publishers in not issuing small photo-
graphic copies of their own works, and so driving piracy out
of the field by rendering it unremunerative. The risk of
piracy can only bo compensated by large sale or large
profits, both of which would be reduced by the competition
of authorized photographic copies of copyright works. The
fact that the issue of photographic copies pays the pirate
sufficiently to cover the risk he runs is a guas-antee that it
would pay the print publisher, who would run no risk. The
plea that the sale of the engravings themselves would be
injured by the issue of small photographs would not be sus-
tained, we feel assured, in practice. It is rather probable
that issue of small copies of a good picture would serve as an
advertisement, and extend rather than diminish the sale of
the engraving. The charge of moral wrong in not sup-
plying a public want will be, however, indignantly re-
pudiated, it is probable, by the print publishers. So long
as they believe that they would sustain personal loss they
will naturally ask why they, as traders, should make sacri-
fices for the public good.

But the suggestion of our contemporary that owners of
copyrights ought to make it clear to any one concerned in
what jjictures they claim copyright is a most important
and reasonable one. It ought to be possible to ascer-
tain what is copyright and what is not. At the pre-
sent moment no such possibility exists. Even the arduous
task of searching the registry at Stationers’ Hall would fail
to afford any satisfactory information, inasmuch as no copy
of the design or picture is preserved there. After spending
many hours in the search for a special entry it will be found
to contain only a vague description of the subject in which
copyright is claimed. Take an example from a class with
which we arc familiar. It is desired to ascertain if a certain
portrait of Jlr. Disraeli, photographed by Mr. Smith, is
copyright ; and at length an entry is found running thus, —
“ Portrait of Right Hon. B. Disraeli, full face, standing
position, arras folded;” the due particulars of Mr. Smith’s
ownership being aj)pended. But it may happen that half-
a-dozen portraits of Mr. Disraeli may have been issued by
Mr. Smith, every one of which answer to the general des-
cription in question ; and who shall say to which of them it
was intended to apply at the time of entry, or which of them
is protected by the registration ?

To this it may be replied, that the difficulty in finding
an owner for anything affords no excuse for stealing it ; that
there is a property morally, if not legally, in all designs, and
that the facility for copying and appropriating the ideas of
another without legal risk should not be made too easy.
There is a certain amount of force in this argument, but it
is only of very limited application. There exist many
engravings of which the copyrights have lapsed by time or
neglect, and many copyrights of which no steps were taken
to secure. The reproduction and publication of thes« as

184

THE PHOTOGKAPHIC NEWS.

[April 17, 1868.

photographic scraps would afford legitimate employment to
many photographers, and their distribution would afford
pleasure and profit to many thousands of the public. But
the conscientious photographer feels himself placed in con-
stant difficulty and danger for lack of certain information as
to what he may or may not reproduce with impunity, and
without infringing the rights of others. The suggestion of
our contemporary to establish a museum of art in which
shall be preserved photographs of all works in which copy-
right exists, readily accessible to the public or those con-
cerned, is, we think, a most useful one, and well worthy the
attention of all interested in the maintenance of copyrights
on the one hand, and in photographic reproduction on the
other. We hope that this part of the question will not be
overlooked in the introduction to Parliament of a new Copy-
right Bill, which is, we understand, contemplated at the
first convenient opportunity.

o

VISITS TO NOTEWOPvTIIY STUDIOS.

Mr. E.sgl.vsd’s Establishment at Notting Hill.

We shall not ask our readers to follow Mr. England to any
of the grand studios wherein his magnificent negatives have
been produced and his triumphs won; it is not to Niagara,
or the streets of Paris, or up the Rhine, or to the peaks and
passes of the Alps, which have for years past served as his
theatre of operations, with mountain and waterfall, pine
forest or rocky glen, for his models, that we now direct the
attention of our readers. Our present purpose is to give
a brief sketch of one of the most complete establishments
■we know for printing, and, indeed, all operations connected
with photography except portraiture.

The primary purpose of the Notting Hill establishment
is printing, and to that end the arrangements are chiefly
directed. The most noticeable feature is the large and con-
veniently arranged printing space under glass. This con-
sists of iomething like a large glass house, with an area of
about 1,300 superficial feet. All round this space are
arranged racks or tables, capable of holding from 700 to 1,000
printing-frames, the racks being provided with an .arrange-
ment whereby they may be placed .at an inclination so as to
place each frame at right angles with the sun when it is de-
sirable to print in direct sunlight. The roof consists of a
scries of sliding skylights, which afford a covering in wet
weather, but which are easily moved, so as to bring the
printing-frames under the light of the open sky when re-
quired. The stands or racks upon which the prlnting-
friimes are arranged move on castors, and arc readily wheeled
into the open air or under cover, into sunlight or sliade, as
may be required.

A capital arrangement for producing a gr.aduated tint
for skies is employed, in order to get rid of the unplcasing
mass of white paper which surmounts the landscape printed
from a negative taken on a bright cloudless diiy. It con-
sists of a scries of horizontal grooves, the upper half of
which is a piece of zinc or tinned iron, curved upwards so as
to form a gradually widening aperture, something like this —
The print is placed in the groove so as
to protect the portion of the image
already printed, the sky portion being
exposed to the light in degree regu-
lated by the curved cover, and receives a graduated tint
which diminishes greatly as it approaches the horizon of the
landscape. As white skies arc to Mr. England an abomina-
tion, and as it would be almost impossible to print a gradu-
ated tint on the largo scale necessary, if every impression
required carefully shading by hand, in the manner gene-
rally_ adopted, this arrangement for securing a graduated
tint is found very valuable.

On examining the frames exposed, we notice that a large
number of the negatives have been manipulated in various
ways to increase the pictorial effect of the prints, and we
learn that Mr. England docs not consider it any enormity

to improve his negatives by auy of the various methods
which experience or ingenuity may suggest as giving value
to the final result. Where a portion of the landscape prints
through too rapidly, and so buries detail in the print, it is
covered with a piece of tracing-paper, the edge of which is
serrated so as not to make a hard line, and by printing in
diffused light the production of an apparent line or edge
is avoided. Sometimes the whole landscape is covered in
this way, leaving the sky uncovered, that it may print through
a little more perfectly than it could do if the other portion
were not thus masked. Sometimes the sky is covered and
the foreground uncovered ; sometimes merely a piece of very
deep foliage is thus protected ; but in all cases, with judg-
ment and care, and properly used, this delicate masking is
found of great value in securing harmony in the picture.

A large number of the negatives we saw in the course of
printing had very effectiveclouds introduced into the skies, by
a method which may prove useful to many of our readers.
Mr. England has found the black-lead pencil retouching
upon negatives, described some time ago in our pages, very
useful for many purposes ; but for strengthening clouds
already indicated, or introducing them when none are visible,
black-lead in the sh.ape of powder is found most useful.
This is applied with a stump, after the manner of crayon
drawing, by which soft graduated edges to the clouds can bo
produced. The stumps used by Mr. England, and ■which
seem most efficient, are made by tying pieces of sheet india-
rubber over the end of a stick, stuffing with a little of some-
thing soft if necessary. The bite of the india-rubber makes
the process of graduating the black-lead comparatively easy
and simple. The negatives which have received this treat-
ment are chiefly those by the modified collodio-albumen
process, the hard surface of the film affording ready facility
for the application of the black-lead, which is protected
from further rubbing by the varnish which is applied after-
wards.

A ch.aracteristic feature of Mr. England’s establishment is
found in the fact that every possible operation connected
with the production of photographs is conducted on the pre-
mises. Collodion, albuminized paper, nitrate of silver,
chloride of gold, &c., are all prepared in the establishment.
A carpenter’s shop, fully equipped, furnishes facilities for
making or modifying much ol the apparatus. A very
excellent furnace is employed to reduce all the residues and
furnish the pure metals for preparing the salts of silver and
gold required.

We have before described ilr. England’s albuminized
paper ; suffice it to say now that the formulas we stated some
years ago Is in use now. To each ounce of pure white of
egg 5 grains of chloride of barium and 5 grains of chloride
of ammonium are added, and the paper so prepared is
found to give uniformly rich and brilliant prints. It should
be noted that as the chloride of barium employed only con-
tains half as much chlorine .as the ammonium salt, the 10
grains of chloride employed are about equivalent to 7J
grains of chloride of ammonium. The paper so prepared is
excited on a 40-grain silver bath, in which, to every pint of
water, 3 ounces of methylated spirit is added, which arrests
discolouration of the bath and of the prepared paper.

The paper is sensitized in whole sheets, about fifty of
which arc printed every day in cabinet or stereo pictures.
The system of toning adopted has been employed without
variation for many years, and is found to give excellent and
certain results, either of a warm tint or a deep neutral black.
Half an ounce of a saturated solution of bicarbonate of soda is
.added to 15 grains of chloride of gold and about three
pints of water, the solution being used about an hour after
it is mi.xed. As bicarbonate of soda is sparingly soluble, a
saturated solution containing about 10 grains to the ounce,
it will be seen that the toning bath is scarcely alkaline,
containing not more than one-third of a grain of carbonate
of soda to each grain of chloride of gold ; a proportion just
sufficient to decompose the chloride and set up toning action
without producing an alkaline condition,

April 17, 18G8.]

THE PIIOTOGRAPHIO NEWS.

185

Tbe washing arrangements are very excellent. After the
fixed prints have received three or four rapid changes of
water to remove the bulk of the hypo, they are transferred to
the washing machine, an invention of Mr. England, and used
by him for the past ten years, diagram of (vhich we give. It

consists primarily of a large trough 7 feet long, by 4 feet G
inches wide, and 11 inches deep. Placed in this are two
trays with lattice work, made of gutta-percha strips, at the
bottom. Just above, supported by a bracket on the wall, is
a box containing a water-wheel turned by the stream from
a tap just above it. The two trays arc connected with this
wheel by a rod attached to a crank, and as the wheel re-
volves the trays are kept in a constantly oscillating motion,
which serves the double purpose of preventing the prints
from sticking together, and of securing more effectual wash-
ing than is effected by great soaking. The water which
turns the wheel passes through a pipe at the bottom of the
wheel-box into the washing trays ; and about once in every
hour, the large trough having become full, brings into
action a syphon, which empties it in ten minutes, leaving
the prints to drain for a time, resting on the gutta-percha
lattice work. The washing, thus managed, is found to be
very effectual. The prints are removed each morning after
a night’s washing, and placed in a straight heap in a screw
press, by which all the water is squeezed out of them, which
is a more effectual aid to drying than blotting off ; and
when spread on canvas frames the prints rapidly dry flat
and even, with little curling or cockling.

It is not necessary here to describe the complete and
efficient means of saving and reducing the residues and
waste, nor to enter into the details of mounting, printing
the mounts, &c., beyond mentioning, in passing, that for the
mounting a thick fresh solution of gum arable is preferred
to paste, glue, or india-rubber.

We find in the course of conversation that the modifica-
tion of the collodio-albumen process, by which all the plates
for last summer’s campaign were prepared, was so far
successful that Mr. England will employ it again this
summer with even more hope than before. The negatives
produced by it, we find, on examination, are singularly like
those produced by the wet process, possessing even a trace
more softness, delicacy, and detail than Mr, England’s
usual wet collodion work. They are also, singularly unlike
most dry-plate negatives, free from abnormal deposit or fog
of any kind, here and there a little bare glass in the
deepest shadows giving the images a good deal of positive
character. Some of them, wc learn, which had been a
trifle under-exposed, had the usual plan of development
supplemented by the aid of ammonia. One negative,
which, after developing some time, appeared hopelessly
under-exposed, scarcely any trace of an image appearing,
was finally washed, dried, and put away in a plate-box
until after his return to England, when it was subjected
to alkaline development, and finally yielded a capital nega-
tive without any appearance of having been forced in deve-
lopment in any way.

Mr. England’s travelling equipment for the wet process

is one of the most convenient wc have seen. The knapsack
tent, made from his own design, is light and commodious ;
but, although it accompanied him, to be ready in case of
emergency during last summer’s tour, it was never used,
the dry plates never having failed. These were prepared at
various places en route, some convenient place being selected
every now and then to serve as head-quarters for a few
weeks, from whence to ramble for a few days, and return to
develop the negatives obtained, and ])reparo more plates.
As a rule the plates were developed within a few days of
their preparation, but in some cases as much as a month
elapsed between the operations.

Mr. England is one of the very few veterans of the art
who commenced the practical business of life as a profes-
sional photographer. Upwards of twenty years .ago, when
he w.as a lad of eighteen years old, he undertook tlic charge
of a Daguerreotyjw portrait establishment. For many years
he h.as bt-en chiefly devoted, however, to the production of
landscapes, especially stereoscopic and instantaneous work.
His SUCCC.SS in these departments has been most unequivocal,
his especial work being unsurpassed by any in the world,
and equalled by very few. His views of Niagara, taken
under serious disadvantages, upwards of ten years ago, are
still the finest views of the grand secenery of the Falls that
have been issued. Ilis instantaneous views of the streets of
Paris have never been surpassed. His views of the Inter-
national Exhibition of 18G2 were perfect, and, by contrast,
give a singular point to the failure in the attcmiit to photo-
graph the recent exhibition of a similar kind. The Swiss
scenery, which for some years h.as .absorbed Mr. England’s
attention, is executed with a degree of care which leaves
nothing to desire. Perhaps the most distinguishing cha-
racteristic in all Mr. England’s operations is their pre-
eminently practical quality. An earnest experimentalist,
with a perfect knowledge of all the c.apabllitics of the .art,
and a libcr.al communicator of all the results of his know-
ledge to his brethren, it is well known to all those who have
the advant.age of Mr. EnglamPs friendship, that when he
advises a given course, or when he publishes a process, it is
certain to be practical and trustworthy. A cultivated
.artistic feeling characterizes all his pictures; whilst their
photographic manipulation is gcner.ally ab.solutcly perfect.
A scrupulous and conscientious care to secure in all cases
the best possible result is nianife.st. llis ecpiipment of lenses
to one camera, and for size of picture, includes about a score
of Single, Triple, Wide-Angle, and Rectilinear lenses, vary-
ing from three inches to fourteen inches in focus, so that
every subject m.ay receive such treatment as shall produce
absolutely the best result.

Mr. England is one of the few who have .alre.ady intro-
duced photography to a second generation : his eldest son,
a youth of seventeen, has commenced his career as photo-
grapher, as a dry plate man, having produced some excel-
lent dry plate negatives, before he has yet produced one by
the wet process.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Beinq Lessons in

Composition and Ciiiaroscura for Piiotogr.vpiiers.

BY n. r. ROBINSON.

Chapter XII.

Nothing is more strange in art than the way that chance and materials
seem to favour you, when once you ha*'C thorouf^hty conquered them. Make
yourself quite independent of chance, pet your result in spite of it, and
from that day foi ward all things will somehow fall as you would have them/'
— Ruskin.

“ It is often said : Study nature ; but nature does not compose ; her beauti-
ful arraopemcDts are accidental combinations, and none but au educated
eye can discover why they are so. Nature does, and ought to, supply the
materials for fine jdcturcs ; but to select and reject, to adapt the individuol
parts to the jiroduclitm of a perfect whole, is the work of the artist, and this
it is that stamps the emanations of genius.” — liurneit.

The Sky — continued.

The doctrine lately set forth bj the matter-of-fact school
concerning the impropriety of using any other sky in a pho-

186

THE PHOTOGRAPHIC NEWS.

[April 17, 1868.

tograph — or, indeed, as it must naturally follow, in any other
picture — than that which was actually presented at the mo-
ment of taking the rest of the picture, although of so little
importance as to be scarcely worthy of notice, yet demands
a mw words, as it may have a detrimental effect on the
unthinking, or those whose faith is not quite confirmed in
photography as an art.

That this doctrine is utterly wrong — a pestilent error,
■without even a figment of truth to support it — is capable of
easy demonstration. It is, indeed, so absurd that the won-
der is it should have ever found its way to the light. It
would be quite beside my present purpose, or beyond the
scope of these articles, to enter into any elaborate discussion
upon the point ; but it will be enough to remind the student
that if the idea be carried out in the manner advocated by
the school above-mentioned, it comes to this: any land-
scape is equally beautiful at all times, and, notwithstanding
it may be seen under various aspects, a photograph of it,
if absolutely accurate, will, in virtue of its accuracy, be a
work of the highest art ; so that art becomes no more than
a mere servile copying of nature, without even the slightest
reference to the aspect under which nature is seen. Can art
be thus brought down by men of no minds to such a level ?
Certainly not. The highest aim of art is to render nature,
not only with the greatest truth, but in itc most pleasing
aspect ; to show forth the storm in its grandeur, or to gladden
the eye with the smile of nature’s light. Truth may be
obtained without art. The exact representation of unselected
nature is truth. The same of well-selected nature is truth
and beauty. The former is not art, the latter is.

I do not shrink from the statement, although Ruskin may
be quoted against me, that the highest duty of man is the
cultivation and improvement of God’s works, and by doing
so he cultivates himself.

As an instance of the improvement of the works of nature
by man, going on every day, I ask, what is education but
the improvement of nature? I once heard an eloquent
speaker refer to education as the attainment of the highest
truth. Pointing to a rough-hewn block of wood or marble,
he said that was natural truth ; but polish the rough-hewn
surface, and all the delicate grain or markings, the varied
veins and gradations before unseen, were now brought out,
and a thing of beauty was discovered, which was still higher
truth. If we were — following the doctrines of the leave-
nature-alone teachers — to abstain from sending our children
to school, what sort of savages would they become ! Yet
that would be leaving nature to herself. Why, it has been
the instinct of mankind from the earliest ages — from the
time O'jr ancestors painted themselves blue because clothes
were scarce — to improve nature. We may be too highly
civilized, but a “ state of nature ” would scarcely be allowed
now-a-days, but would soon attract the attention of the
police. On the contrary, the endeavour of mankind is, as it
should be, to apply that to nature’s greatest work which is
calculated —

** Not only to keep down the base in man,

But teach high thought, and amiable word^,

And courtliness, and the desire of fame,

And love of truth, and all that makes a man.*'

But, to return to our immediate purpo.se, there is comfort
for the artist photographer, not only in the quotation from
Ruskin, at the head of this chapter, which entirely neu-
tralizes any extract from the same writer to the effect that
nature must be slavishly imitated, whether that nature be a
pig-stye or a palace, so that it should chance to come heforc
the artist, but in the fact that Turner, who in the opinion
of that writer and many others could do nothing artistic-
ally wrong, or depart in any way from nature, not only
improved nature by twisting his views out of all resem-
blance to the localities they were intended to represent, but
actually studied many of his best skies from the end of
Margate jetty, and afterwards fitted them to any picture he
thought they would suit.

I may here quote an anecdote related hy Burnett of Turner
which is applicable here : — " Driving down to his house

[Woodburn’s] at Hendon, a beautiful sunset burst forth ;
Turner asked to stop the carriage, and remained a long
time in silent contemplation. Some weeks afterwards, when
Woodburn called upon him in Queen Anne Street, he saw
this identical sky in his gallery, and wished to have a land-
scape added to it ; Turner refused the commission — he would
not part with it. Wilkie used to call these studies ‘ his
stock-in-trade.’ His skies look like transcripts of nature,
but they are the result and remembrances of his contempla-
tion. They are composed of many combinations and changes
in the heavens, drawn from the retentive stores of his
memory ; they are adapted to the picture in hand by the
different qualities required. If the subject is indifferent,
he trusts to the richness and composition of the sky to give
it interest; and if the scene is complicated, and consists of
many parts, he makes use of the sky as the seat of repose.”

It must be remembered that nature is not all alike
equally beautiful, but it is the artist’s part to represent it in
the most beautiful manner possible ; so that, instead of its
being death to the artist to make pictures which shall be
admired by all who see them, it is the very life and whole
duty of an artist “ to keep down what is base ” in his work,
to support its weak parts, and, in these parts, which are sub-
ject to constant changes of aspect, to select those particular
moments for the representation of the subject when it shall
be seen to its greatest possible advantage.

I have not in this article advocated the use of artificial
skies, or painting in skies on the negative, although I
believe in the legitimacy of either method, and it is the
constant practice of our best landscape photographers —
Bedford, England, Mudd: need 1 mention more? — to
improve their negatives in the sky and other parts with the
brush. 1 have not done so, because I believe the natural sky,
added from a separate negative, to give the most complete
results ; but I see no reason whatever why the negative
should not be improved, if it is found necessary, without
any departure from truth.

Before photography was discovered, artists used to paint
skii-8 to their pictures ; indeed they then, as now, painted
their whole pictures; but now that photography has asserted
its claim to mechanical accuracy in its transcripts of nature,
there has sprung up with it a class of men who would have
us believe that to touch a photograph with a paint-brush is
almost the greatest sin a man can commit, and they would
hardly shrink from even taxing a man with immorality and
want of religious principle who, having taken a good photo-
graph, should, by a few strokes of the pencil, judiciously
applied, make it, as well as a good photograph, a good
picture.

In conclusion, I cannot refrain from quoting part of a
letter on the sky in the Photographic News, Septemher
22nd, 18G5, by an admirable writer, who, under the nom-de-
plumc of •' Respice Finem,” favours us too seldom with his
views on our art ; after which let us turn from these vain
janglers to the consideration of something more profitable.

“ 'Phe clouds have to play a far more important part in
photographic landscapes than they have yet done. I do not
say that a photograph without a sky, or with a mass of white
for the sky, is altogether unnatural, but, to me, it is very
tame, insipid, and unpoetical. How a photographer with a
conception of the enormous resources he possesses in the
clouds can ever neglect them in his landscapes I cannot un-
derstand. They have such a varied beauty in themselves ;
they give to the artist such a command in balancing and
harmonizing his composition; if well managed, they so
assist everything else in taking its place, that I cannot
understand their frequent neglect by the photographer.
One rea-ion is, I know, the difficulty of securing them in the
same negative as the foreground. If I am ri^t in my for-
mer letter on the legitimacy of combination in photography,
then there should not be a second opinion as to the propriety
of using a second negative, looking to it, however, that the
clouds harmonize with the picture and involve no impossi-
bility or practical solecism. To avoid this a careful and

April 17, 1868.]

THE PHOTOGRAPHIC NEWS.

187

constant study of nature, as well as art, will be necessaiy.
Heed not, I would say to the photographer, the thoughtless
objector, or bogus critic, who tells you that the landscape
can only harmonize with that sky with which it was
illumined when you obtained your negative. Remember
that the portion of the sky which produces lights or
shadows on your landscape is rarely that which the eye sees
in looking at that landscape, flow far this is true you will
ascertain by the study of nature; and of all the studies of
beauty known to man, there is none so grand, so lofty, and
so varied as the study of the aspects of the sky and the
glories of the clouds. And when, with Ruskin, you have
gazed on a glorious sunset, ‘ through its purple lines of
lifted cloud, casting a new glory on every wreath as it passes
by, until the whole heaven, one scarlet canopy, is inter-
woven with a roof of waving flame, and tossing vault
beyond vault, as with the drifted wings of many companies
of angels ; and then, when you can look no more for glad-
ness, and when you are bowed down with fear and love of
the Maker and Doer of this, tell me who has best delivered
his message unto men.’ ”

JOTTINGS ABOUT PHOTOGRAPHIC COPYRIGHTS.*

The numerous prosecutions lately instituted by Mr. Graves
against dealers in photographic scraps. &c., have caused much
attention to be given to the subject. We have, therefore, col-
lected a few jottings pertinent thereto, believing that they will
be perused with interest.

In 1735 William Hogarth obtained an Act of Parliament
( 8 Geo. II., c. 13) which gave him copyright in his original
engravings for fourteen years trom their first issue. Infringe-
ment ot the copyright subjected the infringer to a fine of five
shillings for every copy possessed, and forfeiture of the piratical
plate. The penalties were, however, to bo sued for within
three months. As this Act only afforded protection when the
designer and publisher was the same person, it was inoperative
when one person designed, or engraved, and another published.
To remedy this defect another Act was passed in 1767 ( 7 Geo.
III., c. 38), which extended the copyright to printsellers or
others who should employ designers to work for them. It also
enlarged the period of copyright to twenty-eight years, and
permitted the penalties to be enforced within six months alter
the commission of the offence. This Act, however, omitted to
include those persons who should illegally sell, or expose for
sale, any pirated copies ; and a similar omission was made in
a subsequent Act (17 Geo. III., c. 57) passed in 1777, the effect
of which was exemplified so recently as November 9th, 1862,
when Mr. Currie, at the Bow Street Police Court, decided that
Mr. Sydney Powell, who appeared at the suit of Mr. Gambart,
had not, by selling copies of Rosa Bonheur’s celebrated paint-
ing of “ The Horse Fair,” infringed the Act. In 1836 the
provision of the previous Acts were extended to Ireland, and
in 1852 to French prints published in this country ; but such
prints must be registered at Stationers’ Hall within three
months after their first publication in France. By the Act
(25 and 26 Viet. c. 68) which came into force on tho 29th of
July, 1862, a copyright was given to artists and their assignees
for the life of tho author, and for seven years after his decease,
in all paintings, drawings, and photographs, first produced after
the enforcement of tho Act. By a strange omission, however,
engravings are not mentioned, though there can be no doubt
that it was intended by the legislature to include them. Still,
however, dealers should use care, as engravings may bo, and
most probably have been, photographed, and the photographs
registered at Stationers’ Hall, as was done by Mr. Gambart
before he published his print of “ The Derby Day.”

Considering tho difiiculty, therefore, that exists in discover-
ing what is copyright and what is not, it appears surprising
that the retail tradosmen did not better support a “ Protection
Society,” that was some time since especially established for
their behoof, particularly as one of the principal objects of the
association was to keep its subscribers ” posted up ” in all the
doings of their trade.

For our own part we believe that print publishers do not
sustain pecuniary loss by tho reproductions in large numbers

* The Stationer.

of small photographed copies of their works ; while we opine
if they would themselves publish such series, a large sale and
corresponding profits would accrue. And a similar view of tho
case is taken by the Athenceum, than which there has not been
a greater advocate of the rights of authors in both literature
and the fine arts. Our contemporary on this subject says : —

There appears to be strong grounds for believing that if judiciously used
such photographs would give great publicity to and largely increase the sale
of engraving", when the prevailing false and vicious system as to proofs has
been abandoned, and the print. selling trade put upon a true and sound
basis. If every publisher were to publish a complete set of small photo-
graphs of all his engravings, including all the title and other inscriptions,
they would not only operate as the best possible advertisements of the
engravings, but likewise do more than anything else to prevent the mischief
now complained of. The publisher would not merely be able to undersell
the alleged pirates, but also effectually stop their sale ; for what trades-
man would be insane enough to purchase spurious copies with the chance
of exposing himself to legal proceedings, when he could escape that danger
by only dealing in authorised copies obtained directly from the publisher
or his agents? If it be objected on the part of the publishers, that spurious
copies of photographs may be easily and inexpensively reproduced, the
answer is that the judicious use of a trade mark, which may be of any size,
will materially contribute to protect the property in copyright photographs
as well as in engravings.

There are, of course, two sides to every question, and in
answer to the foregoing liypothesis the print-publishers say
they know from experience that cheap issues materially injure
the sales of the originals, in proof of which Mr. Gambart as-
serted in 1862 that “ The Horse Fair ” and “ The Light of the
World,” which had at one time realized £1,000 each per annum,
were not at that time producing a tithe of the amount, a result,
he assumed, that had its rise in the number of pirated copies
that had been issued. The publishers also affirm that they
have no right to diminish by acts of their own the value of the
engravings they have disposed of. And further, that collectors
who pay large prices for choice engravings do not care to see
copies sold at one-hundredth part of the published price. They
also argue that if prints were to be issued at one guinea instead
of from five to fifteen guineas, a sufficiently large number of
good impressions could not be struck off ; and, that as framing
a large engraving costs from four to eight guineas, the price
would still be beyond the means of the major portion of the
middle classes. There is yet another class of pirates that the
publishers claim to be much injured by, but against whose
practices they have no redress ; viz., amateur photographers,
who get possession of an engraving, copy it, and, for the mere
purpose of showing their skill, present copies of the work to
their friends, who are possibly persons ot means, and well able
to purchase the original prints. Again, they state that pirated
photographs are rapidly ruining the line engravers, who cannot
now find suflicient employment. At one period popular plates
were engraved and re-engraved according to the demand, but
since the advent of photography the cost of once engraving
barely remunerates the publisher.

There is undoubtedly some truth iu what the copyright
owners say, though we do not give credence to all their pleas ;
and while they are so remarkably averse to the doings of
piratical photographers, they are not ashamed to impose upon
tho public a number of what they term “ proof ” impressions.
In fact, instances are known where the number of proofs has
considerably exceeded that of the published impressions. Such
a circumstance is not honest, and the public wants as much
protection against the impositions of tho print-publishers as
the latter once did against tho much maligned pirates. The
same man who would be ashamed to rob anyone of sixpence,
nevertheless is willing to salvo his conscience with the flatter-
ing unction that the tricks of his trade are legitimate, albeit he
has imposed upon a customer, and actually obtained from him,
by false pretences, a sura of many pounds, by representing as
“ proofs ” those which are simply impressions ! Believing
there may be some misunderstaudin'; as to what “proofs”
really are, it may be well to mention that they should simply
be early copies, that are struck off on fine, or India, paper, be-
fore publication, to enable tho engraver and publisher to test
the accuracy of tho work. But when tho plate is finished, and
wo have tho authority of Mr. Joubert for stating so, it is custom-
ary for the engraver to receive as his “ right ” two-thirds of all
proof impressions actually printed before tho delivery of the
plate to the publisher, though wo have no index as to the num-
ber of dozens to which the said “ right ” extends.

We have perused numerous accounts of trials, both civil and
criminal, against persons who have infringed the Copyright
Acts. In some of these tho plaintiffs have sought to assume
special damages in consequence of the sale of piracies of their

188

THE PHOTOGKAPHIC NEWS,

[April 17, 1868.

works, and have produced witnesses to prove that since the
piracies were issued, the sale of original copies has fallen off.
In the case of Gambart v. Sclater, tried in tne Sheriff's Court,
one Mr. Ginger, of Canterbury, swore that he had procured £70
worth of orders for the “ Light of the World,” when it first
appeared, but that afterwards he could not find buyers. Surely
this assertion did not prove anything ? Every book-publisher
knows that the sale of each work is greatest when first issued,
and that it gradually declines. And of course it is so with
rints. Had Mr. Ginger stated that he had continued to
e as successful in finding customers as he was when the
print first appeared, we should have disbelieved him. It is,
however, only fair to Mr. Gambart to state that so convinced
was ho of the loss he sustained by having his works pirated,
that in 1864 he purchase certain pictures without the copy-
rights, because he considered the latter useless to him ; and in
the same year, writing upon the subject, he remarked ; —

I withdraw from ao industry in which some people think I have rendered
some service to art and artists ; I do not deem it advisable to waste more
capital on property which I am unable to defend, and 1 am driven out of a
lawful business by the evil proceedings of odiers.

Before concluding our remarks respecting “ The Light of
the World ” and its assumed depreciation, it is not unworthy of
notice that Mr. Gambart found it to his interest to re-engrave
and publish a smaller copy of the work in question.

Some time ago Mr. Ordish was summoned at the Guildhall
for selling a copyright carte-de-visite of Miss Lydia Thompson,
but Alderman Carter dismissed the summons on the ground
that the defendant had acted in ignorance. The law presumes
that every man ought to know when he commits an error ;
and if the worthy alderman did not decide exactly in accord-
ance with judicial tradition, ho took a common-sense view of
the case. And we believe that many poor country tradesmen
who have had “ to pay the piper,” through selling piracies in
ignorance of their liability, would have done better by appeal-
ing to a jury than by showing the white feather, and paying
a sum of money to stay the proceedings of their prosecutors.
It is only a comparatively few months ago that a great number
of newsvenders in the country had actions brought against
them at the suit of Moore, M’Queen, and Co., and Ernest
Gambart, for selling copies of “ The Return from Hawking ”
and “A Distinguished Member of the Humane Society,” which
had been given away by the publishers to the subscribers of
Bow Belli. Much annoyance was caused in consequence to
very poor people, and in the Thames Police Court it was stated
that from a needy widow, living in a by-street, £12 were
demanded for compensation, though the total number of copies
she sold was only twelve, and from which the profits realized
amounted to just fourpence. This was indeed practising the
lex talionii with a vengeance !

Messrs. Graves and Co. suggest that as some 700 pictures
are annually exhibited at the Royal Academy, there must be
many of such worthy of being reproduced ; and they propose
that a public company should bo established for the purpose of
disseminating "cheap art.” The hint is not altogether a bad
one, and wo have no doubt that many artists would, for a fair
consideration, permit their paintings to be photographed, and
copies of them to bo sold. But then the difficulty arises of
getting good negatives from pictures, ns the effect produced by
pigments is generally blotchy, and lacks that defined sharp-
ness which is obtained from engravings. In France, however,
this difficulty is overcome. There the artists aud photo-
graphers work in harmony. The former first prepare their
designs in sepia, and from these the latter work, while the
colours are subsequently added by the painter.

In speaking of the law of copyright. Lord Mansfield said : —
“ It is certainly not agreeable to natural justice that a stranger
should reap the beneficial pecuniary produce of another man’s
work.” And in this expression we fully coincide. As the law,
however, exists, there is no direct means to discover what
prints and what photographs are copyright. Dealers in such
goods may thoreforo very innocently transgress the law, and
subject themselves to heavy penalties; particularly so at the
present time, when unscrupulous men are employed to tempt
unwary people to buy, and still more unscrupulous individuals
are willing to tempt the before-mentioned purchasers to sell.
There is a great demand now existing for photogr.aphic pic-
tures, and wo think the piiut-publishers are doing a moral
wrong, firstly, by not endeavouring to satisfy the public
requirements ; and, secondly, in omitting to issue details of
those goods in which they claim a copyright. Trading in

photographs is now very hazardous, and wo advise dealers to
bo chary as to their proceedings, and to purchase only of
established firms of good repute, conditionally that the said
firms will hold them harmless in any ulterior proceedings that
may be taken against them in respect to their dealings in such
goods. There are many works represented as copyrights that
are not such, while there are numerous plates concerning
which there is much doubt. These circumstances cause much
difficulty to even the most experienced persons connected with
the trade ; and as reliable evidence is not always attainable,
errors are unwittingly made. The existing position of the
scrap trade is, therefore, so uusatisffictory, that we think legis-
lative interference is requisite. If a person publish a book,
there are, by reason of the many indices that are issued, moans
of finding out the nature and title of the work, while the
volume may bo readily seen and perused at the British
Museum. With works of art it is dift'erent. An individual
may desire to reproduce a particular design in photography.
If, however, ho exercise all his personal ingenuity in endeavour-
ing to discover whether any copyright exists in it, he will
probably fail to secure cerroct information. At Stationer’s
Hall ho will not learn anything unless he know the name
under which the design has been entered, while even if this be
known, the description may 'no so ambiguous that ho will fail
to recognize it as referring to the work he wishes to reproduce ;
for be it known, that it is not requisite on registration to supply
a copy ot the work desired to bo protected. We therefore sug-
gest the establishment of a museum of art, which should be open
to all persons wishing to make inquiries respecting copyright,
and where photographs should be kept of every protected work,
whether statue, painting, print, or photograph. Such an estab-
lishment would probably bo more effectual in putting down
piracies than have been the late criminal prosecutio is, as it
would wholly prevent pleas of ignorance or other illusive ex-
cuses being made iii extenuation of error.

Certain judicial decisions recently given have caused much
consternation among the dealers. Fines of £250 and £130 and
expenses, irrespective of civil proceedings at law, are not of
every-day occurrence, and may well strike terror into the
camps of the pirates. Whether the decisions arrived at by
the magistrate were, or were not, right wo shall not discuss,
though we consider they were cases in which leniency might
have been shown. Wo do so because it was proved in evidence
that the prosecutor’s spies tempted the defendants to procure
particular goods on the faith of certain representations, and an
old maxim states that " the tempter is worse than the thief,”
though wo do not believe that the last word of it is any way
applicable to the defendants. They wore not dealing in the
piracies, and the spies, finding out such to be the case, made
tempting offers, and, poor human nature not being infallible,
the scouts succeeded in hunting down their game. They did
not, however, bag them at once, but let months roll away, and
when their victims had almost forgotton the circumstances of
their delinquency, the avenging summonses were issued. If
several persons combine together for the purpose of inducing
others to commit legal offences, it appears to ourselves very
much like a conspiracy. In all cases, therefore, where prose-
cutions are instituted on the evidence of hired tempters, or
spies, we would award the very lightest punishment that the
copyright law allows. R. H. M.

I^lrocabings 0f Surictifs.

South London Photographic Association.

The usual Monthly Meeting was held in the City of London
College, on the evening of Thursday, April 9th, the Rev. F. F.
Statham, M.A., in the chair.

Tho minutes of a former meeting were read and confirmed.
The CnAiRMAN announced that tho presentation prints
selected for the present year were “ Going to Market,” 16 by
12, by Mr. H. P. Robinson, printed in carbon, and a whole-plate
picture by Mr. Rejlander, entitled “ Homeless,” printed in
silver. He also called attention to a circular inviting photo-
graphers to contribute to a fine art exhibition at Darwen, in
Lancashire.

The officers for election at the Annual Meeting in June were
nominated.

April 17, 1868.]

THE PHOTOGRAPHIC NEWS,

189

The Chairman then announced that the evening having
been set aside for the examination of photographs and conver-
sation thereon, ho wou'.d bo glad if tlie members would place
before the meeting the examples of the art they had brought
with them.

Mr. Cocking (Hon. Sec.) exhibited three portraits, 10 by 8,
possessing the characteristics of great richness, force, and
depth seen in most of M. Salomon’s portraits. All the pictures
displayed much artistic feeling ; one, of a gentleman, taken
under somewhat difficult circumstances as to light, &c., was
exceedingly fine and vigorous, possessing excellent gradation
and modelling, and unusually fine rendering of light and shade.
Mr. Cockin also exhibited a family picture, consisting of father
and mother and fifteen children, mounted in the spaces left in
an illuminated design which he had prepared for the purpose.

Mr. Wharton Slmpson exhibited examples of the work of
M. Adam-Salomon, of Paris, and of Mr. Notman, of Montreal,
done in a similar stylo ; also of tho work of Herr Milster, of
Berlin, and some examples of American carbon printing, all of
which were much admired.

Mr. Booty exhibited some interesting landscapes, amongst
which were some interesting snow scenes and some good cloud
effects, obtained by giving a grailuated exposure, tho foreground
being uncovered much longer than the sky.

Mr. Dallmeyer exhibited a largo selection of Mr. England’s
charming Rhino pictures taken on dry plates ; of Faulkner’s
portraits of children ; of Mr. Russell Manners Gordon’s exqui-
site landscapes; of Mr. Rejlander’s art studies; and some other
pictures, all illustrating the qualities of his various forms of
lenses.

Mr. Blanchard exhibited some remarkably fine, massive
portrait studies, and some architectural pictures taken with
Dallmeyer’s wide-angle Rectilinear lens. He explained, in re-
ference to a view of Cannon Street Station and Hotel, that it
would ha ve been impossible to have secured the picture with any
other lens, on account of the contracted situation. The view
in question was taken from the opposite side of the street, and
although the perspective was somewhat exaggerated by taking
such a large picture with a lens of such short focus, he con-
sidered such a lens an invaluable addition to the photographer’s
stock of apparatus, enabling him to secure many valuable
pictures before beyond his reach.

Mr. England said that many of the pictures bo then
exhibited were taken with the rectilinear lens, and could not
have been taken without it — that of Cologne Cathedral, for
instance, which had never been taken before, its contracted
sitnation rendering it impossible with ordinary lenses. This
picture, although of cabinet size, was taken with a lens of 4}
inches focus. In using such a lens he avoided, where he could,
such a point of view as would render the exaggerated perspec-
tive very apparent.

Mr. Dallmeyer pointed out the importance of employing
special lenses for special uses, and of avoiding tho wide-
angle and short focus lenses for ordinary purposes. AVIiilst he
had endeavoured to meet the wants of photographers by giving
them instruments to suit occasional and special necessities, he
would recommend that for ordinary purposes a lens including
about 54° should bo used, which would give results natural and
true, without any appearance of false perspective.

Mr. Hunter exhibited a large and interesting collection of
the photographs of tho Amateur Photographic Association.

Mr. Wall exhibited a print from a negative in which an
etching-needle had been used to modify tho detail in the acces-
sories and background, and also some examples of a method of
producing, by photography, blocks for surface-printing from
copies of engraving.

Mr. Werge exhibited an interesting series of pictures illus-
trating eight distinct types of photography. Mentioning them
alphabetically rather than chronologically, they were the Ara-
brotype, or collodion positive on glass ; tho Calotypc, or paper
print, by Fox Talbot’s method; the Chrysotypo— one of Sir
John Ilerschel’s processes — in which the sensitive surface was
prepared with ammonia-citrate of iron, and developed with
gold ; tho Cyanotype, another of the processes of Sir John
Herschel, in which the imago was produced by the aid of prus-
siate of potassium ; the Daguerreotype, a portrait of the wife of
Daguerre, taken by himself ; a Diaphanotypo, which was a
paper print made transparent, and coloured at the back in oil ;
a Ferrotype, or Collodion-positive, on an enamelled iron plate ;
and an Ivorytype, or paper print, coloured on tho surface in
water-colour, and rendered transparent with wax, so as to re-

semble a tablet of ivory. Mr. Werge also exhibited a print on
albuminized paper, printed twelve years ago, which was in very
perfect condition, showing no fading or change of colour. It
was washed as described at a recent meeting by Mr. Werge.

After explanation and examination of these and other prints,
the proceedings terminated.

London Photographic Society.

The usual Monthly Meeting of this Society was held in the
Architectural Gallery, Conduit Street, on tho evening of April
14th, Mr. J. Glaisher, F.R.S., in the chair.

The minutes of a previous meeting were read and confirmed.

Tho Chairman said that Mr. Mayall had kindly promised to
add to the list of presentation prints already announced by
giving each member a photograph, the subject of which re-
mained to be decided by the council or tho donor.

Mr. Griggs then proceeded to read a paper on Photolitho-
graphy, and the application ot Photography to Chromo-litho-
graphy, doscribing in detail tho process employed at the India
Museum in producing the designs of textile manufactures and
other art industries for distribution amongst the manufacturers
of this country. A salient difference in his operations to those
usually employed in tho recognized processes- of photo-litho-
graphy consists in the fact that ho washes his transfer with
cold water instead of boiling water. An especial interest was
communicated to tho proceedings by the practical demonstra-
tion of tho operations which was afforded, Mr. Griggs, with tho
aid of an assistant, printing, in presence of the meeting, certain
impressions from two stonos forming the design ot a turban
piece. He also washed off a transfer before the meeting, placed
it on the stone, rolled it up, and distributed a few impressions
among the members.

Tho Chairman called attention to some excellent examples
of photo-chromo-lithography Mr. Griggs had placed at the dis-
posal of the Society for presentation to members as examples of
the kind of work he had described, and tho mode of producing
which he had demonstrated. Members would receii e the prints
at the close of the meeting, on application to the Secretary. Ho
also called attention to a fine collection of views on the Rhine,
produced by Mr. England on dry plates ; and to a number of
fine examples ot the Eburneum process, produced by Mr. John
Keene.

Mr. Mayall expressed his personal thanks to Mr. Griggs for
the reading of one of the most interesting papers, accompanied
by the most satisfactory illustrations, that they ever had tho
pleasure of witnessing. He was deeply impressed by what had
been brought before them, of tho immense strides which photo-
graphy was making as a handmaid to manufacturing art ; ho
had scarcely been prepared to expect that photography
should bo made tho agent of distributing tho splendid
designs of tho textile fabrics of India to every manu-
facturer in this country, rendering them with a degree of
accuracy which gave the value ot technical pattern for actual
guidance in work. The manufacturers of Manchester and
Paisley must at once see tho importance of guides so accurate
and perfect, and the result must be beneficial in our art indus-
tries. This was an illustration of how photography might be
made valuable in cultivating our workmen in connection with
all industries involving tho art of design ; aud ho hoped to see
tho admirable productions of tho middle ages, tho works of
Cellini and others, made familiar by a similar means. Ho
hoped, too, that the manufacturers of this country, availing
themselves of such aids to design, would send back to India
fabrics which should illustrate their triumphs in manufacturing
industry. Doubtless Mr. Griggs’ process would have many
valuable applications, especially in chromo-lithography. He
should like to learn from him if these designs could be pro-
duced in cylinders, so as to fit for the purpose of tho calico-
printer, where it might probably be of incalculablo value. Ho
foresaw immense advantages in this respect, in the designs of
the fabrics produced in our cotton districts, when true art
being wedded to manufacturing industry, the two going hand
in hand, aided by such appliances as Mr. Griggs had brought
before them. All true art required the devotion of a life study
to give it value, and in proportion as true art could be multi-
plied and popularized it would drive out the bad art which was
only too common. The process illustrated to-night would give
currency to the productions of such men as Albert Durer and
others of a high class. It was too true that we were, in this
country, behind the rest of Europe in the arts of design. Ho

190

THE PHOTOGRAPHIC NEWS,

[April 17, 1868.

had had the pleasure of examining the great book opened in
Paris last year — he meant the International Exhibition — in
company of four of the master minds of this country, of which
Sir Charles Wheatstone was one, and they were painfully struck
with the inferiority of this country in the arts of design : with
manufactures which might enable us to clothe the world, wo
had yet much to learn in this respect. He hailed, therefore,
with great delight every agency which should advance us in
this respect, and enable England to maintain its position in the
progress of art and industry, and preserve its superiority in our
time, as it had in bygone ages.

In answer to a member as to what were the essential features in
this process dift'ering from that of Sir Henry James, Mr. Grioos
said that the essential point was the fact that he washed away
the superfluous matter from the transfer with cold water, and
Sir Henry James with hot water. By doing tliis Sir Henry
James removed all the gelatine as well as the ink from the
lights ; whereas he (Mr. Griegs) only removed the ink. leaving
the gelatine, which gave him an advantage in transferring,
the gelatine causing the print to adhere to the stone, without
risk of moving, when passing two or three limes through the
press in transferring. His paper also received a preliminary
coating of starch. In answer to Mr. Mayall, ho thought that
there would be no difficulty in transferring impressions on to a
cylindrical rollers.

Mr. Peter le N eve Foster, in answer to some remarks, said
that the essential distinction between the transfer of Mr.
Griggs and Col. Sir Henry James was, that the latter removed
everything, both ink and gelatine, from the transfer, and Mr.
Griggs removed the ink only, leaving the gelatine in the
lights.

Mr. Mayall thought Sir Henry James’ process was excellent
for maps, but it struck him as scarcely equal to Mr. Griggs' for
artistic purposes, the latter having more delicacy.

Mr. Griggs did not wish to make claims to superiority, but
his aim in leaving the gelatine was to support the flue lines,
as when they were left in relief and all gelatine removed, they
were apt to break down under the pressure of transferring.

The Chairman, in a vote of very hearty thanks to Mr. Griggs
for his interesting and practical paper, said that every one was
indebted to Sir Henry James for having so early published his
process in a blue book, and so prevented it being locked by a
patent, which it would otherwise have been. The process of
printing in various colours was, iu his own estimation, of
peculiar interest, on account of the nicety and mathe-
matical accuracy necessary in securing the register of the
prints produced from such a number of stones. He felt sure
they would heartily thunk Mr. Griggs for his paper and for
the valuable practical demonstrations.

The thanks were expressed by acclamation, and were duly
acknowledged by Mr. Griggs.

The Chairman then read the following letter on the subject
of Mr. McLachlan’s discovery

“ Dr. Hugh Diamond, Honorary Secretary of the
Photographic Society.

“ Sir,— "We have the honour to report that on the 12th
P’ebruary last we met Mr. Me Lachlan by appointment at the
rooms of the Society of Arts, and that he then explained to us
the principles of a scheme of photographic practice by which
ho claims to have excluded many difficulties and sources of
failure in the production of cotlodion negatives. Mr.
McLachlan attaches great importance to the selection of
particular qualities of certain photographic chemicals, samples
of which have not, however, been submitted to us.

“ Without such aid to guide us, experiments were conducted
at Woolwich with the ordinary materials, and we succeeded
in realizing some of the conditions promised by Mr. McLachlan.

“ The question as to how far the permanence of the bath and
uniform working of the collodiou and other chemicals may be
guaranteed according to this plan must be left for future ex-
periment to decide. — Wo are, sir, yours &c.,

“ P. Lo Neve Foster, M.A.

“ London, April 8th, 1868. “ John Spillkr, F.C.S.”

The Chairman then said that Mr. McLachlan had come
from Manchester that day purposely to communicate to the
members of the Society his valuable discovery, but it was un-
fortunately too late to go fully into it. Ho would ask him to
give them briefly some information as a preparation for the
paper he promised to read next month giving fuller information.

Mr. McLachlan said that as what he had to communicate

was the result of almost a lifetime of experience to which
almost everything else had been sacrificed, he could only very
partially enter into tho subject in the short time then possible.
He had been led to examine the subject from his ex-
perience, which resembled that of all photographers, namely,
that things would work well for a week, and then, for a
week or two more, almost everything would go wrong.
As they were using the same things it was elearly a question
of condition of the chemicals, which, if kept in a proper state,
ought to guarantee immunity from all failures except those of
manipulation. After briefly stating the eommon practice in
photography, and its uncertainties and troubles, he said his aim
had been, then, to prepare his bath and his collodion so that
pure iodide of silver would be formed in the film in eouivalent
proportions, without the disturbing influence of acid, which
tended to separate the iodide from its base. He had suc-
ceeded in preparing a bath without acid, which could not be
charged iu excess with the fatal source of pinholes— iodide of
silver — which, while holding oxide of silver in solution, would
not fog the plate. Then he prepared collodion to suit tho bath,
and for convenience ho modified commercial samples. As
usually sold, all collodions were made from cotton prepared with
an excess of sulphuricacid: they contained an acid, not sulphuric
acid, but something analogous to it ; this caused streak's, brain-
markings, &c. It was held by photographers generally that
nitrate of silver was not altered by light. Now he found it was
altered, and this was an important element in his conclusions.
His method was as follows: — Ho took crystallized nitrate of
silver, not the recrystallized. By preference he used a black-
looking sample, which was generally rejected'; it seemed moist
and dirty, and appeared to contain a good deal of the water of
crystallization. Members could best judge of what he meant
by examining the sample he now exhibited. With this he made
a bath, at- the rate of one ounce to one ounce of pure distilled
water. Taking six ounces of solution so prepare!, and putting
it out in a 40-ounce bottle to the action of light, he left it as
long as he could. Ho preferred three months of the warmest
and sunniest portion of the year ; but one month, or even less,
would do a good deal. If the water and silver were pure and
neutral, no apparent change would take place ; if the solution
wore made either acid or alkaline, the effect of light was con-
siderably limited. Now, to test the change effected, he made a
solution of caustic potash, 1 grain to an ounce of distilled water.
If a drop of this were added to an ounce of the silver solution
before it were sunned, a turbidity would be caused by the pre-
cipitation of oxide of silver ; but after tho sunning, on adding
tho potash solution, the bath would have been found to have
acquired tho property of holding oxide of silver in solution ; and
although a considerable quantity might bo formed, it was ro-
dissolvcd, and the solution remained clear after shaking up a
little. Practically, ho only added 1 drop of potash solution to
1 ounce of silver solution, so as just to secure a slightly alkaline
condition. He then took 2 grains of iodide of potassium and
dissolved in a very small quantity of water, say 10 minims; this
he added to 10 or 12 minims of the strong silver solution, which
was then diluted to the strength of 35 grains to tho ounce, and,
singularly enough, no precipitate of iodide of silver was formed
on dilution, nor would any indication of the presence of excess
of iodide of silver be present on working. After tho lapse of a
few days, however, a curious change took place : the iodide
of silver was all preeipitated suddenly, and after that,
no matter how much water was added to dilute the bath,
no turbi'lity or apparent presence of iodide of silver was
produced. This was tho bath in perfect working order,
slightly alkaline. He next prepared a suitable collodion ; aud,
for simplicity, he would mention one excellent sample of
commercial collodion — he referred to Mawson’s. He would take
this in a ripe, red, acid condition. If used in the bath as
prepared, it would give brain-markings and stains, because of
the antagonism of conditions. It must be made to harmonize
with the bath. He therefore took the potash solution and
added about 4 drops to a 5-ounce bottle of collodion; this
neutralized tho acid, making the collodion nearly colourless ;
and this neutral eollcMion employed in this alkaline bath would
ivo clean brilliant negatives without a trace of fog, at once
elicate and vigorous. Ho required, however, for tho best
result, a suitable developer. For this he preferred tho common
dark green dirty-looking protosulphate of iron. But as it was
often more difficult to get this than the clean, pure, light green
crystals, he would describe his mode of making the developer
with the pure sulphate. Ho took 16 ounces of a 12-grain

April 17, 1868.]

THE PHOTOGRAPHIC NEWS.

191

solution, and added to it 0 drachms of methylated alcohol ; he
placed the bottle containinp; this on a piece of wood in a sauce-
pan of cold water, and allowed it to come gently to a boil,
continuing the boiling for about ten minutes. To this he
added 3i ounces of glacial acetic acid, and then filtered ; this
flowed over the plate evenly at onee, and gave admirable
results. With the common sample of iron he made a similar
solution, but he added to 1 ounce of alcohol 2 drops of
the potash solution, and of this alcohol added o drachms.
In this case the solution should be warmed, but need not be
boiled. The same acetic acid would of course be added. Mr.
McLachlan gave many explanations and cautions, but we have
here endeavoured to present the salient parts of his operations
until he have opportunity of doing himself full justice in a
written paper.

A vote of thanks was passed to Mr. McLachlan, and Mr.
Mayall proposed that a committee, consisting of Mr. Bedford,
Mr. Sebastian Davis, and Mr. II. P. Robinson, be formed to
work experimentally with Mr. McLachlan, and report.

The Chaikhak said the Society could scarcely appoint a
committee which should in any way control Mr. McLachlan in
selecting his own mode of putting the matter before them, but
that he would doubtless bo glad to receive the assistance of
those gentlemen .

Mr. Mayall explained that his aim was to give weight to
Mr. McLachlan’s statements by ex[)erimental confirmaiion ;
and it was arranged that the gentlemen named and Mr.
Mayall should further communicate with Mr. McLachlan.

After a few further remarks the proceedings terminated.

Corresgart&tac£.

PHOTOGRAPHY AND DISEASE.

Sir, — I have often been pleased with the interest taken by
you in the personal welfare of the followers of the art of photo-
graphy, no matter whether protessional or amateur, proficient
and highly successful down to the veriest tyro ; all alike have
.your sympathy ; candidly and truly do you advise with your
readers.

Well, now, you recently opened your columns to discuss the
subject of the health of photographers ; and that subject, one
of the most vital to every human being, lias for many years
been ever present to my own mind, sensible as 1 have always
been that I was practising a business that was, in its very
nature, prejudicial to my health unless I exercised great con-
tinued care. I have always exercised care, and, with the bless-
ing of God, I have had my reward. I am an old photographer,
and I may say that I am not a young man — over 50. I do not
boast, but state simply as a fact that I enjoy robust health. Eor
this blessing 1 am thankful. From the days of Daguerreotype
1 have led an industrious and energetic life, and hundreds of
times, at the end of a hard day in the glass house and dark
room amongst heat and chemicals and excitement, I have been
thoroughly exhausted ; but I have lived out of town (I am a
photographer in a large provincial town), and intend to con-
tinue to do so. After business is over, my plan is to take the
’bus, if tired or bad weather, and get away into the country to
my residence, which is well ventilated, and wliere we have
an abundance of fresh air ; of that fresh air I have a good
drink before I return to business next morning. I am
thoroughly refreshed mentally and physically, and am ready
buoyantly to^face either customers, chemicals, or anything else
in reason. I may say that, although not a teetotaller, I am a
very temperate man, and make it a rule not to drink intoxicating
drinks during business hours. I take a very light lunch at
mid-day, and after business is over I make a substantial meal.
In conclusion, I may say that I cannot see how a photographer
can expect to have good health, or, any how, robust health, when,
especially in large towns, he “ lives on the premises," carrying
with him to bed the fumes of the cyanide and other poisonous
drugs, permeating and clogging the whole system, and rising
next morning unrefreshod, restless, enervated, and almost life-
less. Is not this the case with many of our brothers in photo-
graphy?— I am, sir, yours respectfully, Yorkshire.

SOME DRY PLATE HINTS.

Sir,— If the following hints are of any use to the photo-
graphic world perhaps you will allow them space in your
valuable columns.

I have for some time been using England’s dry process
with the greatest success, and am only too glad to bear testi-
mony to its value. I have used the formula laid down in your
Year-Book approximately. In the albumen, I have varied
the proportions of water, using half-and-half, and sensitizing
with from 30 to 10 grains of silver, according to the tempera-
ture of my operating-room. As I have never found any differ-
ence caused by the heat during exposure, even though the
plate be kept a month in hot weather after being sensitized
with the 30-grain solution, I have used collodion bromized
with from 2 to 4 grains of bromide, and with the latter have
found that the plates absolutely improve with keeping up to a
mouth ; and that in no case deterioration takes place in
them for three weeks. I have also found that the exposure
given to the plate signifies little, so long as it has between three
times and six times the exposure necessary for wet plates.
Below or above these points the negative is under or over-
exposed. In the south of France, where I am at present residing,
the houses suffer from the “ no tap ’’ system, the Frencu
seemingly having an objection to moro than the smallest
quantity of w.ater inside their habitations. I advise speculators
in water works schemes to have nothing to do with those that
may be proposed for the towns out here). This is a serious
drawback to the pleasant preparation of these plates. 1 have
adopted the system in consequence of washings in trays
partly. I coat, sensitize, and lay the plate in a dish of water,
face upwards ; coat, and prepare another ; take the first plate out
of the water, swill, albuminize, and sensitize as usual ; swill,
lay in a dish with sloping sides, face downwards, till the next
plate is ready to take its place ; swill again, and set up to dry.
Pictures are always much more satisfactory if development
ensues before thirty-six hours after exposure. I have found
that the negatives, after a longer interval, are weak, as a rule.
The coffee process is very sure, but the exposure is too long
to please me, being eight to ten times that of wet. The
negatives obtained by it are very good, but the right amount
of washing is important to be attended to ; extra washing
diminishes the sensitiveness amazingly.

In conclusion, let me recommend a receipt for using up the
yolks of the eggs used for the albumen : — To two yolks add one
glass of sherry and one of milk ; beat up well with powdered
white sugar, a little nutmeg, and a teaspoonful of brandy.
The mixture taken internally before commencing adds mate-
rially to the good preparation of the dry plates, and a similar
dose afterwards is not amiss. — I am, &c., R. E.

April lOM, 18C8.

in tbf Stubicr.

Photography and the Abyssinian Expedition. — The
official report of Lieut.-General Napier in regard to the opera-
tions of the Abyssinian Expedition states that the photo-
graphers of the Expedition have been employed in photo-
graphing plans and views, as well as surveys of the route
onwards, prints of which are handed over to the commanding
officers of corps previous to the march.

Photographic Identification. — A singular distance of
doubtful identity has recently occurred, in which even a photo-
graph was insufficient to give certainty. The body of a man
was discovered in a newly-built house at Hackney, and in
regard to which the curious difficulty of identification has
arisen. Two medical men identify it as the body of an escaped
lunatic named lleasman, and his brother confirms their state-
ment. A lady identifies it as another person, her missing
husband, and her two sisters confirm her identification.
Another lady produced a photograph of a missing relative,
which bore a far more striking resemblance»to the deceased
than did either of two photographs subsequently shown by Mr.
lleasman as those of his brother. The incidental circumstances
seemed, however, to give the most weight to the supposition
that the body was undoubtedly that of Heasman the escaped
lunatic.

192

THE PHOTOGEAPHIC NEWS.

LAprIl 17, 1868.

Antidote fob Cyanide. — The injurious effect on the skin
produced by cyanide of potassium in electro-plating establish-
ments is completely arrested and ulcerous sores prevented by
anointing the hands with a mixture made by incorporating
protosulphate of iron in fine powder with linseed oil.

3^0 ®0msp0tt&fttt5.

P UN JAB EE. — It is not difficult to cover a stout w’iro with guthi-pe rcha
to form a dipper, but it requires constant observation to see that no
portion of the ^tta-percha gets removed, so as to bring the metal into
contact with the silver solution. Take a strip of thin sheet gutta-
percha, wide enough to meet round the wire, soften by immersion
in boiling w-ater, dry carefully, then envelop the wire, making the
edges wrap over a little. The flame of a spirit-lamp or a piece of
hot metal will then melt the edge of the sheet sufficiently to make
it adhere like a soldered joint : or, another, and p«'rhaps better,
plan consists in taking the thin sheet gutta-penffia like thin paper,
and cut into narrow strips ; heat the wire, and wrap round the
gutta-percha spirally. When once covered, pass it through the
flame of a spint-lamp, and with moi.stencd fingers press it dotvn
to cause all the edges to join. Repeat this process until a suf-
ficient covering is secured. As a rule, wc prefer glass dippers, as
they are most ea.sily made, most easily repaired, and under no cir-
cumstances injure the bath. If a little gutta-percha or india-
rubber be attached to the bottom, the risk of Imocking out the
bottom of a glass bath is avoided.

SciENTiA CUM Akte. — The yellow spots in the print enclosed are
undoubtedly due to imperfect fixation. Vignettes are.much more
subject to risk of imperfect fixation than fully printed out prints,
as you will readily perceive on a little reflection. The more per-
fectly a print is covered with dark objects the more perfectly all
the chloride of silver in the paper is reduced, and the less
there is for the fixing bath to remove. The more white there is in
a print — as in a vignette, for instance — the more unaltered chloride
of silver it contains when it is immersed in the fixing bath.
Therefore, if the bath be rather weak, or a little exhausted, the
vignettes, or prints containing most unaltered chloride of silver,
will suffer first and most. Three ounces of hypo to the pint of
water ^vill give a somewhat weak bath, which will readily get
somewhat inert after fixing a batch of prints. We prefer at least
4 ounces to the pint, and 5 ounces are better, especially where
vignettes are concerned.

J. R. L. M. — The tru.stees, as we explained some time ago, h.ave
been acting under legal guidance from the first. The communi-
cation to which you refer was a tissue of mis-statements. Sub-
scribers could at any time obtain information from the trustees, as
many have done satisfactorily. Non-subscribers have no concern
in the matter.

J. G. B. — A vessel for the nitrate bath made of pure silver might,
of course, be used, but we cannot recommend it. The ba.ser metal
used in soldering would undoubtedly be attacked. Any excess of
nitric acid would also act uj)on the metallic silver. A glass bath
in a wooden case is quite safe, with fair u.sage, for travelling ; or,
wood lined with pure thin sheet india-rubber may be used.

South Devon. — The solution of iodine 1 grain, iodide of potassium
2 grains, in water 1 ounce, is a stock solution, of which, for the
clearing process to which you refer, something less than a drachm
should be added to an ounce of water. A very dilute solution of
iodine will serve to convert the abnormal deposit on shadows into
iodide of silver; and this is all that is required. If any portion
of the actual image is converted into iodide, it will, of course, be
dissolved by hypo or cyanide, and so impoverish the image.

P. — There are several toning baths which keep well and reduce very
little ; but only one, that we remember, that docs not reduce at all.
The sulphocyanidc bath keeps well and does not reduce at all.
Dis.solve 1 grain of chloride of gold and from 46 to GO grains of
sulphocyanidc of ammonium in 3 ounces of water. This may be
used at once, or will keep any length of time. The acetate bath,
containing 1 grain of chloride of gold and 30 grains of acetate of
soda in fnan 4 to 8 ounces of water, may be u.sed in a couple of
days, or will keep for months ; it yields a warm tone, and re<lucos
very little. The lime bath, containing from 1 to 2 gniins of chloride
of lime and 1 grain of chloride of gold in 4 to 8 ounces of water,
is best not used for a week after it is mixed, and will keep for
months ; it yields a black tone, and roduoes less and less ns it gets
older. 2. To keep a plate moist after development, sons to intensify
and fix at leisure, coat the film either with a mixture of equal parts
of glycerine and water, or equal parts of golden syrup and water.
AVe prefer the latter. This will keep the film moist many hours ;
after washing it off, the image can be further intensified, if necessary,
or fixed at once. 3. If you will describe the details of your morphine
operation.s, we can probably account for the failure. 4. AVhen

development is tardy with Mr. England’s plates, he adds a trace of
ammonia to the plain pyro, which rapidly brings out an image.

Beta. — You will find a full description of the “vitrified sheet
india-rubber” and its probable applications upwards of a couple of
months ago (February 7th). Actual experiment will be necessary
to test its practical value. When it is ready for introduction into
commerce wc shall have more to say about it. We have examined
a sample; it is something liko giddbeaters’-skin, but a little
thicker. It will be sold in sheets ; the price we cannot state.

W. J. A. G. — If morphine bo u.sed for preserving moist plates, all
free nitrate of silver must be first thoroughly washed away. For
keeping a plate twenty-four hours, perhaps the glycerine process
is best; you will find it fully described on p. 231 of our Volume
for 1867. If you de.scribe in detail the o(«rations you employ in
the procc.ss which gives you so many failures, we can probably
point out their origin.

AVatekloo. — You may, without serious results, mse the same solu-
tions for plain paper which you employ for albuminized paper,
nitliough the solutions for one are not always the best for the
other. The dirty yellow of the paper you forward is due to imper-
fect fixation, and arises, probably, from the ilsc of an exhausted fix-
ing bath ; it may possibly arise from keejiing the paper sensitive
some time before use, or, rather, before fixation ; in which case a
decomposition has ensued in the combination formed between the
silver and the sizing matter of the paper, leaving a dirty, insoluble
compound on the body of the paper. This you may sec on ex-
amining it by transmitted light. Plain salted paper has a right
side and a wrong ; the right side has the smoothest, finest stirface.

J. Taylok. — The letter has been addressed and forwarded.

AV. Crouch. — Your negatives hanng the appearance of positives
instead of negatives is due to insufficient exposure and insufficient
development. The negative of the print enclosed has either been
much out of focus, or you have printed with the wrong side in
contact with the paper. 2. You cannot tone after fixing, satisfac-
torily ; but you may, without danger, use sufficient light in toning
to examine the progress fairly. A lamp or a candle would do no
harm to the toning print, nor would an occasional glance by dull
daylight. 3. If the film of the negative stick to the paper, there
is little hope of pre.serving it. It is the result of imperfect varnish,
or of using the negative too soon after varnishing. Let us hear
further of your progress. You have no need to be discouraged
with the results of your first week’s practice.

J. Miller. — The IB long of the same maker will answer your pur-
pose be.st. The front lens may be used as a land.scape lens. 2 No,
to both parts of the question.

J. C. G. — No. 1 is most .suitable, and No. 4 least suitable.

L. B. — The print is from an imperfc>ct negative, thin and foggj’,
apparently ; it is t<x) lightly printed, and is over-toned ; hence the
grey, flat appearanee which puzzles you. No amount of toning
will give vou deep blacks without a sufficient deposit of silver to
begin with.

R. D. (Devizes). — Your doublet in preference to your single land-
scape lens fur copying plans. 2. AA'illis’s process is a patented
process.

H. P. AA’. — AV’e are not familiar with the especial lens you de.scribe;
but it doubtless requires the same treatment as similar portrait
len.ses. To u.se it for landscapes the back lens must be removed
altogether, and the front lens reversed, so as to present its concave
side to the landsc.apo. The stops being placed in their ordinary
places will now be in front of the front lens (which is screwed in
the back cell) as nearly ns circumstances penuit, in the proper
place.

B. C. — The effect you describe is fog. It may proceed from a
varietv of causes; but most likelv from the condition of the bath.
Tr>’, lirst, the addition to the batli of a drop or two of nitric acid.
If tnat does not effect a cure, take a 10-grain solution of bicarbon-
ate of soda, and add a few drops at a time until the bath remains
turbid; then cxpo.se for a few days to the sun; filter, and, after
adding a drop or two of acid, trj' again. The u.se of a newly-
mixed collodion, or of newly-mixed developer, will conduce to fog.

G. R. Fitt. — AVe «nll examine the precipitate, and report. Thanks
for the communication on the Honey Process, which will appear in
our next.

“ Lux OnAPHlcus on the AVing,” and several other articles, are
comp<'lled to stand over until next week.

Several Correspondents in our next.

All Communications for the Editor to bo addressed to 15,

Gough Square, Fleet Street, London, E.C.

*,* All photographs forwarded to the Publisher for registration receive
attention at once ; but the pressure on our space sometimes compels us
to defer the acknowledgment in this column. It should be borne in
mind, therefore, that non-acknowledgment at once does not necessarily
imply non-receipt or non-registration.

THE

VoL. XII. No. 503.— 24, 1868.

NEWS.

COHTENT8.

PAGE

Mr. McLacblan’s Discovery 193

Mr. Origgs’ Lithographic Process 194

Observations on Mr. McLachlan’s Process. By J.Spilicr, F.C.S. 195

A Modified Honey Process. By Q. Robert Pitt 196

Mr. McLachlan's Discovery. By Nelson K. Cherrill 197

Pictorial Effect in Photography. By H. P. Robinson 198

Remarks upon the Carbon Process. By Dr. II. Vogel 200

PAGE

Photography Applied to Mechanical Printing Processes. By

R. Origgs 199

Proceedings of Societies — Amateur Photographic Association ... 202

Correspondence — "Lux Oraphicus" on the Wing 202

Talk in the Studio 203

To Correspondents 203

Photographs Registered 204

MR. McLACHLAN’S DISCOVERY.

One essential feature in the mode of working recently
propounded by Mr. McLachlan involves specific advantages
and disadvantages. The fact that a protracted sunning is
necessary to prepare the nitrate bath involvesthcdisad vantage
that photographers cannot arrive at a practical decision at
once as to the value of the method proposed ; but it also
involves the advantage of checking hasty conclusions, and
rendering necessary patient esperiment and time for careful
thought before an absolute decision is made. In the mean-
time it is probable that various questions will bo asked, and
further explanations will be sought from Mr. McLachlan ;
and, as is the custom with almost every new method or modi-
fication introduced to photographers, the novelty and value
of Mr. McLachlan’s proposals will be freely challenged and
discussed. If this be done in a proper spirit, and for the
purpose of eliciting truth, we shall have pleasure in aiding
a thorough ventilation of the question. As time and oppor-
tunity will be required for testing by experiment the methods
described, we shall for the present forbear comment on the
subject ; but as Mr. McLachlan has kindly undertaken to
give such explanations in our pages as may from time to time
seem necessary for the elucidation of his improved mode of
working, we shall have pleasure in receiving the questions
of those interested in the matter.

We shall append here extracts from some letters we have
received, a-sking some questions on the subject ; and we may
here reply to several querists as to what is the character of
Mr. McLachlan's photographs, and how far they bear out
his claims to an improved mode of working. We have
recently seen a large number of the prints obtained from
negatives produced in such a bath as Mr. McLachlan de-
scribes. and they undoubtedly possess the highest technical
excellence, being exceedingly clean, delicate, and brilliant,
and free from defects. One correspondent, signing “ Theta,”
writes as follows : —

“ Will you be so good as explain whether Mr. McLachlan
insists on absolutely alkaline conditions, or whether he
adopts the method described simply to ensure neutrality ?

“ If the absolutely alkaline condition is necessary, how
does the capacity of the bath to hold oxide of silver in
suspension prevent fog, which is often the result of oxide of
silver which has been held in solution becoming precipitated
all over the plate instead of on those parts only where light
has acted ?

“ If the neutral condition only is required, is it not a
revival of the condition so often insisted upon by the early
collodion photographers at a time when iodized collodion
only was employed ? I believe that many old photo-
graphers now hold that a neutral bath made from pure
nitrate of silver, and an iodized collodion in good condition,
without any bromide, gives the most perfect negatives.

“ Is it not a fact that amongst the advantages conferred
by the use of bromides in collodion, one of the chief is, that
they have rendered unnecessary a degree of purity in all the
chemicals difficult to secure and almost impossible to
maintain, and that they have permitted the free use of
nitric acid as a source of cleanliness without any sacrifice
of sensitiveness ?”

Another correspondent, ‘‘ A. Z.,” writing on the same
part of the subject, says :

“ If I understand the statement correctly, Mr. McLachlan
works with collodion and nitrate bath as nearly as possible
neutral, or just tending towards alkalinity ; but 1 notice
there is a compensating element, the influence of which
Mr. McLachlan either overlooks or ignores. The develop-
ing solution contains an enormous proportion of restraining
acid. To IG ounces of a 12-grain solution 3J ounces of
glacial acetic acid are said to be added ; this gives at the
rate of more than eight times as much glacial acid as sul-
phate of iron, nearly half an ounce of the acid to 12 grains
of the iron ! And this after some pains has been taken to
oxidize a portion of the iron, and produce persulphate,
which is well-known to act as a restrainer, and promote
clcanline.ss and freedom from fog and abnormal reduction.
It strikes me that, without any especial preparation, clean
pictures might be obtained with such a developer even when
collodion and bath are neutral or slightly .alkaline.”

R. G. L. says : — “ I am anxious to try Mr. McLachlan’s
process, and as time appears to be an important element, I
do not wish to waste time by proceeding incorrectly. Can
you tell me where the peculiar quality of nitrate of silver
described as most suitable can be obtained ? And can you
give a sufficiently precise description of it to enable me to
distinguish it when I see it ?

“ Failing to procure the quality considered best, what is
next best? Or, will any ordinary sample of nitrate answer
in its degree ? Or, can it be treated in any manner which
will make it suitable? If not, and the proper kind can only
be procured now and then, how shall wo secure certainty in
working?

“ I notice that Mr. McLachlan is reported as stating that
the effect of light on the solution will be considerably
limited if it be either acid or alkaline. As many commer-
cial samples of nitrate of silver contain free nitric acid, I
presume that a solution made from such nitrate would re-
quire neutralizing before sunning. Is this so? It has been
customary to require that a silver solution should be made
faintly alkaline nefore sunning, and I have always found
this important, as the action of light on an alkaline solu-
tion has been more prompt and complete than on one in
any degree acid. Is Mr. McLachlan correct in stating that
in his operations the action of light is limited if the solu-
tion be alkaline ?

“ Assuming that I have obtained a good bath on Mr.

194

THE PHOTOGRAPHIC NEWS.

[April 24, 1868.

McLachlan's principle, how can I tell when the collodion is
in proper condition ? Shall I have to add any potash solu-
tion to a commercial collodion which is already colourless?

“ Finally, suppose all done as Mr. McLachlan has de-
scribed, and satisfactory results obtained, upon what does
the stability of the bath depend, or is it due to controllable
causes? On this point I cannot find, from the report, that
anything verjr definite has been said at the London meeting,
notwithstanding that constancy in the bath and unerring
certainty in the results are, as I understand the matter, chief
among the claims made for the new system."

We have selected the letters of certain correspondents for
extract here, because they contain questions of a representa-
tive character, and make known the difiiculties of others.
We have divested the extracts of other matter, and placed
the questions in a categorical form, to enable Mr. McLachlan
to deal with them with as little trouble as possible. Cate-
gorical answers to these questions will aid materially in
making the matter clear. Some of the questions we might
have answered ourselves, but we prefer, at present, to leave
the matter for fuller explanation in Mr. McLachlan’s hands.

In the meantino we may call attention to an interesting
article by Mr. Spiller on the subject, in which the reader has
the results of two months of experiment by an accomplished
chemist. Mr. McLachlan’s experiments and conclusions
therefrom have been confessedly of an empirical character.
As a practical man, he has worked out specific results of
which he feels he can speak positively, but of which he does
not undertake to explain the rationale. Mr. Spiller gives
what he believes to be the rationale of the matter, and attri-
butes the results obtained to the presence of chloride of
silver in the nitrate bath. The peculiar quality of the
nitrate of silver upon which Mr. McLachlan lays stress Mr.
Spiller believes to be due to the presence of chloride of
silver ; and he is confirmed in this view by the fact that of
two baths with which he has experimented during the last
two months, made with ordinary nitrate of silver, one was
not sensibly affected by light, whilst the other, to which
chloride of sodium had been purposely added, gave the
reactions which Mr. McLachlan describes.

We have been asked if Mr. McLachlan has divulged the
whole of his secret, or whether he retains something for the
promised paper next month. So far as we understand the
matter, the promised paper will state many details important
to be remembered, but that he has stated without reserve the
principles upon which he has found success to depend. On
this point we shall, however, allow Mr. JIcLachlan to speak
for himself.

MR. GRIGGS’ LITHOGRAPHIC PROCESS.

The process of photo-lithography described and demon-
strated by Mr. Griggs at tbe recent meeting of the Photo-
graphic Society has some especial poiuts of difference from
all other published methods which are worth noting. We
believe that the development of photo-lithography as a
branch of industry has hitherto received too little attention
in this country, which is behind almost every other part of
the world in this especial branch of our art. Althougli the
especial operations of photo-lithography do not come within
the scope of practice necessary to the ordinary photo-
grapher, j’et, in proportion to the growing importance of
this branch of the art, it becomes a matter of interest to all
photographers to render them.selves familiar with the dif-
ferent modes of working, and the respective advantages they
present.

The original methods of obtaining a photographic image
direct on the stone have, except in a few exceptional cases,
been long abandoned for the transfer j)rocess finst workeil
out by ^Ir. Osborne. The modification in Mr. Griggs’ pro-
cess consists in the mode of transfer. The absolute advan-
tage of this modification must bo determined by the practical
litnographer ; but, judging from a prima facie examina-
tion, it appears to be an unquestionable advantage. In

the ordinary transfer process employed by Mr. Osborne,
Col. Sir H. James, and others, the sensitive surface of
chromated gelatine, after exposure to light, is covered with
transfer ink, and then floated face upwards on a dish of
boiling water. The portions of gelatine which, having
been protected from light, still remain soluble, are thus
softened or dissolved, and are then easily removed by
means of a sponge and warm water, with or without
tbe admixture of a little gum and acid. When this
operation is completed, the insoluble portions of the gelatine,
forming the image coated with the ink, which has adhered to
the surface, remain on the paper, all the rest having been
washed away, leaving the clean paper only. With a transfer
so prepared twodifficulties have oeen experienced. If tbecoat-
ing of gelatine were in any degree too thick, each fine line of
the image, standing in high relief, was subject to damage by the
pressure used in transferring, and a somewhat blurred effect,
from lateral spreading, was sometimes the result. The
second risk arises from the danger of the paper containing
the image moving in course of the two or three times it
passes through the press to secure a perfect transfer of the
grea.sy image to the stone. Mr. Osborne mixes a certain
proportion of albumen with his gelatine, which, becoming
coagulated by the action of the boiling water, prevents the
paper being left quite bare in the whites, and so secures
sufficient bite or adhesion to the stone to prevent the paper
moving. The plan employed by Mr. Griggs seems to
afford a safeguard against both these risks. In his nrocess
soluble gelatine is not removed from the transfer. The ex-
posed sensitive paper is soaked for a short time in cold
water before the transfer ink is applied ; and, after the
application, tbe superfluous ink is removed with a sponge,
dipped in dilute nitric acid and gum-water. This removes
the ink from the parts where light has not acted, and
which are, therefore, still soluble, but leaves the gelatine.
The advantages gained are immunity, to a great extent,
from the risks we have mentioned. The gelatine causes
the transfer paper to adhere to the stone, and so prevents
the risk of moving ; and it further assists in supporting fine
lines, and lessens the risk of spreading and blurring. There
are some other modifications in detail, such a.s the prepara-
tion of the transfer paper with starch, for which we refer
the readers to Mr. Griggs’ paper, our chief object here
being to note the difference in principle in the mode of
transferring.

We may here mention that wo have received a few days
ago a very excellent photo-lithographic reproduction of an
engraving from Mr. David Duncan, who informs us that he
has for some time used the cold method of washing off,
leaving the gelatine undisturbed on the paper as described
by Mr. Griggs.

It should be noted that the processes to which wo are
referring arc chiefly applicable to the reproduction of images
in line or stipple, no recent advance having been made in
the rendering of half-tone by means of photo-lithography.
Some exceedingly good portraits which have recently been
issued as photo-lithographs we are infoimed, on good
authority, do not legitimately come under that designation.
They are interesting as excellent illustrations of an appli-
cation of photography to aid the lithographer, but are not
examples of photo-lithography as popularly undemtood.
An enlarged image from a negative is, we understand,
printed by a silver process on a finely grained stone, and
this image is then carefully worked upon with lithographic
chalk by a skilful draughtsman, who accurately reproduces
every detail in the photograph. The result is excellent,
and the*appIication of our art mort legitimate ; but it is
necessary to distinguish between such a method and the
modes of working in Avhich the photographic image is
made to give a printing surface without the aid of tbe
draughtsman.

Of the value of the process of photo-lithography, its
application at the India Museum is an admirable example,
and nothing need exceed the excellence of the photo-

April 24, 1868.]

THE PHOTOGRAPHIC NEWS.

195

chromo-lithographs produced by Mr. Griggs in illustration
of the purpose to which it is applied. Our readers are
aware that Dr. Forbes Watson has undertaken the irapoi-
tant task of familiarizing the manufacturers of this country
withthe designs and character of the textile fabrics of
India. Photo-lithography lends itself most admirably to
this undertaking. Apart from the superior cheapness of
photographic delineation to hand-drawing — the cost, Mr.
Griggs informs us, is less than half — the accuracy of the
facsimile is far superior to anything which could be pro-
duced by hand. Every thread of the fabric is rendered by
photography ; and by the skilful multiplication of the
stones all the glowing colours of the Eastern designs are
duly rendered. A sight of the examples is move interesting
than any description, and we commend all our readers who
are members of tlie Society to fail not in securing the two
fine prints placed at the dispo.sal of members, consisting
of a gorgeous turban piece, and an exquisite lace shawl
pattern, both fine examples of the excellence which
generally characterises Indian design.

o-

OBSERVATIONS ON MR. McLACHLAN’S PROCESS

BY JOBS SPILLER, F.C.S.

The main features of Mr. McLachlan’s recent proposal may
be said to consist in the neutralization of free acids and un-
combined iodine in the collodion by the addition thereto of
a minute quantity of aqueous or alcoholic potash, and in the
adoption of a new mode of preparing the silver bath.

For making this last-named solution a special quality of
nitrate of silver is preferred, which, according to Mr.
McLachlan’s description, is occasionally to be met with in
commerce in the form of moist and somewhat discoloured
crystals. Not having had any sample submitted to me I
can only conjecture that the special quality here referred to
may contain, besides the mother liquor, either a small pro-
portion of metallic silver, reduced by organic matter, or,
more probably, of -intermixed chloride of silver, blackened
by exposure to light. On the latter supposition, which
assumes only the existence of a very commonly occurring
impurity in the nitric acid used for preparing the silver
crystals, I find no difficulty in accounting for the supe-
riority of results obtained by the use of such a salt in the
manner described. The instructions given were simply to
dissolve the nitrate crystals in an equal weight, or less, of

fmre water, and submit the concentrated solution to the pro-
onged action of sunlight, whereby a small quantity of
reduced silver is deposited, and “ an acid which docs not
behave like nitric acid” is said to be liberated. After a
sufficient exposure neutrality is restored by the careful addi-
tion of an excessively dilute solution of pure caustic potash
(or soda), added until the oxide of silver thus precipitated
redissolves with difficulty. The bath is then iodized and
diluted to the strength of 35 grains per ounce in the ordi-
nary manner.

These instructions having been imparted to Mr. P. le
Neve Foster and myself early in February last, we had to
encounter a practical difficulty in conducting experiments at
a season of the year unfavourable to sunlight exposure, and
hence the delay in furnishing our report. Nitrate of silver
in the proportion to make two 20-ounco baths was, however,
dissolved and exposed uninterruptedly for seven weeks (in-
cluding thirty-five " fair ” days) to such light and sunshine
as was presented to us. One portion was ifiluted and tried
in Mr. McLachlan’s presence, on the 3rd instant, with very
good success ; three plates being exposed that afternoon, all
of which developed “ clean,” and the sensitiveness was in no
way impaired. Mr. McLachlan objected to my using the
second bath, on the score of my having added the alkali
somewhat incautiously and in too great excess. This solu-
tion slowly changed red litmus to blue, but on carefully
replacing the acid (dilute nitric) I subsequently produced
with it some fair negatives.

N ow, with respect to the bath which gave us at once such
satisfactory results, I have to explain that it was mixed
intentionally with a small proportion of chloride of sodium
(1 grain) added to the distilled water in which the nitrate
of silver to the amount of 700 grains was dis.solved. My
object was to ascertain by direct trial the efficacy of the
action of nascent chlorine, which I believe constitutes the
fundamental and only new feature of Mr. McLachlan’s
scheme. This suggestion, if supported by the further parti-
culars which that gentleman has promised shortly to give,
will then turn out to be a practical realization of M. Balard’s
chemical reaction, which, eight years ago, I had the honour
of confirming in its photographic connection, and of fully
describing in a paper “ On the Composition of the Photo-
graphic Image,” inserted in the Philosophical Magazine.*
When exposing to sunlight finely-divided chloride of silver
in presence of an excess of the nitrate, I showed that, whilst
nitric acid was liberated, free hypochlorous acid was gene-
rated. This body is known to be a powerful oxidizing
agent ; it is, in fact, the active component in bleaching-
powder, and its production in an old silver bath giving
“ ” results would be an excellent method of ridding it

from many dissolved impurities, and especially those of an
organic nature. The same agent would be useful in a new
bath as a means of guaranteeing immunity from the admix-
ture of nitrite of silver, which I find to be occasionally pre-
sent in samples of the fused nitrate. Thus we have, by this
combined treatment with nascent chlorine and sunshine, a
powerful means of effecting the destruction of a variety of
impurities, and its use is certainly worthy of trial in the
coming season, besides the recent proposal of Mr. F. .Johnson
to employ the permanganate of potash, and of Mr. Rej-
lander’s system of continually sunning the bath without any
chemical addition. A solution of hypochlorite of silver
may, if preferred, be separately prepared (by shaking up
oxide of silver with chlorine-water) and added to the bath,
and the traces of free nitric acid, usually present, may be
depended upon for liberating the hypochlorous acid.

In afterwards neutralizing the bath with dilute alkali,
according to Mr. McLachlan’s directions, of the tivo free
acids in solution the nitric would be the first to unite with
the alkali, and the proportion of hypochlorous acid out-
standing would in ordinary cases be so small that no
adverse action in prolonging the exposure need be feared,
whilst its presence would act beneficially in restraining the
development, and so producing clear pictures.

I conclude by quoting a short extract from my paper of
March 1800 : —

“ 'riic fact of chlorine being evolved during the decom-
position by solar agency of chloride of silver under water,
has been repeatedly observed and is fully corroborated by
my own experiments. It follows, therefore, that if a solu-
tion of nitrate of silvei be employed in conjunction with
the chloride, as in the ordinary practice of photography,
the evolved chlorine will exert its own peculiar action on the
silver solution in contact, precipitating from it an addi-
tional amount of white chloride, which in turn becomes,
partially at least, decomposed by light. It has been
assumed that the whole of the nascent chlorine is thus
available for the formation of new chloride of silver ; but
this can, I think, be true only if other matters are present
having the power to decompose hypochlorous acid, a pro-
duct always formed to the amount of half that of the
available chlorine, according to the reaction first pointed
out by Balard.

Cl.. -I- AgO, NOi = Ag Cl -t- CIO -I- NOi

“ It might then be predicted that by exposing pure white
chloride of silver under a solution of the nitrate of known
strength, this latter would become continually weakened.
This I find to be the case ; and in the event of employing a
dilute solution every trace of silver is removed, leaving only
mixed nitric and hypochlorous acids as residual products

* Vide Fhilo^nphical Magatine for Marcli, 18C0.

196

THE PHOTOGKAPHIC NEWS.

[April 24, 1868.

dissolved in the water. It is possible also to remove the
metal from a solution of nitrate of lead, by exposure to
sunlight in contact with recently precipitated chloride of
silver.”

Woolwich, April \^th.

A MODIFIED HONEY PROCESS.

BY G. ROBERT FITT.

The season for out-door photography having now com-
menced, I have thought it not inopportune, seeing the
variety of dry and preservative processes which engage, at
this period of year, the attention of photographers, to call
attention to one of the latter class which seems to have
fallen into desuetude.

Knowing, as I do full well, the capabilities of the process,

I am anxious to sec a more extensive use made of it, as I
am convinced that under circumstances where a dark room
is accessible twice in (say) twelve toeighteen hours, no method
can compare with this in certainty, in sensitiveness, or in
beauty of result. I must, at the outset, disclaim any origin-
ality or claim to invention, as will be seen further on ; any-
thing I can say must have weight only in so far as that I
have been, in times past, perhaps more extensively acquainted
with the practical working of the method I now, as it were,
reintroduce, than any photographer now living, I having
employed it exclusively during two photographic seasons —
1856 and 1857 — for producing a very extensive series of
stereoscopic and 11 by 9 views during my residence in
Edinburgh.

The process, as many of the older hands amongst us will
remember, is one advocated and practised by my late
lamented friend, Mr. G. R. Beny, of Liverpool ; and when,
in 1856, I was elected on the council of the then Liverpool
Photographic Society, being much in communication with
Mr. Berry, I was led to experiment with it. I found it so
valuable that I unhesitatingly adopted it, and perhaps
carried it out further even than he did ; for his mention of it
to me and to our friend, Mr. Thomas, of Liverpool, an enthusi-
astic amateur, was less as a preservative process than as an
acceleration of the ordinary wet collodion process; and this
is one of its great recommendations, viz., its extreme
sensitiveness, the application of the preservative to the wet
plate diminishing the necessary exposure to the extent of
one-half or more.

It will be remembered that Mr. Berry was one of the first
to recommend the employment of bromides to any extent in
collodion, and although I had myself employed them so
early as 1854 with great advantage, I had not, as a rule,
ventured on more than half to three-fourths of a grain per
ounce of collodion. Mr. Berry, at the time (October, 1855)
when I had the pleasure of making his acquaintance, was
experimenting with far larger proportions, and also, 1 believe,
with collodion containing bromide only — of calcium, if my
memory serves me. It was his opinion that the preservative
was successful, or perfectly so, only with collodion contain-
ing bromide, and my own rather extensive researches into
the matter in the two subsequent years tended to confirm
his opinion. I remember putting to him the question : ” Is
it applicable to all collodion ?” His reply was : “ Not all ;
it won’t do with Thomas's ; ” Thomas’s of that day being,
I believe, purely iodized collodion. At all events, 1 can say
it will do with the beautiful preparation for iron develop-
ment now sent out by that celebrated maker.

I will now state the method of working. The formula is
similar to Mr. Maxwell Lyte’s “ Instantaneous Process ” pub-
lished many years since. Its essentials are a good and pure
sample of honey, which is to be mixed with distilled water,
so as to form a thin syrup, and sufficient nitrate of silver
dissolved in the liquid to make it contain about 18 or 20
grains to the fluid ounce. The mixture is then poured on a
small quantity of pure animal charcoal (t.e., from which the
earthy phosphates have been removed by digestion with

hydrochloric acid and subsequent thorough washing), and
then exposed to the sun for a week or more, and filtered,
when it will run through paper perfectly bright and clear,
and may be kept, for aught I can see to the contrary, for
years.

The plate is coated with a good bromo-iodized collodion —
not freshly iodized — and having been the usual time in the
bath, is well drained ; then from a glass of suitable capacity
pour on the syrup, taking care, of course, that it well covers
the plate up to the edges ; pour off and on three or four times,
and then set up to drain on a few thicknesses of religiously
clean blotting-paper. Have ready narrow strips of the
same paper, and lay one in the bottom of the slide, so that
the depending edge of the plate rests on it. In hot, dry
weather put a pad of damp blotting-paper at the back of
the plate, but smaller than the plate all round, or stains
will come if it touch the edge. The exposure I have found
to be, as I have said before, extremely short, seldom exceed-
ing three seconds with a Jamin’s stereo lens of 6 inches
focus and f aperture, and with Ross's 10 by 8 single achro-
matic landscape lens, with which I used to take 11 by 9
pictures from 12 to 20 seconds, using the middle or the
smallest stop according to subject (focal length 15 inches).
Many times I have secured brilliant cloud effects in this
way with every variety of subject ; especially, I remember, a
negative of Prince’s Street with the Scott Monument, a
glimpse down St. Andrew’s Street, the Firth of Forth, the
hills at and beyond Burntisland, and a peak or two of the
Ochills in Perthshire, with a fine bank of cumulo stratus
clouds ; this was taken from “ the Mound ” in two seconds.
The developer was usually pyrogallic with acetic acid, and
sometimes a drop of citro-nitrate of silver (if one may use
such a term) in hot weather. Iron developer did not answer
except in cool weather, but had we known at that time of
the invaluable gelatino-iron, I have no hesitation in saying
that would have been the developer par excellence, as its
special properties could in no process have been shown to
such advantage.

With common care in keeping the bath in good order,
failures seemed impossible except in using a new supply of
collodion ; but this, read by the light of our present know-
ledge, is soon accounted for — the collodion hail not had time
to ripen. I remember once having a fresh supply from Mr.
Barry ; trying it — fog ! tried again — fog ! wrote word .that
the collodion was bad ! went on with my old sample : every-
thing once again right. A fortnight after I was nearly run
out, so mixed some new with the old, and I got good results ;
and by the time the mixture was used up, the new sample
was in working order. The same thing has occurred since
at intervals of a year or so, until the experience gained at
the International Exhibition of 1862 convinced me that no
bromo-iodized collodion, even for the ordinary wet process,
works at its best until a month or more old.

A slight sketch of my method of working during one
year (1856) will show the capabilities of the process. I
made about 300 negatives in Edinburgh during the season,
and, as the old lady says, “ though I say it who shouldn’t,”
I doubt if any series of equal extent has been since taken
of better or more uni'brmly good quality ; and I say this only
to show what may be achieved by this mode of working.

My “ local habitation ” wa.s in “ St. James’ Square,” near
the head of Leith Walk. I had simply a sitting-room and
bed-room, and in the latter all processes appertaining unto
negatives were carried on. No more unfavourable place
than “ Auld Reekie ” can well be imagined — for general
views, at any rate— and all that could be taken early in the
morning I so took. I used to rise at 4 a.m., and, while
dressing, prepare six plates, which were carried in as many
dark slides. My subjects varied from Portobello to Coistor-
phino east and west, and from Leith and Granton on the
north to Craigmillar and the Pentlands on the south, and
everything between these extremes. All my negatives were,
from coating to fixing, completed in the said bed-room,
much, I am bound to say, to the worthy landlady’s an-

April 24, 1868.]

THE PHOTOGRAPHIC NEWS.

197

nojance, and to the detriment of the wash-stand, towels,
&c. However, she survived it, and the next year saw me
with a good dark room, which also was the “ locus in quo ”
for another series of similar extent.

Nothing need, I think, be added to show the feasibility
of the process ; and when its extreme sensitiveness is taken
into consideration, I think if a dark room can be got
at within a few hours, it is the plan wheresoever it is im-
portant to secure rapidity of working. To him who, alas !
IS gone from amongst us in the prime of a useful life, and
not to me, is due this practical application of Mr. Lyte’s
process ; but having had in my own working so large an
experience of its value, both in the years I mention and
many times since, 1 have thought it well to remind your
readers of another aid to manipulation which gives with
ordinary care results which will in every respect satisfy the
most fastidious. I shall be happy to answer any questions
as to the matter through the medium of your journal.

MR. McLACHLAN’S DISCOVERY.

BY NILSON K. CUERRILL.

Mr. McLachlan has fairly taken the photographic public
by surprise. His discovery and the manner of its announce-
ment are alike so novel and unprecedented that societies,
journalists, and readers all seem quite taken aback; every one,
of course, promises to experiment and report progress, but no
one seems either fully to understand what has been already
advanced, or to care to venture their opinion on the merits
or demerits of Mr. McLachlan ’s proposition. It seems even
more difficult for the photographic public to take in the idea
of an alkaline bath than that ot a bath made with common
water in the place of distilled. Of course, when an experi-
ment takes from one to three months to perform properly,
according to the inventor’s own instructions, no definite
answer can be given of its results before the lapse of that
time. However this may be, a few words on what has been
already advanced may not be out of place. Mr. McLachlan
is going to read a further paper on his discovery, and then,
no doubt, he will throw more light upon the matter ; but as
it will be nearly a month before this paper will be in the
hands of the public, it may be as well to make a few re-
marks on what has been already advanced.

In the first place, I do not think it is by any means so
certain — at least, Mr. McLachlan has not, it seems to me, set
it forth as certain — that he really does recommend the use
of an alkaline bath at all. I will explain. It is generally
supposed that nitrate of silver is not affected by light; we
will let that pass, as it is enough for my purpose that Mr.
Mr. McLachlan says it is affected. Now, the first and most
obvious effect of light upon silver salts is to reduce them to
the metallic state. All must have noticed how, if the
slightest organic impurity gets into the bottle in which
nitrate of silver is kept, in course of time the small particles
adhering to the sides will become black by decomposition
and reduction. Nitrate of silver, when reduced, liberates
nitric acid and oxygen —

Ag 0 NOj = Aq -f- 0 -f NOj.

The reason why nitrate of silver is not supposed to be
reduced unless it is in the presence of some organic matter
or other suitable substance is, that the equivalent of oxygen
will not leave the silver unless some object be presented to
it for which it has more affinity than for silver. It seems
to me, however, very probable that in performing the
McLachlan experiment some organic matter may be present,
or, if not some organic matter, some trace of an inferior metal
in the nitrate of silver, which, I think, would probably answer
the same purpose. If, then, such is the case, an exposure to
the sun for two or three months would certainly effect a
slight reduction of silver, so that the solution which was
neutral when put out in the sun may very probably be slightly
acid when brought in again, from nitric acid liberated in the
trifling reduction of silver mentioned above.

Now let us see the result of an addition of a solution of
caustic potash. Caustic potash, when added to a neutral
solution of nitrate of silver, forms at once a precipitate of
oxide of silver, and the solution becomes faintly alkaline,
not with caustic potassa, because the whole of the potassa is
decomposed, but because the oxide of silver is to a slight
extent soluble in water, and has, when so dissolved, a faintly-
alkaline reaction.

ilr. McLachlan, when his silver comes in again from the
two-months’ sunning, finds that a trace of caustic potassa
added to it does not produce any precipitate of oxide of
silver, or that, if produced, that precipitate is at once redis-
solved. This seems to me to be easily accounted for. The
trace of nitric acid I have mentioned as being probably
formed in the solution when out in the sun would, of course,
at once form, with the oxide of silver, a little more nitrate,
and leave the solution either perfectly neutral or very slightly
acid.

After iodizing, then, Mr. McLachlan dilutes the bath.
And here comes a point which requires both more elucida-
tion from the gentleman himself, and also, I think, more
careful observation by others as well. We are told that after
' a certain time all the iodide will be thrown down, and that
then it has no more power to dissolve iodide, and no further
dilution can precipitate any more. I do not for a moment
doubt these statements, but it is not clear yet to my mind
quite how the matter comes about, whether the bath is used
before it throws down the iodide, or whether the action is
quite spontaneous and quite independent upon any external
circumstances. As we have not yet had this part of the
subject fully explained, I would leave it now, as it is more
my object to deal at the present moment with the question
of the alkalinity than with the keeping properties of the
bath.

Should what I have stated prove correct, as to the bath
being not alkaline, but having a trace of acid, or being per-
fectly neutral, it will be seen at once that the result, though
gained in a very different way, will be much the same as
that obtained by Mr. Thomas in his “ normal ” bath. He
recommends the addition of oxide of silver to the bath —
enough to render it turbid ; then, after filtration, he adds
just enough nitric acid to balance the alkaline reaction.
Mr. ilcLachlan appears to me, on the other hand, to render
the solution acid first, and then to balance this acid by a
trace of oxide of silver. It may be — and I would be the last
to say it is not so — a matter of great importance how a result
is obtainerk M.iny have, I think, noticed that a bath, espe-
cially under some conditions, works better after sunning.
Thus it may prove that Mr. McLachlan ’s mode of preparing
a bath, albeit the result is the same as we have arrived at
before, is much the best that has ever been found out.

Now as to the collodion : of course, as Mr. McLachlan
says, the collodion must assimilate with the bath, and it
seems to me the result which is produced by adding
caustic potassa to collodion in a very ripe red condition is
merely to eliminate some of the iodine, and reduce the col-
lodion more nearly to the condition of newly mixed
collodion, a condition which was some time ago considered
as essential to rapid work, especially when the collodion
contained rather more iodides than bromides, as, from my
experience with Mawson’s, I believe is the case with that
solution.

Caustic potassa, when mixed with iodine, forms iodide of
potassium, &c.; thus it seems to me that the addition suggested
to be made to the collodion by ilr. McLachlan simply adds
a little to the quantity of iodide of potassium, and eliminates
the free iodine. Thus we seem to have a neutral collodion
and neutral bath. These conditions would give naturally
the “ fog ” and other mess described by Mr. McLachlan
when using a developer made with new good iron, but when
old, the iron developer has more restraining power, and is
well known to work with more cleanness and certainty,
especially under such conditions as I apprehend Mr.
McLachlan has recommended.

THK PHOTOGRAPHIC NEWS.

lyw

As I said bt-forc, it may be a matter of great importance
how the result is obtained, and by virtue of going in a new,
and I tbink almost a round-about, way to work, Mr.
McLachlan may obtain a result which, though theoretically
the same, or almost the same, with what has been done
before in a much more simple way, may in some important
respects be better.

1 may sum up by saying, that though it is diflScult to see
how Mr. McLachlan's plan is better than any other for
producing what seems to me a similar result, still, as there
is no knowing when we may come to an end of the wonder
of photography, it may be a new light has sprung up
among us, and I shall have much pleasure in making the
wliolo of the experiments carefully and reporting them
when the time comes.

PICTORIAL EFFECT IN PHOTOGRAPHY' ;

Being Lessons in

Composition and Ciiiaeoscura for Photographers.

BY II. P. ROBINSON.

Chapter XIII.

“Nature, e^’erywhere, arranges her prcductlon.s in clusters ; and to this
end she employs a variety of means. The heavenly bodies are grouped by
attraction, flowers and trees by the natural means by which they are propa-
gated, while the social instincts congregate man and most other animals into
societies ; and the same instincts impel, in man as well as in many of the
inferior creatures, the grouping of their habitations. Orunping is, there-
fore, a universal law of nature ; ami though there are cases in which a
scattered display of objects may, in i>arts of a composition, greatly aid, by
contrast, the more comi>act portions, and cases in which scattered objects
may help to tell the story, yet in the composition of a picture, taking the
whole together, a scattered general effect is always a fault.” — 0. K. Leslie.

" We arc very sure that the beauty of form, the expression of the passions,
the art of composition, even the power of giving a general air of grandeur
to a work, is very much under the dominion of rules. These excellences
were, heretofore, considered merely as the effects of genius ; and justly, if
genius is cot taken for inspiration, hut as the effect of close observation
and experience.” — Sir Joshua Reynolds.

Any very obvious geometrical form, either in masses of
light and shade, or bounded by lines, would necessarily be
a delect of arrangement ; but a certain degree of regularity,
such as that arising from a proper appreciation of the
rules of composition, and resulting from the concentration
and grouping together of the parts, is undoubtedly greatly
to be preferred to that kind of irregularity which would
be made apparent by the promiscuous scattering of objects
over the plane of the picture.

It may be objected that few land.scapes will fall into
these convenient forms for the benefit of the photographer.
This I am quite ready to admit ; but when he is acquainted
with those forms that are known to produce picturesqueness
he will be ready to take advantage of accidents of posi-
tion and of the various effects produced by light and shade
at different times of the day. Besides, forms of objects
alter with the point from which they arc observed. Twining,
who has written a readable if not very practical treatise on
the philosophy of painting, says: — “ Form itself depends,
in a great measure, on the position selected by the
observer, on the direction of the lights, and the trans-
paii’iicy or mistiness of the atmosphere. From such
causes as these the mountains may become more elevated,
the plains more vast ; depth, space, and distance may be
increased ; and the artist, who thus adds to the grandeur
or beauty of a subject, by availing himself of means
borrowed from nature herself, instead of tantalizing the
mind, and engendering an admiration based, in a great
measure, on ignorance in matters of art, instructs, at the same
time he diverts, his admirers." This is equally true for the
photographer as for the painter.

But if the landscape will not arrange itself at the photo-
grapher’s bidding, he has more power and command over his
materials when his subject is a figure or a group. If he be
not perfect master of the expression of his sitter — and some
photoCTaphers show by their works that even that is
possible — he has in his hands the possibility in a very great
degree of governing the disposition of the lines and the

[A?rii. 24, 1868.

light and shade. If he find several lines running in one
direction he has the opportunity of altering the position of
the body or the drapery so as to create opposing lines, and
he has great scope in the artistic arrangement of the acces-
sories and background in preserving balance, either by lines,
or light and shade ; and yet how often are these advantages
neglected, or, rather, how very seldom are they employed !
For many years (and, indeed, to a great extent at the present
time) a plain background without gradation was looked
upon as very successful work, and nothing but insipid and
monotonous smoothness was aimed at by photographers, with
the exception of those who already had a feeling for the
picturesque, or those who were not too proud to take a lesson
from the works of others. It is encouraging to see that
many photographers are alive to the necessity of doing
something more creditable to the art ; aud the many imita-
tions that have lately been shown — although few of them
have yet risen above the level of mere imitation, or at all
approached the great originals— of the productions of that
photographic Rembrandt, M. Adam-8alomon, give indica-
tion that some improvement may be expected.

It is always well, when possible, to teach by example, and
I append an outline of a well known portrait, of which

large quantities have been distributed, chiefly because of
the celebrity of the subject, and partly, no doubt, because
of the excellence of the technical qualities. I do not indi-
cate this individual picture more distinctly, because I think
that when I feel compelled to use any particular photograph
as “ an awful example,” it is scarcely fair to the author to
mention his name, although my remarks would be more
easily understood if the original could be placed before the
student instead ot an outline wood-cut.

It will be seen that most of the lines, although not
parallel, run in one direction. There is no balance what-
ever, no variety of lines, no relief, and the space behind the
figure is “ to let.” There is no employment for so much
space, except to make the picture the regulation size. The
background in the original is perfectly plain — one unbroken
tone from the top to the bottom. You see any part of the
picture as soon as, or before, you see the head, and the figure
appears to be inlaid, or sunk into the background. It would
have taken no trouble to alter all this if the operator had
possessed a suilicient knowledge of the requirements of art,
and, what is quite as necessary when engaged with an
eminent sitter, the presence of mind to use it.

This, or a similar position, more full-faced, one hand ou a
table and the other on the knee, is to be seen in nine out of
every ten photographs of the sitting figure ; in fact, it ap-
pears to be the traditional position of the photographic
sitter handed down from the earliest times, and religiously
followed by photographers who are not observer, or who do
not know how to invent positions for themselves. But, sup-
posing it necessary to maintain the figure in nearly the same
position as that in the sketch, what should have been done
to produce a more agreeable composition ? A very slight
change in one of the accessories would have done nearly all

April 24, 1868.J

THE PHOTOGRAPHIC NEWS.

199

that was required. At present the lines run nearly in the
same direction, without auy opposing lines to balance them,
and there is a space behind the figuie that requires filling,
while the table and vase carry the eye out of the picture to
the left, and overcrowd that side of the compositiou. If
the table had been moved to the right side of the picture,
stability would have been given to the figure ; the numerous
weak and almost similar curves of the figure and chair would
have been opposed by the straight lines of the table, the
space that was to let would have been filled, the lines of the
figure would have been properly balanced, and the table,
which crowded the left of the picture, would be doing service
to the general effect, and the figure, although turned slightly
away from it, would still have the effect of being seated
naturally near the table ; while, if some attention to light
and shade and gradation had been observed in the back-
ground, everything would have been brought into harmony.
There is another defect which should be carefully avoided :
the curves of the chair-back exactly follow the curves of the
arm.

As a contrast to the foregoing, I introduce a little sketch by
Sir Noel Paton, in which it will be observed that balance

has been strictly considered, and the figure is admirably
supported. Notice how the lines of the leaning figure are
contrasted by those of the arms, and, for fear these should
not be sufficient, two trees have been introduced to perform
the same function in the composition. And the hat and
plants on the grouml perform the part of the point of dark
so often mentioned in the chapters on landscape.

This simple little figure illustrates much that is valuable
in art, and I shall probably have to refer to it again ; at
present it has answered the purpose for which it was here
inserted, that is, to show the difference between a figure
repre.sented “just as it sat,” and a picture produced by
one who conforms to the rules of art.

PHOTOGRAPHY APPLIED TO MECHANICAL
PRINTING PROCESSES.

BY K. ORIGQS.*

Ls compliance with a request from our esteemed Secretary,
I have the honour to place before you a subject, the import-
ance of which, I think, cannot be overrated ; namely, the
application of photography to ordinary methods of print-
ing ; and I have thought it better to divide the methods of
printing into chemical printing, or lithography, and type
printing, dealing only with the first this evening, leaving
type or surface-printing for another occasion ; and in adopt-
ing this course I must of necessity be brief, for it is not pos-
sible to do full justice to such a subject in one evening meet-
ing like this, because I am desirous, as far as time will allow,
of practically illustrating to you the method I have adopted

• R«ad before the London Photographic Society, Tuesday, April 14th.

to obtain these photo-lithographs, in eight colours, which
Dr. Forbes Watson, the Chief of the India Museum, has
placed in the hands of Dr. Diamond, your Honorary Secre-
tary, for presentation to each member of this Society. A
short resume of the various steps which have led us to the
useful yet infantile point, we now find photo-lithography,
will not be out of place before proceeding to details. The
invention of chemical printing, or lithography, was the
invention of a German, Alois Senefelder, in the year 1795,
who, while in search of a cheap means of printing his
dramatic productions, by an accident discovered that, by
writing on a piece of Kelhein stone with a grea.sy ink, a
surface could be obtained from which prints could bo easily
taken, either in one or several colours, and obtaining effects
unreached by wood-engraving.

The establishment of the art of lithography in England
is due to Ilulmandel, who greatly improved the processes for
obtaining the different class of drawings from one or several
stones, and printing from them in colours. The effect thus
obtained advanced the art, and increased the facility for
producing artistic effects. I need not enumerate the many
workers in this important field, from the time of its intro-
duction into England to that when we find the productions
of Owen .Jones and Francis Bedford appearing before the
public as splendid examples of artistic feeling. As I do not
intend these remarks to be anything like an exhaustive
essay on this subject, neither do I intend to argue to whom
the honour belongs of connecting photography with litho-
graphy, as to whether he was an Englishman, a Frenchman,
or a German ; but I feel bound to say that the name of
Osborn should be connected with the wedded life of photo-
lithography, not only on account of his early productions,
but on the good results he has produced ; then the names
of Talbot, Poitevin, Ponton, Archer, and Diamond ought
to be mentioned, for having provided us with the results of
their important discoveries of the application of collodion,
potash, gelatine, and pigments, without which photo-litho-
graphy would not be in the position we now find it. Although
it has had to contend against many selfish clogs, in the dis-
guise of patents, which have been taken out since then to
block the path of progress, it has advanced to the splendid
position of making the past subservient to the present, by
giving us the means of faithfully reproducing, in permanent
printing, those interesting manuscripts which give such in-
sight into the manners and customs of tho.se who have pre-
ceded us, as well as the beautiful designs which adorn the
many public museums and libraries. Our Secretary, since
the last meeting, has furnished me with a drawing, from
which I have produced a block, which I beg to hand to you
for your inspection, and I propose to transfer a copj of the
same drawing to stone this evening, and print from it before
you, as well as pull a few copies off the stones from which
the presentation prints have been taken ; and when I tell
my commercial friends that these have been produced at
less than one-half of the price that these would have cost
if entirely done by hand, I feel that I indicate to you a field
which is full of promise to the enterprising photographer.

The first important step is to obtain a negative free from
deposit on the lines of the subject copied, and moderately
dense ; it will give the best results if used unvarnished, in
con.sequence of the contact being better than when a film of
varnish intervenes between the negative and the prepared
paper. The method of preparing the paper is as follows ; —
Put 1 pound of rice starch into a large bason, and dissolve into
a stiff paste, by the aid of a large spatula, using as little cold
water as convenient ; into a saucepan put half a gallon of
water, boil, add half a pound of plaster of Paris, then pour
it gently on the paste, which must be kept well stirred till
the whole of the water has been added ; it should now assume
the form of a tremulous jelly ; place (say) a dozen sheets of
Saxe paper at a time on a board, and with a large brush
cover the paper with a thin and even coat of the above. It
will be as well to use up the whole of the starch, for the paper
may be kept any length of time, and will always be ready

200

THE PHOTOGRAPHIC NEWS,

[April 24, 1868.

for the next operation of coating it with gelatine, made by
soaking 1 pound of gelatine in cold water the day before you
want to use it ; throw away tlie water not absorbed in the
gelatine; wash it well ; do not be afraid of washing it, for
^lould any dissolve, by all means throw it away, for it would
only be a source of trouble if retained. Now add 1 drachm of
ammonia, which will carry down the phosphate of lime con-
tained in most gelatine, in consequence chiefly of the admix-
ture of bone with the tissues in its manufacture ; dissolve
on a water-bath, then add 1 ounce of sugar ; strain through
warm wet flannel or fine muslin. In coating the paper,
various ways may be employed, either by floating it on the
warm gelatine contained in a flat dish, or the gelatine may
be floated on plate-glass, and then, as soon as it is set, laying
damp paper down on it. This would be a good way of
coating the paper were it not very slow, for you cannot
depend upon getting it ready under two days. I have em-
ployed a machine for coating paper which is much too large
and clumsy for me to show you here ; but, as I intend
making a smaller one, suitable for Saxe paper, I shall
have pleasure in explaining it on some future occasion.
Here is some pigment paper for pigment printing, which
process I have completed by camera-printing, doing away
with the troublesome transferring necessary in the usual
way of carbon-printing. It can be produced by it at a very
rapid rate, but for limited lithographic work it is not
necessary. The paper prepared as anove can be kept in
stock like albuminized paper, requiring only to be sensitized
by immersion in a saturated solution of bichromate of potash,
when it will be ready for printing. With an average in-
tensity of light it will take about five minutes to print, after
which it chould be immei'sed in cold water for about a
quarter of an hour. Get ready some retransfer ink, rubbed
down rather thin with turpentine. Here is the kind of ink 1
prefer; blot off excess of moisture; then, with a sponge, rub
over the print with the transfer ink ; then clean the lights of
the picture with a sponge moistened with weak nitric acid and
gum-water; after which it must be well sponged with clean
water. Give the transfer three or four hours’ rest, to allow the
gelatine to harden in the light. It is then placed on the sur-
mce of a clean lithographic stone, either polished or grained,
according to the nature of the work ; it is then pa.ssed
though the press. On examining it you will find it adheres
very firmly to the stone ; the back is now damped rvith a
wet sponge to loosen its hold on the stone ; after the paper
support is taken away, the picture is gummed in and rolled
lip with printing ink; it is not yet safe for printing; for
although the stone contains gum between the ink-liues of
the picture, and theoretically ink will not adhere where
there is any gum, yet, in course of printing, the great
scraping pressure given to obtain the prints would cause the
lines to spread ; this is prevented by etching the stone with
weak nitric acid, after which it is difficult to get even
transfer-ink to adhere, if you wish to make any addition,
without scraping the surface acted on by the gum and acid.
We have now come to the point where we find this stone,
which is the key to all the rest ; as many prints are now
taken as there are colour stones to be made up on well-
rolled paper, the least likely to stretch, then dusted over with
powdered red chalk, each laid on a separate stone carefully
passed through the press ; there will then be a facsimile of
the keystone on each of them, which are filled up by hand ;
where required, several stones can be made by retransferring
portions of the keystone. With this subject of eight
printings, the keystone is the one used to represent the
threads of the material, the set-off of which has only to be
filled in solid to make the gold-stone, and so on through
the various printings. This is photo-lithography proper,
but it is not the only part that photography plays m con-
nection with lithography. Here are some subjects obtained
another way. I wish I could have shown you the original
drawings from which these were taken, for you to see the
truthfulness of their reproduction. When you see these
numerous portraits, in some cases numbering over in |

each picture, and every one of them an exact facsimile, you
will, 1 think, admit with me that it would not be possible
to do it entirely by hand with the same truthfulness, unless
it is accompanied by a great expenditure of time and money,
bearing in mind that they are all either enlargements or
reductions ; therefore the ordinary means of using tracing-
paper will not do. The way I have adopted is this : I take
a reversed negative of the subject ; this gives a reverse print ;
in other words, it is in the exact position required for the
stone ; it is now used as a tracing. If we place a piece of
letracing paper (made by rubbing red chalk on thin paper)
under it on the stone, we have but to go over it with a
metal point to obtain the picture in chalk on the stone ;
it is now ready for the artist to work on with his
brush. There is another way of obtaining the picture on
the stone ; and if I am net greatly mistaken, some prints I
have seen lately from “ a new process of photography on
stone ” have been produced by the same means I employed
some four years ago by coating a grained stone with silver,
and printing with the negative direct on the stone. We
have the picture, which requires only to be worked over
with the crayon, and thus obtain the fair results which, 1
dare say, some of you have seen.

Now, gentlemen, I have given you an outline of the
way in which the art of photography can and has been
linked with a rapid and permanent means of printing, thus
diffusing a knowledge of ancient art which would have
remained in the dark receptacles necessary for their pre-
servation unknown and unnoticed, except by the book-
worm. In collating these few remarks, I make no claim to
any new discovery, but must give my humble tribute of
thanks to those pioneers of true progress in our art who
have not selfishly kept back useful information, or prided
themselves on secret dodges, but have come before this and
kindred societies, giving freely the results of their labours.
I used the word “ rapid ;” perhaps, when you see the printer
at work presently, you will think it is rather slow than
rapid ; but the application of steam-power to lithographic
printing is now making a complete revolution in this
method of printing. Here is a specimen which a Conisbee
machine has printed off at the rate of 800 per hour, or 8,000
per day ; and when I show you the means of retransferring
or multiplying any design when required on ordinaiy-sized
paper for bookwork that can be printed in sets of four or
eight, you will see at once that a new era is opening for
lithography, and, as a matter of course, for photo-1 ithographyj
1 will now proceed to work, after which, if there is any
question any gentleman may wish to ask, it will give me
great pleasure to answer it.

REMARKS UPON THE CARBON PROCESS.

BY DR. H. VOOKL.*

Sw.\!j'3 carbon process has been the subject of universal
attention during the past summer. The paper and chemi-
cals manufactured by that gentleman have been introduced
into Germany, as likewise those produced by Rowell, of
Boston ; and an opportunity has thus, for the first time, been
afforded to practical photographers to experiment with the
process without the expenditure of very much time and
trouble. Many photographers have availed themselves of
this opportunity, and from almost every side correspondents
have sent us communications, questions, letters, and details
of successes and failures. The interest thus evinced on
every hand has induced me to make a further investigation
of a field already somewhat known to me, and the practical
experiences thus gained I now publish, trusting that those
operators who may have experienced difficulties in the
manipulation of the process may obtain some information
from my observations.

Two considerations exist at present against the practical
introduction of the carbon process ; they are, the high price

* Bead before the Berlin Fbotographic Societj.

April 24, 1868.]

THE PHOTOGRAPHIC NEWS,

201

of the materials employed, and the complicated form of
several of the operations. How lonj; these objections will
remain in the way time alone will show. The process
possesses, however, several important advantages, the greatest
of them being the extraordinary sensitiveness of the carbon
paper. In summer, during favourable weather, this quality
IS not so apparent and striking us in the foggy November
weather. On a dull November day, when a silver print is
scarcely sufiBciently printed if exposed from morning till
evening, I have been able to obtain an over-exposed
carbon print from a negative of average thickness in
sixteen minutes and a half, and in nine minutes and a
half a remarkably vigorous carbon print from one of
Loescher and Petech’s portrait negatives ; and this vith
carbon paper which was by no means of the most sensitive
description, but which, under thick negatives, required to be
exposed up to 18° of the photometer scale, and with thin
plates up to 14° ; with paper prepared by myself, I need
not expose further than 15* for a thick, and 11° for a thin
negative.

This sensitiveness of the carbon paper is a matter of con-
siderable importance in commercial photography, especially
when work is carried on on a large scale. If, for instance,
the production of a thousand copies were required from one
carte-de-visite negative by means of the silver process, the
time required for printing the same would be about fift5’-8ix
days, or nearly two months; with the carbon process, which
is at least eight times as sensitive as the silver method, the
thousand pictures might be turned out in the space of seven
days.

In the course of last month I made a series of observations
with reference to the best method of effecting the transfer
of photographs upon glass, suitable not only for the carbon
process, but for other methods, such as photo enamelling, &c.

One of the principal points to be attended to, mentioned
by Wilson in his article on carbon printing, is to prevent
the formation of air-bubbles in the paper during the opera-
tion of developing. Freedom from these imperfections may
be secured by the very simple precaution of allowing the
carbon print fastened to the india-rubber paper to remain
for a short time in cold water previous to development.
The formation of bubbles results from the presence of air in
the pores of the india-rubber paper ; if the latter is immersed
suddenly in warm water, the air expands quickly, and
•wells into bubbles under the film of india-rubber; but if
the papers are first placed in cold water for a short time
(the india-rubber paper uppermost), the air is gradually
expelled by the water in minute globules. After remaining
thus for a quarter of an hour, the paper may be transferred
to a warm water bath, where the picture is detached and
developed.

The prior immersion in cold water possesses another
advantage : it removes the chromate from the paper, which
thus becomes insensitive to light, and allows the de-
velopment of the picture to take place in the daylight, by
which means this important operation may be more success-
fully controlled.

The developing process 1 have already described in a
former communication. After the picture has been fully de-
veloped the paper is rubbed over with a brush, to remove any
superfloons caroon particles ; and it is then dried, and coated
with gelatine. During the last-mentioned operation the
formation of minute bubbles often occurs, especially at a
cool temperature ; but these are easily removed by the
application of the finger.

Wilson recommends the transfer of the picture to Stein-
bach paper, but this operation does not finish the process, as
the print must afterwards be mounted upon cardboard. In-
stead of this, therefore, the picture (as Mr. Swan informs us)
may be transferred direct to cardboard, provided the latter
presents a perfectly white and even surface. The mode of
proceeding is as follows : — The card is placed for the period
of one minute in cold water, then pressed between sheets of
blotting-paper until it ceases to ^ine, but appears almost

half dry, and the picture (previously gclatined and trimmed)
laid upon it ; both are then placed between pieces of felt and
pressed in a rolling-machine, the picture being undermost.
Finally, the india-rubber paper is removed with benzol. In
operating in this manner it is indispensably necessary that
a good cardboard with an even surface should be employed.

Both methods of transfer are, however, open to an
objection. The delicate outlines of the picture are easily
damaged in the event of the paper being too moist, for the
gelatine gives way and the roller injures the softer details of
the print. For this reason Cherrlll employs a press instead
of a roller, and the mode of proceeding detailed by him in a
recent article I have found to answer admirably. For small
pictures an ordinary copying-press will be found sufiiciently
powerful, but in this case the pictures must be so wet as to
shine. Blotting-paper is laid upon the picture, which is
allowed to remain under pressure for about four minutes,
and then taken out and dried. By this means it is impos-
sible to damage a picture.

Another interesting idea Mr. Swan his communicated to
me : the picture upon the india-rubber paper is immersed
completely in a warm gelatine solution of —

Gelatine 6 to 8 parts

Glycerine ... ... ... 2 to 2^ „

Water 100

and when all air-bubbles have disappeared, a piece of fine
tracing-paper is likewise immersed in the solution, and both
are then removed, care being taken to allow them to draw
over the side of the dish, in order that they may be properly
drained. Both are hung up to dry, trimmed, placed upon
moist cardboard, and put through the rolling-press without
any fear of the print being injured by the pressure ; the
india-rubber is afterwards removed with benzol. This pro-
cess 1 have worked with very good success. If the picture
upon the india-rubber has been covered with a thick coating
of gelatine (with 12 per cent, of gelatine), it can be detached,
after moistening with benzol, in the form of a clean film.

This circumstance led me to experiment upon the feasi-
bility of transferring the carbon print to glass — an opera-
tion in which I was perfectly successful. For this purpose 1
coated the picture upon the india-rubber film liberally with
the following solution : —

Gelatine ... ... ... ... 12 parts

Glycerine ... ... ... ... 4 „

Water ... 100 „

and fastened it upon a warm glass plate : the transfer was
then allowed to dry, and then the india-rubber coating
removed with benzol. The picture remained upon the
glass plate in the most perfect state. It is as well to coat
the picture on the back, before it is dry, with a solution of —
Chrome alum ... ... ... 1 part

Water ... ... ... ... 300 parts

In the same manner pictures may be transferred to opal
glass, and in this form have a very pretty effect. For the
enamel and porcelain processes the method is likewise suscep-
tible of application ; an enamel colour is mixed as the pig-
ment in the carbon-tissue, and by this means a transferable
picture is obtained, capable of being burnt into any suitable
surface.

Another interesting circumstance I may here point out.
In the picture upon glass we possess obviously a carbon
positive, and, by a repetition of the process, a carbon negative
may be obtained. Here is therefore a method of multiplying
negatives, and of producing them of a more permanent
character than by means of the silver process.

Since writing the above, a result of some importance has
been obtained in the photographic laboratory at the Royal
Industrial College, which will interest those who have expe-
rimented with the process. One of my pupils, M. Lother, a
student in the College, was proceeding in the ordinary
manner to transfer to Steinbach paper several developed
carbon prints upon india-rubber paper; by an oversight, he

2U2

THE PHOTOGRAPHIC NEWS.

[April 24, 1868.

omitted to coat the print with gelatine, but pressed the dry
india-rubber picture direct upon white paper, treating it
with benzol in the ordinary manner after it had become
dry. To my astonishment, the picture became detached in
the most perfect manner, and I proceeded at once, therefore,
to repeat the experiment. A few more carbon prints were
prepared and developed, and, when dry, placed upon pieces
of moistened whitepaper, subjected to pressure, again dried,
and treated with benzol ; this second experiment was like-
wise remarkably successful. The washing off of the india-
rubber was a much easier operation than when gelatine was
employed, and the pictures obtained were of a finer and
more brilliant description. From these experiments, there-
fore, and from further trials made in the same direction, it
is to be inferred that the treatment of the developed carbon
print with gelatine, and the tedious operation of preparing
the gelatine solution connected with this branch of mani-
pulation, is a perfectly superfluous proceeding ; the con-
siderable amount of time and labour thus gained cannot be
estimated too highly. At eleven in the morning the pictures
were printed, and at four in the afternoon they were ready
for delivery.

I shall be glad to be informed of the experiences of any
operator occupied with the process who may feel inclined to
repeat my experiments.

§r0CuMn03 0f ^acutics.

Amateur Piiotooraphic Association.

A Council Meetino of the above Society was hold Monday,
April 6th, at 12, York Place, Portman Square, the Right Hon.
the Earl of Caithness in the chair.

The minutes of the last meeting having been read and con-
firmed, the following members and subscribers were elected : —
Capt. SV. Forstei ; W. Baily, Esq.; P. M. Jackson, Esq. ; Mrs. J.
Cook ; T. Samuels, Esq. ; R. Grace, jun.. Esq. ; R. Leigh, Esq. ;
E. Milsom, Esq.; M. W. Wemyss, Esq.; E. Horner, Esq. ; J.
Richardson, Esq. The Secretary then laid before the Council
the following prizes, which were fully approved by the meeting :
— Five silver goblets, five silver-mounted claret jugs, a coft'oe-
pot, a revolving stereoscope, and seven large photographic
albums, whole bound morocco, with silver plates.

The Chairman then proceeded to sign the certificates of
lionourable mention, twenty-three in number ; after which
the Secretary called the attention of the meeting to some speci-
mens of the scries of portraits entitled “The British Museum of
Portraits," which fur the past three years he has been taking
under the auspices of the Council of the Association ; and after
some discussion it was proposed by Mr. Glaisher, and
seconded by the Right Hon. the Viscount Ranelaoii, that the
Secretary should wait upon Henry Colo, Esq., relative to the
transfer of the portraits to the South Kensington Museum.
The proceedings then terminated.

A. J. Melhuish, Hon. Sec.

®orrcs)jatt&cttcc.

“LUX GRAPIirCUS” ON THE WING.

O.XFORD AND OaMBRIDOE — CABINET PORTRAITS — Mr.

McLac.'ilan’s Secret.

Dear Mr. Editor, — Do not lot the above heading alarm
you. I have no desire to convert the columns of your valuable
Journal into a kind of photographic Bdl't Life or Sporting
Chronicle. Although the great University boat race has just
been decided for the eighth consecutive time in favour of
Oxford, it is not of that aquatic struggle that I am going to
write, but of another matter in which the Cantabs seem to bo
behind the Oxonians in the race of life, or the pursuit of
novelties. Not only are the Cantabs short in their stroke with
the oars, and unable to obtain the first place in the contests on
the Thames, they are also slow in giving their orders for a

certain article of commerce which is of very great importance
to professional photographers, especially those in the neighbour
hood of the University of Cambridge. It is a remarkable fact,
that while Oxford has gone in with a rush for those very
charming portraits technically named “ cabinets,” Cambridge
holds aloof. How is this, I wonder? There are as good photo-
graphers in Cambridge — Mr. Mayland, to wit, whose work is
all of the first class— as in Oxford ; the sun shines as brightly
in the region of the Cam as ho does in that of the Isis. Have
the Cantabs made up their minds not to be cabinet men in
opposition to Oxford ? or is the fact due to the lukewarmness
of the Cambridge photographers themselves ? It seems some-
what strange that two places likely to bo so similar in tastes
and a refined appreciation of the beautiful should S3 differ in
this respect. Are the men of the two great seats of learning
in this country opposed in matters of photographic proportion
as they are in other matters of minor importance — as in the
proper pronunciation of either and neither, for instance ? Not
having graduated at either, I do not know which is correct,
neither do I care ; but I am concerned in this question of photo
graphy. While at Oxford the cabinet picture has taken deep
root, and has grown into a strong and vigorous article of demand,
it is a well-known fact that at Cambridge it is “ sicklied o’er
with the pale cast of thought,” and languishes on in a state
trembling between life and death. Whether the producers or
consumers are to blame for this languor in the demand for an
article that is certainly worth being cultivated, is more than I
can say. I know that the discrepancy exists, and the rest I leave
to those most immediately interested. It cannot, however, be sup-
posed that a demand for any particular size or style can spring
up spontaneously ; that must be created by the producer, by
popularizing the style in some attractive and judicious manner,
and the cabinet size is well deserving of a very strenuous effort
being made in its favour.

Of all the photographic sizes that have been introduced to
the public the cabinet is the most artistic in its proportions.
As nearly as possible it falls under that art rule of producing
an oblong or parallelogram of the most agreeable proportions,
which is as the diagonal is to the square. The size of the cabi-
net is 5i by 4, and if you measure the diagonal of the square
of 4 inches, you will find that the length of the cabinet, 5^
inches, is as near that as possible. Doubtless Mr. Window had
this in view when he introduced the size, and, whether for up-
right or horizontal pictures, such proportions are decidedly the
best. Many of the sizes already in use are too long, others are
too short and square. In addition to the beautiful proportions of
the cabinet size, it gives the portrait photographer more room
and opportunities to introduce harmonious forms and effects in
the posing and arrangements of portraits and groups ; and I
have seen some very charming views on the cabinet size, 6i by
4 inches, horizontally ; as well as some very beautiful interiors
of Westminster Abbey, by Mr. V. Blanchard, on the cabinet
cards vertical, which proves pretty conclusively that the propor-
tions of the diagonal to the square of any size will suit both ver-
tical and horizontal pictures. I have not the least doubt but a
much greater demand for those cabinet pictures, both portrait
and landscapie, could bo created, if photographers would set
about introducing them with a will ; depend upon it if they will
but put their heart into the matter, they would put money into
their pockets. I know how much has been done by launching
them fearlessly on the sea of public patronage in several locali-
ties, and I feel certain the demand would bo much more gene-
ral if the cabinet picture were judiciously introduced. Mr. H. P
Robinson and Mr. Nelson K. Cherrill, having entered into
partnership, are on the point of openings photographic estab
lishraent at Tunbridge Wells, where they intend to incur
considerable expense to introduce the cabinet portrait, and
give it that prominence it so justly merits.

Since writing you last, I learn from a friend who is intimate
with Mr. McLachlan that there is every possibility of his secret
being revealed ere long. That this secret formula will be an
immense boon to all photographers, there can be little doubt.*
If an absolute immunity from streaks in the direction of the
dip, brain-markings, and pinholes — which are the advantages
said to be derived from the process— can be guaranteed, then
will the manipulatory part of photography be at once made
easy ; and Mr. McLachlan will have conferred a personal obliga-
tion on every photographic manipulator. Not only will photo-

• This letter was received before the mcetiag of the Photographic
Society. — Ed.

April 24, 1868.]

THE PHOTOGRAPHIC NEWS.

203

grapbers be benefitted by Mr. McLacblan’s generous conduct,
the whole world will participate in the advantages he intends
to place as a gift in the hands of photographers ; and even art,
that is so afraid of a photographic amalgamation, will be
honoured by the revelation. But once lot the mind of the
operator be for ever free from the cares and anxieties of his
negative being clean, spotless, and excellent in quality, ho will
then have more time and inclination to put his art knowledge,
if he have any, into practico, by paying more attention to the
pose of his sitters and the artistic choice and arrangement of
accessories. If he be without art-knowledge he will be obliged
to acquire it and put itinto practice, or bo driven out of his field
of operations. For, if the chemical difficulties and uncertain-
ties are to be so summarily disposed of, and all the manipulations
reduced to a certainty and dead level, a pre-eminence in the
profession can only be maintained by him who exhibits a taste,
feeling, and love for his labours superior to the desire to palm
upon the public, for mere gain, works that are a disgrace
and a scandal to the prolession of which ho is a member.
That such a condition of things photographic may be quickly
brought about is much to bo desired, and if such bo the result
of Mr. McLachlan’s very noble willingness to give to the
photographic community experiences that have cost him
much time and money in acquiring by close observation and
experiment, he will, at the least, bo entitled to the sincere and
hearty acknowledgments of all well-wishers and lovers of our
art-science.

Apropos of clean and easy development, I should like to
know it any of your numerous readers have tried the effect of
sulphate of zinc with the iron developer. I understand its
use obviates the necessity of using aicetic acid as a retardant ;
that the deposit of silver is much more delicate than that pro-
duced by iron alone ; that the control over it is very great ;
that any amount of intensity can be obtained by one or more
applications, without the aid of pyrogallic acid, and without
producing harshness or hardness. With such recommenda-
tions it is certainly worth a trial. I have had no time to try
it myself, but think it is of sufficient importance to give your
readers an opportunity of experimenting with it, and judging
for themselves. — Yours very truly, Lux Gbaphicus.

April, 10th, 1868.

o

in tbt ^tubia.

Portraits with Natural Backgrounds. — Since our
notice of the charming artistic portraits of Mr. Edge, in which
a pictorial background obtained from natural scenery was
introduced, we have seen several praiseworthy attempts in a
similar direction. A short time ago Mr. Burgess, of Norwich,
sent us an example in which the natural background from a
second negative was most successfully introduced. We have
just received a packet of portraits " produced in the ordinary
course of business ” by Messrs. Robinson and Thompson, of
Liverpool, in which this method of working is carried out with
great success, and is manifestly, trom the wonderful variety of
effects, worked on a tolerably extensive scale. We have up-
wards of a dozen portraits, in every one of which a different
scene is introduced for the background. Many of these are
charming portraits of nice children, whose costume and occupa-
tion harmonize admirably with the scenes. Hero is a bright
intelligent little fellow trudging through the furze with his gun ;
and next we have him with the piece rested upon a l.argo
boulder, sighting his game. In another the same little urchin
is stretched upon the grass overlooking a stream. In others a
pretty little girl with a basket full of wild flowers rambles or
rests among pleasant scenery. In all cases the varied land-
scapes join admirably with the foregrounds, generally com-
posing well, and retiring sufficiently to give atmosphere with-
out fog. We understand that many of these examples excited
much interest at the recent soiree of the Liverpool Society.
We are glad to see the brother of Mr. II. P. Robinson following
his example, and excelling in combination printing and art
photography.

Long Exposures in Landscape Photography. — A corre-
spondent signing “ Gladiator ” sends us a long letter on this
subject. After some trenchant remarks on a communication
which has appeared in other pages, and to which it is not

necessary to refer further here, ho says : — “ As to the question of
‘ truth to nature,’ I coniidontly assert that, as a rule, long
exposure gives a false representation of nature, the reasons
being simple and obvious. A landscape is taken under certain
conditions of light : if a long exposure be given, those condi-
tions will bo materially altered ; in sunshine the change would
be rapid, the shadow from each object changing with the course
of the sun, so that what is light one minute becomes shadow
next. An exposure of 90 minutes would simply produce a
muddle of light and shade, truth to nature being sacrificed.
On other grounds the system of capping the lens during expo-
sure should bo repudiated, the play of ffiliago in the wind being
as much a part of nature as the immobility of the trunk.”

Colourless Varnish with Copal. — To prepare this
varnish the copal must be picked ; each piece is broken, and a
drop of rosemary oil poured on it. Those pieces which, on con-
tact with the oil, become soft, are the ones used. The pieces
being selected, they are ground and passed through a sieve,
being reduced to a tine powder. It is then placed in a glass,
and a corresponding volume of rosemary oil poured over it ; tho
mixture is then stirred for a few minutes until it is transformed
into a thick liquor. It is then left to rest for two hours, when
a few drops of rectified alcohol are added and intimately mixed.
Repeat the operation until the varnish is of a sufficient con-
sistency ; leave to rest for a few days, and decant the clear.
This varnish can be applied to wood and metals. — Journ.
Applied Ckem.

Influence of Coloured Light on Plants. — Recent ex-
periments by L. Cailletet confirm those made many years ago
by Morren, of France, with regard to tho influence of the lumi-
nous rays in vegetable growth. Tho former advances a stop
further by including the red, as well as tho yellow ray, among
those most favourable in promoting tho decomposition of car-
bonic acid gas by plants. All the rays more refrangible than
the yellow are powerless in this respect. Under the influence
of green light, not only does no decomposition take place, but
new qualities of carbonic acid are formed, the exhalation of tho
gas by the fresh leaf being nearly as much under this condition
ns when placed in the dark. Light passed through a solution
of iodine in bisulphide of carbon prevents decomposition of the
acid, and, says the New York Tribune, the appropriation of
carbon by tho plant, bnt does not seem to increase the quantity
of acid, which might be inferred from tho fact that tho violet
is tho most refrangible of the coloured rays. Many experiments
have been made in this country which give the same general
results of those of Morren and of Dr. Daubeny, of England, but
differ somewhat from those of Cailletet.

^0 ®orrcsyoub£nts.

A. P. A. — The iodizing solution of tho collodion you mention con-
tains a bromide as well as an iodide. 2. The Photogkai’hic
N EWS is published every Friday morning at 9 o’clock, and the
delay in obtaining it must be duo to your agent, who ought to
explain to you. 3. AVe believe the next collodion you mention
contains a bromide, but we are not certain. 4. You may, for
.special puri)oscs — such as preparing dry plates — add an extra pro-
portion of bromide with advantage ; bromide of cadmium, being
most soluble, is most suitable to your purpose.

J. C. D. — The yellow sample of paper will probably answer pretty
well for covering a background screen. You will best ascertain by
pinning a piece to a backgrotmd and photographing it. It may
possibly turn out too light. AV’e prefer blinds to skylights to run
on rods fixed at ridge and caves. AVc .arc glad to hear that yoti
like Mr. Robinson’s Art Lessons.

Young. — You are in error in fancying that a picture could be ob-
tained by any reasonable exposure on ordinary excited albuminized
jiaper in the manner you nc.scribc. You fail simply because the
light is insufficient and tho surface not sufficiently sensitive for
producing a picture. An enlarge<l image, obtained by the light of
tho north .sky, is not nearly sufficiently brilliant to print on albu-
minized paper. You might possibly manage it on iodized j)aj)cr
and development ; but then the exposure would be very protracted.
There is no proce.ss more sensitive than tho development printing-
process on broino-iodized paper. You could produce an enlarged
negative by tho method you tried, and print from that on albu-
minized paper. 2. The solution for silvering brass to which you
refer as sold in the street was probably a prei)aration of mercury.
Tho red powder at the bottom was probably iodide of mercury.

204

THE PHOTOGRAPHIC NEWS.

[April 24, 1868.

Such a method of “silverinf'” is useless for ordinary purposes.

3. Yes : it may be used for landscape either as a portrait lens,
stopped down, or the front lens may be used alone, and, beinf? of
longer focus than the combination, it will cover a larger plate.

4. The landsc.ape yon enclose would have been better if the raas.sos
in the loft-hana comer had been balanced by .some object in the
right.

J. B. C.VRTLIDOE. — Acetate of morjjhine is a salt, generally in a
white amorphous powder, and can be obtained of most chemists.
Permanganate of pota.sh is a .salt, consisting of purple crystals.
You can obtain cither of most dealers; certainly of Mr. Thomas,
Mr. Rouch, or other photographic chemists. The recipes to which
you refer are-valuable in rendering glass non-actinic ; and the v.ar-
nish j’ou mention also answers well. AVo should think that it
might bo used to the gl.ass of a lamp to make the light non-aetinic.

P. — The source of failure is in the mode of developing. Before
adding the iron solution add to it a drop or two of nitrate of silver
solution. You will find in our last A'olume several articles in which,
amongst the causes of failure discus.sed, this one is especially
pointed out. Try again, and let us know the result.

F. M. Young. — Collodio-bromide of silver plates may be used in
the wet state ; but they must receive the tannin coating, and must
be developed with pyrogallic acid, not iron ; in fact, developed as
Mr. Mawdsley directs in our last Yeak-Book for dry plates.

2. Dissolve the silver in the alcohol before making the collodion,
and, when required, add the alcoholic solution of bi-omide ; or add
sufficient of a saturated solution of nitrate of silver in distilled
water to plain collodion, and then add alcoliolic solution of bromide.

3. The silver bath does not require modifying when sulphocyanide
toning is u.sed. The bath with either nitrate of soda or sugar may
be used as well with the sulphocyanide and gold toning bath as
any other toning bath. The bath is generally neutral ; if not, it
may be made so with chalk. 4. The time varies with the propor-
tion of gold present : from five minutes to half an hour, according
to depth required and other circumstances. 5. The negatives we
intensified with permanganate were developed with protosulphate
of iron and acetic acid solution. AVe have not tried it with a
gelatino-iron developed negative, but in no instance did we fail to
get the orange tint. Let us know your further results.
6. Coffee plates can be developed with iron, but not so well as
with pjTogallic acid.

H. S. — AA''earc glad to learn the successful issue of your experiments.
AVo shall bo glad to see an example of the insoluble deposit.

D. J. AV. — AA’'c regret that we cannot give you any definite informa-
tion as to the probability of your getting an engagement in a first-
rate London studio for the purpose of getting an insight into the
mode of working. As a rule, photographers in good practice do
not care to employ assistants on such terms ; but it is probable
that you would best servo your purpose by inserting an intimation
of your desire in our advertising columns. You can call upon us
if you wish for more direct information.

J. B. — You will find details of the Ebumeum process in our Y'E.vn-
Book for 186G, stated by the originator, Mr. J. Burgess, of
Norwich.

R. L. M. — The old red insensitive collodion of which you speak
cannot be made useful for producing negatives, c.specially as you
remark that the film is perfectly rotten.

Hugo. — The new chloride of silver voltaic battery of Messrs De la
Rue and Muller is remarkable for the intensity of the current
which may bo obtained from it, but it would not compete with
Grove’s battery for the economical production of the electric light.
Forty cells were used to exhibit its powers at the Chemical Society's
Soiree. The novelty consists in the generation of a comparatively
powerful electric current in a battery of which the cells are charged
with a ningle liquid. Salt brine, which soon becomes partly con-
verted into chloride of zinc, is employed as the exciting nuid. The
new batteiy, elegantly mounted on a mahogany stand and in series
of ten cells, can be procured from Mr. AVilliam Ladd, Beak Street,
Regent Street. You do not state how the toning bath was made
which has become inert, so that we cannot speak with certainty as
to the remedy. Try adding a few drops of a frc.sh concentrated
solution of chloride of gold to it.

Lost in London. — AA'o have used a sulphocyanide toning bath
immediately it was mixed, and months afterwards, with success ;
but, on the whole, prefer it fresh mixed. Increasing the propor-
tion of sulphocyanide reduces the tendency to a pink tint in the
lights. Tne addition of a little chloride of sodium to the bath also
decreases the tendency. AVe do not dislike the rosy tint of the print
sent. 2. More front light would not have been an improvement.

J. A. R. — You do not state the nature of the difficulty in getting
good tones. Do the prints tone too rapidly and become too blue
If so, make the bath still more dilute. The hypo and gold bath is
made by adding about 4 grains of chloride of gold (first dissolved)
to a pint of fresh fixing solution. The coffee plates are stated to
require ordinarily three or fotir times as much exposure as wet

plates ; but it is quite pos.sible that imder some circumstances ten
times would not be too much. AA'e will make enquiry into the
error with which wo regret to learn you have been troubled.

AV. J. A. G. — It is quite imperative that you use both eyes in look-
ing through a stereoscope, as you cannot get the effect of binocular
vision with one eye. A limited effect of solidity may be obtained
by examining a good photograph with a lens ; but the proper
effect of relief and distance can only be obtained by using both
eyes. The two halves of a stereoscopic slide are dissimilar views
of the same subject, such as would bo seen by the right and left
eye respectively, and these must bo combined in the stereoscope as
they are in natural vision in order to produce the true binocular effect
of relief and distance. It is a common error with persons who have
not familiarised themselves u-ith the use of the stereoscope to fancy
they can see better by closing one eye. You cannot judge correctly
of distance in nature by the use of one eye only, as you may easily
prove. There is only one rea.son why a stereoscopic slide must bo
examined by both eyes, and that we have just stated ; namely,
that the two pictures, being views of the same thing from two dif-
ferent points of view, can only be seen as one picture by two
eyes. Two views exactly identical would be useless. 2. A
perfectly fixed and properly wa.shed print will not be injured by
using warm water to remove it from its mount. Hot water as final
bath in washing prints is a good thing.

Constant SvnscRinEK. — The process would roiuire too much
space to describe here. You u-ill find it described in our last
Year-Book, in the article on “A Simple Method of Enlarge-
ment.” AA'c shall probably have something to say on the subject
shortly.

Rev. j. II. Johnson. — India-rubber solution may be used safely
without fear of injuring the bath. It may be used as preliminary
coating to the whole plate, or only to the edges, as you may
choose.

G. R. Fitt. — On examination of the precipitate, it appe.ars to be
acetate of silver with a little reduced metallic silver, and a slight
trace of chloride of silver, cyanide of silver. The peculiar histro
is characteristic of acetate of silver.

R. B. (India). — The dirty yellow or brown mottled markings and
spots are due to imperfect fixation. Either from weakness, im-
purity', or exhaustion of the hypo bath, or from imperfect immer-
sion, the prints arc not perfectly fixed, and insoluble hypo.sulphito
of .silver, being formed in the paper, dccompo.ses in the washing
water, causing the dirty brown mottling in question. The prints
sticking together and not being kept in motion will cause a few
prints in a batch to suffer when others are all right. The remedy
IS plenty of fresh strong hypo, and care to sec that the prints get all
thoroughly immcr.scd and brought under the action of the fixing
agent. Thanks for the print.

*,• Owing to the unusual pressure on our space, many articles are
compelled to stand over until our next.

Several Corre.spondents in our next.

|)^otograpfis ISrgistrrrh.

Mr. M. Boix, Great Driffield,

Photograph of the late Sir. J. Seare.

Messrs. W. add D. Dow.set, Newcsstle-on-Tyne,

Photograph of Mr. 8. Phelps.

Photograph of Mr. E. Phelps.

Mr. E. Steile, Wisbech.

Photograph of Water-Colour Drawing, Ac.

Mr. R. A. Reeks, Evesham,

Photograph of Due d’Aumale's Harriers, Ac.

Photograph of Due d'Aumalc’s Huntsman.

Photograph of Mr. H. H. Stephenson.

Mr. J. Eastham, Manchester,

Seven Photographs of Proposed New Town Hall, Manchester.
Mr. H. Ronixs, Landport,

Photograph ot Triumphal Arch at Landport.

Mr. C. Sasdebsox, Preston,

Three Photographs of Mr. Guttridge, Wesleyan Minister.

Mr. G. Beck. Sheffield,

Photograph of Edward Byron Pagdin.

Mr. Bbiogs, Leamington,

Five Photographs of Lord Leigh.

All Communications for the Editor to bo addressed to 15,
Gough Square, Fleet Street, London, E.C.

*,• All photographs forwarded to the Publisher for registration receive
attention at once ; but the pressure on our space sometimes compels ns
to defer the acknowledgment in this column. It should be borne in
mind, therefore, that non-acknowledgment at once does not necessarily
imply non receipt or non-registration.

NEWS."

THE

CONTENTS.

PAGE

Tilrificd India-Rubber Sheet 205

Photoirntphy and the Abyssinian Kxpcdition 200

Panoramic Stereoscope 200

Photographic Piracy of Kngravings 207

Kchoes of the Month. By an Old Photographer 207

Photography at the Royal Cornwall Polytechnic Society 209

On Natural Clouds and Atmospheric £^cts in Landscape Pho-
tography. By Nelson K. Cherrill 209

PAftR

Bstimating Exposures. By Robert Oillo 209

Pictorial Effect in Photography. By II. P. Robinson 210

Convention of Photography in the United States 212

Recent Patents 212

Correspondence — 8el Clement — Mr. McLachlao's Discovery —

Insensitive Spots in Morphine Plates 213

Talk in the Studio 215

To Correspondents 215

VITRIFIED INDIA-RUBBER SHEET.

About three months ago wc called attention to a new
material, which had been introduced in Paris by M. A.
Marion under the above name, possessing valuable qualities
for many photographic purposes. We have just received
from Messrs. Marion and Co., of Soho Square, some sheets
of the new material for experiment, and a brief description
will doubtless interest our reader.«.

The “caoutchouc pellicle” is in sheets the sisse of photo-
graphic paper, about 22 by 18 inches. It is thin, colourless,
transparent, exceedingly pliant, possesses a fine surface, and
is waterproof, or nearly so, not being affected by ffuids
until after long treatment, and then only slightly. It is
exceedingly tough, bearing considerable strain without
tearing, and is slightly elastic, stretching a little when
pulled.

The multiplicity of purposes to which a material having
most of the properties of glass without its frangibility, and
which might be called Ilexible glass, may be applied in
photography will occur to most readers. At present, how-
ever, but few of its special uses have been pointed out.
M. Marlon proposes it as a means of transferring negatives
from glass, and forming a convenient support, free from
risk of breakage, permitting the negative to be used with
either side in contact with the sensitive paper, without loss
of sharpness, and rendering the storage of the negative an
easy thing. He treats the negative film with a suitable
varnish, applies the transparent pellicle, and, when all is
perfectly dry, immerses the plate in water, by which the
collodion film is detached from the glas.s, ami is removed,
adhering to its new support, die also proposes it for use ;n
carbon printing, i\s rendering unueces.sary one of the trans-
ferring processes usually necessary. The sensitive pigmented
gelatine, being applied to the new material, might be
printed through it, and then developed without mounting
l>reviously. The print might be finally mounted with the
vitrified sheet uppermost as a protection, or steps may be
taken after mounting to remove it.

We foresee some slight difficulties in the a|>i)lication for
carbon printing, which, however, may probalfty be over-
come in practice. If the vitrified sheet be left in contact
with the carbon image it will interfere somewliat with the
artistic character of the result, as a glazed surface in the
lights generally lacks the feeling of purity and repose
which belongs to a matt surface in the lights of a paper
picture. To secure the best surface, therefore, it would be
necessary to remove the caoutchouc pellicle after the final
mounting, and at present we are not sure that this could be
done successfully. The material, however, is one of which
carbon experimentalists will be glad to make trial. We
hope shortly to be able to record some results in this
direction.

At present we have only had opportunity for experiment
in two directions with the sheets sent to us. Wo have em-
ployed it as a protective surface to small pictures, in a manner
similar to that in which sheets of collodion and gelatine have
been used, and also as a substitute for glass in taking
negatives. For the first purpose its application is simple
and easy. A sheet of the material, having been cut to the
required size, is immersed for a few minutes in clean water,
or dilute alcohol and water would be better still. The
picture to be protected is then wetted, either by holding
under a tap, or immersing in a dish of water. The wet,
vitreous sheet is then brought into contact with the wet sui-
face of the print, which till then is kept in a horizontal posi-
tion : the two being then raised into a vertical position, and
drained, the surfaces come into close contact, the water
running out from between them driving away all air-
bubbles. A sheet of paper is placed over the surface, and
the whole rubbed well down to secure firm contact. The
protected print is then dried under pressure. The appear-
ance of the finished print is very similar to that of a print
“ enamelled ” with gelatine and collodion.

In our attempts to use the vitrified sheet as a support in
producing negatives, we proceeded as follows: — A piece of
the sheet is cut about a quarter of an inch less than a
plate of ,gla.ss of auy suitable size. The vitrified sheet is
moistened at the back, and placed on the plate of glass, to
wliich the moisture causes it readily to adhere. It is then
coated with collodion, which, flowing over the edge of the
sheet and up to the edge of the glass, protects it from dis-
placement in the nitrate bath. This done, the manipula-
tions are conducted in the usual way until the negative is
finished, when it is easily removed from the glass by run-
ning a penknife round the edge and lifting away the
negative on its limp transparent support. There are certain
precautions necessary in these manipulations : it is important
to see that the pellicle is quite fiat on the glass without
wrinkles, and tliat the edges do not curl up so as to
permit the collodion to fiow under between the vitrified
sheet and the glass. The inconvenience and imperfection
which would arise if care were not taken in this respect will
be readily understood.

The most curious difficulty wo met in using the new
material as a substitute fur glass in taking negatives is one
which we hope is exceptional, or in any case we are disposed
to believe it is avoidable. It is this : the exposure required
is much longer. In our first experiments we were puzzled to
find each negative considerably under-exposed, and concluded
that the chemicals were out of order. In the course of further
experiment, however, in using a piece of the vitrified sheet
much smaller than the gla.ss on which it was manipulated, wo
found that the excited film on the bare glass was over-exposed,
whilst the same excited film where it rested on the new mate-
rial was thin and under-exposed. This fact was verified by

206

THE PHOTOGRAPHIC NEWS.

[May 1, 1868.

further experiment. Its cause remains to be ascertained, and
po.ssibly removed. Another detail may be mentioned. After
passing through the various manipulations, and being sub-
jected to the action of the various solutions in taking a
negative, the pellicle acquires a somewhat opalescent appear-
ance in place of its former perfect transparency. This effect
continues on spontaneous drying, but disappears on the
application of heat.

Wo may here mention an ingenious application which
Mr. Woodbury has for some time contemplated making of
such a material as this. He propo.ses to sensitize a long
strip of it by some trustworthy dry process ; and, providing
a camera with a couple of rollers, wind off from the supply
roller sufficient for a negative. After exposure this would
be wound on to the other roller, and a fresh supply at the
same moment brought opposite the lens for further use.
The compactness and convenience of such an arrangement
wilt be readily understood. The working out of such an
arrangement is a matter of detail which wo need not discuss
here.

The exact nature of the material and its mode of prepa-
ration arc, of course, M. Marion’s secret; but as photo-
graphers rarely like to work with materials of the constitu-
tion of which they know nothing, we may state at once
tliat there is very little doubt that the basis of this fabric is
collodion ; and although it is named vitrified india-rubber,
it is very doubtful whether india-rubber enters at all into
its composition. The strong and peculiarly characteristic
smell of castor oil is one of the first characteristics which
came under our attention in examining the pellicle. On
treating it with benzole it remains unaltered. It is at once
penetrated by ether, and softened, but, like collodion films
under such circumstances, not readily dissolved. It burns
in the rapid explosive manner of pyroxyline, leaving a
little sticky residue like burnt oil. Dr. Vogel described in
our pages about year and a half ago the “ leather collodion”
of llerr Grune, made from plain collodion containing four
per cent, of soluble cotton and three per cent, of castor oil,
and this appears to be a substance of a similar constitution.
Dr. Vogel proposed to supplement a film of the leather
collodion with a layer of india-rubber in certain cases, and
he describes the films so prepared as very solid and a little
elastic. The object for which the preparation was then
proposed was the transfer of negatives. It appears pro-
bable that to M. Marion has occurred the happy thought of
expanding this idea, and forming a transparent fabric in
sheets ready for use, which will have a variety of valuable
applications. Whatever the precise nature of material em-
ployed, the skill with which it is prepared, and the beauti-
fully transparent, tough, and flexible pellicle produced,
confer a boon on photographers generally.

rilOTOGRAPin AND THE ABYSSINIAN
EXPEDITION.

Wk are in receipt of intelligence concerning the staff of
photographers attached to our army in Abyssinia. From a
private letter, which left that country on the 20th March
last, and has been considerably delayed in transmission, we
learn that Serjeant Ilarrold, Iloyal Engineers, tlio chief
photographer, has been remarkably euccessful in the fulfil-
ment of his very laborious and difficult duties. His labours
commenced at Aunesley Bay, where a large panoramic view,
on three negatives, was taken of the pier, shipping, store-
houses, &c. As soon as this had been completed, he was at
once ordered up the country to Senafe, views of the mountain
passes being obtained en route-, and licre he remained with
his staff for a short time, taking extensive photographic
sketches of the camp and environs. From Senafe he moved
forward with the first brigade of the array, accompanying
General Jlerewether on some of his exploring expeditions,
and obtaining views of the country which considerably facili-
tated the construction of maps and plans required for the
Quarter-Master General's Department. Serjeant Ilarrold

speaks in high terms of the equipment with which he was
supplied, and especially of the packing thereof. In enume-
rating the many difficulties with which he has had to con-
tend, and more especially with regard to the carriage of the
apparatus, he says : — “ Two of our mules had a regular dance
round the camp one da)', with a couple of our boxes dragging
behind them. One of them rolled over on his back three
times whilst carrying two of our plate-boxes, and afterwards
fell down a place called the Devil’s Staircase. I am sur-
prised the equipment has stood so well as it has, and I think
Mr. ^Meagher deserves great credit for the substantial
manner in which he fitted it up, for it has been exposed to
all weather’s, merely covered with some tarpaulins.”

As regards operating, Serjeant Ilarrold tells us he has been
very much troubled with the dust blowing into the dark
tent, and, inasmuch as the country is in some parts exceed-
ingly dry, and no rain has fallen for three or four years, the
amount of dust everywhere is very considerable. The water-
lias been very good throughout, but at times it was remark-
ably scarce. The collodion he took out with him perfectly
fulfilled his expectations. He says : — “ I am surprised the
collodion stands the test of the campaign so well ; I must
say that both Thomas’s and llouch’s work first-class, and
give me no trouble whatever.”

All the stores and chemicals have been found to work
well, and, with the exception of some of them running
rather short, there is nothing whatever to complain about.
It is the difficulty of transporting the apparatus and fragile
paraphernalia over bad roads and paths of the rudest de-
scription which constitutes the chief obstacle to be overcome,
not to mention the unpleasantness of being obliged to find
one’s way from one out-of-the-way place to another, unac-
companied by a guide, and unprovided with an escort.
At no time, however, was it necessary to leave the dark
tent and baths behind, and there was no occasion, therefore,
to employ the dry plates with which Sergeant Ilarrold had
provided himself in case of emergencies.

Besides the reproduction of landscape views, the chief
photographer had likewise to exercise his functions pretty
frequently in taking portrait:. Groups of the different
native chiefs surrounded by their suites, of the Prince of
Tigre, of Kassai, and many other dusky warriors, had to
be taken ; and when, as in some instances, these gentlemeri
refused to be operated upon except under the shelter of a
dark bell tent, the ta.sk of producing a pictui’e with the
sun shining full into the camera was by no means an easy
one.

Other interesting subjects for the camera were not wanting,
as shown in the following: —

“ I have had an opportunity of obtaining a few photo-
graphs of an Abyssinian bible, which I believe is about
four hundred years old ; it is' rather an odd-looking book,
the leaves being of parchment of a dirty yellow colour.
My copies, however, give a very good idea of the original,
and show well the rude sort of paintings contained in the
book. I copied two portions of the Gospel of St. Mark,
and likewise a cross belonging to a convent at Goona Goona.

I was left behind with four men to complete some prints
and to copy these articles, and found myself, when 1 had
dorre, eighteen miles from the main body, in an unknown
district, without a guide. We went a considerable distance
out of our way before we again fell in with our troops, and
then found out that we had marched in the wrong directioia
arrd had arrived at the wrong camp.”

Sergeant Ilarrold certainly appears to bo the right man
in the right place, as combining within himself the qualities
of a skilful photographer and the power of readily accom-
modating himself to any circumstances.

PANORAMIC STEREOSCOPE.

We have had brought under our notice a new form of
stereoscopic i)icture and stereoscope, projected by Mr. W. H.
Warner and Mr. Robert Murray, which, for a large class

May 1, 1868.]

THE PHOTOGRAPHIC NEWS.

207

of subjects, possess decided advantages over the ordinary
form familiar to the public. A common aim amongst

!)hotographers for years past has been to secure a larger
lorizontal angle in their pictures ; panoramic lenses, pano-
ramic cameras, and wide angle lenses of various kinds have
been introduced to secure this result, and with various
degrees of success. From the name given to the new form
of instrument we are describing the reader will probably
come to the conclusion that its aim is to render in the stereo-
scope the panoramic effects, or greatly extended liorizontal
angle, to which we have referred. Such is not the case, liow-
cver ; the aim is rather to present a view in which the verti-
cal angle included is twice the horizontal angle. The pic-
tures are laterally of the ordinary size, and include less than
the ordinary angle horizontally, but twice the ordinary size
and ineluding much more than the usual angle in height.

The idea upon which the adoption of a new form is
based is an assumption tliat the angle of natural vision
horizontally is only one-half of the vertical angle. With-
out adopting this more than doubtful proposition, we may
remark the very evident fact that there is a large class of
subjects of which the pictorial interest is limited to a very
small space laterally, but in which the whole effect is spoiled
if a similar limit be applied to the height of the picture.
In many views of church interiors, for instance, the interest
is confined laterally to the narrow limit.s of the nave or a
single aisle, whilst vertically it is desirable to take in every-
thing, from the base ol the columns to the roof. To secure this
it is often necessary to use a lens of short focus, rendering
the important objects in a diminutive scale, and including
other's tiot needed. In the new form of slide, noble columns
and lofty arches, surmounted by the tracery of an ornamental
groined roof, are seen in fine proportions ; nothing cut off in
the height which is necessary to the effect, nothing super-
fluous in the width not required in the subject. So of
natural glens and gorges, or avenues of trees, in which
height is a material element of the natural beauty of the
scene. In the stereo.scope subject the most uninteresting
piece of foreground, which could pictorially be very well
sjrared, is of great value in giving space and distance when
viewed in the stereoscope, and hence it is often important
to retain that which at first sight would be cut off .as a
matter of course. It will be seen, we think, that for many
subjects the new form h.xs a special fitne.ss, and will give a
new value to the stereoscopic rendering of many scenes.

Many of the subjects taken by Mr. Warner in the new
size, for the new form of instrument, are very fine, and
admirably illustrate the peculiar advantages to which we
have referred. They are de.scribed as being printed by
the “ new argento-carbon process of the inventor, the whole
of the sulphur being elimin.ated from the p.aper, and .albu-
men and a pure carbon substituted in its place ; thus
they are really as permanent and indestructible as they
can be made.” Of the meaning and value of this descrip-
tion we can give no explanation, beyond stating th.at the
prints resemble good gold-toned silver prints, and arc stated
to have acquired by some treatment immunity from fading.
The stereoscope, which is made in different ornament.al pat-
terns, is, we understand, p.atented, and will be introduced to
the public by Messrs. JIurr.ay and IIe.ath.

PIIOTOGR.VPIIIC PIR.\CY OP ENGRAVINGS.
OcR readers will remember a recent case of conviction for
infringement of copyright in which Mr. Beal, of St. Paul’s
Churchyard, was fined £130 for the sale of twenty-six, photo-
graphs of copyright engravings, the penalty of £5 being
exacted for each sale. At the hearing. Sir Robert Carden
refused to state a case for a higher Court, believing the
matter to be one beyond doubt or question, both as to the
offence and the penalty. On Thursday, the 23rd ult., appli-
cation was made at the Court of Queen’s Bench before Mr.
Justice Blackburn, Mr. Justice Mellor, and Mr. Justice

Lush, sitting in banco, for a rule directing the magistr.ate to
state a case for the opinion of the Court on certain points
raised. The case is reported in the Uailif Press as fol-
lows : —

EX PARTE BEAL IX THE MATTER OF CERTAIN CONVICTIONS
UNDER THE COPYRIGHT ACT.

This w.as an application in tho matter of twenty-six convic-
tions by Sir R. Carden, under tho Copyright Act, for tlio s.alo of
photographs of paintings, or engravings therefrom, without tho
consent of tho owner. Twenty-four inform.ations had boon laid
by Mr. Graves, under tho Art Copyright Act, 25th and 2Gth
Victoria, cap. G8, for unlawfully soiling photographs of certain
of his paintings or engravings without his consent as, for
instance, “ -My First Sermon,” “ My Second Sermon,”
“ Ordered upon Foreign Service,” and so forth, tho paintings or
engravings Iming registered in those names, and described as
“ painting in oil,” or as ‘‘ engraving,” by such names. At the
hearing before Sir R. Carden various legal objections were
taken, some of which were rather technical, as that the paint-
ings were not sufficiently described in tho registry, &c. The
magistrate overruled these objections, and, as he considered
them technical, refused to reserve them for the Court by stating
a special case. One of tho points was certainly substantial in
tho sense of tho practical result. Tho penalty upon “each
offence ” being £l0, and there being proof of sales of photo-
graphs upon two occasions — in each of which eight were sold —
it was objected that there were only two “ offences,” hut tho
magistrate convicted for sixteen offences, and imposed mitigated
penalties amounting to £130.

Mr. G. Francis moved for a rule or order directing tho
magistrate to state a case for tho opinion of tho Court upon
these points.

The Court, however, after a good deal of discussion, refused
tho application on the ground that none of tho points wore so
far doubtful as to deserve consideration. As to tho jioint of
description, all that the Act required was a short description of
tho nature and subject of tho work, and they thought that tho
description was sufficient. There could bo no rea.sona’olo doubt
as to what were the subjects of tho jiictures, which were well
known. Then it was objected that the photograph was not a
“ copy ” of the painting ; but they thought that it was. Lastly,
it was objected that each act of selling was only one offence,
whatever tho number of tho copies sold. But tho Court thought
otherwise — that the penalties were cumulative, ami that tho
selling of each copy was a distinct offence. It would have been
a monstrous absurdity if a man might sell a thousand copies at.
one time, and only pay a single penalty. It would be well
worth his while to do so, and such a construction would make
tho statute nugatory. Tho object of tho Act was obviously to
prevent tho sale of copies, and therefore tho sale of each copy
was an offence within the Act. There was nothing, therefore,
in any of the points raised to require a case to bo stated, anil
therefore a rule wouhl be refused.

ECHOES OF THE MONTH.

BY AN OLD PHOTOGRAPHER.

Mr. McLachlan’s Discovery — The New Intensifying
Process — Photography in the Senate House — Con-
valescent Hospital for Photographers — Photogra-
phic Convention — Sel Clement— Cabinet Portraits —
Societies,

Mr. McLachlan has spoken ; and I must confess that, in
company, I fear, with many hundreds more, 1 feel sadly
disappointed. The fulfilment does not seem worthy of tho
promise. I ask myself, what practical information have I
gained which 1 did not possess before? And I am afraid I
must answer, very little. I ask myself, what part of my
usual negative operations shall I change in consequence of
Mr. JIcLachlan’s disclosure? And I fear I must answer,
none. And as I had given some faith to Jlr. McLachlan’s
announcement, I feel, as .lonah did when his gourd had been
destroyed, that I do well to be angry. And yet I do not
charge Mr. McLachlan with breach of faith, or humbug, or
some other of the crimes which in pretty little epithets I
have heard hurled at his head. 1 believe that he was per-
fectly honest in his conviction that he had something im-

208

$HE PHOTOGRAPHIC NEWS.

[May 1, 1868.

fiortant to communicate, and, with an honourable and
iberal mind, he was willing to communicate it to his
brethren without fee or reward; nay, at a good deal of actual
cost to himscdf, in w.aste of time .and in travelling expenses,
and at the risk, however v.aluable his communic.ation, of meet-
ing, at best, only misappreciation and ingratitude, possibly
gibe and misrepresentation. Looking at all these facts, I feel
satisfied that Mr. McLachlan is an honest and liberal-minded
man.

But he has misconceived the facts of the case somewhat.
I think that ho has under-rated the knowledge and capacity
of photographers generally, and that he has over-rated the
novelty and v.alue of his own mode of working. He has, 1
think, taken certain known facts of photograph)’, and com-
bined them into a system of working which, as a clever,
practic.al man, he has found exceedingly s\iccessfii1, and that
this system has assumed exaggerated jrroportions in his eyes.
I am a.ssuming, of course, that he h.os “ m.ade a clean breast”
of his secret, and that no further novelty is yet to come in
the promised paper. I must confess that I was a little be-
wildered by the viva voce statement of the case made by Mr.
^McLachl.an at the Society’s meeting. He .should never have
permitted himself to be tempted into a verbal account of the
matter. Uis natural discursiveness runs away with him. I
was very thankful to read your report, giving the simple
facts of his statement stripped of the redundancy and freed
from the digressions of his speech. I was glad to find, how-
ever, from your report, and that in the Society’s journal,
which contains substantially the same facts, that the impres-
sion I brought aw.ay wa.s correct. I noticed, by the way, that
these two are the only reports which have appeared ; no
attempt to render the speaker’s remarks having been made
elsewhere.

The gist of the whole matter seems to be, that ^Ir.
McLachlan works with b.ath and collodion quite neutral,
doubtless a wise thing to do where it is possible ; which
many skilful photographers have done and recommended
from the early days of the collodion process, but which only
very skilful and neat manipulators have been .able to do
with success. But I do not see how this is to free the collo-
dion process from the thousand and one ills which it is heir
to, or how it is to secure either ceitainty or permanency of
general good conditions. The occult action of light, in
giving a power to a neutral silver bath to hold oxide of
silver in solution, and to reject iodide of silver, is curious, if
true; but is it so? If Mr. McLachlan h.as still some im-
portant information to communicate not yet revealed,*
which will give us the promised results, I shall thankfully
accept it, and will gladly withdraw any of my remarks
which m.ay do him the slightest injustice.

I have repeated the experiment you describe with per-
manganate of potash .as an intensifier, and 1 am dispo.sed at
present to believe that it will prove the most v.aluable inten-
sifying process we pos.sess. As a rule, I prefer to obtain
printing intensity with my iron solution before fixing ;
l)ut as r .am careful to avoid the slightest excess of density,
it occasion.ally happens, with some samples of collodion
which lose considerably in fixing, that the negative is then
a little we.ak. The perm.anganate solution yields be.autiful
results, giving great brilliancy without any tendency to the
coarseness so common when additional silver is piled on the
image.

Photography has long been recognized as an art having
wonderfully ramified forms of application ; but I iin.agine
that it will be long before it attains the kind of recognition
in this country that it has secured amongst our transatlantic
cousins. I see it stated that on one occasion during the
great trial — the itnpe.achment of the President — all con-
cerned were observed to be arranging themselves with a view
to eft'ect for a memorial photographic group, which was to
be taken as a souvenir of the occasion !

* Our contributor will see from Mr. .McLxchlan's letter, in our present
number, that he has further information to communicate. Uis present aim
was to get solutions sunned, and then conununicate further.— £o.

I have recently heard of a magnificent project which, if
true — .08 I hope and believe it is — reflects great honour on
the gentleman most concerned, Mr. Mayall. Everybody is
familiar with the n.ame of Mr. M.ay.all as one of the vetenans
of the art and a most accomplished photographer, and if the
project to which I have referred be carried out, his name
will be remembered by many generations of photographers.
Mr. Mayall h.as, I am told, recently purchased an immense
estate on the finest part of the Sus.sex coast, on which he in-
tends to build a town. The medical profession, who have for
a long time desired to build a convalescent hospit.al on that
coast for members of their own body, but have not been able
to obtain land, have made application to Mr. Mayall, who has
ofl'.’red to give them the necessary ground on condition that
one wing of such hospital should be ilevoted to the use of
photographers. Thus suftering members of our profession
w’onld be brought at once into contact with a hnc atmo-
sphere, the best advice, ami cultivated companionship.
Whether this will be carried out, or not, and how, remains
to be determined ; but I feel that photographers owe Mr.
Mayall a debt of gralitudc for the conception of such a
magnificent idea.

I sec from an American journal which has just reachi'd
me that a great convention of professional photograj)hei-s
has just been held in Xew York to resist the renewal of the
bromide patent, to resist government taxation of photo-
graphers, and to adopt such united action as might be
found beneficial to the interests of the profession. It is
pleasant to see that in a country so extended as the United
States anything like combined action could be secured in
regard to such matters. The most amazing part of the
business is, that such a patent as that for the use of
bromides could ever have been enforced. A patent was
obtained in this country for that purpose at the same time
it w.as obtained in the United States, but no attempt has
been made to enforce it here. The evidences of prior use, I
presume, are too plentiful in this country.

I have recently seen some c.xcellent prints produced by aid
of the “ Sel Clement,” using a 00-grain bath. Assuming
the an,aly.scs you recently g.ave to indicate the actual propor-
tion of nitrate of silver present, this would be equivalent to
a 30-grain silver bath. 1 think, however, that these prints
.are richer and more vigorous than a plain 30-grain bath
would give, and point to the advantage of using nitrate
m.agnesia or some similar substance in conjunction with the
nitrate of silver emploj’ed.

The demand for cabinet portraits seems to progress very
slowly in this country, whilst on the Continent, in all parts,
I believe, they have alre,ady acquired a recognized and
standard position. I have recently .seen examples from
Germany, Italy, and France, all so fine that I cannot help
regretting that the universal adoption of this size lags so in
this country.

The London Photographic Society’s meeting was, ns has
been customary with it for some time p.ast, a great success.
Mr. Griggs read a capital paper, gave some nic«t interesting
demonstrations of the simplicity and value of j)hoto-litho-
graphy, and distributed some beautiful examples of his
work. Mr. ^IcLachlan m.ade the statement to which I have
alre.ady referred, and promised to read a paper more fully
giving his method at the next meeting. The North London
had a conversational meeting. The South had a meeting of an
exceedingly interesting kind, at once pleasant and instruc-
tive. Aleuibers having been invited to bring examples of
photography with them, a large number of very charming
pictures were exhibited, and formed subjects of conversation.

At the Liverpool Amateur Society Jlr. Henderson read a
very interesting paper on the use of Photography in Archaj-
ology. At the Oldham Society Mr. Heaton read a capitally
practical paper on Photography in (he Field, in which he
paid a graceful tribute to the value of the art articles at
present appearing in your pages, and for which I, in
common with many of my friends, w’ish to express my

Mat 1, 18G8.]

THE PHOTO GRAPHIC NEWS,

209

thanks to Mr. Robinson. I shall personally bo glad when
he gets to the composition of figure subjects, which is a
subject most interesting to photographers, as comprehending
matters not within their control. The other societies have
not presented many features of interest.

rilOTOGRAPlIY AT THE ROYAL CORNWALL
POLYTECHNIC SOCIETY.

The thirty-fifth annual report of the Royal Cornwall Poly-
technic Society has just been issued. The consideration
which photography has always received in its exhibitions
gives its proceedings an especial interest to all connected
with our art. In the section of the report devoted to the
Fine Arts the following paragraph refers to the photographic
contributions at the last exhibition ; —

“ The collection of photographs has certainly never been
excelled, if it has ever been equalled, at any previous exhi-
bition. Foremost among the exhibitors stanils Mr. II. P.
Robinson, of London, the beauty of whose works wo have
had to notice at previous exhibitions. One of his photo-
graphs, entitled ‘ Sleep,’ represents two girls, evidently sisters,
sleeping calmly and happily, side by side ; and the air of
peaceful repose and perfect unconciousness which pervades
their countenances is strikingly natural and truthful.
Another very creditable production of Mr. Robinson’s is a
photograph from nature, entitled • The Sisters.’ The sub-
jects are seated together in a chair, intently perusing a
pictorial book, the arm of the elder sister being thrown
lovingly over the neck of the younger. ‘ Ralph ’ is another
excellent specimen of photography by the same artist, and
equally well worthy of notice. Mr. Nelson K. Cherrill. of
Tunbridge Wells, exhibited two portraits, entitled ‘ Emily,’
and ‘ Idle Hours,’ ‘ A View in Borrowdale,’ • An Old Oak,’
and amongst his other productions were several views of
the engine works of ilr. Penn, at Greenwich. Mr. T. M.
Rrowurigg, of Dublin, exhibited four excellent photographs
of scenes in Ireland ; Mr. William England, a number of
pretty and well photographed Swiss views ; and Mr. R.
Griffiths, of Truro, ^Ir. Rowe, of Redruth, and Mr. Netterville
Briggs, of Leamington, also exhibited several creditable
photographs.

o

ESTIMATING EXPOSURES.

BY ROBERT GILLO.

The following method of estimating exposures, although
not new, is, 1 believe, too frequently overlooked, and, I feel
sure, will be of great service to any who may adopt the same
plan.

Being in the habit of doing a great deal of landscape
j)hotography, using various lenses to suit the particular view,
1 have often, after taking a view with one lens, been bothered
to know the right exposure for the same or a similar view
with another lens. Trying to learn and remember the time
of exposure for five or six lenses, each, perhaps, with four or
five stops, is useless, and only confusing. I first accurately
obtained the equivalent focus of each lens by drawing out
the camera until I obtained a sharp image of an object the
same size, measuring the distance from the object to the
focussing-screen, and dividing the result by four. With a
small pair of compasses I measured each stop, and found
how many times it would go into the focal length. I have
thus one lens 5 3-8 focus, stops 1-15, 1-21, 1-28, 1-3G, 1-50
of the focal length ; another 7| focus, stops 1-25, 1-41, 1-60.
The exposure necessary is, of course, as the squares of these
numbers, near enough for practical purposes ; one lens may
be thicker than another, and so take a little longer ; but this,
when once ascertained, can be allowed for. I have a table
of all lenses clearly written and nailed up inside my van
aud]^||t. 1 find<I am continually referring to it, and it

savai an Immense deal of calculation and guessing.

ON NATURAL CLOUDS AND ATMOSPHERIC
EFFECTS IN LANDSCAPE PHOTOGRAPHY.

BY NELSON K. CUERRILL.

At the close of ray last paper upon this subject I stated
that I intended writing two more articles : one to treat of
the mechanical means by which clouds may be best secured
on the same plate as the rest of the view ; and a further one,
to add a few remarks upon double printing. I have, however,
upon consideration, determined to combine these two in one
paper, fearing lest, by writing too much upon one subject, I
may weary your readers instead of edifying them.

The first point, then, under consideration in this paper, is
the mechanical arrangement for taking clouds and fore-
ground on the same plate. The subject may be considered
under two heads : first, and most important, the arrange-
ment by which the exposure to the sky is rendered shorter
than tire exposure for nearer parts of the picture ; and, second,
the conditions ol development to which it is also necessary
to attend.

The most perfect apparatus for obtaining the first of these
conditions is that of ^Ir. Johnson, as adapted by him in the
pantascopic camera ; in this ingenious instrument, the hood
placed in front of the lens contains a sort of diaphragm,
in the form of a long slit from the top to the bottom, and
this is so arranged that the opening of the diaphragm can
be made larger at the bottom (wider, that is) than it is at
the top ; the light which comes trom the landscape and the
lens is thus, as it were, tapered off from the foreground to
the sky, so that, as the camera revolves, the nearer parts of
the picture receive an exposure longer than that of the sky,
just in proportion as the diaphragm is wider at the bottom
than it is at the top. This arrangement, however, necessi-
tates the idea of a revolving camera. The same principle
cannot be applied to the ordinary form of camera with its
stationary lens. This is much to be regretted, as a motion so
true and perfect, if it could be adopted, would be an inestim-
able boon to photographers generally.*

Lenses are often fitted wit lx flap shutters intended to be
moved up and down during the time of exposure. This
plan may or may not be good, according to the quality of
the camera ; on a strong, well-made instrument, that, when
put up, is very firm and rigid, notling can be better, as a
rule, than the judicious use of a flap shutter. The mode of
using it is as follows : when the shutter of the dark slide
is drawn up, the flap is raised— by the finger and thumb
applied to the milled-head — till it stands out at such an
angle as will enable about the upper one-third of the plate
to be exposed to the light ; it should not be held still, how-
ever, in this position, but as soon as one or two oscillating
movements have been given, a little more of the view — this
time, of course, nearer the horizon — must be taken in, till,
when all the foreground is almost done, the flap may be
turned right up, and the sky taken in for the remainder of
the time. This plan is very well in cases where, as I men-
tioned, the camera is quite rigid, but when there is the least
tendency to vibration, or, even with a pretty strong camera,
the least awkwardness on the part of the operator, a blurred
picture is almost sure to be the result. 1 have therefore
come to the conclusion that the flap or shade to arrest some
of the superabundant sky light should be, as a rule, sepa-
rate f’-om the camera. When only a slight amount of
shading is required, it can, I believe, be done better with the
cap of the lens than with anything else ; the cap being held
between the forefinger and thumb, und made to dip down
from above the lens, just so as to cut off' the light from the
sky ; the cap should be moved from side to side, and also
slightly up and down, giving, in fact, a circular motion.
When, however, the shading needs to be of a very prolonged
duration, I find it better to cut a rough outline of the view
in dead-black paper, and hold this up in front of the lens

• It could, however, of course, be managed by means of a circular front
to revolve by clockwork, about six inches in front of the lens ; but this
would be very expensive, not to say clumsy.

2lU

THE PHOTOGRAPHIC NEWS.

[May 1, 1868.

to a similar end. This plan answers most perfectly ; so much
so, that I would advise any one who often required to make
use of these shading dodges, to provide a stick to be stuck
into the ground about six inches in front of the camera, and
a little to one side, so as not to come into the view ; the
reason for such an arrangement being that, by its judicious
use, the hand can be made to hold the paper shade with
much greater steadiness and consequent good effect ; or, when
a very long exposure is needed, the paper might be fixed to
the stick and there left. On one occasion I remember
achieving a great success by means of two shades, one to
protect the sky in the manner above mentioned, and the
other applied to the lower half of the plat<>, to screen some
breaking waves, while I wanted the plate to become im-
pressed with the idea of a group of pine trees, about half a
mile acro.ss the lake on an island. By means of the
double screen I obtained the waves and clouds, and more
detail in the trees than could have been obtained in any
other way.

It must be borne in mind that there are two reasons for
generally wishing to give a shorter exposure to the sky than
to the nearer parts of the picture : one is, that the clouds
move, and therefore would become blurred if left too long
exposed on the plate ; and the other, that there is often such
a much greater body of light from the sky, so that the
clouds become completely buried in the development under
ordinary circumstances.

Now, whenever the clouds arc in rapid motion, it becomes
absolutely necessary to use a shade in the event of a pro-
longed exposure being needed ; but when the clouds are
comparatively still, as in calm weather is not unfrequently
the case, the sole difficulty arises from the tendency to over-
intensity, which often arises in the manner pointed out. In
such a case, any means which will effectually lower the
intensity of the developing action will be found most use-
ful in securing cloud effects. The most effectual means for
promoting this end* are, I think, to be found in the sug-
gestions contained in a paper communicated by me to the
News of June 22nd, 1806. I think the best way to reduce
the intensity of the developing action is to reduce the
amount of free nitrate mixed with the developer. I have,
in the paper referred to, suggested the use of iodide of
potassium added to the developer as a means of reducing
intensity ; but I believe the same effect can be obtained, with
a little more expenditure of time, by pouring over the plate,
after exposure, a certain amount of water — say the same
amount as would be used of developer. Let this well mix up
with the silver solution on the surface of the plate, and then
pour away (say) one half of it, and mix the developer with
the other half; in this manner the ultimate effect of the
developing solution in producing intensity will be very
materially lessened ; and in just that degree will the facility
for taking clouds on the same plate with the foreground be,
in many cases, increased.

In conclusion, a few words on double printing in its par-
ticular application to clouds. The plan which 1 have found
most generally useful is as follows ; The cloud negative
should be “ thin,” and, at the same time, very transparent
in its shadows. The sky of the landscape negative must, of
course, print quite, or very nearly, white. When the print
is finished so tar, I put the sky negative into the frame, and
the print behind it in its proper position ; then, outside the
glass of the frame, 1 hold up a screen of the same shape and
form as the sky-line of the landscape. The whole is then
exposed in the shade ; but, during the exposure, the effect
produced by the sky negative is modified, as occasion may
require, by means of another shade, which is moved about
all the time ; by the combined use of the two shades— the
one to protect the foreground, &c., from the light, and to
make a soft edge to the sky-line ; and the other, still more
to soften down the lower parts of the sky, and otherwise
generally to modify the effect— I have been able to produce

* Tltat is, of coarse, after the usual well-known plan of using a stronger
solution ant quicker development has been found insuOicient.

the best effects, and in the shortest time : about two or three
minutes for each print.

I do not think it at all a good plan to adopt a regular
“ blocking out ” system of double printing for cloud effects ;
1 have tried it, but the result is by no means so satisfactory
nor so easy as the plan now mentioned of using two screens.
In some cases, of course, one only may be needed ; but I have
generally found two answer best — one in each hand.

When any moderately dark objects project much into the
sky, they may commonly be disregarded in these shading
operations, for the reason that, after the light has acted on
the paper to almost its full extent, a slight further exposure
will not produce any further darkening ; thus, trees, the
masts of ships, &c., may often, with no disadvantage, have
the sky printed right through them without the least injury.
For just the contrary reason, great care must be taken where
any light portions of the picture cut into the sky line, for
here a very slight darkening caused by clumsy double
printing will often betray the photographer’s secret, even if
it does not mar the effect of his picture.

Besides these two methods of securing cloud effects in
photographs, there is another plan which, though not strictly
photographic, is still often adopted, and that, too, with con-
siderable success, sometimes so much so as to deceive even
practised eyes ; I refer to the modes of painting skies on
the negative, which may be accomplished in many different
ways. For a most able paper on the subject, from one whose
works arc the best testimony to the genius of its author, I
would refer to Mr. Bedford's article in the Year-Book for
1868, in which the whole subject is treated of in a concise
yet comprehensive style.

There is, however, yet one modification of this painting
on the negative which I have often tried with great success,
and which I have never seen published before ; it is very
simple, however, being as follows : — Make up a little ball of
wash-leather strained over a small roll of flannel ; rub up a
little Indian-ink, and dab the ball down in the middle of it ;
then put the ball down several times with a dabbing motion
on other parts of the palette, so as to distribute and partly
to dry the colour; when the proper consistency is gained —
which can easily be seen by a little practice — wonc on the
back of the negative with the ball, by this means taking up
fresh colour as needed. In the course of a very short time
the back of the negative can be covered over with a film of
black paint, which will render the sky much lighter in the
print than it would be otherwise ; of course only negatives
with a “ thin ” sky can be treated in this manner. When
perfectly dry, the clouds can be *• taken out ” from this
darkened sky, and, with a little skill, the effect can be made
most natural and effective. A damp paint-brush will be
found to produce a wonderful effect upon the thin coating of
paint, and in a short time clouds may bo made which, as
they print darker than the general surface of the sky, may
be made to serve many artistic purposes, which cannot be
served under the usual modes of painting-up skies, as, by
the usual plans, the clouds print lighter, rather than darker,
than the general tint.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Beixo Lessons in

Composition and Ciiiaroscura for PiioTOORAPnERs.

BY u. P. ROBINSON.

Chapter XIV.

"The axiom lh%t the most perfect art is that in which the art is most
concealed, is directed, I apprehend, against an ostentatious display of the
means by which the end is accomplished, and does not imply that we are
to be cheated into a belief of the artist having effected his purpose by a
happy chance, or by such extraordinary gifts as have rendered study and
pains unnecessary. On the contrary, we always appreciate, and therefore
enjoy, a picture the more in proportion as we discover ourselves, or are
shown by others, the why and the wherefore of its excellencies ; and much
of the pleasure it gives us depends oa the intellectual employment it
affords." — C. H. Leslie.

Hating in the last chapter had a slight glimp.se of the
value of a knowledge of composition in arranging a figure.

May 1, 1868.]

THE PHOTOGRAPHIC NEWS.

211

we now come to a consideration of pyramidal forms, a
method of composition very suitable to single figures and
groups.

It is, perhaps, as well to begin with a complete subject ;
therefore, as an example containing almost every element of
formal artistic composition, and as a subject to which it will

be useful to return again and again for the illustration of
various points to be commented upon, I this week select
Wilkie's “ Hlind Fiddler” for my illustration. Well-known
and familiar as it is to all, there is .scarcely another picture
in the whole range of art so useful to the teacher, or from
which the student of the art of picture-making could learn

so much. This is not because of the subtilty or ingenuity
of the arrangement, but quite the reverse. To those who have
the slightest inkling of composition, the art displayed is
very noticeable, defying the teaching of those who say “ the
greatest art is to conceal the art,” and that all the artist has
to do to produce a work of art is to take a bit of nature, no
matter what, and imitate it faithfully.

There is no doubt that the maxim that the art should be
concealed is good enough, but it is one of those rules that the
student should use with judgment, or it will cripple him.
It should be taken in the sense of a protest against acade-
mical formality. Burnett says on this subject, “ Concealing
the art is one of its greatest beauties; and he best can
accomplish that who can discover it under all its disguises.
I ought, however, to caution the young artist, on this hand,
not to be too fastidious in trying to conceal what can be
obvious only to a small number; for in endeavouring to
render his design more intricate, he may destroy character,
simplicity, and breadth ; qualities which affect and are
appreciated by every one.” And the quotation at the head
of this chapter is much to the same purpo.se.

As regards composition, the pictures of Wilkie may be
taken as safe guides by the stinlent. Artists of every shade
of opinion unite in regarding them in this one respect as
perfect. Even llaydon, whose enthusiasm for grand art
ami contempt for subjects of a domestic character almost
mounted to insanity, acknowledged that, as an artist, Wilkie
will be a teacher and an example for ever. Speaking of this

great artist, in one of his lectures, he says, “ Ilis composition
is perfection ; there the youth may consider him infallable ;
it was the composition of llaffaellc in a coar.ser style.” And
adds, “ My not seeing the beauty of his works at first was
entire ignorance ; as my knowledge increased, my adniii'ation
went with it : exactly as I understood llaffaclle, I under-
stood the beauty of Wilkie’s art.”

The ” Blind Fiddler,” as far as the arrangement of its
materials is concerned, would have been possible in photo-
tography ; it is therefore a j)icture of which a long study
and analysis will much benefit the photographer.

Tlic composition consists of a series of pyramids built up on
and combined with one another. The tiddler himself forms
a pyramid, and being the motive of the picture, he is more
isolated than any other figure, which gives him greater pro-
minence, although he is not the chief mass of light ; so that
what Buskin rather fantastically calls the “ law of princi-
pality ” is observed. But he is not left quite alone, but is
connected with the principal group by the figure of his wife
and child and the basket at his feet. This basket is made
light, to strike the eye, partly to unite the two groups, but
chiefly becau.se it is the supporting point of the angle of
which the old gandfather’s head in the centre is the apex,
and which is led up to by the boy in shadow warming his
hands at the fire. The two little girls form a pyramid, and
so do the mother and child, supported by the dog, which
is again continued by the man snapping his lingers, again
by the old man, who caps and perfects the whole group.

212

THE PHOTOGRAPHIC NEWS,

[May 1, 1868.

Notice particularly how the line of one side of the pyramid
formed by the motlier and child is carried on by the stick
in the little girl’s hand. All the figures are connected
together in one grand pyramid hy the dark and light spots
formed by the cooking utensils over the fire-place ; and the
diagonal line is still further carried on by the slanting beam
to the left, which again is balanced by the steps leading
to the door. The perpendicular lines of the wall give
stability to the composition, and the group of kitchen
utensils and vegetables in the foreground, being darker than
any other part, gives delicacy and distance, as well as scale,
to the rest of the picture, and by contrast gives perfect
balance to the group.

I have pointed out the leading lines only of this famous
picture, sufficient to guide the student in his further analysis
of its governing lines ; but he will discover that there is not
a line, however insignificant, that has not its crpiipoise and
contrast; not two articles together but what liave others
added to form the group. A good example of this will be
seen in the way the sieve and fryingpan on the wall are con-
nected together and grouped by the gridiron and cup, which
subordinate group is connected with others, and so on
throughout the whole composition. I shall return to it
again to help my explanation of other details of composi-
tion, such as repetition, harmony, and repose.

What could be more formal, rcgalar, and artificial than
this group, and yet what more entirely natural '? If art — art
regulated by laws — were antagonistic to nature, this would
not have been the most popular picture of its year, 180G ;
nor would it have retained its popularity, and become, as it
perhaps is, the best known picture ever painted in England.

CONVENTION OF PHOTOGRAPHERS IN THE
UNITED STATES.

A “great mass convention” of photographers has just
been held in the United States for the purpose of considering
and securing united action upon several subjects of vital
interest to the profession. Primarily the Bromide Patent,
under which American photographers have groaned for some
time, demanded attention. This iniquitious patent having
nejirly expired, effort was about to bo made, it s.-cmed. by
the proprietors to secure an extension, to prevent which
W.08 one of the objects of the convention.

The meeting was held in the Cooper Institute, New York,
and was attended by about a hundred delegates. We con-
dense an account of the proceedings from Humphrey's
Journal.

After the nomination of officers, among wliom wore Mr.
Bogardus, of New York, President; Black, of Boston; Wliitney,
of Glenn’s Falls ; Cromer, of Philadelphia, and a few others.
Mr. Bogardus, on taking the chair, gave some good advice to
the profession, pointing out how want of unity in action and
petty jealousy injured the business, and suggesting that photo-
graphers should follow tho example of many other professions,
and unitedly promote the interest of tho business, in place of
running one another down by a ruinous competition, ns is
now the case in many localities. Many letters wore read, all
protesting against tho Bromide Patent anil excessive taxation.
Tho President stated that the tax bad been repealed since
tho convention had boon called, but that as there might bo
danger of a new tax law being imposed by Congress it would
be well to bo wide awake.

Some facts were stated in regard to tho first legal decision
in favour of tho Bromide Patent, which gave strong suspicion
that it was a so-called affair, and all agreed that the

case had never been tried on its true merits. 'The particulars
communicated mado tho strong suspicion almost a certainty,
that tho affair was a “ swindle all round ; ” that some photo-
graphers had been deceived by their own lawyer and agents,
who, after seeing Mr. Hubbard, advised them to pay up. It
appears more pluck and resistance would have broken up the
affair long ago. It was stated that Mr. M’Kenna, of Bedford,
Me., who was condemned by a court there to a pay a royalty to
the present owner of tho Patent (Mr. Hubbard), was on excel-
lent terms with him ; in fact they were staunch friends. Un

tho strength of this judgment other suits wore threatened, and
some frightened photographers paid; however, Mr. Wardwell,
of Boston, Mass., resisted with pluck, and emi>loyed tho well-
known lawver, S. B. Brooks, who forced Mr. Hubbard to with-
draw his suit, and Mr. Hubbard paid expenses oven to Mr.
Brooks, Wardwell’s counsel, to the amount, it was said, of
800 dollars.

Tho following resolutions were then presented by a council
appointed for the purpose: —

1. That the photographers are unanimous in resisting the
extension of tho Bromide Patent.

2. That the committee was authorised to use all ways and
means to carry out said resolution.

3. That tho old proverb, “ lu union there is strength,” is
applicable to this case.

4. That tho isolation of individual photographers injures
them all.

5. Proposed to organise a Photographic Union for tho promo-
tion of the interest of the art.

G. That this meeting shall organise permanently, charging
tho officers to mature plans for effecting a good national organi-
zation in tho United States.

Tho lirst four resolutions were unanimously adopted, with
little or no debate ; tho last two gave occa-sion to a spirited con-
troversy about tho probability of keeping such an organization
alive; and after many members present had ventilated their
opinions and made valuable suggestions, Mr. Gurney, of New
York, proposed a subscription with tho cash down, in order to
have a small fund to start with ; this was, after little contro-
versy, carried with a largo majority. An invitation of the
khotographic.al Society to bo present at their meeting tho same
night in tho same building was received. When tho day’s
proceedings terminated, tho reporter of our contempoary re-
marks, “ tho subscriptions were coming in at a rapid rate, and
groenhacks almost rained down on tho treasurer from an eager
crowd.”

On tho second day it was moved that to Mr. Gurney, Fred-
ricks, and a few others (who hail spent divers sums of money,
ranging from $200 to $700, in order to have tho stamp duty on
jihotographs abolished, and successfully lobbied this through in
Congress) should have their expenses returned. It was decided
to have 3,500 pamphlets printed to distribute among photo-
graphers. The President stated that yesterday over $400 had
been subscribed, of which half had been paid exsh down. Next
it was proposed to adjourn to tho 3rd of .July in Now York, as
then a photographic exhibition is contemplated in this city;
this elicited .a propo.sal to reassemblo tho 20th of .May in
Chicago; another gentleman proposed Philadelphia. Tho re-
sult of this jealousy was that tho meeting adjourned at 12 o’clock
M., sine die.

Recent

PREPARING CANV.VS FOR ENLARGE.MENTS OR
DIRECT PRINTING.

BV J. .M. LOEWE.

Dr. Lof.we is known to photographers as an ingenious anil
inventive man, who h.as projected many procosse.s, of which
none, unfortunately for him, have come into operation, from
want of completion by the inventor. It will bo noticed
that the description of tho following method, which ob-
tained provision.al protection only, contains no allusion to
the kind of silver bath, or its mode of application, nor to
the modes of developing recommended. The specification
is as follows ; —

I prepare linen, cotton, silk, and other similar material by
giving it, firstly, a solution of 2 ounces of gelatine dissolved in
10 ounces of water ; I then treat it in the manner hereinafter de-
scribed with reference to the canvas. I take canvas prepared
in the ordinary way for photographic purposes, that is, by using
oxide of zinc or lead, and I avoid tho use of iron instruments,
and use, instead thereof, those formed of ivory or wood for
spreading the coating upon the canvas ; I then add 1) ounces
of virgin wax dissolved in essence of lavender to 1 pint of tur-
pentine. Tho canvas is prepared with three coatings and dried
spontaneously ; and when dry, I dissolve 60 grains of ioilido of
zinc in 2 pints of distilled water, and, with half a potato and

THE PHOTOGRAPHIC NEWS,

213

May i, 1868.]

very fine pounded piimicestone, rub this solution on tlio canvas,
and dry it with a soft flannel till the surface becomes bril-
liant.

lu carrying this invention into effect, I further use the fol-
lowing three solutions ; the first for printing out or develop-
ing the object on crfnvas by sunlight ; the second for enlarging
by artificial light ; and the third for priuting by contact in a
pressure frame; —

First Solution. — To the albumen of 100 eggs I add 10 pints
of distilled water, 10 ounces of chloride of sodium, 5 ounces of
chloride of ammonia, GO grains tartaric acid, IJ ounces carbon-
ate of soda, 2 ounces iodide of potassium, 1 ounce iodide of
ammonia, J ounce bromide of potassium, j ounce bromide ot
ammonia, ^ ounce pure iodine, 20 grains nitric acid, 120 grains
chloride of gold, 1 pint of sulphuric ether saturated with virgin
wax. beaten together, and filtered in a funnel hermetically
sealed. The solution remains five or six minutes on the mate-
rial, which, when dry, is rubbed over with a soft flannel until
a shining surface appears.

Second Solution for Enlarging hg Artificial Light. — I use the
same chemicals described in solution No. 1, in the same propor-
tions, but add « ounces chloride of ammonia, 2 ounces of
magnesium, 120 grains of pure iodine, 120 grains iodine of
lithium, and GO grains of iodine of cadmium.

Third Solution for Printing in a Pressure-frame, by Con-
tact.— To 2 parts of distilled water I add 1 part of solution No. 1,
and add 150 grains of chloride of sodium, and 8 grains of gold
to each pint.

r.\NORAMIU APPAR-VrUS FOR THE FIELD.

BY CAMILLE SILVY.

Tue following specification describes M. Silvy’s invention
for taking panoramic pictures on sensitive paper.

My invention relates to a now and improved apparatus
which, being combined with the camera-obscura now used in
photographic apparatus, allows, by suppressing the ordinary
frames and dispensing with dark tents, of taking panoramic
views on all points of the horizon. This apparatus consists of
a tube made of zinc or other metal, or any other convenient
substance, in the centre of which is a movable little wooden
roller, on which the sheet of paper made sensitive is wound.
One of the ends of this sheet is stuck on to the roller, whilst the
other end is fixed on another similar little roller placed out of
the tube, and which serves to unwind the said sheet through a
slot cut in the whole length of the tube. This tube, enclosing
ns aforesaid the sheet ot paper, is then placed in another tube
or socket fixed vertically on the loft side of the camera-obscura,
and, in order to operate, the sheet of paper is gradually un-
wound at the rearpart of the camera-obscura, which is purposely
of a circular form, by means of a second little roller which is
put into another tube or socket fixed vertically on the right
side of the camera. When a panoramic view has been taken,
the paper is wound up anew in the first tube, answering the
purpose of a sheath, and contains the latent picture, which may
afterwards be developed by the ordinary moans.

This description is supplemented by a detailed statement,
with diagrams, after giving which, the specification pro-
ceeds : —

back, is circular in form, and tho sides so arranged as to bo able
to receive tho said apparatus, and allow the partial and circular
development of the sheet of paper and its winding in order to
take panoramic views on all points of the horizon, substantially
as herinboforo fully set forth and described.

C0rrcsg^aaJ)£ace.

SEL CLEMENT.

Sir, — On my coming to London yesterday I was shown tho
number of your paper of Ihe 27th of March, with tho few lines
it contains on tho “ Sel Clement.” I cannot allow tho sort of
challenge you seem to suppose I have thrown at the analysts
to remain as such.

In my article in the Moniteur de la Photographic, and in
reply to the excellent Dr. Phipson, I simply stated that to my
idea it would not bo an easy task to find out ttio composition of
tho Sel Clement by means of tho ordinary chemical analysis.

Tho gentleman ot your staff who has analysed tho Sel
Clement concluded to its being absolutely deficient of any
organic compound, by stating that no trace whatever of car-
bonic acid had boon forrneil in the combustion tube. For mo,
substances containing carbon are not tho only ones that aro
organic ; but I consider as such all those which contain either
hydrogen or nitrogen. At all events, tho apparatus u.sed by
your friend was not properly arr.angod to show any trace of
carbon, and it may have happened that tho nitrous fumes
formed during tho combustion have reduced tho nascent car-
bonic acid info carbonic oxide, they themselves being converted
into nitric acid. However, I beg to state that some organic
compounds — such as sugar, citric acid, &c. — when dissolved
in certain reagents, do not exert the slightest reducing action
on nitrate of silver, and that they begin to reduce it only under
the influence of light, providing the solvent has disappeared,
or has been somewhat modified. This, in all probability, ex-
plains many a phenomena : for insfanee, why tho Sel Clement
is not sensible to light alone; why tho albuminized paper,
sensitized, remains white ; why it becomes yellow after a time,
when some modification has taken place ; why tho simultaneous
action of the albumen and chlorine of tho paper and of light is
required to eflect tho reduction necessary for printing ; why,
in the first moments of printing, the reduction is slow ; and,
finally, why, after a certain lapse of time, tho reduction goes
on at a quicker rate. Magnesia, no doubt, contributes effec-
tually towards those results ; although, to my belief, its influ-
ence has been greatly exaggerated in what has been said about
it in tho papers. Lastly, I have some very serious reasons,
grounded on experiments, to Believe that tho organic com-
pounds introduced, as stated above, in the preparation of tho
salt, aro not removed from it by either evaporating or boiling.

Cut hero I must stop. It is no business of mine to commit
myself into indiscretions, or to enter into polemics. "You
yourself, Mr. Editor, will neither allow it or wish for it, espe-
cially when you aro made aware that I know with positive

certainty that a counterfe
and that on no small sea
the counterfeited product

cd Sel Clement is sold in London,
The following is an analysis of

By the foregoing description tho panorama of surrounding
objects and places, and not of plane images, is taken by a special
apparatus circular in form. Tho camera being furnished with
its immovable frame, a lens so regulated as to avoid the neces-
sity of finding the focus, tho fresh cartridges aro merely intro-
duced and then taken away ; the spare frames aro done away with,
as is also the dark tent, the papers made sensitive not requiring
to bo renewed, and the cartridges furnished with the papers
made sensitive being at will substituted for one another as
many times as there are different phenoraenas to be taken.

Having thus described the nature of my invention, and tho
manner of carrying tho same into eflect, I would have it under-
stood that I do not eonfino myself to the precise details above
given, and illustrated in tho accompanying drawings, as these
may obviously be modified without departing from the principle
of my invention ; but what I claim and desire to secure by
letters patent is, an apparatus assuming tho shape of a tube,
or any other form, in which is wound a sheet of paper made
sensitive, and which may be developed and wound afresh in
combination with a camera-obscura ; the frame of which, or tho

Nitric acid

39 25

Metallic silver

25-20

Magnesia ...

9-10

Copper

... ... traces

liCad

... ... traces

Oxygen

1-85

Water

21-GO

10,000

Is it to bo wondered at that tho Sol Clement should present
irregularities? That tho percentage of silver should vary?
[ That tho results obtained in tho keeping, the printing, &c.,
'should be contradictory? You will surely admit, with me,
! that I cannot possibly be made responsible for tho evil effects
of such counterfeited products as this ono !

In consequence of these facts, I think — and I hope you will
think with me — that some measures ought to be taken to safe-
guard the interest of the public and my own against dishonour-
able competition. Henceforth the 10-ounce bottles will have
in relief, on the glass, these words ; — “ Sel Clement ” and

214

THE PHOTOGRAPHIC NEWS.

[May 1, 1868.

“ Preservative Nitrate of Silver.” The corks will be sealed with
my agents’ trade-mark, a “ Hammer and Pick,” and the labels
will be signed “ R. Clement.” In consequence, the consumers
are requested to look carefully for, and to claim, those un-
mistakable signs of a genuine product.

Bo so kind, sir, as to insort this letter in your paper ; and
accept my sincere thanks for your kind intervention in this
occurrence. 1 only ask for my product to have a f.iir trial. If
it should prove advantageous to photographic science, 1 have
my reward ; if not, none but myself sufl’ers loss for my long
and careful working and esperimenfs to obtain this end. If it
does what I say, and saves the employers much money, why
should it not bo used without disputing about its composition ?
With the new and explicit directions which will bo now printed
(1 send you copy) 1 am confident of success.

The gentlemen (Messrs. Johnson, Matthey, and Co.) who
have consented to take my agency for England, its colonies,
America, and Germany, are doubtless known to you, and their
name is guarantee that what is supplied from them is my
genuine product, for the composition and success of which I
am alone responsible.

It is necessary for mo to say that the new bottles and labels
are not yet made, and that stocks just now sold are not so dis-
tinguishable ; but protection can be had by only buying direct
at ]iresent from these gentlemen, or their business customers
w ho have had it from them.

Accept, sir, the exjiression of my high consideration.

Tiiic Makeu of the “ Sel Clement.”

Paris, April 25fli, 1808.

[We have received with this letter a number of exceedingly
brilliant and rich proofs printed with the Sid Clement. — Ed ]

MR. McLACHLAN’S DISCOVERY.

My Dear Sir, — Lot me commence by thanking you for the
tone of your leading articles. The neutral position you have
confined yourself to might have boon followed by your con-
temporaries with greater justice to me, at any rate, if not
ullimafoly to themselves. Y^ou are well aware of the circum-
stance that caused me to give such a hasty outline ot my pro-
cess. Many others wore equally well informed. I should have
thought that the fact of my being stopped speaking because of
the lateness of the hour would have prevented others going
into detail for me. There was much that I wished to say, hail
time allowed, apart from the chemistry of the process, that
must have struck any one with the least reflection. Upon my
return to Manchester many of my friends waited upon me for
further particulars. 1 explained to them many things which
wore not stated at the Society’s meeting, and that would have
been mentioned had time allowed. I only state some of them
now as there is a probability of iny being forestalled in another
quarter.

At present I consider my process as having been given
in confidence to the photograpliic community, until I am
allowed to read my paper. I would strongly advise all who
moan to try my jirocoss, to further the sunning ot their silver,
and to add no potash. A small quantity of tlie silver, after
sunning, may be taken from the bulk, to which add a drop or
two of caustic potash (strength one grain to an ounce of distilled
water), and then note the change. I think it is reasonable to
suppose that if reflectors or lenses were arranged so as to throw
as much light ns possible upon shallow celts or dishes made so
as to present as much surface as possible to the light, the pre-
paration of the silver might bo hastened. It also struck mo to
try the efiect of Wilde’s large electrical machine. Many other
things 1 have mentioned to my friends, and asked them to take
notes, for fear 1 should have my own ideas reproduced by
others.

So far as any certain knowledge of the kind of change that
has taken place in the silver, I cannot say ; but my theory, 1
think, is. quite as rational as any that has been advanced,
and as I differ with all, the more credit to him who turns out
to bo right. My theory, of which further explanations in my
paper, is tho same I informed you of in London ; viz., oxygen
absorbed by tbe silver from the water, actinism and heat com-
bined changing it to a kind of ozone. I have thought it
might bo possible to prepare a bath at once by tho introduc-
tion of ozone. Difl'orent methods of preparing it might be
tried. As it is rather mysterious in itself, it would have been
letter for Mr. Spiller, after having presented his report, had ho

allowed me to make a full statement ; for 1 am sorry to say ho
has misunderstood my written directions, a copy of which is in
my possession. Indeed, he has not performed or properly de-
scribed any of tho experiments ; ancl if tho silver is prepared
as he states, nothing but failure can ensue. In making this
remark I have no option loft me ; if I had, I should have
passed by Mr. Spiller's article, for I must citlier admit or dis-
prove what .Mr. Spiller has said.

I will now state what I know to bo facts. Sir. Spiller wrote
to inc, March ‘2nd, to tell mo that ho had placed 70'J grains of
nitrate of silver dissolved in 5 ounces of water (ordinary
nitrate). By return of post, in a letter dated March tbe 4tb, I
sent him written instructions as he desired ; and it was only
after my written instructions that ho placed a second bottle of
silver in the light according to ray directions. I had never
been informed that ho had been making an experimont of his
own by introducing chloride of sodium in tho bath. iV bother
this is tho cause of tho change, or not, I will not undertake to
say ; but this is not my experiment. The silver, notwith-
standing being tampered with, dissolved 20 or 30 drops of tho
potash solution, and remaine.l perfoclly clear. I was also told
tho bath was saturated with indiilo of silver. Yet, upon
ad<ling many ounces of water to iniko to proper strength, it
still kept perfectly clear. The great quantity of potash caused
an alkaline reaction, and although in every way prepared
contrary to instructions, clear pictures were obtained. Both
bottles of silver were tested most carefully after sunning, and
they were found to bo perfectly neutral.

(hmiiiig to tho bath, prepared so far according to my direc-
tions, and winch had only been exposed soinethingabout half tbe
time of tho other, in condition (so far) as to allow my experi-
ment to bo fairly tested. This bath was spoiled through Mr.
Spiller incautiously a<hling a great excess of potash. l?ut he
himself admitted to me that it dissolved a great portion of tho
oxiile. These facts being witnessed by myself, I am bound to
state them ; and, taken in conjunction with his mistaken de-
scription of my process, I cannot come to any other conclusion
than that ho quite misnnderstanils every thing.

Mr. Eilitor, you take upon yourself to call my experiments
empyrical. Compare them with Mr. Spiller’s ; for diil it never
strike him or you that tho same result might have been
obtained without the addition of chlorine? I have no doubt it
would have been if he had tried. If this is how chemistry
decides. Heaven preserve mo from having anything to do
with it !

I should have stated, that before any experiments were tried
by Mr. Spiller, 1 would not bo bound by any of the results,
as the silver was not of tho proper kind, or tho exposure long
enough, considering the time of tho year. This was not Mr.
Spiller’s fault, ns I could not obtain for him at that time the
proper silver. It was not likely I was going to run the risk of
failure, i'et, for all this, the fact was fully proved that by ex-
posing neutral silver to light, it would dissolve oxide of silver.
I never meant any ouo to experiment at alt, but simply to re-
port upon certain alleged facts, and to give an opinion upon
their value. Of course I did not object to experiments, but I
knew the risk of failure through mistakes, such as actually
occurred.

I again aftirin that up to the present day we are in the same
helpless condition. So tar as any published information goes
for our guidance, there have not even been proper directions
given for tho making of an iron developer, and there is posi-
tively no common-sense or reliable direction for preparing a
silver bath. There is ns groat a lack of knowledge of the collo-
dion. It has simply been a question of process with us. Tho
great difficulty lies in ridding the bulk of photographers’ minds
of this fallacy. This is plain speaking, for I cannot afford to
bo a hypocrite in this matter, after having gono through the
mill, ns I have done, for my information. 'Thcro is tho right
spirit in all tho letters that have appeared in your journal.

After having read my paper, I will willingly answer all ques-
tions. My only object is tlie elucidation of truth. This can
only bo obtained by a diversity of opinion in friendly contro-
versy, and if this is kept up I am sure tho ultimate end of this
discussion will advance our knowledge of the true principles of
photography. I consiiler the London Society in honour bound
to put ray a.s3ortions to tho tost. This can easily bo done by
tho organizing of a committee. This would put the whole
affair in a nutshell ; and if they should find out, like Mercutio,
tliat I have not made a broach as doep as a well nor as wide as
a church door, it is enough ; it will kill a vile system of work-

May 1, 1868.]

THE PHOTOGRAPHIC NEWS.

215

ing that has daily sent hundreds home with minds distracted,
and, no doubt, some to an early grave. Again I say, let us have
trial by battle ; so organize your committee. — I remain, yours
truly, Lachlan McLaculan.

Stamp Office Buildinr/s,

0, Cross Street, Manchester, April 2ith, 18G8.

MR. McLACIILAN’S DISCOVERY.

Sir, — I do not see how duo credit can be given or justice
done to Mr. McLachlan on account of the discoveries ho has
made and so generously given to the public, if, after inducing
him to divulge his secret and getting his promise to read a
paper at an early date, wo try to anticipate him in any way. I
think that all are in honour bound not to do anything until
Mr. McLachlan has stated his own case, especially as, owing
to tho lateness of the hour, his verbal communication was cut
short, and several matters omitted.

Since Mr. McLachlan’s return to Manchester, and before
any notice of an article to bo forthcoming in tho British
Journal, I and several friends had an interview with him, in
which ho stated that the period of preparing the bath might
be shortened by throwing a strong body of light by means of
lens, condensers, or reflectors, through shallow glass cells or
dishes made so as to present as largo a surface as possible to its
rays. Ho also stated that a bath might be prepared at once by
tho introduction of ozone, either electrically or any other way.
Many other applications of his ideas were given by him, too
numerous for this letter, but of which notes were taken.

I do hope photographers, as a body, will sympathise with the
man who freely gives to them tho fruits of his brain undeterred
by tho shallow-pate who, in every photographic circle, is so
ready to get on his legs and say, either he had done tho very
same thing himself, or else had seen his grandmother do it.

Several gentlemen of standing in this city are aware of this
letter, and, agreeing with its contents, would gladly have
appended their names to it had time permitted mo to wait upon
them. — Yours truly. J. E. Walkei!.

Manchester, April 28fA, 1868.

MR. McLACIILAN’S DISCOVERY.

Sir, — Whilst very unwilling to prejudge Mr. McLachlan, or
come to a decision before his statement is com]>letoly made,
there are one or two questions which I should like to add to
those already asked in your columns.

If a collodion contains sulphuric acid, or something analogous
to it, will not adding caustic potash produce sulphate of potash,
or something analogous to it? Will not this produce in tho
bath sulphate of silver, or something analogous to it ? And is
not sulphate of silver a cause of pinholes?

Supposing Mr. McLachlan’s statement of facts to bo correct,
how will it prevent tho accumulation in tho bath of ether and
alcohol, and, from those, occasionally, fusel oil and other im-
purities, and also the changes by which aldehyde, formic acid,
&c., arising from the oxydizing of tho alcoholic accumulations
in tho bath ?

Several other diflicultics occur to me, but I will not now
occupy your space with them. I do not ask these questions in
a captious spirit, but with a sincere desire to have such difli-
culties resolved, if Mr. McLachlan can elFect that desirable
end. — Yours obediently, F. C. S.

[The first series of (juestions may bo answered in tho aftirma-
tive. Sulphate of potash, being insoluble in alcohol, would be
precipitated if formed in any appreciable quantity. Wo avoid
the discussion of tho question until Mr. McLachlan has made
his full statement. — Ed.]

INSENSITIVE SPOTS IN MORPHIME PLATES.

Dear Sir, — I have commenced this season with some ex-
periments with morphine plates in which I have met with a
difficulty which I do not find in any of tho articles or corre-
spondence in the News relative to that process. It consists in
sundry insensitivo spots over the plate, varying in size from
one-eighth of an inch down to a mere speck, shading off to the
edges. I see when I wet the plate where these are about to
develop themselves [not before), as they appear to resist the
water for any lengtn of time ; ami when it is poured off, then
show themselves as dry spots. The bath and collodion produce
excellent results used in the wet process. The ^orphipo b^th

I have renewed, and al.io liltered several times carefully, and
have used both in a dipping and also a horizontal bath, tho
first of gutta-percha, tho last of glass.

Can you point out the cause of these spots, and a remedy for
them, as in other respects tho process is satisfactory, and is
much less trouble than tho collodio-ablumen, which I have also
tried ?

Your now inteusilier and McLachlan’s process are both
matters which appear to me to be most interesting novelties. —
I am, yours very sincerely, F. Lane.

Rotherham, April 27th, 1868.

[Can any of our readers throw light on tliii difficulty ? It
is one we have not met with. — Ed.]

2Lalk iu tbt Stubicr.

Chloride of Gold for Secret Writino. — During tho
late Fenian trials it transpired that chloride of gold was em-
ployed amongst members of tho Fenian Brotherhood as a means
of secret correspondence. A tube ot tho gold salt was found on
tho person of “ Colonel ” Burke when ho was taken, and some
crystals of sulphate of iron were found secreted in the too of a
stocking carried into the prison to Burko by a woman who
brought him clean linen. Writing made with a solution of
chloride of gold remains very faint and imperfectly visible until
treated with a reducing agent like sulphate of iron, which
at once darkens it and makes it clear and vigorous.

Hypo in Mounting Cards. — We have had several serious
examples of the presence of hypo in mounting cards brought
under our notice. We shall have something further to say on
the subject shortly.

Fire in a Studio. — A fire occurred a few days ago iu the
studio of Messrs. Palmer, of Truro, which was happily extin-
guished before serious harm was done.

Soiree of the Microscopic Society. — Tho annual soiree
at King’s College took place on Wednesday evening week, and
was attended by upwards of 1,‘200 meinbois and visitors. Tho
exhibition of instruments, prepared objects, drawings, and
photographs was very extensive and interesting, and altogether
tho disjday, as well as the attendance, exceeded any of the
former notable entertainments of this excellent and rapidly
inereasing society. Amongst the rhotographs wero beautiful
specimens of the carben process by Mr. Mayall, and of tho pro-
cess by Mr. Woodbury, 'riio Rev. J. D. Reed obtained excel-
lent illuminating effects by his new double hemispherical con-
denser, with flute-key adjustment of the diaphragm tongues for
regulating tho illuminating pencils. An exceedingly good
result was obtained in Messrs. Murray and Heath’s improved
stereoscopic and pseudoscoi>ic binocular microscope, in which
an uninterrupted view of tlio object is secured in one body,
the instrument being also usable as a uuioculur arrangement.
Some fine micro-photographs were exhibited by Mr, How, who
in tho course of tho evening throw some interesting examples
on the screen.

^0 (2)0rrcsg0ubtnt5.

J. lloREUTS. — To enlarge four times with the lens you name, tho
equivalent focus of which is, we believe, 8 inches, you would re-
quire a copying-box extending dO inches : 10 inches between tho
object to be enlarged and the lens, and 40 inches between the lens
and the sensitive surface. The nde in enlarging is, that the dis-
tance between tho lens and tho enlarged image should be as many
times the focus of the lens used, and one time more, as the number
of diameters the image is enlarged ; thus, in enlarging four times
with a lens of 8 inches equivalent focus, the distance is 4 times 8,
and once 8 added, making 40 inches. The distance between tho
lens and object will vary between the length of the equivalent
focus and double that focus : thus, for enlarging two times the
distance between lens and object would be IJ times the equivalent
focus ; for enlarging four times the distance would be 1[ times tho
focus. We reijcated the table in question every year up to 1866,
and then the demands on our space compelled us to exclude it. You
can procure the Year-Book for 1865 still. 2. You can get black
tones in the sulpliocyanide toning bath by using a strong negative,
jirinting deep enough, and toning long enough, but not too long.
The strength of the sensitizing bath is not important, so long as it
contains silver enough for the salting of the paper. A bath which
will give good results with other toning baths will with this. Tho
question of the additions you mention is not important. On the
whole, an advantage is found in toning when they are present.

216

THE PIIOTOGRAPIIIC NEWS,

Earnest. — In usinj< a stereoscopic c-amera with one lens and
Latimer Clark's sliding bars, the principle to bo bomc in mind i.s,
that the camera must, in moving laterally, describe an arc of a
circle of which the sitter or object to be taken is tlie centre ; and
the bars must be adjusted to dilferont degrees of convergence for
different distances, in accordance with this principle. When this
i.s properly done, you will have no trouble in securing images which
will combine. 'To assist in adjusting, mark the size of tlie picture,
forming one-half of the slide when mounted, on the ground glass ;
focus the subject so as just to come within tlie lines when the
camera is placed at one extremity ; then move it to the other ex-
tremity, and if the adjustment be correct it will again ju.st come
avithin the space marked. It is the ratio of convergence r.ilher
than the length of the bars which regulates the proi)cr position.
Thanks.

W. J. A. G. — With the aid of a lens, using one eye, yen obtain
such an effect of relief as can bo represented by light and shade ;
with the aid of the stereoscope on a properly produced slide, you
get such an actual perception of relief as c.in bo obtained by using
two eyes, and so obtaining a view of two sides of an object ; and the
stereoscope is of no service ip examining a pictiire which has not
been taken froiti two distinct angles, such as those soon by the right
and left eye. In using one eye, if the hcasl were held perfectly
still, no perfect conception of relief and distance could be formed ;
but nature is very beneficent, and readily provides compensations :
by moving the head slightly, a view of all objects around, from two
points similar to that seen with two eyes, is obtained. Where a
person has not the good fortune to possess the use of both eyes,
this means of compensation is unconsciously and valuably used ;
but the use of the stereoscope is one of the things, unfortunately,
under such circumstances, quite lost. 2. The spot in the centre of
the negative, under the circumstances you describe, is flare ; its
cause h.as been the subject of much discussion. It is believed by
the best authorities to be an image of the stop, very much out of
focus. It is chiefly found in p ortr.iit and similar combinations, and
is most annoying where long exposures arc necessary. Using a
stop in front of the lens aids in getting rid of the .spot, .as also pro-
tecting the lens from the full light of the sky by .shading it during
exposure. 3. The photogr.iph enclosed is very good indeed, an(l
the tone excellent.

O. C. C. — The pink tone of the pictures forwarded is due to a general
reduction of gold on the lights as well as the shadows. Sometimes,
with a toning bath in good working order, if the prints bo exposed
to light during the proec.ss of toning, a similar result to that .scut
will be produced. It is probable that you have added some .salt
having a reducing tendemey to the gold solution ; but, of cour.se,
ave cannot tell what. The colour of gohl in subdivision depends
on the size of the particles, and varies from a ruby tint to purple
black. The size of the particles much depends on the mode in
which the gold is thrown dowm.

Gladiatou. — We can readily understand your explanation. The
matter was too trivial and unimportiiut from the first to be worth
half the attention it received. Wccorrecled a blunder, and had no
further interest in the attempts to ignore it. Your view of the
matter was untiuestiouably sound. We hear from you too seldom.

Electro. — Judging from the apjicarance of the ]iriut, we should
think the cause of the want of richness in tone is duo to the nega-
tive. With greater intensity in the negative, permitting deeper
printing in the blacks without over-printing the tights, richer and
deeper tones would bo obtained. Probably a somewhat stronger
printing bath would also help you. The lighting and general
effect of the picture are good. It only lacks a little depth and rich-
ness. 2. Sulphoeyanido of ammonium can be purchased of any
photographic chemist or dealer. AVc do not remember its present
price.

O.xoNiENSis. — It is very difficult to .say how long a commercial
sample of collodion will keep go()d of which wo do not know the
exact constitution. It is probable that if you add from half a grain
to a grain per ounce of bromide of cadmium to the quantity, and put
it away in a dark, cool place, that it will keep.

Permanganate ok Potash. — Mr. Whitfield, of Scarborough, calls
our attention, and that of enquirers respecting permanganate of
potash, to his announcement in our lulvcrt i.sing pages on Slandi 27.

U. — Good ordinary water colours answer perfectly for tinting prints
on albuminized paper. “ Harmonious Colouring Applied to Photo-
graphs,” published by Jsewman, Soho Square, gives full par-
ticulars.

Amateur. — There are various formula* for preparing jiaper for en-
largements. That employed by Mr. Solomon for enlarging by
the magnesium light gives good results. It consists of b> gr.iins
of iodide of potassium and o grains of bromide of ammonium to an
ounce of water, and c.xciting on a GO-grain silver bath containing
10 minims of acetic acid in each ounce ; develop with a saturated
solution of gallic acid. Y’ou will find various articles on the sub-
ject in our back volumes. See, also, our Yeau-15ook for ISGo.
If tho.se particulars are insufficient, write again.

Collodion. — Y'ou leave us in the dark ns to your exact manipula-
tions in the morphine process. Y'ou remark that you follow im-
plicitly the instructions in our Year-Book, and then refer to an
iron developer without acid, which is not recommended there. It

[May 1, 1868.

is probably in this point that you err. The iron solution without
silver has, we find, been a frequent source of failure. If vou use
the iron developer, add silver to it before applying it to the film.
If you want a long keeping process, we do not recommend it. It
is best suited to those who wish to prepare for a few days’ work,
not longer. As a rule, the conditions of long keeping involve the
necessity of long exposure ; and in that ca.se we know of nothing
better than the collodio-albumen, with a final wash of gallic acid.
Mr. Gordon’s modified gum process keeps well, and gives very fine
results ; but we have not had personal experience with it. We
cannot tell the cause of the tardy development of your England’s
plates. The darkness of the subject was the probable cause.
I n our own experience, development has been completed in a quarter
of an hour. Mr. Engbmd occasion.ally found, with ditficult sub-
jects and imperfect tight, that the development was tardy, and in
siieh case accelerated it by using alkaline pyro. 2. The deposit
you describe was probably carbonate of silver, caused by the pre-
sence of a carbonate in the water. Your letter did not contain the
crystal of which you speak. AVc lii-e not very familiar with the
collodion you mention, but have no doubt that it is good, and that,
with the addition of bromide you propo.se, it will answer for dry
plrtcs. 3. It is generally due to the presence of some organic
impurity in the nitr.ate bath.

Arthur Stride. — .Avoid the wa.shing in salt and water, and omit
the addition of carbonate of soda to your solution of chloride of
gold. This will give yoti a better chance of rich and deep tones.
U.se your fixing bath just twice the present strength. You are
using it 1 p.irt of hypo in 8 of water ; it .should be 1 part in 4 of
water. Let us know the re.sult.

The A’ii'ek. — The subscription to the London Photographic Society
i.s one guinea per annum and one guinea entrance, 'ro become a
motnber you must bo proposed for election by a member. As a
member you will receive the Society’s Journal monthly, as well as
the general privileges of membership.

Thoma-s Stotiiard. — AA'e will make enquiry ns to the formula for
developing containing sulphate of zinc. Alany photographers use
the common crystals of nitrate of silver for every purpose, and find
them answer well.

J. II. (Stonehouse). — AVe have frequently had similar spots brought
under our attention. AVe cannot with certainty state their cause,
but believe them to be the result of minute air-bubbles formed on
the print whilst in the fixing bath, which cause sjwts of imperfect
fixation where they occur.

G. 1). Lvon. — The causes of structural markings are knoum by
collo<lion makers, who generally try to avoid the defect ; but it
often happens in this, as in many other things, that the best results
are obtained when the conditions are nearest to, but ,ju.st avoid,
certain defects. In the case to which you refer you do not state
suflicienl ly precisely I ho nature of the markings, 'i’hey may be duo
to a glutinous condition of the collodion, which renders it dilHeult
to get an even, fine film ; or it may be duo to moisture, causing
er.ipincss in the film. Coaling a plate in a damp atmosphere will
often produce the latter defect, even with a g(x»d collodion. If you
descrit)C more precisely the nature of the defects wo can give you
fuller information.

John Hampden. — AA'e believe the card you enclose is toned in an
acetate bath ; but ipiite as much depends on the excellence of the
negative as upon the mode of toning. 2. There is no very simple
work on the subject. Various of the manuals contain much infor-
mation; these, and our own pages, are the be.st guides we can
recommend you.

AA’. E. Morgan. — Thanks. The qualities of the pictures are very
good indeed. Your application of the process is very successful.

U. Grant. — A good half-plate lens will answer for taking the various
sizes you renuire ; bur it will require a long room to produce c.ird
pictures witn .such a lens.

Edward 15. Fennessy. — Thanks. The idea is a goodone, but it
has been extimsively carried out already.

I). J. AV. — Respecting your wish expressed last week wo can give
you some information if you send us an addre.ssed envelope.

E. Spencer. — The colours you mention are giaid for all kinds of
l)hotographs. . 2. There is no better mode of making oxygen for
amateurs than the usual method with chlorate of pfiash and man-
ganese. Other methods have been devised, but not readily applic-
able for amateur purposes.

AV. H. L. — 1. The pcculi.arity of the collodion becoming rod and after-
wards colourless i.s not uncommon, especially when methylated
ether is used. It will not injure its working qualities. 2. Pure
white wax may be used with advantage. By great care in using
ordinary bees’ -wax, staining the mount may be avoided. AVe
freciuently ajiply it without such stains occurring.

N. — We are unable to give you the information.

Hinsdale and Co. in our next.

Several Correspondents in our next.

Owing to the extreme prc.ssure on our pages, sever.il articles, including
Mr. Bovey’seontinuation of the subject of Silver Printing, “Cemy-
right ami Piracy,” “Economical Use of Artificial Light,” “Col-
lodio-Chloridc Process,” “ Modified Transferring Process,” Lite-
rary Notices, and many other articles, are compelled to stand over
until our next.

THE PHO^i©f^PHIC

VoL.\si|. 8, 1868.

- llp^V

CONTENTS.

NEWS.

PAOE

Camera Printini; and Collodion Prints 217

Test for Bromides 218

Photographic Piracy 218

Photographic Reproduction of Old Engravings 219

Critical Notices 219

On the Occurrence of Ujposulphites in Mounting Cards. By

John Spiller, P.C S 2a)

Photogr^bio Printing in Silver, Theoretical and Practical.

By W. T. Bovey 221

Pictorial ERect in Photography. By H. P. Robinson 222

PICE

Observations on the Employment of Sulphocyanides. By M.

Civiale 223

Collodio-Chloride. By William A. Terry 221

Proceedings of Societies— French Photographic Society — Old-
ham Photographic Society 22o

Correspondence — Sel Clement— The Panoramic Stereoscope—
Modified Honey Process— Photo-lithography— Sources of

Success in Operating 226

Talk in the Studio 227

To Corre.spondents 228

CAMERA PRINTING AND COLLODION PRINTS.

Since the publicatioa in our last volume of a description of
a simple means of producing very Kne enlarged prints in
the ordinary camena, using a collodion film to receive the
image, and transferring the film subsequently to paper, we
have received many communications on the subject, chiefly
from correspondents who wanted help. The two sources of
difficulty have been the toning and transferring, upon which
we shall offer a few further hints.

Before doing so, one or two further words of explanation
as to the origin of this mode ot working may be desirable.
The method of producing prints on collodion in the camera,
and afterwards transferring them to paper, was introduced
many years ago by Dr. Moitessier, but did not come into
very general use. Some time ago M. Dlsderi adopted this
system of printing, and introduced it into this country a
couple of years since as the email process, the great beauty
and delicacy of the prints generally winning admiration.
Up to recently it has been chiefly employed as a means of
producing prints the same size as the negative, or rather
smaller, the process being regarded as a cubstitute for albu-
minized paper printing in the ordinary manner. Until last
year no practical attempt seems to have been made to intro-
duce this process as a means of producing large prints from
small negatives, ilalf-a-dozen years ago we produced some
such enlargements, and transferred them to paper ; but we
could not, at the time, work the method fully out, and,
leaving it for a more convenient season, overlooked it alto-
gether. Last year it was simultaneously and successfully
worked out, without any concert, and unknown to each
other, by several able photographers, and the general details,
as derived from several of them and from our own practice,
described in these pages.

We have repeated these particulars because we have found
that an impression prevailed in some quarters that the pro-
cess was patented, in others that important details were pre-
served as secrets ; and we have heard that a description of
the process described as a secret has been vended in the
country at the price of a certain number of guineas. We
wish our readers to understand that no restriction of any
kind exists as to the practice of the process. As to whether
other modes of effecting some of the operations than those
we have described exist, we of course cannot say ; but we
know that the method of working we have described is, if
properly carried out, efficient and simple, and is identical
with the modes employed by many able men. It should,
however, be borne in mind, that in this, as in every distinct
branch of photography, skill can only come from practice.
Experience brings familiarity with minutiae, and success
gradually seems to come naturally where failure used to
result from the same operation, without the operator being

able to say upon what essential point present success or past
failure depended.

The troubles as to the modes of toning are some-
what difficult to meet in any general statement, inasmuch
as tastes differ considerably as to the best colour. The
tone of M. Disderi’s published prints by this process,
which are amongst the most successful examples of it, is
generally black. It is produced by first whitening with
bichloride of mercury, and then, after washing, applying an
extremely dilute solution of hyposulphite of soda. The
chief defect attending this method consists in a tendency to
coldness and greyness. The best means of avoiding this
consists in securing a tolerably vigorous image at the outset,
as it is difficult to obtain a deep black if the original deposit
is thin and weak. A still warmer black may be obtained
by supplementing the bichloride of mercury with a weak
solution of sulphide of ammonia. We have seen some
exceedingly rich sepia tones which were obtained by
following the mercury treatment with ammonia-nitrate of
silver. The richest black tones we have seen are those
obtained by Mr. Burgess, of Norwich, in his Eburneum pro-
cess, in which a neutral gold solution is employed. The
bichloride of palladium' as we have before explained, also
gives a ptiro neutral black. It should also be remembered
that warm tints are most easily obtained in the toned and
finished picture when the original deposit is warm in colour ;
hence the substitution of pyrogallic acid with acetic acid in
place of the ordinary iron development.

The greatest difficulties appear to have been felt in the
transferring process, many examples of excellent enlarge-
ment and fine toning having been sent to us spoiled only by
failure in the transferring process. It is worthy of note that
in almost every instance the failure has occurred where the
print has been suffered to dry before removal from the glass,
and the collodion employed has generally been of a kind
unsuitable for transfer. There are three or four conditions
imperatively necessary to uniform success.

The collodion should be of good body, and yield a tough
film. A sample yielding a thin, powdery, adherent film
perils the success of the operation.

An acid nitrate bath facilitates the film leaving the glass.

After toning, if the plate be immersed for a short time in
a 20-grain solution of citric acid, or a dilute solution of
acetic acid, the operation of transferring is materially faci-
litated.

The addition to each ounce of the collodion of a grain of
white wax facilitates leaving the glass.

The application to the glass of a solution of bees’-wax in
ether, which on being wiped ofl’ with a clean cloth will
leave an almost imperceptible film on the surface, the pre-
sence of which will aid the film in leaving the glass.

The safest mode of proceeding is as follows : — After the
picture has been toned and suWitted*for a few minutes

218

THE PHOTOGRAPHIC NEWS.

[May 8, 1868.

♦o the acid solution, and then rinsed, it is placed on a
levelling-stand and covered with water. The paper to
which the print has been transferred — which may be plain
paper which has been coated with gelatine, and dried, or
albuminized paper, or the enamelled paper sold for the purpose
— having been cut about one-eighth of an inch less than the
plate, and wetted, is placed upon the film ; the top edge of
the film and one side are then turned over the paper, the
corner of the turned-over edges is raised, and, if the opera-
tions have been rightly performed, the whole will readily
leave the glass ; the water between the paper and film, drain-
ing out, will drive out air-bubbles, and the two surfaces will
adhere perfectly. The print is then hung up to dry. Be-
fore perfect dcssication has taken place the prints should be
placed under pressure. This mode of transferring will, after
a little practice, be found to present little difficulty, and
will give a good result.

Soon after the publication of our last article on the sub-
ject, we received a note from Mr. Window, in which he
says : —

“ I have long used the collodion transfer process you
lately speak of in the News, for locket work and highly-
finished larger pictures. The former are rolled on a polished
plate to improve the surface ; the latter I roll, while still
slightly damp, on a piece of rough Saxe, to give a rougher
surface. The effects to be got in colour on these are ex-
tremely good, and I believe they may be considered per-
manent. I tone with sulphur before transfer, and I have
never found the least sign of deterioration.”

The mode of giving a texture to large prints here indi-
cated is, we think, worth attention as a means of securing
some good effects.

TEST FOR BROMIDES.

The difficulty of recognizing the presence of excess of other
halogens is well known to experimentalists in this direction.
In our last volume Dr. Phipson described an elegant test
for iodine and bromine in the presence of chlorine. Jlr.
J. II. Hill, a surgeon of the U. S. army, describes, in the
American Journal of Science, a ready and sensitive test for
the presence of bromine in the presence of chlorine. It
was found impossible, he says, to obtain by the ordinary
methods of the books a certain and ea.sy recognition of bro-
mine when chlorine was present.

The Fresenius test solution of auric chloride produces, in
faintly acid solutions of alkaline bromides, a colouration
ranging from dark orange red to light straw colour, accord-
ing to the strength of the solution. Iodides must be out of
the way. Chlorides, however, do not interfere in the least.
The following is the best way of applying the test : — Sepa-
rate iodides by palladium, and after getting rid of excess of
palladium by sulphuretted hydrogen, concentrate the solu-
tion to about 25 cubic centimetres. Select two test-tubes,
of the same size and shape and colour of gla.ss. Into one
pour the solution suspected to contain bromide ; into the
other pour pure water, adding, perhaps, a trace of chloride
potassium ; add now to each test-tube a drop of chlorhydric
acid, and then to each one drop of auric chloride solution.
On now comparing the two tubes, particularly in the direc-
tion of their long axes, a yellow colour will be observed in
the tube containing the bromide, and made very manifest by
comparison with the other tube.

The following experiment shows the delicacy of the test
appked .as above: — One centigramme of potassic bromide
was dissolved in one thou.sand cubic centimetres of water.
Thirty centimetres of this solution, compared with thirty
centimetres of a very weak solution of potassic chloride, gave
a decided yellow colour. This experiment was varied by
dissolving a gramme of potassic chloride in two thou.sand
cubic centimetres of water, halving, and adding one centi-
gramme of potassic bromide to the one half. Thirty centi-
metres of each of the two solutions now tested gave ample
evidence of the presence of bromide.

The mixed chloride and bromide should be brought to
the state of salts of the alkalies, if necessary, by precipitating
with argentic nitrate, thoroughly washing, and fusing with
potassic carbonate. If sodic carbonate is used, the subse-
quent reaction with the gold test is not so decided.

A test for chloride in the presence of bromide as simple
and delicate as the above is much needed. The writer has
sought long for it, but in vain.

PHOTOGRAPHIC PIRACY.

The subject of photographic piracy has been frequently and
prominently brought under the attention of various legal
tribunals lately, and always with damage to the pirates.
The recent case, Guaves r. Ashford, in which fines amount-
ing to £250 were inflicted, was brought before a higher Court
to compel the magistrate to state a case. A rule was here
obtained to have a case stated on a somewhat curious point
raised. We append a brief report of the application, ex-
tracted from the Times : —

Graves v. Asheord.

This ease raised an important question under the Art Cop>’right
Act (Lord Westbury's .Act) of Kth and 26th Victoria, cap. 68.
There were fifty summonses taken out by Mr. Graves, the well-
known publisher, against the defendant, for alleged infringement
of copyrights in photographs. In one set of cases the complaint
related to a photograph of the print called the “ Railway Station
the Act protected the negatives of photographs, and the photo-
graph here was registered by the photographer, who took it from the
print and transferred it to Mr. Graves. In this case it did not
appear that he was proprietor of the copyright in the engraving
(although there is no doubt he is proprietor of the engraving), as
it was not proved to be registered, nor need it be so to be pro-
tected, as an earlier statute protects it without registration, only
the penalty under that Act is only 5s., whereas under the late Act
it is £10, a very serious diflerence. In another similar case, that
of the “ Second Sermon,” it did appear that Mr. Graves was the
proprietor of the original engraving. In both cases the photo-
graph was not from one of Mr. Graves’s photographs, but from
the engraving. Thera were other eases as to the pictures entitled
“The Jlorning before the Battle” and “ The Evening after the
Battle.” The whole fifty photographs were ordered and delivered
at the same time. The magistrate (Sir K. Carden) had convicted
in all the cases, and refused to state a case for this Court.

Mr. Poland moved for a rule to compel the magistrate to state
a case. Ilis main point was that the photograph was not a copy
of a photograph, but of the engraving, and that therefore the pro-
ceedings ought to have been under the earlier Act, under which
the penalty was not so heavy. He also mooted tlie two points
taken the other day in a similar case we reported — that the regis-
tration by the popular name of the picture was not sufficient, and
that there could only bo one conviction or one penaity.

The Court, however, negatived the two latter points, adhering
to their former decision thereon ; but they granted a ruie to have
a case stated on the first point, deeming it worth consideration.

Messrs. Graves ami Son are not confining their raid against
the pirates to London, but are pursuing evil-doers in the
country. A week or two ago, at the Birmingham Petty
Session, .lames Sunderland was summoned for having sold
three copies of each of their engravings “Morning before
the Battle,” “ Evening after the Battle,” and “ The Railway
Station.” A clerk had been sent down to Birmingham by
Messrs. Graves and Son expiessly to detect the issue of
piracies of which they had received information. The defend-
ant, in conversation with the clerk, told him that they were
obliged to bj very careful in selling copies of copyright,
because of the risk. Defendant, who was represented by
Mr. Ansell, pleaded guilty, and asked for time to pay the
fines, having offered to give information as to the producers
of the pirated copies. Another charge was made against the
same defendant, of having sold a copy of “ Taming the
Shrew,” with the name of Messre. Graves and Son appended,
such work not having been issued by them. A fine of £4
in each of the cases was inflicted, and 18s. costs, with the
alternative of seven days’ imprisonment for each offence in
default of p.ayment.

On the same day a charge was made against Mrs. E. A.
Hulmc for selling twenty-tliree pirated copies of engravings.

May 8, 1868.]

THE PHOTOGRAPHIC NEWS.

219

It was shown in evidence that in this case the transaction was
between Mr. Brittain, a traveller for Mrs. Hulme, and the
purchaser, and that Brittain received the money on his own
account. The magistrate expressed his conviction that there
was collusion between Brittain and the defendant, and in-
flicted a fine of £5 in each case, amounting to £115, or a
week’s imprisonment for each offence. Fourteen days were
allowed for payment, on security being given.

PHOTOGRAPHIC REPRODUCTION OF OLD
ENGRAVINGS.

Is a recent reference to the swift justice which has overtaken
photographic piracies of copyright engravings, the.-ItAentcum
has some good remarks on a neglected field, which is legiti-
mately open to photographers, which might, if properly
worked, yield a good return to those engaged in reproduc-
tion. The remarks run as follows : —

“ Loud have been the complaints and sharp the punishments
with regard to pirates of artistic copyright in recent pictures,
and the knaves who avail themselves of the property of others
witli consummate assurance reply that they are encouraging
art in the process of their trade. There is one application of
this defence which has trutli in it. It is, that tlie dissemination
of good and cheap photographs of line paintings or engravings
must benefit art. Has it never occurred to those who offend
the law that by producing transcripts of engravings of great
reputation and high prices, with expired copyrights, they miglit
servo tho arts and fill their own pockets honestly and without
risk? Take, for instance, some of tho line prints of Raplnicl
Morghen after Ua Vinci and Raphael, ‘ The Last Supper,’ the
‘Circles’ of the Vatican, ‘Mater Pulchraj Dclectionis,’ ‘The
Transfiguration,’ the ‘ Aurora ’ of Guido, tho many plates of
Volpato, and Desnoyers’ ‘St. Catherine,’ ‘Tlie Virgins of tho
Cradle ’ — ‘ Tho Fish ’ — ‘ Tho Veil ’ — ‘ The Casa d'Alba ’ — ‘ The
Rocks’ — and ‘A la Chaise,’ or Forster's ‘ Bindo Altoviti’ — called
Raphael. The prints ot Anderloni, Strange, Woollett, Longhi,
&c., are, for tho most part, unprotected and popular, and, so far
as art value may bo said to support the defence, superior to what
is too commonly pirated. For example, we presume R. Mor-
ghen’s print after Da Vinci's ‘ Last Supper ’ is no longer pro-
tected by copyright. Tho artist died thirty-five years ago, and
the plate was engraved more than seventy-five years ago ; yet
there is not to be had a good and moderately-priced engraving
by any hand of this the most famous picture in tho world, tho
demand for copies of which is so groat that almost anything
sells— electrotypes and casts in low relief, tawdry -coloured
German lithographs, vile etchings — at prices which would remu-
nerate the photographer."

One difficulty which stood in the way of the conscientious
photographer has been the uncertainty, in many cases, as to
the existence of a copyright in engravings which they might
desire to copy. In the case of very old engravings, many
of which are most valuable, no doubt need be entertained.
Where a question exists it may generally be set at rest by
reference to the publication line. The Act 8th George 2nd
cap. 13 enacts, in relation to engravings, that the name of
the proprietor shall be printed on each copy issued, with the
date of the first publication ; and the copyright continues
good for twenty-eight years from that date.

Critical |loticc.5.

THE MODERN PRACTICE OF PHOTOGRAPHY. By
R. W. Thom.4s, F.C.S. (London : Harrison, Pall Mall.)

This is a new edition of Mr. Thomas’s excellent manual, of
which we had occasion to speak on its first appearance in a
complete form in terms of commendation. A number of valu-
able practical papers on the various operations of producing a
negative had been issued in various ways by the author, and
these, when collected together, were found to constitute a very
capital guide to practice, and to need little beyond some intro-
ductory pages to give them the order and consecutiveness of

a complete treatise. An early demand for a second edition
having been made, it appears, with some additional matter, the
chief portion of which consists in a chapter on the permanency
of silver prints, which will be read with much interest. Some
of the views propounded arc open, wo think, to debate, and
we shall probiibly, on a subsequent occasion, have a few
observations to make thereon. In the meantime we can
heartily commend a work which is distinguished by a con-
cise, clear, and practical style from one whoso name has for
many years been held as a high authority in collodion photo-
graphy. The work is admirably got up, and has the very
useful and sensible addition of some ruled blank pages, for
the insertion of new recipes and memoranda, which give so
much value to works of reference.

ABRIDGMENTS OF SPECIFIC.VITONS REL.VflNG
TO PHOTOGRAPHY. Part II. 18G0-I8G.-). (London :
Office of the Commissioners of Patents for Inventions.)
The valuable volume before us is a continuation of a pro-
ject commenced by Mr. B. Woodcroft some years ago, in
which he has conferred a most inestimable boon upon inven-
tors and upon all interested in the progress of the industrial
arts. The abridgments of specifications give the salient
features of every invention for the protection of which by
patent application has been made. The volumes are classi-
fied, that before us containing everything relating to photo-
graphy a specification of which has been lodged at the
Patent Office. The first part included all inventions speci-
fied under the new patent law up to 18G0, and the present
comprehends all from that time up to the end of 1865. No
pains has been spared to make this a complete book of refer-
ence, and to give it historic value as a record of the pro-
gress of the art, so far as the patent records are concerned.
A brief historical introduction gives some of the leading facts
in the history of the arts, not connected with patents, com-
mencing where Part I. left off, and continuing up to the
year I8G5, is also given. The indexes are excellent, giving
in one table the names of the inventors, and in another the
subject matter of the specifications ; the latter is made more
valuable by the new chemical nomenclature being appended
to substances as well as the old and familiar names. This
is a little book which should be in the library of all experi-
mental photographers.

THE ART OF PHOTOGRAPHIC COLOURING, in
Easy Progressive Lessons. By David Rees. (London :
Published by the Author, Broadway.)

The author ol the little manual before us appears to hold,
with Dr. Johnson, that a great book is a great evil, and
presents his lessons in the concisest po.ssible style, describing
the various operations in consecutive order with great terse-
ness and simplicity. A very valuable feature in the work
consists in two cleverly coloured card pictures illustrating
tha mode of working described. The specimens of colouring
will be found valuable, and worth to many more than the
price of the book.

LOCAL SKETCHES ILLUSTRATED BY PHOTO-
GRAPHS. By W. II. Waun’er.

Mr. Warner has here hit on a happy notion of issuing
photographically illustrated sketches of interesting scenes
or places. Each consists of a quarto sheet of stout tinted
paper, folded in a large envelope. The sheet contains a
brief sketch of the place selected, giving the salient points
of interest, and a photograph, consisting of a half a stereo-
slide, of some important aspect of the place. The examples
before us — Tyntern Abbey, and Ro.ss and its Neighbour-
hood— are good Illustrations of this kind of work. Each con-
tains such descriptive text as we have described, well printed
in red and black ink ; a ground-plan, in one case, of tho
Abbey, and in the other of Goodrich Castle, with one photo-

220

THE PHOTOGRAPHIC NEWS.

[May 8, 1868.

graph. The whole sells for sixpence, and will, we should
think, find numerous buyers amongst visitors to any scene
of interest or celebrity. In a commercial sense the idea
seems to be an essentially good one, as it will afford a mode
of using up odd halves of stereo-slides, and will often serve
as a mode of advertising the stock of local illustrations which
the photographer may have published.

ON THE OCCURRENCE OF HYPOSULPHITES IN
MOUNTING CARDS.

BY JOHN SPILLER, F.C.S.

I HAVE lately been making a somewhat extended examina-
tion of the various cjualities of cardboard commonly em-
ployed for mounting photographs, and freely enilorsc the
remarks made in your leader of the 10th April, upon the
importance of instituting such enquiries with a view to
pressing upon the notice of manufacturers the necessity of
abstaining from the use of hyposulphite of soda as “ anti-
chlore.” My experimental results prove that with some
kinds of white cardboard the photographer’s efforts in the
direction of thorough washing will be completely set .at
nought by the large amount of hyposulphites contained in
the card andicturned to the print in the course of mounting.

The test for the presence of hyposulphite is .at once so
simple that every photographer h.as the means of ascertain-
ing for himself the degree of reliance to be placed in the
employment of the cards he may have in stock. I prefer
for this purpose using the iodide of starch test, which is
further useful in indicating the point at which the prints
themselves are thoroughly washed. Prepare, in the first
instance, a clear aqueous solution of starch, hy rubbing
20 grains of arrowroot into a smooth paste with I drachm,
or less, of cold water; then pour upon it about a pint of
boiling distilled water, with constant stirring. Allow the
whole to settle for twenty-four hours, by which time the
broken starch cells and insoluble m.atter will h.ave completely
subsided. Now dissolve a grain of iodine in three times that
weight of iodide of potassium with the help of a little
water, and dilute it first with water and tlien with the clear
starch water previously made. The solution will present a
deep indigo-bluccolour, which becomes bleached immediately
by contact with a soluble hyposulphite. Pleasured squares
of suitable size (say carte-de-visitc) of the mounts to be
tested are then cut into narrow slips lengthwise, introduced
into test-tubes, and covered each with a measured ounce of
pure distilled w.ater. The cards should he left immersed for
twelve hours, or longer, to afford time for a full solvent action
to be exerted, and for the liquids to diffuse out from the com-
pact structure of the cards. Having then arr.anged in a
stand a series of test-tubes of about the same calibre, a small
qu.antity of the blue iodide of starch solution is poured into
each to the same height, and the liquids to be tested are
added in similar quantities (say half a fluid ounce in each
case), reserving one tube as a standard of comparison <o be
diluted with the same bulk of pure water. By inspection of
the whole series it is easy to see whether any bleaching
action occurs ; and should this be the ca.se, ari inference may
be drawn as to the amount of hyposulphite contained in the
cards under examination, by comparison of the several tints
with that of the standard tube. It should here be men-
tioned that the liquids to be tested must be emploj’ed cold,
for a slight increase of temperature serves to diminish the
sensitiveness of the reaction ; in fact, the blue iodide of
starch itself becomes temporarily bleached upon the applica-
tion of heat. Proceeding in the manner just now indicated,
I tested upwards of twenty samples of cardbo.ard, with the
following results : The weights were previously taken in each
instance as a rough indication of the substance of the card ;
but, as will presently be seen, the enamel mounts contained
BO much mineral matter that their weights must have been
out of proportion to the observed thickness. All were uni-
formly cut to the carte-de-visite size, 2J by inches ; —

No.

Description.

Weight —
Grains.

Amount of
Hrposulphite.

I ...

White enamel carte-de-visite,

... G1 ..

. none

o

Yellow enamel stereo mount ,

... ..

. small

3 ...

White Bristol board ...

... 59 ..

. large

4 ...

Cabinet mount, white...

... 55 ..

. large

5 ...

Carte-de-visite mount, white

... 44 ..

. moderate

G ...

Cream-laid carte-de-visite

... 48 ..

. trace

7 ...

Do. thin

... 37 ..

. small

8 ...

Mounting.board, cream colour G7 ..

. none

9 ...

Do. pale buff

... 70 ..

. small

10 ...

Do. buff (thick)

... 87 ..

. moderate

11 ...

Do. neutral tint

... 4G ..

. large

12 ...

Do. pale green

... 48 ..

. very large

It thus

appears that two samples only out of the twelve

were free from hyposulphite, four contained quantities too
small to be pronounced hurtful, and the other six were im-
pregnated to an extent sufficient to justify their rejection for
photographic purposes. The greatest difficulties are en-
countered in the selection of white cards, since the material
of which they are made requires to be fully bleached, and
hence the use of a greater proportion of hyposulphite after-
wards applied as antichlore. The cream-coloured mounting-
board appeared to present the natural colour of the best rag
pulp, and may not have been subjected to any bleaching
proce.ss, and consequently not required any after treatment
with hyposulphite. This quality may therefore be expected
to furnish the most reliable material for mounting photo-
graphs.

In the case of the neutral tint, another experiment was
made after separating the three principal layers of which
this cardboard w.as composed, and the source of the hypo-
sulphite was found to be in the white paper backing thus: —

'o'rai'ns'T

Front layer, neutral tint paper 47 ... trace

Coarse intermediate pulp ... 48 ... small

White paper backing 32 ... very large

This result was confirmed by a similar examination of one
of the buff' cards, which also contained most of its hyposul-
phite in the white paper backing. If such a card were left
exposed for any length of time in a damp atmosphere the
hyposulphite would, no doubt, ultimately become diffused
throughout its entire structure ; but the above facts show
most conclusively that in the ordinary process of manufac-
ture this distribution of a soluble impurity only partially
occurs.

Very instructive results were furnished by an analytical
examination of the mineral matters eutering into the com-
position of the board, and I was surprised to find that the
stiff'est and apparently best quality of card contained a
liberal amount of Paris white (sulphate of lime), to which no
exception can be taken. The white enamel card. No. 1, left
on incineration 28 per cent, of white ash, composed chiefly
of a mixture of sulphate of baryta and China cla}' (kaolin),
with a small quantity of Paris wiiite. There was no zinc or
lead pigment in this material, and the absence of the
latter is an important consideration, since lead enamels so
soon become sulphuretted. When the requisite degree of
whiteness can be imparted by mineral pigments, there
should he no necessity to resort to the processes of bleaching,
and for such admixture no better material can be selected
than the inert baryta-white, which is absolutely insoluble,
and incapable of decomposition by ordinary chemical
reagents, and is, moreover, to be had of good quality at
a low cost. Ultramarine was detected in the green card.
No. 12; and the substratum of the neutral tint. No. 11, also
contained some imperfectly mixed with the pulp. This
blue pigment owes its colour to sulphur-compounds, which
are known to tarnish bright silver surfaces, and therefore
may be expected in time to have an injurious influence upon
the reduced silver entering into the composition of the pho-
tograph. Two of the cards. Nos. 9 and 10, of which the
former was undoubtedly the higher quality, left, on burning

May 8, 1868.]

THE PHOTOGRAPHIC NEWS.

221

freely in air and afterwards in a platinum crucible, 12*2 and
7'6 per cent, respectively of ash, which was almost entirely
sulphate of lime. Several of the cards were tested for alka-
line chlorides, but traces only of these salts were detected.

Sinee MM. Davanne and Fordos have pointed out the
dangers attending the use of Dutch gold and bronze-
powders for embellishing photographic mounts, it may be
of interest to know that a dilute solution of nitrate of silver
enables us at once to distinguish between the true and
spurious gold. Whilst gold itself retains its brilliancy, and
remains quite unaltered upon moistening with the silver
solution, the copper, zinc, tin, and other base metals con-
tained in the bronze substitutes, effect the immediate reduc-
tion of the silver in the form of a dark-grey or nearly black
pulverulent deposit.

tferies II. — Tinted mounting-boards, of various colours,
three-sheet thickness, all backed with white paper of same
quality.

No.

Description.

Weight —

gnuDS.

Amount of
hTposulpbite.

13 .

. Cream colour...

... 44 .

. . trace

14 .

. Do. slightly

darker 42 .

. . none

15 .

. Do. pale

... 45 .

.. none

16 .

. Warm buff ...

... 45 .

.. trace

17 .

. Neutral tint ...

... 46 .

. . moderate

18 .

. Do. pale ...

... 44 .

.. small

19 .

. Brownish drab

... 40 .

.. moderate

20 .

. Pale green

... 42 .

.. large.

Series III. — White cardboard, of two qualities.

Description.

Three-sheet

Weight (in grains) of
Best.

the carte-de-visite size.
Seconds.

... 38 ...

... 40

Four-sheet

... 52 ...

... 57

Five-sheet..

... 75 ...

... 74

Six-sheet ..

... 96 ...

... 88

All these cards were found to be comparatively free from
hyposulphite of soda. They were tested by means of an
iodo-dextrine solution containing about I grain of iodine
(with iodide of potassium) and 100 grains of dextrine in a
int of cold water. The claret colour of this solution is
leached by hyposulphites with as much facility as in the
case of iodide of starch. The solutions should be quite cold
at the time of testing, since the colour of this dextrine com-
pound is temporarily discharged by heat in the same manner
and with even greater facility than the blue iodide of starch.

Woolwich, May 2nd, 18G8.

PHOTOGRAPHIC PRINTING IN SILVER, THEO-
RETICAL AND PRACTICAL.

BY W. T. BOVEY.

Since the publication of my last article, enquiries have
been addressed to me concerning the method to be observed
for keeping the nitrates of soda and silver bath up to
working strength, it being obvious to the most inex-
perienced that the usual specific gravity test is inapplicable
to the sensitizing solution prepared by the formula I advise.

In reply to the queries alluded to, I cannot do better than
quote an extract bearing on the subject from my paper pub-
lished in the Year-Book, supplementing the same by point-
ing out a sure and certain test that all who have eyes may with
ease undeis’tand. “ To keep the bath up to working strength
proceed as follows ; — Commence operations by mixing
enough solution to fill two bottles, numbering each re-
spectively No. I and No. 2, No. 1 to be selected for daily
use. No. 2 for replenishing waste. When sufficient paper
has been floated for present use, filter the working bath
back into its proper vessel, and, after all has passed through
the filter paper, fill the bottle up to the neck with the
replenishing solution from bottle No. 2. By the adoption
of these simple means the bath, as a rule, may be kept in
good and reliable working condition for any length of
time. Should discolouration occur, a little moist kaolin
dropped into the bath will remove it.” The quantity of

waste in a great measure depends on the care taken in
removing the paper from the bath ; it is therefore within
tha limits of possibility, that when excessive caution is
observed, the waste will not be sufficient to enable the
fresh solution added to keep the bath in good working
order. Such will be made evident at once by the ap
pearance of the albumen surface when dried. An albumen
surface, when submitted to the action of the silver, soda,
and sugar solution, and subsequently dried, should exhibit
a peculiar lustre, or bloom (proof that no albumen has been
absorbed by the bath) ; if the glaze, such as I have described,
be absent, and its absence is due to an over-weak silver bath,
this last will rapidly discolour, and to repair matters a few
crystals of silver nitrate must be added directly the
discovery is made.

A certain wise contemporary, whose errors I have on more
than one occasion had occasion to mention, still persists in
advising his clients to steer clear of weak printing baths. He
won’t have nitrate of soda, and sugar he — perhaps for the
first time — abominates. But, in all sincerity, I beg of all
my readers to test the matter for themselves. I have done
so exhaustively, and can with certainty and a clear con-
science advocate its use; and, as a further argument, I might
add, that many of the acknowledged finest prints exhibited
at the hall in Conduit Street in November last were, to my
knowledge, printed by the method I amdescribing.

And now for a word or two on the chemicals to be em-
ployed. In these days of cutting competition, a dealer,
even in photographic chemicals, must be possessed of strong
moral courage to enable him to resist the temptation to
underbid his neighbours, and it unfortunately happens
that chemicals afford a field for the exercise of adulteration
free from any probability of detection. I would therefore
advise my readers to seek — as I find — cheapness in the
deari.st market, for I hold that where a fair profit is realized
by a dealer, as a rule, he would prefer rendering a pure to
an adulterated article ; and it may be worth mentioning
that the mixtures of silver recently advertised afford a
greater profit to the vendor than the sale of an equal
weight of pure nitrate of silver, which salt, being composed
chiefly of a noble metal, cannot, and never will be, sold
under the value the metal can at any moment realise in the
bullion market. My advice, therefore, is, to purchasers of
nitrate of silver, don’t be tempted by low prices, but buy of
respectable honest dealers, who demand a fair price, and
stick to it in spite of competition. The price I pay for
the article is 3s. 5d. per ounce in quantities of not less
than 50 ounces, and find it cheap in the money. For
smaller quantities an addition of twopence per ounce is
made. The nitrate of soda must be strictly pure, otherwise
I cannot answer for the success of the formula I have
advised, as it sometimes happens that the nitrate of soda as
sold by the chemists is mixed with carbonate of soda ; the
result of such admixture is the weakening of the bath by
the decomposition that occurs, and which is brought about
by the carbonate of soda. The carbonic acid combining
with the silver precipitates carbonate of silver, leaving in
solution an unneeded addition of nitrate of soda. I have,
however, found no diflficulty in procuring the pure article
in London, but the failures that have arisen from the
source pointed out induces me to ask an observance of
caution. The sugar may be extracted from the domestic
sugar basin, whilst the requisite quantity of water can be
drawn from the well or local water-works. Should the
water, however, be charged with an excess of inorganic
matter, it is advisable to boil the water before applying it
to photographic uses.

It may appear superfluous for me to offer advice or
directions concerning the operation of floating, but little
things help to make mountains, and a word or two in the
direction indicated may to some prove profitable. When
the sensitizing solution has been carefully decanted into the
dish, take a strip of albuminized paper, edgeways, and pass
the lower edge of the paper lightly over the surface of tha

2‘22

THE PHOTOGRAPHIC NEWS. [May 8, 1868.

liquid. This operation removes dust and scum, and stains
on the surface of the sheets arc thus prevented. When a
quarter sheet only is sensitized at time of floating, with the
finger and thumb of each hand seize the paper at the oppo-
site corners. The corner held by the left hand should be
the first laid on the solution. The paper, kept slightly
arched by the right hand, must then be quietly placed on
the bath in such a manner that all air is driven before it.
To sensitize a sheet of paper in its uncut state, place the
centre of its nearest end between the lips, seize the corners
of the opposite end firmly between the fingers and thumbs,
and lay that end carefully on the bath about midway of the
dish : then, by lowering the head, and moving it towards
the dish, the paper is pushed forwards, and, with a sliding
motion, the whole surface is gradually brought into contact
with the solution. A batten may be then placed across the
dish, and when the time of floating expires the corners of the
paper should bo raised, pinned to the batten, which acts as a
support during removal, and to which the paper must remain
attached until dried ; or, should it be preferred, the paper
might be removed from the dish without the aid of such
batten ; in such case the paper should be spread corner-ways
across a roller, and so left to dry. The use of American
clips for whole sheets of paper is objectionable on account of
the liability the paper has to tear, or provokingly curl in
such a manner that the wet surface is brought into contact
with the back. If the temperature of the drying-room is
increased by artificial heat, the paper should be removed
from such room, and kept for a short time in a temperature
and atmosphere similar to that to which the paper will be
expo.scd while printing. Neglect of this last hint will cause
loss from the cockling of the paper whilst under pressure in
the frames, occasioned by the expansion of the fibre if tbe air
be damp and the paper dry, or contraction if the atmo-
sphere is warm and dry and the paper damp. When a
mucilaginous substance is employed in connection with a
sensitizing bath it should never be added in excessive quan-

tity, as it causes a distinct line to appear on the surface of the
paper at every pause during the laying it on the solution.

And here I dismiss the silver bath to fill the frames, which
must supply matter for my next. The subject of printing
I shall deal with in its entirety, offering practical instruc-
tions how to perform every known method of producing
varied results.

In conclusion, I must ask the indulgence of my readers on
account of the delays that occur in the appearance of my
lessons ; but the reason why is briefly told : after my daily
laborious work is done, I find, at times, a weary body but ill
adapted for aiding or encouraging mental labour.

I’lOTORIAL EFFKCT IN PHOTOGRAPHY;

llEixa Lessons in

OoMPoiirioN AND Cin.vaoscoRi. for Piiotoqraphers.

BY II. P. UOBINSON.

Chapter XY.

“ llovr great a share variety has in producing beauty may be aeen in the
ornamental part of nature. All the senses delight in it, and equally are
averse to sameness. Vet, when the eye is glutted with a succession of
variety, it ftnds relief in a certain degree of sameness ; and even plain
space becomes agreeable, and, properly introduced and contrasted with
variety, adds to it more variety. I mean here, and everywhere indeed, a
compoted variety ; for variety uncompo.sed and without design is confusion
and deformity.” — Hogarth.

Variety and Repetition.

For the more easy compreheusioa of this chapter it would
be well for the student to turn to the illustration given in
the last — Wilkie’s Blind Fiddler.

Notwithstanding the formality of the composition, the
great quality without which no pictorial arrangement can
be complete — variety — is present in a very marked degree.
This is very noticeable in the disposition of the heads and
leading points, as will be seen at a glance by the following
diagram, in which they are set forth ; as will also the pyra-

midal forms of the groups, and the way in which they f.ill j the group of dark objects in thi front. The extreme care
in with and harmonise one another, continually piling up | Wilkie has taken to get his pyramid complete will be seen
until they form one great irregular pyramid, supported by j in the disposition of the fidller’s bundle and stick on the

May 8, 18G8.]

THE PHOTOGRAPHIC NEWS.

223

one side, and the spinning-wheel on the other. Every
variety of aspect in the heads is given, from tlie full face of
the grandfather to the back of the head of the fiddler’s son
warming his hands at the fire. Every position is repre-
sented, standing, stooping, leaning, sitting, lying, as well
as every degree of expression, from lively .action to repose,
“from grave to gay, from lively to severe;” and every .age,
from the octogenarian to the infant, youth being directly
opposed to age in the centre of the group.

That variety is a necessity in good composition is so
apparent that it need scarcely be dwelt upon at any length.
It must be obvious that the reverse of variety — that is,
monotony — would bo fatal to a picture. One definition of
composition might be that it teaches the proper use of
variety. A line running in a given direction must be
balanced and opposed by a counteracting line. Full faces
in a group should be varied with three-quarter and profile
heads. A line of heads “ all of a row,” as is too often seen
in photographs even by the best photographers, is jarring
to a sensitive taste, and is an ofifence to art. So also with
figures dotted about a landscape witliout purpose, dis-
turbing repose by directing the eye to objects which are out
of all harmony with the view represented.

Variety is one of the chief sources of picturesqueness and
beauty. This quality alone would make a dead flat inter-
esting. The ever-varying lines of the waves — varying,
however, according to regular laws — make the level and
otherwise tame and monotonous ocean a constant fascination.
No tree, however finely’ grown and vigorous, presenting an
unbroken mass of foliage will interest the artist so much as
others, inferior although they may be in size, but presenting
variety in their outline and intricacy in their details.
Without variety of form there cannot be variety of light
aad shade.

Notwithstanding the absolute necessity of variety as one
of the chief sources of beauty, it may be, and frequently is,
carried to excess. All great painters have guarded against
this by introducing the opposing element to variety — repeti-
tion— repetition as an echo, not that resemblance which
produces monotony. Picturesque eftect will allow, and
demands, a greater amount of variety than beauty, which
appears to require a greater amount of simplicity for its
success. Variety of attitudes should be studied for the sake
of contrast; but simplicity, especially in photographs, must
not be lost — 1 he peculiarity of the art itself supplies sulHcient
intricacy and detail. No amount of ingenuity in varying
the positions and aspects of the figures will compensate for
loss of simplicity and repose. Photography does not admit
of much action. In painting, the model is forgotten; in
photography it is different. It is well known to everybody
that the figures represented actually stood for some seconds
in the attitude shown — except, indeed, in instantaneous
pictures, where art often has to accept much from chance
(we cannot get away fronr that fact, even if wo desired to do
so) — whilst painting or drawing is a representation of some-
thing that need not have been seen for more than an
instant by the artist; indeed, it is not necessary to the
enjoyment of a painting to know that the original ever
existed.

Simplicity, symmetry, and uniformity, strange as it may
appear, are not antagonistic to variety, but are, in the exten-
sive scale of nature, highly conducive to it, especi.ally in
scenes composed of many objects. Uniformity in a single
figure will produce monotony; but in a scene composed of
many figures it will add to the variety, for if the greater
number of figures be irregular and varied, the introduction of
repetition in some of the objects will actually incre.ase the
variety. This is beautifully illustrated in the Blind Fiddler,
in which that “uniformity in variety ” which is necessary
in a perfect work of art is finely shown. The following
diagram exactly repeats the lines of the fiddler and the
woman with the child seated precisely opposite to him.

It will be seen that the position of the body is the same
in each — stooping a little forward, with the head bent down ;

the lines of the arms, the legs, and the chairs exactly corre-
spond, and the line produced by the child’s arm reaching up

repeals the line of the fiddle-stick, while both figures,
although dift'erent in sex, wear caps ; the lines of the dre.ss
even, especially above the arms, are symmetrical, and in both
cases the b.ack leg of the chair is concealed. This uniformity
is not accidental, but must have been produced deliberately
and with a purpose. There are other similar examples of
repetition in this perfect composition ; for instance, the boy
imitating the action of the fiddler with the poker and bel-
lows. The delight of the human beings repeated in the
face of the dog, and, if you like to be fanciful, the rude art
of the fiddler echoed in the rude art of the caricaturist in
the picture of the soldier on the wall.

o

OBSERVATIONS ON THE EMPLOYMENT OF
SOLPHOCYANIDES.

BY M. CIVIALE.*

Ix the summer of 1867 I fixed about seven hundred photo-
graphic prints by means of the sulphocyanides of potassium
and ammonium. I employed them both indiscriminately, and
found that three pounds of material was sufficient to tone and
fix the number of pictures referred to. The mode of operating
which has yielded me the best results is summed up in a few
words.

The print is toned a little less vigorously than when
hyposulphite of soda is used for fixing ; it is washed in two
changes of water as it comes out of the printing-frame, and
is then immersed for a period of fifteen minutes in a 20 per
cent, solution of sulphocyanide. The print lo.ses its inten-
sity in this bath, and assumes a yellowish colour ; on its
exit from the same it is again washed in two or three
changes of water, and then placed in a gold bath rendered
slightly acid and containing 25 centigrammes of gold to
every litre of distilled water. As soon as the tone of the
prints begins to deepen and becomes of a greenish tint
mixed with blue and sepia, it is taken out and transferred
to a 35 per cent, bath of sulphocyanide, where it is allowed
to remain until ii has assumed the desired intensity and
tone : a prolonged sojourn in the bath causes the prints to
assume first a blue and afterwards a bright rose colour. By
the employment, therefore, of a bath of this description,
pictures possessed of three different tones may be obtained
in the following manner.

When the print has become of a black tone, the lower
portion of it is removed from the bath ; the middle of the
picture, representing the more distant portions of the land-
scape, then assunres a blackish-blue, and afterwards a
greyish-blue colour. Two-thirds of the print are now with-
drawn, and the part corresponding to the sky only allowed
to remain, when a rose-tint similar to that observed by the
setting of the sun is obtained on this part of the picture.

Four or five prints may thus be manipulated at tlie same
time and in the same bath ; but with a larger number it is
impossible to render the necessary attention. The baths may
be used until completely exhausted, when they are again

* Read before the French Fliotographic Society.

224

THE PHOTOGRAPHIC NEWS.

[May 8, 1868,

made serviceable by the addition of a further quantity of
sulphocyanide.

The very simple manipulations which I have here indi-
cated are easily carried out, and if a somewhat longer time
is required in their execution than in the hyposulphite
method, this inconvenience is largely compensated by the
freedom from stains and the necessity of much less washing
after fixing by the sulphocyanide process.

A more rapid process, which likewise gives good results,
may be employed if desired. Into a litre bath of Sulpho-
cyanide (20 per cent, strength) is poured an aqueous solution
of 25 centigrammes of chloride of gold rendered slightly
acid : the precipitate formed at once redissolves. The proof,
after being taken from the frame, is washed as before, and
plunged into the bath, in which four or five sheets may be
placed at one time. As soon as the toning is sufficiently
marked the sheets are withdrawn, and immersed in a 35 per
cent, solution of sulphocyanide, and the operation of fixing
proceeded with as before. The bath will last for any length
of time if the gold and sulphocyanide is renewed from time
to time. Leptographic and collodionized papers may be
treated in the manner here indicated with very great
success.

I will conclude by submitting to the inspection of the
Society a print toned and fixed with sulphocyanide, which
has been exposed in a window for the space of three montlis,
a portion of it having been screened from the action of the
light during that period. No difference is perceptible be-
tween that portion of the print which has been covered up
and the remainder, which was constantly exposed to day-
light.

COLLODIO-CIILORIDE.

BY WILLIAM A. TEREY.*

In a conversation some months ago with Prof. Seely, of the late
American Journal of Photography, I mentioned results of some
experiments, and conclusions derived from them, on the nature
of collodio-chloride, which ho thought might bo of interest
to many, and which have been recently recalled to mind by
an article of Mr. Lea’s on dry plates, and bis remarks on
collodio-bromide.

When the porcelain picture first began to attract attention,!

I procured some collodion from New York and commenced
making them ; the first bottle I used made very good prints,
but that was soon used up, and the next sent mo was of a dif-
ferent make, and was not satisfactory. I wrote to my stock
dealer for more like that previously sent. He replied, that there
was no more in market ; that the kind sent last was in common
use; and finally sent another bottle which, ho said, was fresh,
and he knew was good. This on trial proving to be no better
than tne other, 1 made some myself with but indifferent
success. Soon after I called on friends in the business in
other places, and found many of them complaining of the same
troubles.

The trouble was a whitish mistiness that degraded the purity
of tint and the surface quality cf the print, so that, instead of
a brilliant surface-colour, which should have been produced, the
picture appeared sunk into the body of the collodion film and
covered with haze, having something the appearance caused by
excess, of ammonia on an ammonia-nitrate print, or the same
print very much over-toned.

This appearance was as plainly seen before as after toning,
and was evidently caused by some defect of the collodion. I
tried the addition of various reagents and organic compounds
with some success, but soon became convinced that the theory
which regards collodio-chloride as being simply chloride of
silver suspended in collodion was erroneous, and that it was in
reality a compound of chloride of silver and collodion, of such
a nature that the chloride of silver was held in a peculiar state
of solution instead of suspension.

My attentiou was first directed toward this view by noticing
that all samples of collodion that produced the best prints had
a peculiar opalescent look, and but little colour by reflected

* Humphrey’s Journal.

t The use of our collodio-chloride process is much more extended in the
United States than in this country. Opal pictures there form an important
element in the professional practice of portraiture.— Ed.

light, and in small vials appeared transparent and of an orange
or red colour by transmitted light, even when containing two or
three times the quantity of chloride of silver contained in other
samples which were opaque. This I thought could not bo the
case if the chloride was simply in. suspension ; and as I noticed
that all the inferior kinds in my possession were quite white,
creamy, and opaque, I determined to test the matter by a fow
experiments.

First. I precipitated a quantity of chloride of silver in a solu-
tion containing an excess of nitrate, in order to leave the chlo-
ride as sensitive to light as possible ; then, after decanting the
liquid, drained and washed the chloride in pure alcohol to
remove the water ; after this the requisite quantity of collodion,
containing 2 or 3 grains to the ounce of nitrate of silver, was
poured upon it in a bottle of sufficient capacity to allow of its
being violently agitated by shaking. After being sufficiently
shaken the citric acid was added. This collodion now exactly
resembled in appearance that which I bad received from New
York, and which was so satisfactory; being thick, white,
creamy, and opaque, the chloride did not subside on standing.

I found prints made with this collodion to be, as I expected,
milky, hazy, and feeble. I fried various proportions of free
nitrate without producing much eftect, and concluded finally
that chloride of silver suspended in collodion was worthless for
printing purposes.

Keasoning on the view that collodio-chloride was a definito
compound of chloride of silver with some constituent of collo-
dion,! thought success might probably bo best attained when
all the constituents wore in perfect solution in collodion, and
mixed suddenly at a low temperature ; accordingly, 1 took a
given quantity of plain collodion and divided it into three
unequal portions : in the first and largest I dissolved sufficient
nitrate of silver to make a strength of 8 grains to the ounce of
the whole ; in the next largest I dissolved chloride of strontia
sufficient for about 2-i grains to the ounce of the whole quantity
of collodion, and enough citric acid to make about 1 grain to the
ounce in the third and smallest portion. After shaking and
standing until each was completely dissolved, I cooled them to
below 00° Fahr., then poured carefully that containing the
chloride down the side of the bottle upon that containing tbe
silver, being careful not to mix them until the whole quantity
was in the bottle, when, by shaking suddenly, they were mixed
almost instantaneously. The citric acid was added in the same
way. This collodion was almost colourless, having only a
slightly milky and opalescent appearance, and this was chiefly
caused by the reaction of the citric acid, before the addition of
which the collodion was nearly as transparent as that contain-
ing only nitrate of silver, which always communicates a pecu-
liar and characteristic appearance to plain collodion.

On making prints with this collodion I found it very sensitive,
giving a remarkably brilliant surface-colour, but requiring a
longer exposure to produce bronzing than other kinds in my
possession, this fact being duo to the very small excess of nitrate
of silver. In subsequent experiments I found that increasing
the excess of nitrate increased the intensity of the print up to a
certain point, but that past this point the collodion rapidly
deteriorated ; and also that as the intensity increased the sur-
face-brilliancy was apt to diminish. The point of greatest in-
tensity was usually reached when the collodion contained 2 or
3 grains of silver to the ounce in excess, being varied somewhat
by the absolute amount of the whole ; I found also that the
keeping quality varied in proportion to the excess of silver —
that containing most silver soon changing to au opaque white,
and making hazy and feeble prints, particularly if kept in a
warm place. Chloride of strontia was objectionable on account
of its tendency to form crystals in tbe collodion at a low tem-
perature, although previously completely dissolved — that is,
before mixing with that containing silver ; chloride of calcium
is not liablo to this objection ; I did not test them in other re-
spects. This matter of solubility in alcohol is one of consider-
able importance in tbe manufacture of collodio-chloride ; if
each ingredient is not in perfect solution at the time of mixing,
not only loss ensues, but the result will bo irregular and uncer-
tain. 1 next tried the effect of diflerent salts of silver. I made a
compound salt by acting on fulminating silver with a mixture of
the nitrates of silver and ammonia ; the salt thus formed re-
sembled ammonia-nitrate in many respects ; it crystallized
readily, in long needles ; I have frequently found them 2 or 3
inches in length, and dissolved so freely in warm alcohol as to
form a solid mass on cooling, but different from ammonia-
nitrate in one very important respect ; for while ammonia-

i May 8, 1868.]

THE PHOTOGRAPHIC NEWS.

225

nitrate added to collodio-chloride causes it to turn to a dark-
grey colour in a short time, I have collodion made with this
salt which has been kept over two years, and is now as white as
when new, and has changed less in other respects than common
collodion would have done in as many months.

The prints made on this collodion were of a warmer tone
than ordinary, being a bright-red instead of blue ; they also lost
less of intensity in toning ; they had also a more brilliant sur-
face-colour, with a largo excess of nitrate of silver ; and, on the
whole, I preferred this collodion to any other.

Fulminating silver, which is a compound of silver and
nitrogen, should not bo confounded with fulminate of silver,
which is a compound with fulininic acid. The former is some-
times formed in small quantities in the nianufacturo of am-
monia-nitrate. 1 have known the cotton filter which had been
used for ammonia-nitrate to explode an being disturbed after
getting dry, and set fire to the contents of the waste-box. It is
an exceedingly dangerous compound, being apt to explode if
handled while wet, and almost certain to explode with fatal
violence as soon as dry, resembling somewhat the iodide of
nitrogen.

Some years since I was suddenly awakened about niiilnight
by a loud explosion. On rushing into an adjoining apartment I
found that a quantity of iodide of nitrogen, which had been
reposing quietly for somo weeks at the bottom of a small glass
jar or buttle covered with water, had suddenly vacated its
previous quarters, and taken up a position on the ceifingoverhead,
where it covered a space of ten or twelve feet, more or less. An
incessant series of small but deafening explosions, seeming to
testify to both rage and satisfaction, occurred as fast as the
porous plaster absorbed the moisture ; the room was filled with
dense vapours of iodine, so as to render it almost impossible to
breathe, or even See. Fortunately, I had a quantity of hypo-
sulphite at hand, which was soon in a basin of water; a towel
saturated and applied soon brought the enemy to terms before
any more serious consequences ensued. Many other compounds
of nitrogen are similarly or even moro dangerous — the
chloride and the compound with gold, for instance — and had
better be avoided. On this account I prepared a different salt,
which answered the purpose nearly as well, although collodion
containing it would not keep so long as the otlier. The mode
of operation, as nearly as I recollect, was as follows : —

Into about two drachms of the strongest aqua-ammonia I
dropped carefully small crystals of nitrate of silver until the
liquid became muddy ; then a few grains of nitrate of am-
monia, or a drop or two of nitric acid was added until it
became clear again ; nitrate of silver was then dropped in
again, until the liquid was saturated at a temperature of about
or 200“ ; about an ounce of alcohol was then added and
heated rapidly to the boiling point ; during which time the
clear solution should pass through various shades of brown
and red, until finally nearly black ; on cooling, a light floccu-
lent black deposit should subside, leaving the solution colour-
less, and of sufficient strength to crystallize in a solid m.ass
below 60“.

A few drops of this solution added to ordinary collodio-
chloride changes the colour of the print, giving more brilliant
surface qualities, and preventing the milky haziness even when
the excess of silver is considerable.

Care should be taken not to over-print too much, as the
print does not bleach as much in toning as is usual.

Foor collodion may even be restored to tolerably good working
qualities by means of this solution.

I have even made prints of the colour of carbon prints, and
which required only fixing without toning, by a modification
of the above process ; but as I do not consider that as of
any particular practical value, I shall uot describe it at
present.

French Photographic Society.

The last Monthly Meeting of the Society was held on the 3rd
ult., M. Balard, President, in the chair.

M. Frank de Villecholes submitted, in the name of M.
Chambay, samples of unglazed photographic paper suitable for
enlargements and also for ordinary work. The material, which

is twice as rapid in its action as albuminized paper, has received
no glazing or coating of any description, but owes its particular
qualities to the employment in the pulp of a mixture of certain
ingredients introduced therein ; the surface presented being
rough in char.acter, the operations of retouching and colouring
are easily performed. It is sensitized with a 15 per cent, solu-
tion of nitrate of silver, of which half is first treated with am-
monia until the precipitate has completely dissolved, and then
added to the remainder, which is slightly acidulated with nitric
acid.

M. Soulier exhibited a large number of carbon prints which
had been prepared by what he regarded as a modification, or
rather simplification, of Swan’s process.* A glass plate was
coated with a film of very thin collodion, and as soon as this
had set a dilute solution ot gelatine was poured over it to form
a second layer ; on this was spread the sensitive compound
upon which the photographic image was subsequently to be
formed. When perfectly dry the whole is removed from the
glass, and a homogeneous film of considerable rigidity is
obtained, which may be manipulated with safety. The expo-
sure takes place trom the collodionized face, as in Swan’s pro-
cess, and the operation of washing is then proceeded with in the
ordinary manner. No transfer of tlie print is requisite, but
when properly developed it is mounted upon cardboard in the
ordinary manner. M. Soulier likewise presented to the Society
a negative taken instantaneously upon albumen, representing
several steam boats on the Seine in motion.

M. Blanc made a few remarks in reference to the develop-
ment of dry plates. He stated that it might be laid down as a
general principle that the development of the lights of a picture
is prejudicial to the development of the half tones, unless the
lights have been somewhat over-exposed. It is for this reason
that with two exposures of equal duration more detail is
obtained in the shadows when the sun is obscured as when
working with full sunlight, and that by alkaline development
shorter exposure may be given than by the ordinary method ;
the silver which forms the image being at once decomposed, and
unable, therefore, to exercise its affinity for the lights of the
picture. For the same reason it is necessary to allow the lights
of a picture to become solarized, so that their great alfinity for
reduced silver may be weakened, and also that a slow develop-
ment is required for subjects presenting much contrast. With
reference to slow development, M. Blanc communicated a
method which ho believed was not generally known. By
placing a dry plate in a very dilute alcoholic solution of pyro-
gallic acid containing no nitrate of silver or alkali of any kind,
an image may be gradually but very effectively developed.! It
is very probable tliat the silver precipitated in this case is due
to a trace of nitrate of silver still resident in the plate, which a
washing of even the most careful description has failed to re- '
move ; decomposition taking place at once, the activity of the
lights does not prejudice the development of the half tones, and
hence a very gradual result, similar to that obtained by alkaline
development. The mode of proceeding is a very slow one, four-
and-twenty hours being scarcely sufficient for its completion ;
but what is lost in rapidity is gained in power, and it is in this
direction M. Blanc tliinks that photographers desirous of
securing rapidity of action in dry plate photography should
direct their attention, for the purpose of discovering some new
developer. In chemistry the most feeble atfinities produce
great effects if the necessary time is allowed for their action ;
and what is the development of a negative but a chemical
action ? An exposure of the most rapid description suffices to
secure a feeble impression, aud to create, therefore, a feeble
affinity for the reduced silver ; by giving more time to the ope-
ration of development, varying its details, and employing new
materials, the desired result might possibly bo attained.

M. DE Constant-Deles.sert forwarded a few copies, for dis-
tribution among the members, of his pamphlet on dry plate
processes. He recommends therein the employment of the
gum and coffee processes.

M. CiviALK communicated a paper on the Employment of
Sulphocyanides (see p. 223.)

M. Davanne brought under the attention of the Society

* It will be seen that this process, supposed to be a modifleation of Mr.
Swan’s, is simply that which Mr. Swan first described before the Photo-
gr^hic Society of London, and which is fully detailed in this specification.
— Ed. Photo. News.

t This is surely but another mode of applying the plain pyro developer
of Hr. Mudd, or rather Mr. Wardley, well-known In this countiy, and prac-
tised for years.— Ed. Photo. News.

226

TIIS PHOTOGJlAPHlC NKV^S.

[May 8, 1868.

some of M. Marion’s new transparent pellicle, and described its
uses.

M. Despaquis desc’ibed the process employed by himself for
the preparation of carbon prints on collodion-cair, and gave a
practical demonstration of liis method of developing and
mounting the prints.

The Society thanked M. Despaquis for his communication,
and requested him to prepare a description of the process for
publication in the Bulletin.

The proceedings then terminated.

Oldham Photoguaphic Society.

The Ordinary Meeting of the above Society was held on Tlmrs-
day, the 30th iust., the President, Mr. John Gkeen, in the
chair.

After the minutes of the previous meeting liad been read,
Messrs. John Dalton and Win. Fernley were elected members.

Mr. Beverley then read a short paper on the Dry Plato
Process, which will appear in our next.

There being no other business, the meeting was brought to a
close.

®orrc.spff«ir£Kr£.

SEL CLEMENT.

Dear Sir,— I presume you have taken the course of inserting
the letter from “The Maker of the Sel Clement ” merely as an
act of courtesy to a foreign correspondent, who, although pro-
fessing to bo a chemical manufacturer, does not write like a
chemist.

The writer says, “For me, substances containing carbon are
not the only ones that are organic ; but I consider as such all
those which contain either hyilrogen or nitrogen.” Impossible !
Has hydrocliloric or nitric acid ever been included in the list of
organic bodies? I challenge the writer to (juote any authori-
tative statement to this etfect. On the contrary, the existence
of carbon is a sine qud non ; without it no organic compound
can be built up. Dr. A. W. Hofmann’s apt definition of organic
chemistry declaies it to be “ the branch of science which treats
of the migration of carbon.”

Again, it is suggested that “ the nitrous fumes formed during
the combustion have reduced the nascent carbonic acid into car-
bonic oxide, they themselves being converted into nitric acid.”
This view is quite opposed to well-ascertained facts : simply
because nitric acid vapour, when heated in a combustion tube,
splits up into red nitrous acid and free oxygen ; and, in the
presence of this latter, it is impossible for a reducing action to
be exerted upon the carbonic acid. Your Paris correspondent
takes exception to the form of apparatus used in my experi-
ment, and asserts that it “ was not properly arranged to show
any trace of carbon whereas 1 took especial pains to prove
the fact that it did furnish evidence of carbon when 1 purposely
introduced a trace of sugar, after the Sel Clement alone had
failed to show any indication of the existence of an organic
component by the production of a white precipitate in the lime
water.

The occurrence of nitrate of magnesia and of a largo amount
of water, as essential ingredients of the “ Sel Clement, or Pre-
servative Nitrate of Silver,” is virtually conceded. — I am, dear
sir, yours, &c.. The Analyst.

Mag \st, 18G8.

THE PANORAMIC STEREOSCOPE.

Dear Sir, — While thanking you for the kind notice in your
Journal of the panoramic stereoscope, we shall feel much obliged
if you will permit us to correct an error as to the assumption
on which the new form is based. This yon state to bo that “ the
angle of natural vision horizontally is only one half of the
vertical angle.” AVe did not intend to convey that impression.
What we really meant was, that while the size of two pictures
which can be united stereoscopically is limited in the hori-
zontal direction by the fact that their centres must be ns
nearly ns possible opposite the pupils of the #yes, in the vor-
tical direction it is limited only by the angle of natural vision,
which practically admits of the use of a picture nearly double

the height of the width between the eyes. Our aim has been to
modify the mode of taking and the instrument for viewing
stereographs so as to take advantage of this fact. — We remain,
yours, &c., W. Harding Warner.

London, May bth, 1868. Rorert Murray.

[We have pleasure in giving insertion to the above expla-
nation ; but we must point out to our correspondents that the
sentence to which they take exception is not oars, but theirs, or
that of Mr. Warner, as in making an allusion to such a claim we
felt it right to do it in the words of the cluimaut. The descrip-
tion of the instrument now before us, in Mr. Warner’s hand-
writing, runs thus : — “ The inventors have discovered and
taken advantage of a new and important feature in optics
hitherto overlooked by all makers of stereoscopes, viz., that
the angle of vision horizontally is only one half of that vertically."
Whilst fully recognizing the practical value of the new instru-
ment for many purposes, and the satisfactory results it gave,
wo felt it a duty to take exception to what appeared an erro-
neous statement of principle as the basis of an excellent
invention. — Ed.]

MODIFIED HONEY PROCESS.

Sir, — Thanking your correspondent, Mr. G. Robert Fitt, for
his description of a “ Modified Honey Process,” published in
the News of 24th April, 1868, I should feel very much obliged if
he would give the quantities of honey and water respectively to
form the syrup, also the proportion of pure animal charcoal
required, and whether the plates will keep some hours after
exposure before development without injury, and if they should
be flooded with water, or what, before development. — I am, sir,
truly yours, M. N. L.

67a, Wimpole Street, May bth, 1868.

PHOTO-LITHOGRAPHY.

Sir, — Wo feel very reluctant to encro.ach upon the space of
a journal devoted to science only, with reference to personal
aft'airs, but wo cannot permit statements to bo made which, if
circulated, may find believers among those who are perfectly
uninitiated in photo-lithography.

In your number of April 24th, 186 ■>, you made some remarks
as regards the working of a “ new process of photographing
on stone and although you find the results excellent, and the
application of photography most legitimate, yet you consider
these results not to bo examples of photo-lithography “ as popu-
larly understood.”

You further speak of the results “on good authority,” that
the prints are the productions of a “ silver process on a finely-
grained stone, and the imago is then worked with lithographic
chalk,” &c But the “ good authority ” goes even beyoml this
in his observations, by stating before the Photographic Society
that, “ if he is not mistaken, the prints he h.as seen lately from
a new process of photographing on stone ” have been produced
in the way described by you under the head " Griggs’ Litho-
graphic Process,” and in which he stales he obtained by the
same means that ho employed some four years ago ; viz., by
coating a grained stone with silver.

Wo ilo not know of any other house in England or on the
Continent engaged at present in working commercially “ por-
traits by photo-lithography,” therefore we are compelled to come
forward as the owners of the “ new process of photographing
on stone,” for the purpose of answering and contradicting those
statements.

An apprentice in lithography will be in a position to explain
as to what the effects of lithographic chalk may be when being
put upon a silver surface, or, indeed, any other surface but the
cleanest surface of the stone itself.

Wo are fully alive as to the motives which prompted those
statements, and therefore will confine ourselves simply to the
declaration that our productions are the results of photo-
graphing direct on the stone with materials capable of yielding
proofs in printers’ ink only. We are not quite blind to the hints
of your “ authority ” that he does not keep back useful informa-
tion “ selfishly,” nor do we mind his allusions that he does not
pride himself on “ secret dodges,” nor do we care for his pointed
invitation to come forward and “ give up freely the results of
our labours.” Nothing will induce us, beyond this letter, to bo
drawn into a controversy, for many and “ obvious reasons.”
Suffice it to say that the means for obtaining lithographe by a

May 8, 1868.]

THE PIIOTOGRAPIIIC NEWS.

227

silver process “ four years ago,” or to-day, are not the only
absurd experiments which have proved failures in the hands of
your ” authority.” — We are, sir, yours respectfully,

29</t April, 186S. Dimsdale and Co.

[We are glad to have the assurance of Messrs. Dimsdale and
Co. that the excellent portraits they have recently issued are by
a process of photo-lithography properly so called. The allu-
sions to “ motives," of which they are well aware, to our
“ authority ” — of whom, by the way, they can know nothing —
&c., are entirely beyond our comprehension ; wo have not the
slightest idea of what they mean ; but as our correspondents
seem to think them necessary to their explanation, and they
may have a meaning for some persons, wo give them insertion,
repeating that the points in the letter which are clear to us —
namely, the assertion of the truly photographic character of
their excellent portraits — can give us and photographers gene-
rally nothing but satisfaction. — Ed.]

PHOTO-LITHOGRAVIIY.

Sir, — As I am wishful to make some experiments in photo-
lithography, will you oblige me with answers to one or two
questions ?

1. Is there any special advantage, besides the convenience of
working, in the mode of producing an imago on paper to be
transferred to stone, instead of working directly on stone as in
some of the earlier processes ?

2. I see in a contemporary an intimation that a.s the object
of treating a transfer with water is to swell the unaltered gela-
tine, cold water is necessarily the proper thing to apply, and
not hot, and expressing surprise that the members of the Photo-
graphic Society present when Mr. Griggs read his paper showed
such ignorance on the subject. I wish to ask if the object of
applying water is to swell the gelatine, and, if so, for what pur-
pose? I have always understood that the object was to remove
the gelatine, not to swell it.

3. Is photo-lithography generally, or any part of it, pro

tcctcd by patent, or is it open to the public to practise without
licence or (latent rights havimr to be gained? If not, which
process is free to the public? — A'ours, &c., X.

[The advantages of the transfer process, besides convenience
in working, consists in getting a greasy imago direct on the
stone. In most processes in which the picture is produced by
working on the stone, the imago is formed on the stone in some
such substance as gelatine and bichromate, or bitumen, and thus
it quickly wears out. 2. We fear it is the writer in question,
and not any member who spoke at the meeting, who betrays
want of familiarity with the operations of photo-lithography. If
the object had been to swell up the gelatine, most folks know
well enough that cold water would eftect it best. But the
object is not to swell up the unaltered gelatine ; where hot
water is used, the object is to dissolve the gelatine and remove
it entirely. Where cold water is used, or rather slightly
warmed water, as in Mr. Griggs’ case, the object is not to remove
all the gelatine, but only just such a surface as will effectually
take away the ink except on the parts made insoluble by light.
If the soluble gelatine were swelled to any appreciable extent
it would interfere injuriously with the operation of transferring,
by bearing off the unswollen inked lines from contact with the
stone. 3. There are several patents for photo-lithographic
processes ; but the general features of all processes are open to
the use of the general public without restriction. — Ed.]

SOURCES OF SUCCESS IN OPERATING.

Dear Sir.— Mr. McLachlan’s remarks in your number of
the 17th January are, if practical, extremely interesting to
photography. It has always been an art in which much was
obscured; there is no rule, so to speak, on which to work with
success ; suggestion after suggestion is made in your Journal ;
one upholds this to be correct, the other flatly denies it. and
states that to bo the proper way, an<l so on. But Mr. McLachlan
steps out of the usual course, and challenges the public to pro-
duce by himself, consecutively, a certain amount of pictures, and
free from every blemish, with success ! Every photographer
knows it is possible, but in his experience has it ever happened •
that he could say the same ? Consider, the number is large,
and the amount of silver used is wonderfully small in propor-
tion (see his letter, p. 400 : 7 by 4negati ves with 2ounces of silver.

and still pi enty to spare). I shall be glad to see you comment
upon it.

By the way, I was rather amused at the persistency of that
idea argued about converting bad negatives into good ones,
touching the negatives, &c. ; not mere spots, but painting over
it at a wholesale rate. Why not rather study (our photo
rooms, look more to your light, your chemicals, than to pro-
ducing artificial effects? I was very much pleased with Mr.
Johnson’s paper on “Natural Clouds in Landscape Ihoto-
graphy.” What further proof would you require in reading
his account of Mr. Braun’s pictures? As pictures they are per-
fect ; as a commercial speculation they have paid handsomely.
Another fault is o ften committed by using the argument that
“ the public won’t have it so.” In how many various ways does
one hear that expression ? It is to some degree true ; doubt-
less a large portion of the public do not care much about the
delicate and beautiful — or, perhaps, 1 might put it, they prefer
the excessive contrast to the fine gradation — but it is not
wholly to them the pho'ographer looks for his earnings. More-
over. it ho were to produce superior pictures, the mind of the
public would, in like manner, be educated up to them, and they
would in time be aj'preciated. Mr. Johnson’s letter is upon
clouds ; it will apply to nearly every species of photography.
A good photographer will turn out a good picture at the same
place and time in which an inferior one will produce a wretched
caricature.

A grand discussion has been carried on in your pages with
regard to the photographs in the late exhibition, more espe-
cially to those of M. Adam -Salomon, which I should much like
to see. From what I can glean, the lighting is thought to bo
the chief source of success. Whilst lighting undoubtedly has a
great deal to do with it, I agree with “Ennel,” that it is Judy-
ment which is most required. You mentioned some time ago
some photographs exhibited which had an extremely picturesque
and pleasing effect, yet these had all the lighting from behind,
viz., the person taken thrown in relief. I do not remember over
having seen any such, but your remark says at once that it is not
I the material, but the way in which light is applied, which is con-
I ducivo to success ; i.e., your light may be north, south, east, or
west : study the effect of each, and you will find each has its
good effect ; and, after all, it is the picturesque that is called for.
To produce a portrait with every feature distinctly marked,
every fold in the clothes sharjily and softly defined, is good, but
it is not everything. If one photographer (and there are some)
can get that requisite, surely it is within the power of another
to do it ; the requirement is to make the best of what you have.
I take it, in Mr. McLachlan’s case, a knowledge of chemistry
is indispensable. I shall look forward with eagerness to see
more upon the subject. — Yours truly, Ceyi.on.

Columbo, Ceylon. March 2\th, 1868.

[As you will see, Mr. McLachlan has already made a partial
statement, and will make a more perfect one shortly. — Ed.]

^alk 111 the $tu5ia.

Sugar in the Printing B.tTii. — The Paris correspondent of
a contemporary, giving a notice of M. Davanne’s Annuaire,
says that he “ has a rap at Mr. Bovey ” for having proposed “ a
little sugar in the nitrate bath.” M. Davanne is represented
as condemning the indefiniteness of the quantity described as
“ a little,” and as failing to see how an organic substance having
the power to reduce silver can preserve the whiteness of the
sensitive paper. Somebody has blundered a little here. Mr.
Bovey did not propose “ a little ” sugar, but, finding such a pro'"
posal made by an American photographer, he tried it, and gave
photographers the benefit of his experience in the form of a
definite formula, the value of which has been verified in his own
practice and that of many photographers since. The paradox
of a reducing substance having a preservative action was
pointed out and discussed, with its probable solution, in our
pages six montbs ago, when Mr. Bovey’s recommendation to
use sugar was first published.

Coloured Nitrate Bath to Prevent “Blurring.” — Mr.
Carey Lea proposes to prevent blurring from the light re-
flected by the back of the sensitive plate, by using a nitrate
bath containing a neutral colouring substance, which makes
the solution blood-red. The colour is washed away in the sub-

228

THE PHOTOGRAPHIC NEWS,

[May 8, 1868.

sequent operations, without further affecting the negative.
Mr. Lea’s article is compelled to stand over this week, but will
appear in our next.

Obituary. — M. Hermagis, a photographic optician, whose
lenses are well-known, died a week or two ago in Paris.

Light and Colour. — Here is a fact showing the influence of
artificial light in the production of green colouring-matter.
Some lilacs were placed for forcing in a heated cellar partially
lighted with gas. Those leaves that were exposed to the light
became green, as if they had been in the open air, while the
remainder were etiolated. The fact is recorded by M. Krmins
in a recent number of the Revue Ilorticole. — Land and Water.

The Koval Diary. — Messrs. Marion and Co. have just
issued a series of landscape photographs to illustrato tho
Queen’s book, “ Leaves from tlie Journal of our Life in the
Highlands.” They are forty-two in immber, and are so
mounted that they may bo bouii I witli the original edition of
the book they are intended to illustrato.

The American Photographic Convention. — k very full
report of the proceedings of the Convention of Pliotograpliers in
tho United States appears as a supplement to the Philadelphia
Photographer, in which it fills thirty-two columns. Of these,
3,500 copies were ordered to be distributed amongst the photo-
graphers of the United States.

Use of Monochromatic Light as a JIf.ans of Detecting
Disease. — Photographers, says the Scientific Review, and other
persons accustomed to make use of various Jciuds of light, have
often alluded to tho curious properties of monochromatic rays ;
i.e., rays of one colour. Thus, a spirit lamp burning alcohol
saturated with common salt gives a ghastly hue to the features
of the bystanders. We read in a recent paper by a Dutch
physician. Dr. G. Schlegel, that this property has been made
use ot in China for many years ns a means of distinguishing
persons affected with leprosy. The virus can bo thus detected
in the blood of a person who has been infected with this dreadful
disease only one or two days. By ordinary daylight it is im-
possible, at this early period, to remark any difference between
the tint of his skin and that of a person in perfect health ; but
when the faces of both are lighted up by the flame of a spirit-
lamp saturated with salt, whilst the face of the healthy person
appears deadly pale, that of theiudiudual affected with leprosy
appears red as fire. It would be interesting to ascertain whether
monochromatic light could bo used in tho same manner as a
means of recognising any of our European diseases.

3!^o ®0rrcsgCK&£ut3.

A. E. C. — We first described our method of intensifying with per-
manganate of potasli in the article publi.shed two or tliree weeks
ago. It simply consists in immersing the fixed and washed
negative in a weak solution of permanganate of i)olash ; strength
not important. Wo have used from 5 to 10 grains per ounce.
Condy’s fluid, diluted with two or three times its bulk of water,
will answer. 2. The exact strength of a dilute solution of any-
thing depends upon circumstances ; from 5 to 10 grains per ounce
may be used of sulphide of potassium. In what have you failed
in using this substance as an intensifier? It is probable that
“ collodium” is simply a mi.sprint for collodion.

W. J. A. G. — We have generally used a hot alkaline solution for
removing varnished films. A hot solution of caustic potash will
answer well ; but the plates should not remain long in it. but be
quickly washed thoroughly with clean water, and dried. You will
find a method described in our number for April 9th, p. 179.
2. Either a green or a dark blue curtain may be used for pictures
without disadvantage. 3. The way we should proceed with a print
which had stuck to tho varnish of a negative would be to lay a
piece of damp paper on the print until it was thoroughly per-
meated with moisture, and then endeavour to lift it away. If a
thin film of the albumen or paper remained attached to the var-
nish, which in many cases it might, we should remove it with
moisture and gentle friction. We are glad the stereoscopic
question became clear to you. <

M. Row. — The majority of the pictures are very good indeed, and
show satisfactory progress. The lighting is, in most cases,
good. The best poses are the group of two girls, the reading
young lady, and the vignette of a lady in black silk dross. The
experiments in forcible efl'ects in lighting are good. 2. The
statement that the toning bath made with carbonate of soda and
gold should not be used again simply means that, as a rule, the

bath so made becomes inert after being made a few hours.
There is no harm in using it as long as it will tone the prints.
3. The gelatino-iron developer is excellent under many circum-
stances. The question of the wisdom of using organic addi-
tions to the developer depends upon circumstances. With some
modes of lighting there is a tendency to weak images, in which
case the organic addition is an advantage ; in others, there is a
tendency to excess of vigour, and then organic additions will be
avoided. The formula of Mr. Hughes is one of the best for a
ge'atino-iron developer.

II. S. — We will examine the deposit, and report in our next*
2. We cannot refer you to any information on the subject, except
what has appeared from time to time in our pages. See article
in the present number.

Albu.me.n. — The yellow spots in tho prints are spots of imperfect
fixation, — how caused we cannot with certainty say ; probably
from air-bubbles forming on the prints whilst in the fixing bath,
and so causing imperfect action of the solution.

Magxesiu.m (India). — Comparatively little experience is on record
as yet as to the use of the magnesium light for photographing
dark interiors. Mr. WaldaclTs account of his operations in
photographing the Mammoth Cave at Kentucky furnishes the
best hints. You will find it in our Tenth Volume, p. 567.
Several lamps were used there, and these were arranged so as
to give a dominant light from one direction, with a minor light
arranged so as to illumine slightly the deep shadows left
by the chief lights. Unless the interior be very small, one lamp
would scarcely be sufficient.

F. M. You.vg. — AVe returned the prints by post, numbered in the
order of superiority of tone. None of them were, however, quite
the tone wo prefer, and which we have obtained by means of the
sulphocyanide toning bath. Probably the negatives are not very
vigorous, which may account for a slight lack of brilliancy in
the prints. The two pale prints, which you suppose probably
had no gold, had in reality, we think, a large proportion, but being
deposited slowly upon somewhat feeble images, they acquired
the pink or mauve tint which deposits of gold do assume on some
occasions. That the sulphocyanide toning bath is a somewhat
expensive one is, we think, correct, as a large proportion of gold
is consumed in using it.

II. AVortii. — AVeareglad that the matterwas satisfactorily solved.

R. B. — You will find several articles describing the operation of
enamelling photographs with gelatine in our Eighth Volume,
and also in our Year-Book for 1865.

G. Fullar. — AVe have no doubt that the nitrate of silver to which
YOU refer will answer very well for a negative bath. 2. AVe
have no reason to believe that any process vended as you describe
will contain a secret worth the money, but of course we cannot
with certainty say whether it is worth the money or not. You
will find an article in the present number on the subject. 3. The
fault of the print appears to arise from a defective piece of paper,
but wo cannot say the cause of the defect. 4. AVe believe that
tho lens you name is worth its price, and we should select it for
the purpose.

R. M. — The report to which you refer was full of mistakes, mis •
statement, and misrepresentation, but was not of sufficient im-
portance for notice.

L. D. F. — Tho collodion appears to have jieen unsuitable for trans-
ferring ; much of success depends upon the use of a tough collo-
dion of good body. See article in tho present number. Your
tone is capital.

B. A. G. — You do not describe the toning bath you use ; we can-
not, therefore, toll you the reason of the bleaching. You state
that the bleaching took place after adding chalk to it. If
tho prints are immersed in a toning bath immediately after
making or neutralizing, bleaching will generally take place.
Are you sure that you did not leave considerable excess of acid
in the chloride of gold you made ? 2. The nitrate of copper may
bo got rid of by fusing the nitrate of silver, and maintaining the
heat sufficiently high to decompose the copper salt ; but wo do
not think the presence of a little nitrate of copper at all inju-
rious. 3. The orthoscopic lens is correctly arranged.

Erratum. — .A printer’s error occurs in the last line but one of
‘‘ Echoes of the Month ” in our last. For “ matters not within
their control,” read ” matters more within their control.”

13t)otograp^s ^rgistmU.

Mr.AA'. AV. Liw, Northampton,

Two Photographs of Westminster Abbey.

One Photograph of AVestminster Palace.

One Photograph of Waltham Abbey.

Mr. r. Dow.sia, Watford,

Photograph of Grove Mill Lane, near Watford.

THE PHOtS(SphIC NEWS.

Vor,. XII. No. 506.— 15, 1868.

CONTENTS.

PlOB

A Modiflc&tion in Transferring Carbon and other Tissues 229

Mr. MoLacblan’s Discovery 229

Collodion Negatives without Glass 230

Iron Development for Gum Plates. By Russell Manners Gordon 230

Pictorial Efiect in Photography. By H. P. Robinson 230

Copyright and Piracy 231

On Some of the Changes which take Place in Photographic
Materials and Chemicals after a Lengthened Disuse. By
John Bockett 233

PlOl

Redevelopment by Nitrate of Silver and Citric Acid. By John

C. Browne 234

On Blurring, with a New Remedy. By M. Carey Lea 234

Mr. Chance's Lecture on the Manufacture of Glass 239

Proceedings of Societies— North London Photographic Associa-
tion— London Photographic Society — Liverpool Amateur

Photographic Association 236

Correspondence— Photo-lithography — Modified Honey Process 239

Talk in the Studio 230

To Correspondents 240

A MODIFICATION IN TRANSFERRING CARBON
AND OTHER TISSUES.

We have recently had our attention called by Mr. William
Filling, an ingenious and persevering amateur of Dorchester,
to a valuable modification he has made in the mode of
transferring the film containing the image in producing
photo-enamels, carbon prints, &c., at once eliminating
several difficulties, and securing case, simplicity, and
certainty in the operation.

In M. Joubert’s, or any similar enamel process, in which
a film of collodion is used to transport the layer of vitreous
colour and organic matter, which form the picture, from the
flat glass upon which it wa,s originally produced to the !
surface upon which it has to be burnt, one of the difficulties
consists in getting rid of the collodion before burning. It
is often found to resist the solvent action of ether and
alcohol, remaining obstinately insoluble. Mr. Firling's
method gets rid of all difficulty on this score. In his
method of enamelling he prepares a tissue resembling
carbon tissue, but containing vitreous colours instead of
Indian ink or lampblack. This is exposed under a
negative, m in carbon printin;;, with the prepared side in
contact with the negative. After exposure the prepared
side is coated with a solution of bees’-wax in turpentine,
one ounce of the former in three of the latter. When this
is dry it is coated with collodion, and then the tissue is
placed in warm water and developed in the same manner
as a carbon print. When this is done it is placed upon the
enamel tablet, or other surface upon which it is intended to be
burnt, to which it is made to adhere by means of gelatine.
'Ihe elasticity of the collodion allows it to bo adapted to
convex or concave surfaces without wrinkles, and when it is
dry it is only nex;es.sary to get rid of the collodion to make
the picture ready for firing. The tablet is slightly warmed,
which softens the wax between the collodion and the image,
and on lifting the edge of the collodion film it can be
removed without the slightest trouble, bringing with it the
coating of wax, and leaving only the image on the tablet.*

Mr. Firling adopts a similar plan in carbon printing.
After exposing the carbon tissue it is treated with the
solution of wax before mounting on the paper with caout-
chouc for the purpose of developing. The various manipu-
lations having been completed, and the developed image
mounted on its final resting place, instead of sponging the
caoutchouc-coated paper with benzole to soften the india-
rubber, the mounted print is very slightly warmed, which
permits the paper upon which it was developed to be
removed at once, taking the wax with it, and leaving the
print perfectly clean.

Some examples of photo-enamels and of carbon prints
transferred to ground glass and to opal glass, which Mr.

Firling showed us, illustrated the value of this mode of
working, the results being in all cases excellent, and the
operation, as Mr. Firling assured us, simple and certain.

MR. McLAOHLAN’S DISCOVERY.

Mr. McLaciilan’s written and detailed account of his mode
of working, brought before the Photographic Society on
Tuesday night, does not dififer in any material degree from
the hasty verbal statement made at the former meeting.
After listening carefully to his fullest explanation, we repeat
the statement we made a month ago : assuming the facts to
be true, and holding him responsible for their truth, the com-
munication he has made is a most important, as well a most
extraordinary one. The facts, however, are not easy to
verify, as he now states that for a fair trial of the experiment
the silver solution must be exposed to sunlight for three
months of the most actinic season of the year. As for the only
attempts at verification hitherto made, those of Mr. Spiller,
they scarcely support the statement made by Mr. McLachlan,
who, however, objects both to the experiments and the
account of them.

Until we publish the paper in our next it would be
obviously unfair to the reader to enter into more detailed
comment than we have already made upon his proposed
mode of operations. As, however, we give Mr. McLachlan
credit for perfect honesty as well as great enthusiasm, we
shall not hesitate to comment with equal honesty upon his
statements. The especial end he desires is investigation. Ex-
perimental investigation will require, he says, three months;
examination of the nature of his claims may be made
at once. Mr. McLachlan has a right to expect that this
shall be done in a fair and courteous spirit, without the
ready jibe — so ready on some lips — and the “mockery
which is the fume of little hearts.” Candid and courteous
criticism is the compliment fairly earned by the outspoken
liberality with which Mr. McLachlan has made his commu-
nication, and in our next we shall have a few remarks
to make on the assumptions on which his paper is based.

It is only necessary at present to correct an error in our
statement of Mr. McLachlan’s formula a month ago. Wo
then stated that to 16 ounces of a 12-grain iron solution 3J
ounces of acetic acid were added ; and this led to the idea in
the minds of some that the neutral or alkaline conditions of
bath and collodion were corrected by the use of excess
of acid in the developer. Mr. McLachlan, in giving his
verbal statement of formnla at the meeting, said drachms
of acetic acid were added ; but in a subsequent conversation,
in which we asked him to verify the short-hand notes of his
remarks, he gave the formula as 3} ounces, which was
incorrect, and, as he now states, must have been a lapsus
lingual in the excitement of the moment. As experiment

230 " THE PHOTOGRAPHIC NEWS.

with the developer is impossible until after the lapse of
the months necessary to prepare a hath, no inconvenience
can have arisen from the error.

COLLODION NEGATIVES WITHOUT GLASS.

In a recent notice of M. Marion’s transparent tissue we re-
ferred to Mr. Woodbury’s experiments in a similar direction,
with a view to provide a light support for dry collodion
negatives. We have recently received from him some
interesting results illustrating the extent to which he has
already worked his project out. These consist of negatives
on a support of tough, transparent, flexible collodion, and
sensitive plates ready for exposure on a similar support.
The support is not too thin to permit easy and safe mani-
pulation with the negatives, or to risk cockling or forming
creases ; but is, nevertheless, sufiiciently thin to permit
either side of the negative to be placed in contact with a
B msitive surface without loss of sharpness.

The mode of preparing the dry-plate films is very simple.
It consists in applying to a plate of glass a coating of castor
oil collodion: when this is dry, applying a very dilute solu-
tion of india-rubber to protect the first collodion film from
being dissolved, when a second is applied. The second
coating of collodion is a sample suitable for the dry plate
required. This is applied on the india-rubber coating, and
excited, washed, treated with a preservative, &c., in the man-
ner usual with the dry process which may be selected.
When the prepared film is dry it is cut round the edges,
lifted from the plate, and stored in the dark for subsequent
use. It will be seen that it will be easy to prepare such
sensitive films in large sheets, which may be cut up subse-
quently to any size which may be required. We believe
that Mr. Woodbury contemplates the commercial preparation
of such sensitive films ; but he has promised, in any case, to
supply more precise details of his operations for the benefit
of our readers.

♦

IRON DEVELOPMENT FOR GUM PLATES.*

DY RUSSELL HANKERS GORDON.

As some of your readers may perhaps he working gum plates,
I recommend them, in preference to an alkaline developer,
the following iron one : —

Gelatine ... ... ... ... 1 grain

Acetic acid ... ... ... 15 minims

Iron ... ... ... 20 to 30 grains

Water I ounce.

It is perhaps a good plan to dissolve the gelatine in the
acid and a part of the water, and the iron in remaining por-
tion, adding them together after complete solution. A gentle
heat may be necessary to get the gelatine to dissolve.

After wetting the plate previous to the development (with
distilled water), take as much of the above iron solution as
may be found necessary to cover it ; and add to each drachm
one drop of a 30-grain solution of nitrate of silver. Add
the silver to the iron before pouring it over the film. The
development is nearly as rapid as that of a wet plate.

After the details are out, a few more drops of silver may
be added to the iron, and this, again and again, poured over
the plate to complete the primary development.

When all is out, the necessary intensity may easily and
(nickly be obtained by the usual solution of —

I’yro 2 grains

Citric 2

Water .. ... ... ... l ounce

And a few drops of the silver solution.

I do not approve of iron development for dry plates in
general ; but with these gum plates it seems to answer better
than anything else.

• We have recently seen some of Sir. Gordon's negatives, which leave
nothing to be desired in technical beauty. In point of sensitiveness, the
plates equal, or exceed, any dry plates we Itoow. We shall have more to
say on the process in our next. — £n.

[May 15, 1868.

The advantages in this way of working are : —

1st. Better adhesion of the film.

2nd. Much less blurring.

3rd. The appearance of the finished negative is very much
like that of a good wet one; there is therefore no diflSculty
in judging of the correct amount of intensity.

4lh. The exposure is, if anything, shorter than with alka-
line pyro, &c.

It is curious that when using a gelatlno-iron developer,
the deposit of silver on the film is not removable by friction,
while with an ordinary iron solution containing no gelatine
it may be entirely rubbed ofi'. And, again, although gela-
tine certainly necessitates a longer exposure in the wet pro-
cess when used in the above quantity, it does not seem to
do so in the least with these plates.

In preparing gum plates the gum and gallic acid might,
of course, be mixed together before applying them to the
film ; but I found that a solution containing 20 grains of
gum and 3 of gallic acid to the ounce of water darkened to
the colour of brown sherry in about an hour, and I fancy
that a white preservative is less likely to affect the expo-
sure than one of so non-actinic a colour.

•

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Chiaroscura for Photograpuers.

BY H. P. ROBINSON.

Chapter XVI.

"Another Important means of expressing nnity is to mark some kind of
sympatay among the different objects, and perhaps the pleasantest,
bectuse most surprising, kind of sympathy, is when one group imitates or
repeats another ; not in the way of balance or symmetry, but subordinalely,
like a far-away and broken echo of it.’' — Ratkin.

"As men are not to mistake the causes of these operations, so much less
are they to mistake the fact or effect, and rashly to take that for done
whicli is not done.” — Bacon' t Natural Uittory.

•' Unhappy man ! to break the pious laws
Of nature

Howe’er the doubtful fact is understood.’’— Uryden.

"In things the fitness whereof is not of itself apparent, nor easy to be
made sufficiently manifest unto all, the judgment of antiquity, concerning
with that which is received, may induce them to think it not unfit.”- Hooker.

Variety and Repetition {continued). — Fitness.

This law of repetitioa will be found to pervade all great
pictures, perhaps more notably in colour, but also, to a great
extent, in the disposition of lines and light and shade. The
repetition of incident is almost invaluable in telling a story,
of which both Wilkie and Hogarth were great masters. In
Wilkie’s picture of the First Ear-ring, now in the gallery at
South Kensington, in which a woman is performing an act
more worthy a savage community than a civilized nation —
that is, boring a hole in a child’s ear, that jewellery may be
hung in the flesh, under a mistaken notion of ornamentation
— the action is repeated, or at least alluded to, by the spaniel
on the ground scratching his ear with his paw ; and in the
first of the series of Hogarth’s great pictorial epic now in the
National Gallery, the ilarriage a la Mode, the indifference
of the intended bride and bridegroom, who turn their heads
away from each other, is repeated in the two d<^s at their
feet, linked together, but of different minds. The way in
which Hogarth made insignificant objects perform a double
purpose, and help to tell the story, is simply wonderful.
Instances must occur to all admirers of his works, and may
be imitated by photographers. In Leslie’s “ Handbook ”
many instances are cited ; the following, referring to two of
the best known wotks, I quote : — “ In the marriage scene in
his ‘ Rake’s Progress,’ in which the hero, having dissipated
his patrimony, appears at the altar with an ancient heiress,
wo are shown the interior of Old Marylebone Church, at that
time standing in an out-of-the-way part of the suburbs, and,
therefore, resorted to for stolen marriages, or marriages of
which either of the parties had any reason to be ashamed.
The church, a very small one, is in a neglected condition,
and cracks in the walls, mildew, and cobwebs, would occur
to an ordinary painter ; but Hogarth has shown a fracture
iui\n.icg; through the table of the Commandments ; the Crc«d[

Mat 15, 1868.]

THE PHOTOGRAPHIC NEWS.

231

is defaced by damp ; and he has placed a cobweb over the
opening in the charity-box. Again, an empty phial,
labelled “ laudanum,” lies at the feet of the expiring
viscountess, in the last scene of the ‘ Marriage a la Mode ; '
but this was not enough, — he has placed close to it the “ last
dying speech of Councillor Silver-Tongue,” suggesting that
it was the death of her lover, and not her husband, that
caused her to swallow poison.”

Laws become hurtful when they are carried to excess, and
repetition becomes caricature when observed so closely as to
verge on mockery. There is a curious instance of this in one
of Turner’s etchings, reproduced by Ruskin, and commended
in his “ Elements of Drawing.” In the foreground, standing
on a bridge, are a man, a boy, and a dog ; and in the distance,
at the top of a hill, are a man, a boy, and a dog, the boy and
dog in exactly the same position as in the foreground. This
is an example of repetition and symmetry which should not
be repeated, and with which it is impossible to sympathise.
In the same book Ruskin mentions a picture by Vandyke,
exhibited at Manchester, in 1857, representing three children
in court dresses of rich black and red. The law of repetition
was amusingly illustrated in the lower corner of the picture
by the introduction of two crows, in a similar colour of

court dress, having jet black feathers and bright red beaks.

The time end of variety is to give relief to the eye ; repe-
tition is harmony until it becomes monotony ; then variety
should step in to relieve the tired and perplexed attention.
Deviation from uniformity in the outlines of nature gives
greater zest to the pleasure arising from the contemplation
of order and regularity. Alison, in his essay on “ Taste,”
observes, “ Beautiful forms must necessarily be composed
both of uniformity and variety ; and this union will bo per-
fect when the proportion of uniformity does not encroach
upon the beauty of embellishment, and the proportion of
variety does not encroach upon the beauty of unity.”
Which sentence, properly understood, contains the essence
of the art of composition.

Repetition is one of the principal elements of repose in
art. No picture can be considered to have attained any
approach to completeness that has not repose, and, for many
rea.sons, it is still more necessary in photography than in any
other means of representing nature. I am not certain that
any perfect photograph — that is, one that has produced a
perfect sense of completeness in the beholder — has ever
been done which has not this quality to a very great extent.
In the “ Blind Fiddler,” the expression and use of repose is
perfect. The relief given by the happy serenity ol tne old
man and the fiddler's wife and children is a very agreeable
contrast to the action of the man snapping his fingers and
the boy with his improvised musical instruments. I am
aware that very exquisite large pictures of waves in motion
have been published by Le Gray and others. I also know
that Blancnard, Breese, Wilson, and one or two more, have
attained very great success in representing moving objects
in pictures for the stereoscope ; but, even in its highest
flights, art can only suggest motion, and those artists who
try to represent it appear to me to be nearly guilty of a
solecism. The pictorial representation of a moving mass
depicts as immovable that which is in motion. The repre-
sentation is therefore false. This is, perhaps, allowable in
painting, where a certain license is not considered improper ;
but for the photographer to do so is entering upon doubtful
ground, and requires grave consideration. To represent
the result of motion would bo legitimate. It is a rule in
sculpture that the right moment for representation is that
of arrested or suspended action. If photographers would
also observe this rule it would save their works from the risk
of any appearance of extravagance, or any suggestion that
th^ represented a doubtful truth.

The last paragraph suggests that a word or two on what
is fit to represent by our art may not be out of place here.

The proper adaptation of means to an end— or, in other
words, “ fitness is a great source of beauty. Not only is
fitness the proper application of means, but— especially in our

art — the production must bo a fit result of the means em-
ployed to produce it. Photographs of what it is evident to
our senses cannot visibly exist snould never be attempted.
The absurdity of representing a group of cherubs floating
in the air, for instance, is felt at once. It would be possible,
by double printing, to make a very passable photograph of
a centaur or a mermaid, but the photographer would dis-
credit his art ; he would not be believed, and would deserve
to be set down amongst charlatans and Barnums. lie would
be worse than the great showman, who, to his credit, con-
fessed himself a humbug, while the photographer would
expect the world to believe his work to be a truth. I am
far from saying that a photograph must be an actual, literal,
and absolute fact; that would be to deny all I have
written ; but it must represent truth. Truth and fact a*-o
not only two words, but, in art at least, they represent two
thing.s. A fact is anything done, or that exists — a reality.
Truth is conformity to fact or reality — absence of false-
hood. So that truth in art may exist without an absolute
observance of facts.

A great part of the emotion of beauty which we feel in
regarding nearly all manufactured articles that aspire to
this quality has its origin in fitness. Decorative beauty
depends, in a great measure, on fitness, and the beauty of
proportion is also to be ascribed to this cause. Objects
which are disgusting in themselves may become beautiful to
the eye which sees their usefulness or fitness. For instance,
wo hear the surgeon talk of a “ beautiful preparation,” or a
beautiful instrument.

It is no fault in a photographer that his art will not carry
him as far as paints and brushes do the painter. His pro-
ductions would only be defective when he failed to do what
was possible in his art — an art in some respects more difficult
than that of the painter, because, like sculpture, more circum-
scribed and limited. The photographer must not let his
invention tempt him to represent, by any trick, any scene
that does not occur in nature ; if he does, he does violence to
his art, because it is known that his finished result repre-
sents some object or thing that has existed for a space of
time before his camera. But any “ dodge, trick, or con-
juration” of any kind is open to the photographer’s use, so
that it belongs to his art, and is not false to nature. If the
dodges, tricks, &c., lead the photographer astray, so much
the worse for him ; if they do not assist him to represent
nature, he is not fit to use them. It is not the fault of the
dodges, it is the fault of the bungler.

To conclude tin's subject, the painter may imagine new
worlds, and interpret his imagination with his pencil ; ho
may paint an embodiment of that which has not yet
occurred, such as the last judgment, for example ; he may
represent angels and cherubim, and he does not commit a
very great mistake, of at least one that has not already been
comloned by artistic opinion. But, on the contrary, if the
photographer, who could, if he had the skill, with the means
at his disposal, follow very closely after the painter in repre-
senting his ideas of things unseen, attempts to do so, he
holds his art up to ridicule and contempt j the reason being
that he violates “ fitness.”

■

COPYRIGHT AND PIRACY.

[The following article is from the pen of a gentleman whose
experience in connection with the production and publica-
tion of engravings as well as photography entitles his
opinion to much weight. We have always endeavoured,
whilst giving the strongest condemnation to piracy, to deal
fairly and honestly with both sides of the question. In
doing this our contributor seems to think that we and some
other portions of the press have scarcely done the print pub-
lishers justice. We willingly, therefore, give prominence to
his views. — En.j

Although much has already been written on this subject,
the question still remains apparently as obscure as ever. Not

232

THE PHOTOGRAPHIC NEWS.

[May 15, 1868.

a little of this unsatisfactory state of things is mainly attri-
butable to the misdirection given, unintentionally, no doubt,
by some of the writers who have attempted to clear the way
without sufficiently studying the question at issue.

The first point to be determined seems to be whether that
portion of any artistic property called “ copyright ” shall be
set apart as being an exceptional kind of property, falling
under an exceptional rule. A man may enjoy the undisturbed
possession of any sort of property acquired legally, and for
a legitimate purpose, but it appears that such is not to be
expected in the case of the copyright works of art. The Act
25 and 26 Vic. has recognized a property in works of art,
designated under the name of “ Artistic Copyright,” and has
regiuated the legal transmission of that property from the
creator or owner of it into other hands, but it has hitherto
utterly failed in securing to the purchaser of that particular

Eroperty the lawtul advantages he had a right to expect from
is purchase. A publisher of books is willing to pay to a
popular author a considerable sum of money for the right to
publish the manuscript so acquired by means of the press,
secured, as he thinks himself, by the existing laws against
any infringement of his property ; but, assuming for a
moment that means were to be found to reprint a book as
cheaply and as rapidly as an engraving can be reproduced
by means of photography, could any one pretend to palliate
the offence on the plea that such a book being only obtain-
able at a high price, it was scarcely wrong to endeavour to
satisfy the demand of thousands of persons by placing
within their reach a spurious copy of the original book
made in defiance of the law, and circulated to the great de-
triment of the publisher?

The pretence of the generality of offenders, that they acted
in ignorance, not being aware that the work they copied was
“ copyright,” is totally inadmissible ; it is a dishonest specu-
lation, entered into deliberately, with the avowed object of
securing a large trade with the many who would not pur-
chase the original engraving on account of its high price,
and who choose to shut their eyes to the fact that they are
buying stolen goods. The very mode of circulating and dis-
posing of those pirated copies is sufficiently suspicious to
awake in the minds of honest people a notion that there is
something wrong ; they are not sold in open daylight, but,
in general, are kept in a back part of the shop, and only
brought out when the vendor thinks he can rely upon his
customer ; or else a hawker of these photographs comes into
the office of a gentleman just at dusk, or uear closing hours,
and begins to exhibit other works before he produces these
piracies, generally succeeding in persuading people to pur-
chase, but never leaving his address, as a rule.

The “moral wrong ” of which prlntsellere are accused in
the article reprinted from a contemporary is simply ridi-
culous ; and it is a novel idea that a tradesman is bound to
carry on business for the advantage of others, and to his own
detriment ; that he ought to lay out large sums of money to
procure enjoyment to thousands of the art-loving public, and
take his chance of any remuneration as well as he can, not
as he considers it safe to himself. It would, no doubt, be
very desirable if the productions of our modern artists (lor
those are chiefly the subjects chosen for piracies) could be
placed within reach of the many ; and if a picture itself
could give a good reproduction by means of photography,
there might perhaps be found some artists willing to enter
into combination with a photographer, as suggested by the
article alluded to, with a view of publishing their works ; but
the practice has shown that, except in a very few cases, pho-
tographs executed direct from the picture were found to be
very unsatisfactory, and the really fine photographs executed
or circulated by the pirates are all done from excellent
engpravings which have cost a publisher large sums of money.
This is a point of considerable importance in the discussion
of the subject. When the time comes for a legitimate return
of his outlay, in steps the photographic pirate, who perpe-
trates a double injury : firstly, on the publisher, who is
fraudulently deprived of the profit to which ho was entitled

by a cheap reproduction of the engraving circulated exten-
sively in competition with the print; and also by robbing
the engraver of the merit which attaches to a successful
engraving, since his name does not appear in any way on
the photograph copied from it. It is inconceivable that
many enlightened writers— the editor of the Athentcum
amongst others — should allow themselves to be carried away
from the main point through the liberality of their minds ;
and the proverb, “ We must be just before we are generou.s,”
might be applied to them.

The argument of the difficulty in a.scertaining which are
or are not copyright in works of art cannot be maintained,
for no one can seriously pretend that a man picking up a
purse containing money ha.s a right to appropriate the con-
tents to his own use under the plea that he does not know to
whom it belongs, and docs not choose to make inquiries.
But in most, if not all, the piracy cases that have come
before the Courts, the photographer must have known the
name of the publisher whose property he was dealing with
from the engraving itself, as it was engraved in the plate,
as well as the address, and no possible excuse can exist in
extenuation of the dishonesty practised.

Printsellers are also criticised upon their mode of con-
ducting their business, and especially for selling an un-
limited number of so-called proof impressions at an exor-
bitant price ; they are advised to discontinue the practice,
aud to sell only prints at a moderate charge, being assured
that their interests, as well as those of the public, will be
benefitted by a considerably increased sale. It is difficult
to say that a man who has had many years’ experience of
his business knows not in what directioa his chance of
success lies, and that he ought to be guided by those who
know nothing about his trade, except from theory or
sentiment. The abuse which is well known to have been
practised in the sale of proofs, especially those termed
" artist’s proofs,” cannot be too strongly reprobated, aud if
any mode could be adopted to do away with the system of
having so many classes of proofs it would be as well ; but
there will always be amateurs ready to pay an advanced
price to secure an article of comparative scarcity, and the
origin of the system is simply this : in former times an
engraver was allowed to retain a limited number of im-
pressious from his finished plate before delivering it up to
the publisher for publication ; this number varied from six
to eight, rarely exceeding ten : these proofs bore no other
name or signature but the name of the engraver, scratched
in the plate with an etching point by himself. The pub-
lisher then had the margins wdl cleaned, and his name aud
address engraved in small letters, and no title yet ; and the
impressions, limited in number in those dags, were sold a.s
“ proofs before letters,” to distinguish them from those that
were subsequently printed after the title and designation of
the subject had been engraved at the foot of the plate. It
so happened that some amateurs became aware of the ex-
istence of a state of the plate antecedent to that which
they had purchased as the first-class proofs, aud they were
anxious to obtain the proofs kept by the engraver, as being
the very best of all, aud to which the name of the artist’s
proofs was given. The publishers soon found out they
could realise a good profit from the sale of such proofs at a
high price, and they had some printed off, firstly in modera-
tion, and gradually increasing in number as the demand
for them extended, until, in a memorable case of a highly
successful engraving from a modern English artist,
the publisher had so many artist’s proofs struck off (a
limited number onlj to bo published, so ran the prospectu.s
issued) that the copper plate had actually to be repaired
before the prints began to be printed.

The quotation in the article above alluded to of a well
known historical engraver, that “ it was customary for the
engraver to receive two-thirds of all proof impressions
actually printed before the delivery of the plate, is obviously
an error, and no publisher in his senses could subscribe to
such a condition ; in all cases the number is limited before-

May 15, 1868.]

THE PHOTOGRAPHIC NEWS.

233

hand ia the written agreement between the parties, and six
to ten is the usual number allowed.

In concluding, it is necessary to endeavour to refute an
opinion put forward, no doubt in sincerity, but equally
erroneous, that the sale of a valuable engraving could be
enhanced by the publication, simultaneously, of a photo-
graph of a reduced size and price. The contrary has been
proved to be the result, and those publishers on the Con-
tinent who have resorted to the recent practice of having
some of their fine engravings photographed and published
by themselves, have only done so after they had exhausted
their chance of selling the engravings on their merit.

Many plans have been suggested, but only oue would be
likely to abate, perhaps to cure, the evil ; this would be, the
introduction in the amended law on artistic copyright, to be
brought before Parliament, of a stringent clause making it
compulsory for any photograph, large or small, not to be
allowed to be sold or to circulate except with the name and
address of either the producer or the publisher thereof,
and a heavy, not a nominal penalty, easily recoverable, for
any and every copy found contravening, besides confiscation.
By such means only can the dishonest practice be com-
bated, and there will no longer be a difficulty of punishing
the real culprit ; any one found dealing with anonymous
photographs must do it at his peril, and amateurs’ pro-
ductions can never come into the market as such, and with-
out bearing any designation, under pain of being seized and
destroyed, besides the penalty incurred for each offence.

ON SOME OF THE CHANGES WHICH TAKE
PLACE IN PHOTOGRAPHIC MATERIALS AND
CHEMICALS AFTER A LENGTHENED DISUSE.

BY JOHN BOCKETT.*

Haviso done comparatively very little in photography for a
period extending over nearly two years, I was surprised the
other day, upon having my glass house and laboratory
thoroughly cleaned out and put in order, at noticing the
ravages that time aloue had made with the materials and
chemicals contained therein. Although in all probability
this short communication may not contain anything that is
new, but, in fact, really easy of explanation, still, sometimes,
out of a great deal of rubbish some one grain of novelty
may be extracted.

The first matter on hand was repapering the window of
the photographic dark room, and for this purpose I have
always used an orange-coloured paper, two thicknesses of
which were simply gummed to the inside of the window-
frame (the plan of using chrome yellow on the glass being
very good, but, to those who practise photography purely as
amateurs, and who will some day or other have to leave their
residence, not an easy thing to get off when once on). To
resume : upon stripping the old paper away, that nearest the
window had become completely bleached, and, what was
more extraordinary, had become so completely decomposed
as absolutely to fall to powder. I am, of course, aware of
the bleaching power of the sun, and that in all probability
the colouring matter of the paper had been turmeric, but the
extreme rottenness is not so easily explained. With regard
to the article which accumulates everywhere — I mean dust —
there was no lack, and a very curious conglomeration it is ;
so much so that the circumstances under which it is depo-
sited, as also its composition, in all probability, will form
the subject of a short paper at one of the microscropical
societies to which I have the honour to belong, and to which
it is more referable than to a photographic society.

Before commencing any attempt at negative taking, it
behoved me, as every photographer will suppose, to go
through a proper amount of filtering ; and I feel sin-
cerely obliged to Mr. Hart for his filtering apparatus,
which at once operated after having had the negative bath

solution standing in ^ undisturbed for so long a period.
But even with this apparatus something was to be learnt.
The powdered glass and felt was all right, but the India-
rubber tubing was anything but up to the mark. Mind me,

I find no direct fault with it, as, for the time being, the tube
acted as it should do ; but the nature of the rubber is most
undoubtedly changed. It is now no longer the supple,
pliable article it once was, but is rigid, and retains the form
of coil in which it was placed when the bath was set aside.

My next examination was of the bath after filtration. I
always have used (and consequently this one was) a de-
cidedly acid bath ; but, to my great surprise, the solution
was very alkaline ; so much so that exceedingly red litmus
paper rapidly assumed its blue colour. As we all know that
glass in a state of division is partially soluble, may that
have had anything to do with the matter ? At all events,
when acidified with a drop or two (I think about five
minims), the bath for stereo-plates gave as clean negatives
as possible.

A word now on our next article — pyrogallic acid. The
bottle containing this substance, and devoted thereto for the
last ten years, has gradually attained a brown deposit, which
tenaciously adheres to the side, and preserves the fresh pyro.
put therein. The dry pyro. was as good as ever, but
wherever the acid had been mixed, either with citric or
glacial acetic acid, decomposition had set in, and, even when
mixed with pure alcohol, had become as black as ink.
Another fact also cropped up with the citric acid : clots of
mould had formed, and would render the solution perfectly
useless ; but with the glacial acetic acid this did not appear
to have taken place, I regret now I did not filter each, so
as to ascertain, in spite of the objectionable colour, whether
any reducing power was sCill left.

We next arrive at collodion. That which I have always
used has been Mawson’s, and I think I have some that must
be nearly as old as the firm who made it ; but I contend that
every practical photographer should know to a day the ago
of his collodion. This idea struck me almost as soon as 1
began to practise photography, and I used to stamp out with
a gun punch discs of gummed paper, which I attached to
my collodion bottles ; but this involved some little trouble
and, I fear, sometimes was omitted altogether. An improve-
ment upon this plan was to make the top of the collodion
bottle-cap rough, and then with a lead pencil write the date
of mixing, thus : — 9-4-67, &c. It so happened that the pur-
pose for which I wanted it was for copying, and, although
slow, still it worked very clean ; but, for portraiture, the
whole of the half shadows were gone. Even the old collo-
dion possessed considerable vitality.

With regard to my fixing agents : the cyanide of potas-
sium had deliquesced in the stoppered bottle, but in solu-
tion remained as powerful as ever, while the hyposulphite
of soda remained perfectly good, although the crystals were
kept in a loosely-stoppered jar ; also in solution it was as
good as ever.

The foregoing gets us through our negatives, but still we
have the vicissitudes of printing. The paper I always use
is the ordinary albuminized Saxe, and, although wo all as a
rule like freshly-prepared paper, I am bound to say that this
worked as well as if purchased only the day before. The
silver bath, prior to using, was, of course, filtered, and I was
surprised to find the heavy deposit of black (I presume)
oxide of silver ; but still the solution sensitized the paper as
well as could be.

With respect to the chloride of gold : my practice always
was, and would be, the moment a capsule was broken, to con-
vert it into a solution of one grain to the drachm of water ;
and this I found was perfectly unaltered.

The toning bath which I use is that prepared with chloride
of lime described long ago ; and although I could hardly
hope an old tening bath would act satisfactorily, still, by
adding to the 20 ounces which remained about 2 drachms
of the solution of chloride of gold, all went as well as if
kept at a proper age on purpose. Even the old solution of

* Read at a meetiog of the North Iiondon Photographic Association, May
tb| 18M.

234

THS PHOTOGRAPHIC NEWSi

[May 16, 1868.

hypo acted well, the smell of the muriate of ammonia which
I used always to add being still apparent.

But though this virtually solved all doubts as to the pre-
sent condition of my chemicals with regard to taking a
negative and printing therefrom, there remained a few which
I had a look over. Protosulphate of iron, phosphate of soda,
bichloride of mercury, were unaltered; but sulphocyanide
of ammonia bad become red and partially dissolved ; citric
acid pink, although kept entirely in the dark. The neck
of the nitric acid bottle, curious to say, had got a crop of
scicular crystals around its neck, and solution of uranium
had assumed a most splendid purple ; in fact, as a friend of
mine said, the very thing for a chemist’s show bottle.

Another curious fact was that two or three books of litmus
paper had become quite pink, and, although I restored them
by means of liquor ammonia, in forty-eight hours they had
again gone back to redness. This would almost show that
either the bath gave off its acidity, which was alluded to in
a former part of this paper, or that the atmosphere had be-
come acid by some other means.

I am very glad to be able to say that, with regard to my
lenses, the oxidation complained of by many persons has
not attacked any of mine, one or other of them having been
made by the firm of either Ross, Dallnieyer, or Grubb.

With regard to residues : I formerly emptied all my wash-
ing from printing into an old oil jar, with an American tap
inserted about one-third of the way up the jar, adding com-
mon salt to throw down the chloride ; but the glaze appa-
rently was not strong enough to retain the solution, and the
whole of the fluid has percolated through the jar, and
simply left the white deposit.

Finally : I lighted upon some old gutta-percha ; and if, as
it really is, that I have ever had a dislike to this substance
for any photographic purpose at all, it was considerably
strengthened by the appearance of this substance. Originally
a dipper made out of pure gutta-percha, and to my own
knowledge possessing considerable elasticity, it has become
as dry and rotten as a very rotten stick, and set ms to have
lost all its former characteristics.

I feel much obliged to you for allowing me to absorb your
time ; but out of the foregoing I hope some discussion will
arise, the more so as I think the decay of the yellow paper
wants explanation ; also the action of nitrate of silver upon
pure india-rubber ; the fact of an acid bath becoming alka-
line, and whether the powdered glass has anything to do
with it ; whether other photographers have also found that
collodion will, in connection with cadmium, keep a certain
amount of sensitiveness indefinitely ; that the atmosphere of
dark rooms has a tendency to becoming, and that our own
English objectives have not a tendency to become, dull by
oxidation ; and, lastly, that some salts will keep indefinitely
when dissolved, and that others will not keep at all when
kept in solution.

— — o

REDEVELOPMENT BY NITRATE OF SILVER
AND CITRIC ACID.

BT JOUB C. BBOWHE.*

A TBw days ago, in looking over some negatives taken during
1804 and 1865, I was surprised to find that a very decided
change had taken place, which rendered a number of them
almost useless.

The majority, at the time they were taken, were passably
fair negatives, of good printing strength ; but now many of
them are so intense that prints made from them must neces-
sarily be hard and chalky.

At the time these pictures were made I regret to say that
I, like many others, was disposed to make negatives entirely
too strong, losing thereby much softness and half-tone in
the finished prints.

To accomplish this result, many of mjr negatives were re-
developed with nitrate of silver and citric acid, made in this
manner, i. e. : —

Water ... ... ... ... 1 ounce

Citric acid ... ... ... ... 30 grains

Nitrate of silver 20 „

After developing with iron, wash well, and pour a small
portion of this solution over the plate, drain off the excess
into a different bottle, and redevelop with iron. My boxes,
containing a number of negatives known to have been re-
developed by this process, were examined, and, after careful
comparison with others taken about the same time, which
were in good condition, no redevelopment being necessary,
I was for some time at a loss for the probable reason, and
can assign no other cause for the changed appearance of
these negatives than the use of citric acid in the manner
described.

Those negatives in which the greatest change was noticed
had been twice redeveloped, using the silver and citric acid
solution each time, but well washed both between and after
the operations.

Viewed under a microscope, a great difference was observed
in the deposit of silver upon the plates in comparison with
negatives taken at a much later date, although redeveloped
by the same method.

Collodion used in 1864-65 : —

Iodide of ammonium ... ... 5 grains

Bromide of potassium 2 „

Bath and developer as usual ; fixed with hypo, well washed,
and varnished with Anthony’s flint varnish.

I was greatly in favour of this plan for adding strength
to the negative. The process was under perfect control, and
when care was exercised -the results were uniformly good ; but
the present difficulty has somewhat shaken my faith in what
I have considered one of my most valuable formulas.

In several cases I have seen negatives from which large
numbers of prints had been made rendered very intense from
absorption of silver from the sensitive paper ; but that cannot
be the cause of this trouble, for very few prints have been
made, not over half a dozen from each negative.

ON BLURRING, WITH A NEW REMEDY.

BY U. CARET LEA.*

Mt object In the present paper will be to endeavour to
show —

1. That the precise manner In which blurring results from
internal reflections has not been hitherto explained.

2. That the remedy applied (wet red blotting-paper on
wet plates, painting the back of dry ones), has been a very
imperfect one.

3. That in the case of drv plates, at least, a much better
treatment may be employed, which principle may possibly
be extended to wet plates.

Blurring is usually explained as resulting in the manner
shown at Fig. I ; that is, that a ray of light, A B, falling
upon the outer surface of the sensitized plate, is refracted

through in the direction 6 C to the back at C (the thickness
of the plate is exaggerated to make the action plainer). At
C part is transmitted, and escapes out of the posterior surface

* Read before the PbotoKrapbic Socletj of PbiUdelphia, March «.

* miad$lphUt PMograpktr.

May 15, 1868.]

THE PHOTOGRAPHIC NEWS.

235

of the glass, but part is also reflected la the directiou of C D.
At D it strikes the sensitive film, and, being light, not be-
longing to the part of the image D, it causes the appearance
known as blurring.

This explanation may be regarded as a first approximation
to the truth, but it fails to explain much that appears on the
sensitized plate.

If it were the true explanation, then a blur could only
extend a very small distance from the portion of the film
where the light entered, because no very oblique rays fall
on the part of the camera image that is used- in photography,
and the unequal obliquity of these is greatly lessened by the
refraction which takes place when the ray enters the glass.
Consequently, the distance B 1), to which the blurring
spreads, would alw.ays bo small, and could scarcely, at most,
exceed a distance equal to the thickness of the gla.ss ; and
even so wide a blur as this could only happen (if at all) at
the extreme corners of the plate. Now we know that blur-
ring may extend easily a quarter of an inch, as when, for in-
stance, a large, dark bough of a tree in the foreground stands
against the light, cloudy sky.

Again, if the usual explanation represented in Fig. 1 were
the true one, blurring could only take place in the direction
of a line from the centre of the image to the bright point ;
for the rays of light that form the image constitute a cone,
of which the centre is the centre of the image. These can
only be reflected by the second surface in a direction away
from the centre. Now we know very well that blurring is
an actual fact, controlled by no such law as this, and that it
may take place in any direction. Consequently, it follows
that the received explanation cannot be the true one.

The cause of this error has lain in neglecting to take into
consideration the partial opacity of the film. When light
strikes a translucent surface — such as a piece of tissue-paper,
for example — it does not pass through in straight ravs, but
every point in the paper becomes, as it were, a new source of
light from whence light is radiated in every direction.
When, for example, an engraver places a frame of tissue-
paper between him and his light, the rays no longer reach
him directly, but broken in every direction. So, where
tissue-paper is used for vignetting, no sharp shadows are
formed by the light that passes through the paper. As
already said, the paper becomes virtually a new source of
light. Precisely so with the translucent film of bromide, or
mixed bromide and iodide of silver. The rays that strike
any and every point B in such a film do not all follow the
line B C, as if there had been no film on the glass, but are
radiated also in every direction B C', BO, &c. (Fig. 2.)
Striking the back of the plate, they are in part transmitted,

but also in part reflected, according to the ordinary law of
reflections, in the directions C' D', C'D', &c. It follows,
therefore, that the reflected light may be returned to a dis-
tance from the point at which it entered much greater than
the thickness of the glass, and also that it may come out in
any direction whatever around the point B at which it
entered, and not in one direction only, as required by the
older, faulty explanation represented at Fig. 1. These two
results are precisely in harmony with observed facts, for,

when a disposition exists to blur, it will show itself in any
direction whatever. It becomes only visible when the exist-
ence of a deep shadow renders evident the increa.sed action
caused by the displaced light ; but it is an undoubted fact
that the light may spread inwards and laterally as well as
outwards, which it could not do if the old explanation were
the true one, nor could it possibly extend so far as it is
constantly observed to do.

2. !My next object will be to show that although the re-
medy usually recommended is beneficial, it is necessarily
very imperfect in its action.

To cause the rays which pass through the film to pass also
through the back of the glass, totally and without reflection,
it would be necessary that some substance should be applied
to the back which should have the same index of refraction
as glass, and also be in optical contact with it. A piece of
wet blotting-paper answers these conditions to considerable
extent, but not entirely. Water has not the same refractive
power as glass, and when the water dries out of a paste its
chance of maintaining optical contact is greatly diminished,
so that if a reddish or brownish mixture, for example, be
applied — such as annatto or burnt umber— it will be evident
that the necessary conditions are only very imperfectly ful-
filled ; and, although such an application maybe an ame-
lioration, it is by no means a cure. It is no matter how
non-actinic the colour of the substance applied may be ;
unless it is in optical contact it will have no effect in
preventing internal reflections.

But the question admits of a much better solution. It
was sufficiently evident that if the film itself could bo
coloured, then these injurious rays might never reach the
glass, and so be deprived of all power of mischief. The
difficulty lay in finding an appropriate means.

The first condition I fixed was that the colour must not
remain in the finished negative, or else the printing qualities
would be injured. This at once excluded the application of
colouring agents to the collodion, as these could only be
alcoholic or ethereal solutions, and the chances were greatly
against finding any such that could be dissolved out again
without injury to the film.

The second condition was that the colouring matter must
require no treatment whatever to remove it, but must dis-
appear of itself in the developing and fixing.

The third was that it must not require a separate applica-
tion, but must be dissolved in the sensitizing bath, and so
be applied without any trouble. Of course the substance
must be one that should not injure the sensitivenesj of the
plate.

These conditions were so difficult to fulfil that it was lonf
before I could find a substance that seemed even worth try-
ing. I did, however, obtain one that fulfilled all these re-
quirements perfectly. That subctance is red litmus — solu-
tion of litmus reddened by an acid ; and I find the use of
this substance not only to effect all that I expected, but even
more. So far from taking from the sensitiveness of the plates,
it improves them.

The mode of application is as follows : — Hot water is
poured upon litmus cakes, enough to cover them ; the vessel
is covered and kept in a warm place for a day. The litmus
becomes in this way reduced to a paste, and yields up much
more colour than in the usual way of making litmus tincture.
The paste is thrown on a filter, and hot water poured on till,
with 3 or 4 ounces of litmus cakes, about a pint (IG ounces)
has run through. If the litmus is good, this solution is
extremely intense in colour. Add 4 ounces of alcohol, and
the solution will keep for a long time.

To the lead bath already recommended add (to 6 ounces
of bath) 3 or 4 drachms of this solution ; the quantity can-
not be stated exactly, as litmus varies in strength ;
but the bath should be blood red, and the plate, on coming
out, light pink in colour. The plate is then dried in the
usual way. When thrown into an alkaline developing bath,
it first turns bluish, and then presently dissolves out ; and
in the finished negative no trace of the colour remains.

236

THE PHOTOGRAPHIC NEWS.

[May 15, 1868.

If the litmus be used ia excessive quantity it may cause
a slight granularity of the image. This need never happen,
however, and does not when the colouring matter is kept
within reasonable limits ; in fact, I never saw it happen but
once, and then when the experiment of a veiy large portion
of litmus was tried.

It is evident, then, that the use of this new means involves
far less trouble than painting the back, at the same time
that it is far more effective. To paint the back, the annatto
bath must be got into good condition for each batch of plates,
and must be applied at the risk of injuring the film with
the fingers. The plate cannot be supported in a rack with-
out the risk of sticking fast to what the back rests on.
Again, before developing, the colour must be carefully re-
moved with a sponge or wet cloth ; whereas, with the new
method, the bottle of litmus is prepared with ease, and lasts
for a long time, and the trouble for each batch of plates is
that of pouring a little into the bath once for all ; in fact,
it is so little as not to be worth reckoning at all.

Although this method was devised expressly for the pro-
cess which I have lately published, there is no doubt that it
is suitable for others, perhaps for all dry processes, especially
as the sensibility of the plate (at least in my own process)
is enhanced by it. I have not tried it with any but the
alkaline development, but there seems no reason that it
should not be used with pyro and silver development, and I
expect to use it for such.

I take this opportunity of calling attention to a fact that
I have lately noticed, that if a developer of carbonate of
ammonium be used too strong, it may, instead of continuing
the development, exercise a reversed action, and dissolve off
the fainter parts of the image. It consequently becomes of
great importance, in all alkaline developments, to attend to
this. I nave seen this action take place with a developer
containing about 6 grains of carbonate to the ounce, and as
some have advised to use the alkaline solution as strong as
20 grains, it is evident that such a developer must produce
harsh pictures by first bringing out great intensity, and
then removing the delicate details in the shadows, precisely
what it is most desirable to preserve. Whether the 20-grain
formula was a mistake or misprint for 2 grains, I do not
know ; but this much is certain, that the quantity of carbon-
ate of ammonia in the alkaline developer should, at the com-
mencement of the development, not exceed 1 grain to the
ounce, and this may be raised to 2 or 2J, but should not
exceed the latter quantity if the best results are desired.

MR, CHANCE’S LECTURE ON THE MANUFACTURE
OF GLASS.

In his lecture before the Cliomical Society, Mr. Chance, of
Birmingham, whoso name is associated with tlie finest glass in
the world, gave a eomprehensivo description of its manufacture
generally. He stated that the American sand is considered the
finest of all ; then that from Fontainebleau ; Belgian next ; and,
of English samples tolerably free from iron, the deposits occur-
ring at Leighton Buzzard were in great demand, this quality,
though of a yellowish tint, containing less iron than many
whiter samples. With respect to the alkaliuo ingredients for
glass making, the substitution ot the sulphate for the carbonate
of soda — due to Gehlen— tended to cheapen the glass, but at
the sacrifice of quality. For the best kinds of plate glass the
carbonate (soda ash) is always employed. For the common
blown window glass the sulphate answers well : it will permit
the use of larger charges of lime, and the glass produced from
it is harder, takes a better polish, is less liable to devitrification,
and to the alteration of its surface by what is termed “sweat-
ing.” The addition of carbon in the form of charcoal, or
powdered anthracite, facilitates the reduction of the sulphate,
and tends to promote vitrification. Only one atom of carbon is,
in practice, found sufficient for two atoms of sulphate of soda.
The object of its employment would, then, seem to consist in
furnishing the means of reduction of a part only of the alkaline
Bulphate ,to the state of sulphite, and not to sulphide. Glass
made from sulphate of soda is of a bluish, whilst that mado

from the carbonate is of a yellowish, tint. When an extra pale
colour is desired, the carbon is kept at a minimum.

The average composition of different qualities of glass was
stated to be as follows : —

Croton and Shett Olati.

Silica

English.

73 .

Foraign.
.. 74

Lime

13 .

.. 14

Soda

13 .

.. 11

Alumina, oxides of

iron and manganese 1 .

.. 1

100

100

Ancient Glass.

Silica

12tb century.
... 61-60 ...

lecb century.

... 64-60

Alumina

••• •••

... 2-16 ...

... 8-96

Protoxide

ot iron ...

... 1-58 ...

... 0-76

Lime...

... 8-04 ...

... 19-31

Magnesia

••• •••

... 2-22 ...

... 3-43

Alkalies

... 34-40 ...

... 12-96

The use of

peroxide of

100-00

manganese and

100-00

arsenious acid in

glass making is mainly for the purpose of effecting the peroxi-
dation of the iron, which, in this state, has far loss colouring
property. The Belgian manufacturers are said to have discon-
tinued the use of the above metallic oxides. The purest coloured
flint glass is composed of sand, potash, and oxide ot lead. For
some kinds of optical glass a portion of the red lead is replaced
by lime, and if the lead is used in excess the heavy flint glass
produced has' a strong yellowish tint. When much manganese
is employed to correct the colour arising from impurities in the
glass mixture, there is a tendency for the glass to undergo
changes of colour upon exposure to sunlight ; and a greenhouse
rooted with glass in which manganese has been used will often
display after a lapse of time a groat variety of tints. After
referring to Mr. Gatfield’s experiments on the action of sun-
light upon glass, and to the practical conclusion arrived at, to
the effect that the alteration in colour was solely due to the
different states of oxidation of the manganese, the lecturer
asserted that he h.ad noticed changes of colour in glass which
did not contain a trace of this metallic oxide, and specimens
were exhibited in which the glass, originally white, had become
strongly tinged with yellow.

ol functus.

North London Photographic Association.

The usual monthly meeting was lield in Myddelton Hall on
the evening of Wednesday, May 6th, Mr. G. Wharton Simpson
in the chair.

The minutes of a former meeting were read and confirmed,
and Mr. H. Buttrum was elected a member of the Society.

The Chairman called attention to some fine examples of
photography exhibited by Mr. Hill, consisting of flowers the
size of nature, by Fredricks, of Berlin. By the use of a con-
centrated light from one direction, the flowers were made to
give cast shadows on the screen to which they were attaehed,
and this, together, with the excellent photography, produced a
wonderful effect of relief. The Chairman also called attention
to some very fine examples of Mr. Woodbury’s process, and to
a sample of Marion’s transparent pellicle.

Mr. Bockett then read a paper on the Changes in Chemic.als
during lengthened disuse (see p. 233).

A general conversational discussion followed on the various
points raised in the paper.

Mr. Hill mentioned an experience with old pyrogallic acid,
which, without any change in colour, had the peculiar property
of giving a blue kind of deposit all over the negative.

After some general conversation, in which the Chairman
pointed out that the deterioration in pyrogallic acid by keep-
ing was generally shown in its discolouration, from having
absorbed oxygen, a conversation on the subject of the deteriora-
tion in the india-rubber tube followed.

The Chairman pointed out that india-rubber was really a
photographic substance, and was acted upon by light and air,
losing its elastic character, and becoming hard, insoluble, and.
resinous.

May 15, 1868.]

THE PHOTOGRAPHIC NEWS.

237

Mr. Bockett said that the tube he had mcntionod had beou
kept in the dark.

Mr. Hart said that immersion in boiling water would, in
all probability, restore its pliability and elasticity. He often
found that india-rubber got hard with ago ; but if it were pure
— and he only used the pure in his filters — immersion in boiling
water, or boiling for a few minutes, restored it.

After some further conversation.

The Chairman stated that ho had kept a sample of collo-
dion which ho had made, which contained mixed iodides and
bromides of cadmium and sodium, for upwards of three years
without deterioration. Mr. England made it a practice to keep
a stock in his cellar ripening, preferring to use it at least two
years after mixing.

Mr. Smith said he believed that Mr. Ponting's practice was
similar.

A conversation on the acid bath becoming alkaline by stand-
ing followed ; the only suggestion of a cause being the possible
efiect of the alkali in the powdered glass in the filter or in
the glass vessel.

After some further desultory conversation the proceedings
terminated.

London Photographic Society.

The usual monthly meeting was held in the Architectural
Gallery, Conduit Street, on the evening of Tuesday, May 12th,
Mr. J. Glaisher, F.G.S., in the chair.

The minutes of a previous meeting were read and confirmed,
and Mr. E. Ernest Dymond was elected a member of the
Society.

Mr. McLachlan then proceeded to read a paper stating in
fuller detail the mude of working ho described at the last
meeting. He dwelt on the fact that distinctly different results
were obtained by different samples of the nitrate of silver
or sulphate of iron employed. Boiling the solution of some
samples of the iron salt with a little “ alkaline alcohol” was
necessary to get the alcohol into “ chemical combination” with
the water. He considered the use of bromides in the collodion
and of nitric acid in the bath decidedly injurious. At the
conclusion of his paper (which will appear in our next) he said
that be was fully prepared to meet with incredulity. Ho would
not himself have believed simitar statements made by other
persons. The truth of what ho h,ad said could only be tested
by experiment, and he was fully prepared to go to the test with
any committee which might bo appointed.

Mr. Sebastian JDavis, after some remarks on the interest of
the subject, said that he understood Mr. McLachlan to recom-
mend absolutely neutral collodion and bath, and very acid de-
veloper. The addition of an alkali on tho collodion would,
however, in some cases, tend to make it so powdery that the
film would not hold tho sensitive salts. In regard to tho
objection to nitric acid he agreed with Mr. McLachlan.
He always neutralized any trace of nitric acid present in a new
bath, and then added acetic acid. The difficulty which arose
as to the developers was, that whilst Mr. McLachlan recom-
mended different kinds of sulphate of iron for different pur-
poses, he left them without information as to tho differences
in the samples. He proposed that some specimens be placed
in the possession of the Society for analysis. He hoped that
the enquiry stimulated by Mr. McLachlan’s communication
would aid in eliminating uncertainties from their practice.

Mr. Fry thought they now had tho matter in a nutshell, and
they could form a definite opinion of its value. Those who
liked a spade called a spade would be pleased with the plain
speaking of Mr. McLachlan, and he thought they ought to
deal equally plainly with t(je subject in discussion. He should
therefore make one or two remarks on Mr. McLachlan’s state-
ment. He had said that the vagaries of the nitrate bath were
80 perplexing that no experience was sufficient to conquer
them. Mow was this so? Ten years ago such a statement
might have appeared true, as at that time they knew much less
than was now known. But were tho mass of competent and
capable photographers now in that position? He certainly
believed not. Mr. McLachlan, it appeared, thought otherwise,
and he had given them a remedy which seemed to him most
unlikely to aid them, but which they must wait in any case
for three months before they could apply. He must confess
that as a whole he could not regard the matter favorably. It
seemed to him to be utterly wrong to begin with an impure
nitrate of silver, and then spend three months in getting rid

of tho impurity. He believed there were plenty of pure
samples to get. Hebclie ved that, as a rule, photographic chemicals
were as pure and as honest as any product of any kind sold in
the world. The chief difficulties which at any time arose were
simply due to want of experience. But the want of experience
in individuals must not be taken as an illustration of tho con-
dition of photography among competent men. For instance,
they had at a recent meeting an interesting statement of the
difficulties of an amateur in South Africa, from which they
might have been led to believe that Natal was as full of
troubles to tho photographers as to tho ecclesiastical world ; but
the simple truth was, those difficulties arose from want of ex-
perience. In fact, he must say that ho agreed with a recent
writer* who said that the error of Mr, McLachlan was that he
under-rated the capabilities of photographers. But if some
people would make very small baths, and use them much, or
would doctor their baths, they ought not to bo surprised it at
times they were beset with troubles and uncertainties.

Mr. Spiller said tho especial aim of Mr. McLachlan
appeared to bo to introduce harmonious conditions into tho pre-
parations with which ho worked. For this aim he gave him
all credit ; but when he entered into tho detail of his propositions
he felt somewhat at a loss. When Mr. Foster and himself
received the communication upon which they had already re-
ported, they found a difficulty in tho fact that Mr. McLachlan
frequently used terms in which he gave a new sense to old
definitions. For instance, ho had talked to-night about alka-
line alcohol, whilst chemists knew that alcohol could neither
bo acid nor alkaline. Then they were, at the outset, at a loss
to identify the various salts described, and to the present time
he had no idea of what tho peculiarity of the nitrate of silver
recommended consisted in. Could Mr. McLachlan now show
him a sample ?

Mr. McLachlan handed an unlabelled bottle containing
white crystals to Mr. Spiller, who pronounced tho contents to be
iodide of potassium. 'The mistake being rectified, and a sample
of the nitrate of silver produced and examined,

Mr. Spiller proceeded ; Of course ho could not venture to
speculate on tho nature of the impurity present in the salt at
present, but ho had been led to believe that it was not impro-
bable that it contained chloride of silver in combinations, and a
sample which he now produced contained one per cent, of chlo-
ride in combination with the nitrate. In his remaining obser-
vations he would read some brief notes of tho experiments ho
had already made ; —

Ten days after Mr. McLachlan described his new system of pro-
ducing negatives in the statement made at the last public meeting of
this Society, I published in the Photographic News (April 24th)
a letter or nrtide entitled “ Observations on Mr. McLachlan's Pro-
cess,” in which I suggested the possibility of chlorine taking part in
the decomposition said to occur when the nitrate of silver in tho form
of conedaqueous solution is exposed to sunlight.

My grounds for believing in tho possible occurrence of chlorine
were, fii’stly, the description given of a special quality of nitrate of
silver which is sometimes to be met with in the form of “ moist and
dirty-looking crystals,” such as would ordinarily be rejected by pho-
tographers, but now is to be preferred. Secondly, that chlorides are
amongst the most commonlv occurring impurities in water, and are
almo.st invariably contained in commercial qualities of nitric acid ;
so that in the preparation of nitrate of silver fi om an inferior acid and
the use of anything but the pure.st description of distilled water, there
would be some probability of chloride of silver being intermixed with
the nitrate, and forming a combination which is all'ected by exposure
to light.

1 have since made direct experiments on this point, and find that
chloride of silver is much more soluble in the nitrate than my pre-
vious experience led me to anticipate. I exhibit a sample of crystal-
lized nitrate containing one per cent, of chloride of silver in intimate
union, if not, indeed, in direct chemical combination. Such a pro-
duct must always be in the form of small crj’stals, and, unless
special precautions arc adopted, would invariably be discoloured by
light. I made it by dissolving 1-17 grains of rock salt (pure chlor.
of sodium) in a .small quantity of water, and adding 340 grains of
pure crystallized nitrate of silver. The precipitate at first formed
soon became redissolved upon warming and consequent evaporation
of the water, the chloride of silver being, to a certain extent, soluble
in a strong solution of tho nitrate, and apparently having the power
of ciystallizing with it. A special experiment to decide the extreme
limit of solubility of tho chloride and a warm saturated solution of
the nitrate showed that it was possible to dissolve as much as 4-7
parts of chloride in 100 of the nitrate. A compound containing this
high proportion of chloride cannot, however, be manipulated, for on
adding a mere trace of water the white curdy precipitate begins to

• See Echoes of the Month in our Issue for May 1st.

238

T’HE PHOTOGRAPHIC NEWS.

[May 15, 1868.

appear. The fact of such a combination being: established lend®
support to the opinion I have hazarded respecting: the chemical quality
of me silver crystals employed by Mr. McLachlan. I do not, how-
ever, mean to assert that his black-looking: article contains more than
a trace of the chloride, but the prc.sence of this body, even in a small
amount, must be allowed to have g:reat influence in altering the pro-
perties of so delicate a chemical preparation as the nitrate bath.

A few w'ords, finally, with respect to the amount of acid liberated
in the trials by which the success of Mr. McLachlan' s expedient wivs
in ray hands established. I used 1 grain oiJy of chloride of sodium
to 700 grains of nitrate of silver, and the mixed nitric and hypo-
chlorous acids, lib( r.ited at the end of seven weeks’ uninterrupted ex-
posure to daylight during February and March, were neutralized by
30 drops of a J-grain solution of caustic potash, equivalent to 1 32nd
part <»f a grain of solid potash, which, compared with the amount of
silver nitrate originally taken, st.ands in the ratio of 1 : 22,400. In
another experiment, performed in Mr. McLachlan's presence, with-
out the chloride, the acid liberated was so small in amount that C
drops of a 1-grain .solution of caustic potash proved more than sulli-
cient to neutralize it ; in this case the nitio stands as 1 : oti.OOO.
These statements will illustrate some of the ditliculties encountered
in the chemical investigation, and would lead one to hesitate in
adopting Mr. McLachlan’s assertion that nitr.ate of silver in pure
aqueous solution suffers decomposition on exposure to light.

Anotlier point upon which ho would offer .an observation was
the alleged precipitation of the iodide of silver. In his experi-
ence this had never taken place. lie would not enter into
detail as to his reference to ozone; but would simply remark
that Mr. McLachlan was under a mistake as to the nature of
that body. Ho had described his theory as embracing an idea
that “ oxygen was absorbed by the silver from the water,
actinism, and heat combined, changing it into a kind of ozone.”
Now, if his (Mr. Spiller’s) notions of chemistry were right,
ozone was an allatropic condition of oxygen. Silver could not
take oxygen from water, because the affinities lay in an opposite
direction ; but if the silver could take oxygen from tho water, it
would form oxide of silver, and liberate hydrogen, the presence
of which would be incompatible with the generation of ozone.

Mr. UoorEK said it would bo somewhat premature to come
to any conclusion on the subject at present. lie thought
the idea of adjusting the collodion, bath, and developer to
each other was very important. As to tho use of acetic
acid in tho nitrate of silver solution, ho objected to it
as generally increasing exposure. Without entering into
details ho thought all would bo agreed that Mr. McLachlan had
done a good thing in bringing his process before this Society,
where the knowledge of scientific men being joined to his own
practical experience, the best results might be hoped for. He
did not quite agree with Mr. Fry as to the competency of photo-
graphers generally, as, within his knowledge, much uncertainty
prevailed. He thought that photographers would gain by keep-
ing at least three or four baths constantly in use, so as to avoid
over-working any of them. Ho should like to know if Mr.
McLachlan had tried working his baths, seeing that boiling
the developer was so useful ; in his experience he found boiling
as good as sunning.

Mr. McLachlan had not expected that he would be believed at
once. All ho wanted was attention, examination, and experi-
ment. If he wore wrong he was tho only loser, as he had spent
much time in the experiments, and money also, as well as
in his present efforts to bring the matter before photogra-
phers. As to Mr. Fry’s statement that photographers wore
lietter informed than ho gave them credit for, it might be ; but
he could only judge by the published information. It was
quite possible, and he was disposed to believe that much more
information existed amongst practical photographers than was
to be found in the journals. Mr. Davis said he used excess of
acetic acid in his developer, but this was an error. It had
been reported in some of the journals that ho used 3J ounces of
acetic acid in 1C ounces of developer, but this was a mistake,
he only used 3i drachms.* As to the collodion he knew lie was
right in what he had said. lie had made 0,000 samples of gun-
cotton, and liad cart-loads of it by him ; lie had made many
more thousands of samples of collodion, and therefore spoke
with experience. It was an error to suppose that liis was
simply a neutral bath. It was a bath distinct from any other
usual bath, and would dissolve a very large amount of oxide of
silver. Mr. Spiller’s experiments did not meet the case; his

* Mr. McLaclilan undoubtedly said in the meeting 31 drachms of acetic
acid, and we find it so stated in the shorthand notes ; but he subsequently,
in a conversation with ourselves, in which we asked him to verify the
formula, corrected the former statement, and said 3i ounces ; hence the
confusion.— £o.

two baths were not put out at tho same time, and that which
was spoiled, instead of receiving 6 drops of the potash solution,
had had a much larger (juantity. Mr. Spiller poured quite a
gulf of the solution into it. He repeated that his was a bath
diflerent to any that photographers had hitherto imagined, as
they would find if they would only experiment.

Tho Chairman said it was scarcely necessary to ask them to
give their hearty thanks to a gentleman who had taken the
trouble Mr. McLachlan had done to bring his experiences before
them. Ho could confirm tho remarks as to the importance of
maintaining, as nearly as possible, uniformity of temperature in
all the preparations, as it accorded with their photographic
experiences at the Royal Observatory. He thought, perhaps, it
w.as probable that Mr. McLachlan scarcely did justice to the skill
and success of practical photographers of reputation. He had
been struck with tho uniform excellence and freedom from
defects of all kind in one plate ater another in long succession.
Possibly these practical men might not have published all they
knew, as it was sometimes difficult in matters gained by expe-
rience for a person to say exactly what he diil know. How-
ever, they would heartily thank Mr. McLachlan.

Thanks wore accorded by acclamation.

The Chairman, in offering Mr. McLachlan the thanks, asked
him on some other occasion to let them have his experiouce in
a tabulated form.

Mr. McLachlan promised, and hoped the Society would ap-
point a committee to test his mode of working.

The Chairman called attention to tho specimen of tho pre-
sentation picture which Mr. Robinson proposed to give to tho
members.

Mr. Dunmore promised to bring before the next meeting a
tent, and Dr. Mann promised to exhibit some examples of the
work of Professor Piazzi Smyth.

The meeting then adjourned.

Liverpool Amateur PiioxoaRAPHic Association.

The ordinary monthly meeting of this Association was held on
Tuesday evening, tho 28th ult., at tho Free Public Library,
William Brown Street, Mr. J. Henderson, Vice-President,
in tho chair.

The minutes of the previous meeting having been read and
confirmed, Mr. Joseph Sillitre was elected a member of tho
Association.

Mr. Green called attention to tho great number of pictures
on the table, all of which had been taken this year. He re-
marked that ho attributed the fact of so much work having been
done so early in the season to the simplicity of the collodio-
bromido process.

The Chairman recorded his experience with various toning
solutions, advocating phosphate of soda, which he had taken
into use in preference to carbonate. He had used acetate of
soda, but preferred phosphate.

Mr. Bolton remarked that acetate of soda was the most
economical, especially for amateurs.

Mr. Green had used acetate of soda for some time, and cer-
tainly found it tho most economical ; but he had given it up in
favour of carbonate, which was more convenient.

The Chairman said he would like to ask the opinion of the
members with regard to the action of light upon collodio-bromide
plates after fixing and varnishing. He was inclined to think
that exposure to light in printing had the effect of rendering
the negative more dense ; and he had intended making an
experiment in that direction, but had not had time to do so.

Mr. Phipps said he bad made the experiment, some time ago,
of exposing a negative to the light for about three weeks, with
one-half covered with non-actinic varnish ; and at the end of
that time the colour was changed all over the plate from brown
to purple, but no difi'ercnco could be detected between the two
halves.

Mr. Green’s experience led him to state that the negatives
do intensify after fixing, to a certain degree, and that the same
effect is noticeable in wet plate negatives developed with an
organic developer. It was a peculiarity which need cause no
inconvenience, and might be easily met by exposing the nega-
tive to sunlight before varnishing, when, if rendered too dense,
it might be reduced with cyanide.

Mr. Lewis Hughes passed round a print from a negative
taken a few days previously upon a Hill Norris plate which he
had had in his possession upwards of seven years, and which
had apparently suffered little by its long keeping.

May 15, 1868.]

THE PHOTOGRAPHIC NEWS.

The Rct. S. Bybth brought forward an arrangement by
which the ordinary portrait-camera might be adapted to the
purposes of enlarging and printing.

After some remarks upon the definition of enlarged pictures,

Mr. Lewis Hughes said the lenses he used for enlarging
were Dallmeyer’s triplet of 7 inches focus, and the ordinary
single lens of 6 inches. With thtf solar camera he obtained
the finest definition with the single lens, but with diffused light
the triplet gave the best results. He also said that with ordin-
ary lenses it was very difficult to produce negatives suitable
for enlarging, and that two negatives, which to the eye appear
equally sharp, frequently give very different results when
enlarged.

Mr. Roberts thought that if, in focussing, a magnifying
power of 3 or 4 diameters were used, the negative, when
enlarged to that extent, would bo as sharp as it appeared on
the focussing-screen.

In reply to a suggestion that opal glass placed in front of the
negative would give a beautifully diffused light for enlarging,

Mr. Hughes said that the employment of opal glass in the
manner suggested would cause such an immense loss of light,
that enlarging to any considerable extent would bo impossible.

Mr. W. H. Wilson thought that if the pocket camera found
its way into general use, some process would have to be
adopted, based upon the employment of albumen instead of
collodion, in order to obtain the best results, in consequence of
the great difficulty of obtaining a film of collodion sufficiently
structureless for enlarging purposes.

Mr. Green said that collodio-bromide, if properly prepared,
might be used with advantage, the film being extremely clear
and transparent. If, in making the collodion, alcohol contain-
ing a large proportion of water were employed, such collodion
would be useless for enlarging.

Mr. Henderson thought that a great deal as regards the
density of the collodio-bromide film depends upon the length of
time allowed to elapse between the preparation of the collodio-
bromide and coating the plate. Opinion seemed to differ as to
the exact time necessary, but it was generally understood that
the longer the mixture was allowed to stand after adding the
silver (of course within certain limits) the denser would be the
resulting film ; the length of time ho (Mr. Henderson)
generally allowed was throe or four hours.

Mr. Bolton said that the majority of the plates ho had
exposed this year were prepared within an hour from the
addition of the silver to the collodion.

Mr. Roberts said he would like to ask Mr. Bolton what
quantity of silver he used under such circumstances.

Mr. Bolton, in reply, stated that ho had always used 11
grains to the ounce, except upon one occasion, when, having
used 12J grains, he could not develop a picture.

Mr. Hughes asked if any of the members had used the
permanganate of potash plan for “ doctoring” baths. He had
three or four baths which were afflicted individually with all
the faults it was possible for a bath to possess. They were
mixed together, and were in an equally bad state. Altogether
the quantity was about 80 ounces, to which ho added two fluid
drachms of a 10-grain solution of permanganate of potash,
allowed to stand for 24 hours, and then filtered. The result
was a bath without a fault.

The Chairman had “ doctored” a bath of 40 ounces in the
same way. It was not, however, so sensitive as a new one.

The first out-door meeting was discussed, and referred to the
council.

The presentation pictures were distributed to the members
present, the subjects being Frith’s “ Rosenlani,” and three of
G. W, Wilson’s cabinets, York Minster, Loch Katrine, and
Loch Tummel.

— ♦

rnOTO-LITHOGRAPHY.

Sir,— In the News of May 8th, a very personal letter
appears, signed Dinsdale and Co. (the signature, by-the-by,
like tho letter, is, I believe, a mistake). The personal part is
not worth much notice, as coming from a pupil to whom, as
well as to his then manager, I taught litho-photography gra-
tuitously. Part seems to be meant for you, Mr. Editor, and
some one else, because, as I have not had thepleasureof holding
conversation with you for some monjhs (and certainly I have

not written to you about silvering stones), the sarcasm iden-
tifying me as your “ authority ” is without meaning. Now,
sir, may I guess the name of your “ authority ?” I should
say it was Common Sense. I would like your readers to note
those two statements made : — " An apprentice in lithography
■will be in a position to explain as to what the effects of litho-
graphic chalk may be when being put upon a silver surface,
or indeed any other surface but the cleanest surface of the
stone itself” — “ and therefore will confine ourselves simply
to the declaration that our productions are the results of
photographing direct on the stone with materials capable
of yielding proofs in printers' ink only.” The clear infer-
ence which any one would draw from the above statements
is, that the prints in question are obtained direct on the
stone by photography without hand labour. This I candidly
adn^it I do not believe, for in addition to my own experi-
ence on that point, I have been favoured with the unasked
opinion of a well-known lithographic artist, who told me
how they ivere produced ; and he requests me to give his
statement in contradiction to the declaration in the letter
referred to. And he further offers to present to you, free of
cost, for the benefitof your readers, a portrait on stone of any
' well-known celebrity you may select, which shall be pro-
duced in your presence if convenient to you, by that silver
process declared to be so absurd ; then it will be competent
for your erratic corrc.spondent to fix upon your “ authority.”
— Yours respectfully, W. Griggs.

[We shall have much pleasure in arranging to be present to
witness the production of such a portrait for our readers. — Ed.]

• MODIFIED HONEY PROCESS.

Dear Sir, — Hastily replying to “ M. N. L.,” I can only
repeat my original directions so to mix the honey and water
as to “ make a thin syrup.” Samples of honey vary so much
that a precise formula suited to one sample would not give
a sufficiently limpid product if used with another.

The syrup should flow easily over the plate, and be about
the consistence of a mixture of equal parts of pure glycerine
and water. Two drachms of pure animal charcoal will be
sufficient for a pint of the solution (or syrup).

The plates will keep from four to twelve hours, according
to temperature ; and I do not think it at all a matter of
consequence at what part of this interval the exposure takes
place. Still, after some hours’ keeping, I should expect a
slightly-increased exposure to be advisable. I have not in
any case found any flooding with water to be necessary,
simply commencing to pour on the developer in the ordinary
way. Owing to the presence on the film of a considerable
portion of free nitrate, care must be taken, in using an iron
developer, to avoid stains ; but I recommend the gelatino-
iron developer now, although I have not yet had an oppor-
tunity of trying it. — I am, dear sir, yours truly, in haste,

Geo. Robt. Fitt.

♦ -

2Dalk itt tbf Stubi0.

National Piioto-zincographs. — It is stated that the pub-
lication of tho National Records of England and Scotland will
probably be completed in tho course of the present year. It is
proposed then to publish the facsimiles of National Records of
Ireland. There is a steady demand for tho facsimile of Domes-
day Book ; the sum of £3,556 has been expended in the publi-
cation, and at the end of February £1,938 had been received
from the sale of copies, and the copies in store would produce
£1,900, so that tho sale would more than cover the cost of
publication.

The Abyssinian Expedition. — The last report of General
Napier says: — “The photographers have been employed in
photograpliing, printing, and mounting plans executed by the
Quartermaster-General’s Department of the route followed by
the army ; these plans are used as distribution maps. All the
baggage of the army having been left at Lat, the photographic
apparatus was left there also, but has been ordered up. ’

Photographic Novelty. — If, as a general fact, we admit that
“ there is nothing new under the sun,” our readers may well be

240

THE PHOTOGRAPHIC NEWS. [May 15, 1868.

startled ia these days by the idea of a photographic novelty.
Indeed, it is difficult to say in what branch of art, science, trade,
commerce, amusement, &c., photography does not play an im-
portant part. It brings with equal facility within the ken of
tarry-at-home tmvellers the most inacces.sihle Alpine solitudes,
and the soft luxurious repose of Italian lakes. It renders the
features of every celebrity of the hour, from Mr. Gladstone to
King Theodore, familiar to the public eye ; and every policeman
carries in his pocket the pictures in little of the ticket-of-leave
men who, by the amiable weakness of justice, are let loose upon
his beat. Trade, however, has taken a hint from Scotland
Yard. We have before us a circular stating that a certain in-
dividual, in a particular business, has commenced for himself,
and enclosing a carte-de-visito of the enterprising tradesman ;
from which, he says, the ladies to whom he sends his circulars
and his portraits “ will doubtless recognise him, on account of
the active part he took in the business of," &c. It need not
be added that “ devotion to business,” and “ undeviating at-
tention to the wants of customers,” are expressed in every
feature of this interesting masterpiece of photographic art. —
Standard.

Finishing Prints. — The following method for v.irnishing
photographic prints is recommended by a correspondent of the
Archiv: — “A piece of plate-glass is heated, and, while yet
warm, a little wax is rubbed over by means of a piece of cotton-
wool ; water is then poured over the plate, and the moistened
picture laid thereon and pressed closely down by means of a
piece of filtering-paper. When dry, the picture is removed, and
will bo found to possess a surface of the greatest brilliancy,
which is not injured by the process of mounting.”

Balloon Photography. — A correspondent is working a plan
for photographing all around at once. He mounts eight cameras
in a balloon, pointing in different directions ; and when his
balloon is at the proper height he exposes eight plates simul-
taneously. In case of war, he thus proposes to secure a quick
view of the country all around any given point. — Philadelphia
Photographer.

®orrtspaabeuts.

L. T. C. — We stated that the new intensifier consisted of a solution
of permanganate of potash ; this is Condy’s red fluid. The green
fluid is a solution of the manganate of potash.

W. Sturgeon. — The peculiarity you descrilie is not uncommon. It
frequently happens that when methylated ether is used, the collo-
dion, when first mixed, often acquires a deep colour from the libera-
tion of iodine, and afterwards becomes quite colourless from the re-
absorption of the iodine. On further keeping it is probable that the
collodion will again acquire colour from the liberation of iodine.
If any tendency to fog is manifest, add a little tincture of iodine ;
there is nothing whatever objectionable in the proceeding.

W. Crouch. — You have begun on a difficult subject. It is very
difficult to get a good copy of a photograph on albuminized paper.
The meally effect to which you refer arises from the light reflected
from all the little inequalities of the surface giving an exaggerated
efl'oct of texture. It is better to begin by taking actual objects or
persons, rather than copies. But if copying bo more convenient to
you, try j'our hand upon an engraving, which is much easier than
a photograph to copy. Send us prints from the other negatives of
which you complain, and we can probably advise you as to the
defects and remedy.

W. J. A. G. — It is probable that some of the dealers can procure
for you Hancock’s india-rubber canvas and solution ; but we do
not know of any dealer by whom the materials are kept. So far
as our memory serves us, the manufactory is in Goswell Koad.
2. A strong shellac v.arni.sh answers well; or a mixture of plain
collodion and boiled linseed oil. 3. The glass rod of wliich you
speak may be made u.seful ; in our own practice we find that by
carefully and gently raising the paper from tlie bath, very little
superfluous solution is brought away, and that a very slight
draining effects every purpose. 4. For stereo.scopic work, a lens
(to a single lens wo refer) of 6 inches focus would be more useful
than one of 4J inches focus.

Thomas Stothard. — You do not state the history of your chloride
of gold solution ; but we think it probable that if is some you have
made from which the acids have not been suffiiaeutly e\tiporated to
begin with, and the solution still contains considerable free nitric anti
hydrochloric acid. Try proceeding as follows: — Take of the stock
solution a quantity containing a grain of chloride of gold, and add
carbonate of lime freely to neutralize the acid ; then, in an open
vessel, add 5 or 6 ounces of boiling water, and let it stand for an
hour or two to cool. Then try it for toning, and let us know the
result. 2. We shall publish the formula when we receive it.

3. We are glad you like the articles. Something on the subject
of your enquiry shortly.

Zeno. — You cannot commit the common and probably natural error
of the very young student. You wish to have a simple formula,
instead of having to master principles. Instruction how to act in
some particular case or cases is of little value, because of limit^
application ; but a knowledge of principles, riving new results in
every varied form of applicatTbn, is of much higher value. When
you have studied more, and more carefully, you will feel less dis-
posed to dictate os to what you will bo taught or how you will be
taught. At present, it is clear that you have not studied, but only
skimmed a little here and there, which is worse than useless.
There has been no such attempt as that to which you refer.

N. JocELY.v. — The letter to which you refer never came to our
hands. Mr. England inten.sifies with pyrogallic acid, with
acetic acid, and a few drops of silver solution. There appears
to be no difficulty in getting intensity. 2. The cotton is gene-
rally obtained, we believe, in Paris, at the Maison Sennez. Thanks
for the suggestion as to using imperfect plates, which we shall
insert shortly.

C. B. — Mr. Maxwell Lyte’s rapid or “ instantaneous ” process with
honey' w;is publi-shod in the second volume of the Photographic
Society’s Journal in 18.51. 2. The charcoal is to remain in the

mixture during exposure to light. 3. The charcoal should be in
powder, and will, of course, on first mixing with the honey, &c.,
make it like ink. 4. No; the silver must be in the mixture during
the proce.ss of sunning. 5. If you want a preservative process as
distinct from a dry process, yes.

SiLEX. — It is scarcely fair to ask us what are the drawbacks of our
collodio-chlorido process as compared with the albuminized paper
process. We might, with the piirtiality of parentage, answer,
none. We will, however, ns briefly as possible, give you some
reasons why our proce.ss is not, and probably never will bo, so
extensively' used as the albuminized paper process. Collodion is
more expensive than albumen ; therefore the cost of the process is
somewhat greater. Albuminized paper can bo purcha.scd ready
prepared, and all the following manipulations are easy, simple, and
familiar; preparing the collouio-chloride, and coating the paper,
require more care and skill. The collodio-chlorido process, not
having been invented by some one having a commercial interest
in working it out, or pushing it, .and filling the market with the
preparation ready for use, persons interested in it have had to pre-
pare their own materials, and work out the necessary conditions of
each batch they prepare. Nothing gives a thing such a fair trial as
some one having a com mcrcial interc.st in its succo.ss. For those
and other reasons it has not become, and is not likely to become, as
popular as the albuminized paper process. Being free from silver
m tho w'hites, the prints have a better chance of permanency' than
albuminized prints, and the pictures are more delicate. 2. When
a silver print fades, the blacks generally become a greenish brou'n,
and the whites a dirty yellow, and so contrast and purity are lost.
In some bad ca.ses we have seen little remain beyond a faint trace
of a yellowish image. 4. A transferred negativ'c on any thin,
flexible substance requires care, of course, or it might be injured
by creasing. Letters referring to advertisements do not come under
our attention, and questions for answer in this column sent in such
letters are likely to be overlooked. Wlion y'ou require information
on photograjffiic matters, address the Editor in a .separate letter.
To secure answers tho same week, a letter should reach us on
Wednesday, as wo go to press on 'I’hursday, and the .space is gene-
rally filled by that day.

Henry Williams. — The sky may be blocked out in various ways :
a piece of thin blackened silver paper, carefully cut and attached to
the negative, affords a useful mask for tho puqioso, and one which
wo prefer. 2. A saturated solution of gallic acid is the proper
developer for enlarged prints. Sometimes a little acetic acid is
necessary, and sometimes a drop or two of nitrate solution ; but
these depend upon tho condition of the print, and the judgment
must dictate their addition. 3. Tho formula wo recently published
as employed by Mr. Solomon is an exceedingly good one.

J. C. Stephens. — Decomposition has undoubtedly taken place in
the silver solution. Wo will write.

Germanicus. — The second letter and duplicate draft received. Tho
copies of the News have already been sent. The book in a few
day's, .iknswers to the various questions shortly', when we have
had time to examine the specimens and report on the points raised.
An -Amateur. — Thera must bo some exceptional element in the
case. Collodio-bromide plates, in our experience, keep well. AVo
have ex])osed them some weeks after preparation without perceiving
any deterioration. Such a loss of sensitiveness ns vou state to
have occurred in three day's puzzles us. AVe believe tlie Liverpool
Companv’s collodio-bromide plates keep good for months.
2. Collodio-bromide is not suitable for printing on paper in tho
same manner ns collodio-chloride, because the image of reduced
bromide is weak and grey, pos.sessing much less vigour than tho
image obtained by reduced chloride. 3. AVe have not yet received
further details.

Several Correspondents in our next.

We are again c.ompelled to leave over until our next several import-
ant articles in t^e, owing to the pressure upon our pages.

NEWS.

THE PHOTOGMPHIC

Voi. XII. No. 607.— il/«^ 22, 1868.

CONTENTS.

Pi os

Mr. McLacblan's Discovery i«l

Siran's Carbon Process 242

Pictorial Eflect in Photography. By U. P. Kobinson 242

On the Transformation of Photographic Images in Silver into

other Metals and Combinations. By tVilhelm Qnme 244

On the Economic Use of Artificial Light. By David Winstanley,

Junr 245

Remarks Upon the Wet Collodion Process. By Mr. McLachlan 245
Dry-plate Photography. By 8. Beverley 247

PSGB

Recent Patents 248

Instantaneous Pnotography a Quarter of a Century Ago 249

Proceedings of Societies— South London Photographic Society... 250
Correspondence— Mr. England’s Process— Honey Process —

Sulphocyanide Toning 250

Talk in the Studio 251

To Correspondents 252

Photographs Registered 252

MR. McLACHLAN’S DISCOVERY.

PE.NDiNa the three months’ preparation necessary for an
experimental verification of Mr. McLachlan’s mode of work-
ing, a few words on his recent communication may not be
out of place. His candid, outspoken manner of dealing
tvith the whole subject; the unhesitating opinion he has ex-
pressed of the prevalent ignorance amongst photographers
and the imperfect information of journals, entitle him to
candid and outspoken rejoinder. Complimentary platitudes
arc out of place under such circumstances. They would be
unfiiir alike to Mr. McLachlan and to photographers. It is
due to both that if this gentleman be right, an un-
grudging acknowledgment should be made of the fact ; that
if he be wrong, his error should be unhesitatingly pointed
out. As we have already said, we give Jlr. McLachlan credit
for the most perfect honesty of intention, and not only purity,
but liberality of motive. We believe him to have been an
earnest, self-sacrificing experimentalist ; and the effort
and expense undertaken, at his own sole cost, to bring infor-
mation, which he believes to be important to the progress
of the art, fully and freely before his brethren, ought to
entitle him to their careful attention. If he be proved to
be in error, the cost and the mortification are all his; if he
J)e right, the gain is that of the photographic community.
^ At the outset, however, we deny in the strongest terms the
nature and extent of the ignorance and incapacity which
Mr. McLachlan attributes to photographere generally and
to photographic journals. On theoretical questions we
admit that much remains to be determined; on practical
points we admit that uncertainties at times exist, and that
we should have thankfully received information which would
have set aside some of the difficulties which occasionally
beset the ablest men ; but we deny that the majority of
professional photographers of any position are groping in
the darkness, or struggling with the vagaries which Mr.
McLachlan so forcibly pictures, and we simply appeal to
facts in reply to his allegation. Let us examine the practice
of any photographer whose name and work are known.
Take that of Francis Bedford. When he travelled in the
suite of the Prince of Wales in the East, working the wet
collodion process on large plates, under the greatest possible
difficulties and disadvantages, without the power of remain-
ing as long over each subject as he chose, without the power
of revisiting the scene of any negative to repeat his opera-
tions if desirable, did be fail, or return without a good pic-
ture of any one of the important objects visited? On the
contrary, he brought home, after his hurried trip, one of the
most perfect collections of Eastern scenery that could be
desired, charming as pictures and perfect as photographs.
Whatever the difficulties, there was the practical issue.
Mr. Frank Good has recently repeated a very similar task.
Mr. England has for years past, in mountain and valley,

crowded street or lonely glen, worked with a precision of
which the number and excellence of his published works are
the best evidence. We might extend the list to include the
name of every landscape photographer of position, and we
especially mention these because working in tents and with
travelling equipments involve difficulties little dreamt of in
the studio. Then, if we were to mention the portraitists
who, in daily practice, produce in regular succession any
number of perfect negatives, we might till many columns of
these pages.

Mr. McLachlan’s allegation as to the absence of informa-
tion in the journals we might bo content to pass without
comment, as probably done without thought of the insult it
conveyed to the gentlemen of the highest rank as chemists,
artists, and practical photographers, who have from the
commencement contributed the results of their study and
practice to societies and journals. If the journals have been
deficient in information it must bo because the ablest men
connected with the art are either incapable or dishonest, for
there is not an illustrious name in photography which has
not been attached to contributions in the journals. We are
afraid that this allegation, like some others, was the ofifeome
of imperfect knowledge. We asked Mr. McLachlan what
journals he had been in the habit of reading ; and learnt
that, until very recently, he had not been a reader of the
PuoTOGRAPUic News!

We were reminded of the anecdote of a chemical student
calling upon Faraday with a discovery he alleged ho had
made. “ Have you read the published authorities on this
subject ?” Faraday asked. “ No ; believing I had made an
important discovery, I did not like to waste time in con-
sulting books,” was the response. “ So,” responded the
great philosopher, “ you eome to waste my time by bringing
under my attention experiments which are already well-
known, and published. In future, when you think you
have made a discovery, before announcing it, make yourself
master of what has already been published.”

On the subject of uncertainty in working let us not be
misunderstood : every photographer has occasional diffi-
culties ; but the more prudent the practice, the fewer the
occasions, as we shall presently show. The very nature of
the circumstances necessarily involves occasional uncertainty.
The photographer tvorks with materials prepared for him of
the exact nature or condition of which he can never be quite
certain. The soluble cotton is a material peculiarly liable to
slight variations of constitution ; the ether and alcohol pecu-
liarly liable to traces of varied impurity, and peculiarly liable
to change ; and these, when mixed and iodized, are liable to
other and complex changes dependent on conditions and time
of keeping. Although pure nitrate of silver may be easily
obtained, and a good bath made, that bath must — however

Eierfect the materials, however comprehensive the know-
edge employed — be constantly changing in constitution,

242

THE PHOTOGKAPHIC NEWS.

[May 22, 1868.

Silver is abstracted from it by every plate immersed, and
nitrates of the base employed in the collodion and iodide of
silver, as well as ether and alcohol, constantly accumulate
and furnish the elements of other and complex changes.
These and other elements of uncertainty exist with the
purest materials and the most perfect conditions, and are
inherent in the process. The wonder is, not that uncertain-
ties exist, but that, with so many elements of change not
under strict control, so much good work is done with so
much precision and regularity by so many photographers.

Further, we must contend that if much greater difficulty
and uncertainty existed than roall}’ does prevail, the reme-
dies proposed by Mr. hlcLachlan can in no way tend to
greater certainty. The basis of his proposal is the use of
an impure sample of nitrate of silver, of unknown impurity,
difficult to procure, and still more difficult to identify.
Need the conditions of uncertainty be carried further? We
need not dwell on the uncertainty involved in adding one
empirical remedy to various collodions of unknown and vary-
ing constitution, nor to the uncertainty involved in using by
preference sulphate of iron of unknown impurity.

We have on a former occasion remarked, we may be re-
minded, that assuming the facts stated to be true, they
were important and interesting. This is undoubedly true ;
but they do not furnish remedies for any of the inherent
uncertainties of the collodion process. If it be true that a
solution of nitrate of silver undergoes a change, under the
prolonged action of sunlight, other than that already recog-
nized, and that, in consequence, it acquires a property, not
only of holding a large portion of oxide of silver in solution,
but of preventing it being readily reduced, the fact is
both interesting and important, inasmuch as, if true, it
must lead to more rapid, and, possibly, more perfect results ;
but it affords no immunity from the constant changes
going on in collodion, the constant accumulations and
change of condition in the nitrate bath, the constant possi-
bility of the action of impurities beyond the control of the
vhotographer, and the varying other elements of change
and uncertainty' which are the chief sources of the troubles
which occasionally beset the photographer. If the fact
stated by Mr. McLachlan, that a bath treated as he
describes suddenly and of its own impulse eliminates
from itself excess of iodide of silver, it is very important
and interesting, as getting rid, not of an uncertainty, but
of a certain source of occasional defect, with loss trouble
than is involved in the method of diluting and filtering.

But without denying Mr. McLachlan's facts, which can
only be verified or disproved after many months of careful
experiment, we may point out that there are certain con-
siderations in regard to them which require weighing. In
the first place, the best evidence he could have furnished to
a meeting (experiment being impossible) would have been a
sight of some negatives of exceptional excellence. We know
that Mr. McLachlan is a capable practical photographer,
and produces fine negatives, as do most photographers of
position ; but the gentlemen present at the Photographic
Society would not have been slow to recognize any excep-
tional qualities.

Further, there is already a diffeience of evidence on the
facts. Mr. Spiller states that a bath prepared according to
Mr. McLachlan's instructions, and sunned for seven weeks,
was made alkaline and unfit for work by the addition of
6 drops of a 1-grain solution of caustic potash, the propor-
tion of the alkali to the silver salt being as 1 to 56,000.
Mr. McLachlan states, that instead of 6 drops, “quite a gulf”
of the potash solution was added. A mistake exists some-
where, and we leave our readers to select between the preci-
sion of a gentleman of long experience as a practical chemist,
accustomed to attach value to infinitesimal proportions, and
that of Mr. McLachlan, who is certainly an impulsive and
enthusiastic gentleman, although, as he says himself, no
chemist.

And here we have a word of grave remonstrance for Mr.
McLachlan, which he must take in good part, as it is written

in a friendly spirit. He prefaced his last communication by
stating distinctly that he was no chemist, and he then pro-
ceeded. not simply to state the facts of his experience and
observation, but to indulge in a series of theoretical specula-
tions of the most incongruous character, and to speak of
chemical reactions of the most impossible character. We
forbear giving examples; but we suggest that we are
prepared to listen attentively to the observations and
experiences of Mr. McLachlan as those of a gentleman
who has worked hard and enthusiastically in experimental
photography, and whose work, guided by more chemical
knowledge, would have been more valuable ; but we must
ask him to avoid encumbering his facts with chemical ter-
minology misunderstood and theory misapplied, as these
things materially impair the practical value of his infor-
mation.

Having pointed out — with the candour for which he asks
— the misconceptions which we think Mr. MeLachlan has
laboured under as to the existing knowledge of photography,
and his somewhat erroneous estimate of the scope and bear-
ing of the facts he has stated, we shall in our next have a few
words on the real importance and value of his communica-
tion, which, notwithstanding the errors we have pointed out,
contains much suggestion for which photographers will be
obliged to him.

SWAN’S CARBON PROCESS.

Notwithstanding the large number of excellent carbon
prints which have been issued by Mr. Swan from his estab-
lishment at Newcastle-on-Tync, and the fine examples which
have been exhibited by Mr. Mayall, Mr. Chcrrill, and others,
we learn from personal and written communications with
photographers that a doubt exists in some quarters as to
whether these things are indications of anything more than
exceptional success, and whether, after all, the carbon pro-
cess can be generally worked with success as a commercial
cnterpiize.

It will interest photographers generally, and especially
tho.se who have doubted the practical character of the carbon
process, to hear of the progress of this mode of printing at
the establishment of M. Braun, oi Dornach. It is not much
more than two yeais, if we remember aright, since Mr.
Swan’s process was inaugurated at Dornach. During that
time it has been gradually developed, and has displaced
silver printing. The number of persons now regularly
engaged in the establishment in the production of carbon
prints is eighty ; and the demand for the pictures is so great
that, with this large staff, M. Braun finds it impossible to
accumulate stock, the demand being in advance of the pro
duction. One fact like this is worth a hundred arguments
on the practical and commercial character of carbon
printing.

We hope ere long to see this mode of printing as exten-
sively in use in this country. The “ Autotype Company,”
to which we have before referred as having acquired tho
patent of Swan’s process in this country, is steadily pro-
gressing with arrangements for an exceedingly perfect and
extensive system of art reproduction by means of carbon
printing, which promises more for the popularization of
really good art, and giving the examples a permanent form,
than has ever yet been attempted in this country. Tho
results now exhibiting at the company’s gallery in tho
Haymarket leave no room for doubt as to its success.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Ciiiaroscura for Photographers.

BY H. P. ROBINSON.

Chapter XVII.

“ Every man is always present to himself, and has. therefore, little need
of his own resemblance, nor can desire it but for the sake of those whom he
loves, and by whom he hopes to be remembered : this use of the art is a
natural and reasonable costsequence o' alTecticn, and though, tike other

May 22, 1868.]

THE PHOTOGRAPHIC NEWS.

243

haman actions, it is often complicated with pnde, yet such pride is more
laudable than that by which palaces arc covered with pictures that, however
excellent, neither imply the owner’s virtue, nor excite it. Genius is chiefly
exerted in historical pictures, and the art of the painter of portraits is often
lost in the obscurity of his subjects ; but it is in painting as in life : what
IS greatest is not always best." — Dr. Johnson.

“ Blest be the skill which thus enshrines the great.

And rescues virtue from oblivious fate.

Which seems to flx the falling stars of mind.

And still preserves their lustre to mankind.”

Sir Marlin Shee.

PoRTR.\ITCRE.

Photoorapiiy has been employed to represent everything
under the sun, and that is illuminated by his light ; nay, it
has gone farther than this, it has brought pictures out of the
caves of the earth, where the light of heaven never enters,
and where tlic only source of actinism has been coiled up in
a wire ; it has even compelled the pyramids of Egypt to give
up some of their secrets, and the catacombs of Rome pictures
of their dead. The earth, the sea, and the sky it delights to
render ; it multiplies the works of genius, whether the
original vehicle has been paint or marble, or that “ frozen
music ” of which the great architects of old piled up their
marvellous temples. The pirate and the forger have called
in its innocent assistance to help them in their dirty work,
but for which photography has returned the compliment by
assisting justice to execute the law ; and so truthful does the
law consider its evidence, that it is accepted as an unques-
tionable witness which it would be useless to cross-examine ;
it helps the trader to advertise his wares, it aids the astro-
nomer to map the stars, and compels magnetism to write its
own autograph ; and all this in such a way as no other art
has ever yet approached. But of all the uses to which it has
been put to benefit and delight mankind, none can compare
with its employment for portraiture, the chief object to
which its inventors intended it to be applied, and for which
it appears to be most thoroughly adapted.

The portrait has always been the favourite 'picture with
the world. It is an especial favourite in England, because
it appeals to the domestic sympathies ; and this is the most
domestic nation on earth. Johnson is reported to have said
he would rather have the portrait of a dog he knew than all
the historical pictures ever painted. Horace Walpole gives
excellent reasons lor preferring portraits to other pictures :
“ A landscape, however excellent in its distribution of road,
and water, and buildings, leaves not one trace in the
memory ; historical painting is perpetually false in a
variety of ways — in the costume, the grouping, the portraits
— and is nothing more than fabulous painting ; but a rea/ por-
trait is truth itself, and calls up so many collateral ideas as to fill
an intelligent mind more than any other species of painting.”

Without disparaging other branches of art, as the author
of the above sentence has done, there is no doubt of the
extreme popularity of the portrait, and photography has
only developed and encouraged a desire for representations
of those we love, honour, or admire, by giving us the moans
of producing portraits, not only within the reach of the
humblest purse, for their cheapness, but that we can believe
in, for their truth. Before the birth of our art those who
could not afford to employ a Reynolds, a Gainsborough, or a
Lawrence, had to he content with the merest suggestions of
likeness, executed in the most miserable style. Even when
the portrait was painted by a master, it required considerable
faith to enable a person who did not know the original to
believe in the fidelity of the resemblance. The friends of
Sir Joshua Reynolds often used to express their surprise that
he had courage to send home portraits that bore so little
likeness to their originals. And from his painted portraits
we have nothing like the faith in the personal appearance of
Shakespeare we should possess had we a portrait of him
produced by photography. How are we to believe that the
portraits of Lely are faithful likenesses of the ladies he
ainted, when they arc so like each other that they appear to
e one vast family of sisters ? Kneller’s portraits also ap-
pear like so many prints from one plate. Are we to believe
that in the time of these two painters nature forgot her
variety, or departed from her rule that no two men or women

should ever he the same in form, feature, colour, or pro-
portion ? This mannerism, which tended to destroy faith-
fulness in portraiture, injured, more or less, the works of
all painters until photography came to teach them indi-
viduality.

The application of photography to portraiture has re-
formed and almost revolutionized that art throughout the
world ; yet ninety-nine out of every hundred photographic
portraits are the most abominable things ever produced by
any art, and the original may often truly say, with the old
Scotch lady who saw her own portrait for the first time,
“ It’s a humbling sicht ; it’s indeed a sair sicht.” This is not
the fault of the art itself, but of those who, on the strength
of being able to dirty a piece of glass with chemicals, arc
pleased to dub themselves artists. The late depression in
the trade has done good in one respect, if it has borne
rather hardly on some : it has killed off the weak ones — those
who never should have left the occupations for which only
they were fit, to discredit, by their miserable productions, a
noble profession ; for photography is a noble profession,
although it is a mean trade. I’hotography has hitherto
been, —

** A mart where quacks of every kind resort,

The bankrupt's refuge, and the blockhead’s forte."

Again, the photographer has not often the advantage,
enjoyed by the painter, of making the acquaintance of his
sitter before he takes the portrait. He often sees him for the
first time as he enters his studio, and has done with him in
a short quarter of an hour. It requires great perception of
character and great fertility of resource to enable him to
determine at once, and at a glance, what is best to be done,
what expression he should endeavour to call up, and what
position would best suit his sitter. G'^eat painters usually
commence operations by dining with their subject, the value
of which is shown in the following anecdote of Sir Joshua
Reynolds, related by Leslie.

A matchless picture of Miss Bowls, a beautiful, laughing
child, caressing a dog, was sold a few years ago at auction,
and cheaply, at a thousand guineas. The father and mother
of the little girl intended that she should sit to Romney,
who, at one time, more than divided the town with Rey-
nolds. Sir George Beaumont, however, advised them to
employ Sir Joshua. “ But his pictures fade,” said the
father. “ No matter,” replied Sir George, “ take the chance;
even a faded picture, by Reynolds, will be the finest thing
you can have. Ask him to dine with you, and let him
become acquainted with her.” The advice was taken, the
little lady was placed beside the great painter at the table,
where he amused her so much with tricks and stories that
she thought him the most charming man in the world ; and
the next day was delighted to be taken to his house, where
she sat down with a face full of glee, the expression of which
he caught at once, and never lost ; and the affair turned out
every way happily, for the picture did not fade, a pheno-
menon occasionally met with even in photography, and has,
till now, escaped alike the inflictions of time or of the
ignorant among cleanei's.

There are two morals to this little anecdote : the one is,
that if all proper means are taken to secure a good portrait,
y/ass-plate cleaning is not the first operation. The preli-
minary proceeding is to dine with your sitter ; the disad-
vantage being, that the photographer’s appetite should
equal the extent of his business, which is not always pos-
sible, even in the present slack times. The second moral is,
that the fading of pictures did not originate with photo-
graphy. Sir Joshua Reynolds’ pictures were known to fade
even in his lifetime, which moans that it is possible for
paintings in oil to deteriorate quite as quickly as photo-
graphs. It is not much consolation to the kettle to know
that the pot is also black, but it is comforting to know, as
we have done for the last year or two, that there is no more
necessity for photographs te fade than there is for paintings.

All this by way of introduction ; I shall attempt to
grapple with this difficult subject — portraiture — next week.

244

THE PHOTOGRAPHTC NEWS.

[xMay 22, 1868.

ON THE TRANSFORMATION OF PHOTOGRAPIIIC
IMAGES IN SILVER INTO OTHER METALS
AND COMBINATIONS; AND ON THE TECH-
NICAL APPLICATIONS ARISING ITIEREFROM.

BY WILHELM GRUNE.

I HAVE undertaken the experiments which I propose to
communicate in these lines in order to make photography
more practicable for industrial purposes ; the good results
which I got will, perhaps, induce others to undertake
further experiments in this interesting and not yet suffi-
ciently cultivated department. Where the photographer has
finished the operations of his negative process, I begin my
work by further chemical reactions on the silver image
resulting from tliat process.

It is known that such an image is obtained by pouring a
collodion containing iodide and bromide on a glass plate,
which is immersed into a h.ath of nitrate of silver, afterwards
exposed to light, and treated with sulphate of iron. In this
process a precipitate of silver is formed on all parts which
have been affected by light, whilst the iodide and bromide
of silver, which have not been influenced by light, remain
unchanged, and are removed by means of hyposulphite of
soda or cyanide of potassium. The result of these opera-
tions is an image consisting of fine powdered metallic
silver on an indifferent aud transparent layer of collodion.
It is a very peculiar fact that this image is not lying
within the collodion, but upon it ; thence follows, that it
can be easily removed by the mere application of a finger
and oil, without hurting the collodion. I make use of this
property by transferring the inverted image on any other
substance (as, for instance, wood, ivory, &c.), and removing
the collodion by means of ether ; the image, consisting of a
very fine powder, remains on thesurface employed toreceiveit.
This process is of great importance for the manufacture of
wood engravings ; it removes the difficulty of drawing on
wood, by which the original image is so often deformed ; it
is not necessary to treat the surface of the wood by itself ;
and in cutting no trouble arises from the process.

In the same way I get photographs totally free from
fading, by transferring to paper images already converted to
platina. Photographs of this kind have a very great like-
ness to engravings, and it is possible to get faithful repro-
ductions of these hj the indicated method.

By the expression “ transferring,” I mean removing the
collodion film, with the image upon it, from the glass plate,
and mounting it on another material, as china, paper, or
other surface. This is effected by placing the glass plate,
with the wet collodion on it, into water, which contains a
little sulphuric acid. After a short time the film is re-
moved from the glass, and may be cautiously transferred
with a brush to any other fluid, and mounted on another
support. In all operations which I propose to describe, I
employ these films removed from glass ; in water they re-
main unchanged for months.

In order to effect the chemical transformation of the
imago, I make use of the strong affinity which exists between
silver and chlorine. The silver in the images decomposes
most of the chlorides, and leads thereby to the proposed
end ; we can employ for this purpose such salts as are
soluble in water, or other solvents, and are precipitated in-
soluble as pure metals or chlorides of a lower degree when
they are deprived of their chlorine; I myself have em-
ployed chloride of platina, of gold, of p.alladium, iridium,
copper, or mercury.

Chloride of silver being formed, the metals or sub-chlor-
ides are precipitated insoluble, and, when chloride of silver
has been removed by the well-known solvents, the precipi-
tated matters remain, and form exactly the original image
in all its half-tones, the substance of the latter being there-
fore changed.

Chloride of platinum changes the grey silver image into
a dark image of platina black. If this be transferred to
glass or china, covered with an enamel containing lead, and

then heated, the image burns in black. In this way I have
got portraits and picture.s on china and enamel for many
years. If we employ a reducing flux, we receive images and
drawings in the peculiar metallic colour of platina. Chlor-
ide of gold gives images of brown golden colouration, green
when examined by transmitted light, which, when trans-
ferred to glass ami china, and butnt in with a reducing
enamel, give golden drawings, capable of receiving a metallic
polish. On this principle I have based my photographic
chemical method of decorating glass and china. The effects
got in this way are of a very great delicacy, but do not show
any half-tones, since gold, even in the greatest dilution, keeps
its original colouration when it is looked upon, although it
may be scarcely perceptible by looking through.

By the facility of making, by photographic operations,
silver films of any thickness we please, and of transforming
them into gold, it has become possible to precipitate gold as
a metal in such a dilution as we have not been able to do
before. More interesting than of importance for practice
are —

Chloride of iridium, which gives dark grey drawings in
the heat.

Chloride of palladium gives dark grey images, which very
peculiarly, when burnt into china and worked upon with a
polishing-stone, like generally gold and silver, show a brown
colouration of metallic shine.

Chloride of mercury changes the silver images into white
ones, consisting of chloride of silver and sub-chloride of
mercury. When employed on photographic paper images
it gives the well-known magic photographs. Such a white
image placed upon a polished plate of zinc, copper, or
steel, is readily decomposed by mere contact, even when
dry ; and when it has been removed the whole drawing
remains on the plate, a circumstance which could be made
use of by engravers in order to get rid of difficult deli-
neating.

These white images are extremely sensible of hyposul-
phites, which they indicate still in a dilution of 1 to
000,000. They may therefore be employed as a proof of
hypo, because they keep, unchanged, for a longer time
uniler water. In a hypo bath the white image is changed
into sulphide of mercury, of black colour. 1 employ this in
order to get very nice effects on glass. If I bring such a film
with a mercury image on it into water which contains
enamel fluxes suspended, the spots struck by light absorb
the flaxes, whilst the other parts of the collodion film
remain indifferent. If this image is brought on glass into a
high temperature, the sulphide of mercury is burnt away,
and on the surface of the glass remains an image consisting
of ground glass, and showing exactly the original drawing
without any colouration.

A white image of suh-chloride of mercury treated with
ioTlides receives a yellow colouration, iodide of mercury
being formed. This is of importance for the practical pho-
tographer, if he likes to make weak negatives more intense.
It is possible to work in direct sunlight with such yellow
negatives, since the layers beneath are not heated so much
as generally, which is of a great value for heliographic
purposes.

, Chloride of copper is picelpltated as siihehloride, which,
when heated wilh sulphocyanidc of ammonia and ferro-
cyanide of potash, receives a red colouration, changed into
flesh-tint by being burnt in on faience and enamel.

I now give a further series of precipitations, which are of
importance for the application of photography on burning
into china and glass, because they enable us to produce dif-
ferent colours and shades by employing different I
suppose, however, that not only chemical reactions produce
these colours, but that also physical properties of certain
finel3’-divided metals have influence on the production :
first of all, a red-brown precipitation, which, according
to Mr. Selle, is produced by treating a silver image with a
mixture of nitrate of uranium and red ferrocyanide of
potash. An image transformed into platina-black gives

May 22, 1868.]

THE PHOTOGRAPHIC NEWS.

245

with the same chemicals a very agreeable brown image,
which I have very often employed for making transparent
photographs on white glass. A mixture of chloride of iron
and ferrocyanide of potash is a brown solution : a platina
image placed into this fluid is immediately changed in a
picture of Prussian blue precipitated. This is not the case
with a silver image. When treated with caustic alkalies the
image of Prussian blue is decomposed ; platinum and oxide
of iron remain. A silver image placed into a solution of per-
manganate of potash is immediately coloured a brownish-
yellow ; oxide of manganese being formed on the image.

As already stated above, these precipitations are not the
only chemical ones, since there is no limit for precipitating.
This circumstance affords to practice the advantage that
every degree of decomposition and every tone may be got.

Great attention has been paid lately to chloride of silver,
because it enables us to reproduce the natural colours by
photographic means. This is especially the case with violet-
chloride of silver. Tho produetion of the sensitive surface of
sub-chloride of silver on silver plates or paper does not
admit exact observations as to the origin of the colours, the
acting film being always bound to a support, which is not
quite neutral. By my method of transforming I receive,
very easily, films which consist only of sub-chloride of silver
supported by collodion or glass. As in the production of
metallic silver images, I receive an equal surface of finely-
divided silver on a glass plate by general exposure ; I now
change this into chloride of silver, leaving it on the collo-
dion ; or I first remove the collodion by burning, and then
treat the silver directly supported by glass. As a means for
transforming metallic silver into chloride of silver, I employ
a mixture of diluted permanganate of soda with hydro-
chloric acid.

ON THE ECONOMIC USE OF ARTIFICIAL LIGHT.

BT DAVID WINSTANLEY, JU.VR.

SuEKLT no person who has over witnessed the production
of an enlargement by the lime, the electric, or the magnesium
light, can have failed to witness with regret the enormous
waste of illuminative and actinic power which takes place.

I believe I may venture to say that no apparatus for such
purposes is in use which does not involve the very serious
drawback of loss of light in most lamentable quantities.

In the use of the electric and magnesium lights, for in-
stance, each gives illumination to the extent of 300^ in the
horizontal angle, and nearly the same amount in the
vertical, and yet it rarely happens in either case that more
of all this vast quantity of light is utilized than that which
suffices to cover a circle 45® in diameter.

In the case of the lime light the loss is not so great, inas-
much as 180® horizontal and vertical is the limit of available
light, By-the-bye, it is worthy of notice that when the
cake of lime is thus sustained in such a manner as to give
a full view of the back, there is as much light given
off from this back surface as would suffice to illumine a
decent-sized room, or quite sufficiently for domestic pur-
poses. In any case, however, there is a vast deal more
light lost than it is desirable there should be.

In the case of the magnesium and electric lights, I am
surprised that a reflector should not have been employed,
even at their earlier introduction. Many have tried, and
one or two even asserted that they have succeeded, for en-
larging purposes, with a parabolic reflector. How such a
reflector could succeed is certainly more than the writer can
perceive, and he is tempted to think that the assertion that
it did succeed is — to use parliamentary language — ‘ ‘ not
altogether in accordance with the strictest veracity.” Had a
spherical reflector been used, the case would have been dif-
ferent, as, by placing the light in its centre, all the rays —
both reflected and original — would hare the same direction
of divergency, and would, therefore, be capable of being
brought to the same focus by the condenser, and of forming
one image instead of two.

The accompanying sketch shows an arrangement in which
Fresnel’s lighthouse dioptric apparatus is combined with a
spherical reflector for the purpose of utilising the largest

possible quantity of the rays proceeding from the electric or
magnesium light, and which appears, in the writer's estima-
tion, as being such as may be added to tho enlarging camera
with great advantage from an economical point of view.
Care would no doubt be required in tho construction of the
lens of the dioptric arrangement, in order to distribute the
light in one even beam ; but care is also required in the con-
struction of a portrait combination, and, indeed, in the con-
struction of everything from which we reasonably hope to
obtain any valuable results ; and if this should prove to be
the only objection to this form of apparatus, wo. shall, I
hope, shortly see it in use for the purpose of producing
photographic enlargements by artificial light.

REMARKS UPON THE WET COLLODION PROCESS.

BY Jin. JICLACIILAN.*

I CAN assure you that it is with great diffidence I discuss
this subject before gentlemen whose knowledge of chemistry
and actual performances in their profession, so completely out-
strip anything I have ever done ; yet my love of the art com-
pels me, if I speak at all, to speak the truth as it is in me. I
am no chemist, therefore claim your indulgence in laying the
following facts before you: —

In my opinion the common process has been tried and found
wanting ; no experience is capable of checkmating its vagaries ;
nor can it be depended upon from hour to hour. I will only
touch upon some of the points, and endeavour to show the
cause of its instability, as well as tho errors committed in work-
ing.

To begin with the bafh, wo are desired to iodize it with
iodide of potassium or silver ; this is very indefinite, for there is
a great difference in its working, according to the kind of silver
used, and the way it is prepared. What is wanted, 1 presume,
is iodide or bromo-iodide of silver with an excess of nitrate,
organic matter acting as an accelerator ; if this is so, it must be
very important indeed to obtain the iodide in a proper condition.
I think this will bo admitted ; if not, try the following experi-
ments, and you will soon be convinced : — Suppose you begin
with neutral silver : into an ounce measure place one drachm of
35-gr. silver solution, into another measure the equivalent pro-
portion of iodide of potassium ; mix and wash, see tho kind
obtained ; repeat the experiment with another drachm of silver,
only adding one drop of weak nitrie acid, of the strength of one
drachm of acid to 6 ounces of water ; again observe the iodide
obtained ; keep repeating this experiment, and you will find
every time a difi'erence in the iodide, each addition of acid

* Read before the Photographic Society, May 12th.

246

THE PHOTOGRAPHIC NEWS.

making it less sensitive ; reverse the experiment, and, instead
of acid, drop into tlie silver 1 drop of caustic potass, 1 grain to
an ounce of distilleil water ; do this five or six times, compare
the iodides in appearance and working ; the perfectly neutral
giving by far the most certain as well as the most truthful
results, the acid iodide giving tliin oictures, and the alkaline
giving unstable patchy ones that decompose tlio development.
An iodide made from a concentrated silver solution will give
a stronger picture than one made from a weak solution. When
a bath is made, the water-bottles, &c., should bo of an equal
temperature, as near 60° Fahr. as possible. To prove this, take
a rather acid silver, let the water bo from 6')° to 70°, iodize with
iodide of potassium, dilute to requisite strength, and you are
almost certain to have slightly streaked plates witli indications
of fogging. Such a batli will soon give bant pictures, especially
if the precipitate of iodide has not been great ; if it has, they will
be ovener but rather more foggy ; this is caused by the tempera-
ture separating the iodine from its base, free iodine causing tine
streaks, the base the fogging. Long rest or sunning will cure it
of its fogging propensities. Should you add nitric acid to cure
it your difficulties begin, because of it acting upon and decom-
posing the iodides in the collodion ; for according to the state
of the bath or collodion will you have one or other of the
iodides described. Alkaline plates are often obtained from an
acid bath, because of the collodion being made of strong alcohol
and ether ; the iodizer not being of the most soluble kind under
such circumstances, decomposition or disturbance takes place
in the plate while the iodide is forming ; with an acid bath this
is always so more or less. This tells me that for certainty and
perfection of results, both bath and collodion should be neutral.
By the common system of working this is not po.ssible (at any
rate for daily practice), but my way of preparing the bath
allows this, as it gives the necessary lirmness to the picture, as
well as having the power to rectify any alkalinity in the
collodion.

Every different kind of silver makes baths of different degrees
of quality and stability, and this is not caused by any impurity,
but is entirely owing to the state the crystals are in. Condition
of chemicals is everything, and not — what might be supposed —
actual purity. A clear, transparent, neutral, dull, and blue-look-
ing crystal is the best of all ; the semi-opaque, slightly alkaline,
and white-looking, being the worst. Baths from this silver are
not so lasting, nor do they generally give such clean pictures.
This kind, even when perfectly neutral, is what I should call
weak in constitution, and no addition of .acid, however carefully
added, will ever give it the same stability as the clear, deep-
coloured, neutral crystal. The addition of acid helps to give it
stability, but it does not answer so well as the proper crystals.
The acid seems to act by itself, and to affect the collodion much
more injuriously.

1 will now examine the collodion, and see if it is likely to bo
in a proper condition for forming an iodide or bromo-iodide of
silver in equivalent proportions when it is placed iii the
bath. For this to be possible it must bo perfectly homo-
geneous ; by that 1 mean there must bo an atom of iodine in
combination with an atom of base. This, I think, is very rarely
if ever obtained, because of the action of the pyroxylino and the
solvents upon the iodizer, for as much as we depart from equi-
valent proportions do wo fail in obtaining, not only stability,
but, more than all, truthfulness. Excess or separation ot base
gives hardness and a corresponding want of the power of
rendering perfect anatomy. The free iodine, .although serving
to give clear pictures and reduce intensity, is constantly acting
injuiiously upon the bath. Neither the free iodine nor the
separated base play any direct part in the formation of the
image, but they are highly injurious in the nitrate bath, causing
hardness and groasiness, and speedily destroying its good work-
ing qualities. Why cannot wo obtain the iodizing solution un-
decomposed in the collodion ? There are various reasons why
this cannot be obtained: first, strong ether and alcohol will de-
compose the iodides more or less, according to their solubility ;
the pyroxyline that is generally used will decompose the iodides
more or less, and so will the acidity or alkalinity of the solvents
cause a precipitate of the iodides or the bromides, as the case
may be. I shall, no doubt, be told that pyroxyline can bo made
that will not <lecompose the sensitizer. Of this I am aware ; but
it will often do worse in many wa3's not possible to bo explained
in this article. Very soluble iodides can also bo used, but they
give thin pictures ; for remember, it is the state of solution
of the iodide th.at is everything, and not the kind of iodide.
Condition ^is everything; tho more a<:id collolion is, tho

[May 22, 1868.

more unstable it is as a rule. Now, tho effect of introducing
into tho ordinary nitrate bath a collodion with a part of tho
base of the iodide free is to produce an iodide of silver in tho
wrong condition. According to tho st.ate of solution in which
the iodide is in tho collodion, so will tho picture be flat, hard, or
round ; but it cannot be truthful, .although it may be sometimes
more pleasing than if it was so, hard features being favoured
by an iodide that is easily soluble. Pyroxylino I will say
nothing of, as the varieties are so numerous that I should only
waste time by alluding to any ; yet it is of more importance to
photographers to thoroughly understand their different actions
in collodion than is generally im.agined. There is a revolution
that wilt come from pyroxylino as great as any that I claim for
my bath. When this is accomplished, as it will be, failures
will no more bo known but through carelessness, and never,
until it is, can wo have an iodide of silver in a perfect state.

There is now the iron solution, or developer. Nothing 1 have
ever read has given mo an insight into its difforent states or
conditions ; it has always boon so many grains protosulphide, ns
if it was .always of tho same kind, any more than collodion is ; I
refer to tho protosulphide alone, without tho many additions it
has from time to time been subjected to. There are just as
many kinds of iron as there are of silver or collodion, and all
guaranteed to bo pure ; and I have no doubt they are ; for
although there ought to bo nothing easier than to obtain a
definite pure crystal of iron, yet it is not so easy : for unless
you purchase a lot at once, every different sample will produce
a difference in the negatives. I will describe some different
kinds : — No. 1 is a deep green crystal, dissolves quite clear, and
keeps so for a whole day and night without the addition of any
.alcohol or acid. No. 2 is less deep in colour, dissolves clear, and
keeps clear perhaps for a half-day. No. 3 is much lighter in
colour ; this is said to be absolutely pure ; after it is dissolved
it gets slightly muddy in about ton minutes. No. 4, common
green coperas, impure, at Id. per lb., and such as is used by
dyers, goes quite muddy even while it is dissolving. There
are many other kinds of iron ; but these are suflicieut for
illustration, every one wanting diflerent treatment in its pre-
paration ; for every one of them is invaluable when its special
qualities are known. Take No. 1, 15-gr. iron to 1 oz. water, to
16 ozs. of which add 5 drras. alcohol, pure spirit, aad 3-2 drms.
glacial acid ; try tc develop, and you will find that it will not
flow evenly over tho pl.ate ; No. 2, and the same until you come
to tho slightly muddy one, the pale-blue crystal pure iron ; this
will go evenly over. But see what a difference in their action :
the iron that dissolves clear will give you aclear picture, but thin,
because of tho silver being washed away ; the iron next in clear-
ness, when dissolved, will give a more intense picture, principally
because of its remaining more even on the plate ; and those that
dissolve milKy, or become so after a short time, will give thin
fogsy pictures.

Now try an experiment : take any that keeps clear, dissolve
in the same amount of water, add pure spirit, place the bottle
in a saucepan on tho fire with something to keep it from the'
bottom of the pan, fix tho stopper loose, boil as long as you
please (say for an hour or more) ; do this only for an experi-
ment. Now, if you do not turn the neck of tho bottle up the
chimney before you take ot t the stopper, you will have the
contents in your face.

The iron that dissolves next in clearness will be less liable to
do this, and so on until you come to the kind that dissolves
milky. With them there is no expansion of the alcohol ot any
consequence. How is this? Just because of the first samples
of iron having more acid in them than tho others, the alcohol
being noutr.al, or perhaps slightly acid from age ; in this state
it will not amalgamate with an iron salt containing a trace of
free acid.

Take tho weak potash solution which is used for tho
collodion, drop two or three drops into the alcohol, add this
to plain iron solution ; now boil ns much ns you like ; tho
alcohol, being homogeneous with the water, will not be sepa-
rated ; before they were merely mechanically combined, and,
when placed upon tho plate, naturally parted ; now they
will lay even. The iron salts that dissolve clear do not need
to bo decomposed by heat to prepare them for developing ; and
they willgivethe most dense pictures. Aboutten minutes’ boiling
will make the picture develop still more densely. Very long
boiling (say one hour) will give you a very thin picture, but
particularly clear. In a word, tho irons that dissolve clear
have more developing power ; the muddy ones less, and so give
much more half-tone. All tho irons that ilissolvo tho least

Mat 22, 1868.]

THU PHOTO GRAPHIC NEWS.

247

muddy, or got so after standing half an hour or so, should havo
tho alcohol put to them, and heated more or loss ; when the iron
is heated with alcohol, add tho aciil, after short boiling (say live
minutes) gives most half-tone ; up to half an liour, more vigour.
Tho common iron used by dyers, when very slightly heated, just
enough to slightly poroxidizo part of it, gives by far tho most
half-tone of any, and is quite invaluable when your pictures are
at all hard ; your materials must, indeed, be in a bad condition
if you cannot got perfect softness with this iron. This difference
consists entirely in the different normal power of oacli iron to
absorb oxygen, very much more than upon its preparation ; by
that I mean tho number of grains used, or the amount of acid.
Of course their action is varied acconling to strengtii ; but it is
the particular developing power of tho iron that is wanted to suit
the state of tho collodion and bath. Nearly as much change
can be made in tho character of tho picture, according to tho
kind of iron used, as there is in tho collodion ; this is quite
irrespective of tho number of grains or amount of acitl. It is
highly important to suit tho developing power of tho iron to
the state of bath and collodion ; for if it develops too quick for
the collodion, tho pictures will bo hard. Every kind of iron can
bo kept ready by having small bottles quite full, with good
corks; in this way it will keep indefinitely. Mix tho two
extreme irons according to tho result required. Iron solution
left to peroxidize is not near so gooil as when it is maile at once
by heat. If a bottle full of perfectly plain protosulphato of iron
be put in the light, although the stopper is quite air-tight, and
no seeming change takes place in it, yet, after having been in
the light for a month, when tho glacial acid is added to it, it
will instantly absorb oxygen, and completely fail to develop a
picture worth anything. When methylated alcohol is used for
tho development, it is often in itself alkaline, therefore needs no
alkali added to it.

{To be continued.)

DBY-PLATE PIIOTOGIIAPIIY.

BY S. BEVERLEY.*

Having promised you a paper on dry-plato photography,
you may naturally expect to hear something of the dift'er-
ent dry processes in general use ; hut I may as well confess
at the outset that my experience with dry plates ha.s been
confined to thecollodio-albumen process (England’s method).
1 have, however, no doubt that any of the recognized dry
processes will do quite as well ; but for the same reason that
some of you prefer the wet proce.ss to tho dry (because you
are used to it), I prefer England’s method to any other for
out-door work, and I would advise those of you who intend
to try dry plates to consider which is the simplest and the
best, and then get every requisite for that process befoic you
begin. Prepare the plates carefully, being sure you omit
nothing. You should, before exposing, let the plates be
thoroughly dry, or they are sure to develop unevenly, and
you might blame the process. I believe that many persons
give up dry plates on account of the failures they have at
the commencement, through nothing but lack of patieuce.
Being used to taking a negative in ten minutes, from coat-
ing the plate to finishing, they do not know how to wait
until a plate dries ; on having done so, they hurry through
the development, make their pictures hard, and then com-
plain that they cannot get the same harmony, the same soft-
ness, combined with brilliance and vigour, that they can
with wet plates. We should be inclined to ask : Why not?
If you under-expose or under-develop a wet plate, you get a
hard picture, or one without detail, or both ; you can get
nothing worse with dry plates. If you very much over-
expose and over-develop a wet plate, you do not get brilliant
prints ; it is only the same with dry plates ; and as the deve-
lopment of dry plates is slower and more under control than
wet-plate development is, if a person fails with dry plates
he is more at fault than if he fails with wet plates. Patience
is a virtue that every photographer must possess, and if
any of you should fail to get good results when commencing
dry plates, please remember, or try to do so, the numberless

* Read before the Oldham Photographic Society, April 30th.

times you failed when commencing with wet plates ; and I
can assure you, if you persevere, you are sure to succeed.

Tho out-door photographer who works with wet plates
has to contend with many dilSculties. Landscape scenery
does not come to him to be photographed ; he must go
where it is ; and in doing so he must take his traps with
him, which, to say the least, is enough to spoil the pleasure
of a day out. And this is not all. Arrived at the scene of
action, he has sometimes to go a quarter of a mile for water
to wash his plates, and more if he fixes up his tent on the
road, which is often the case, on account of the difficulty he
finds in getting into out-of-the-way places with so much
luggage. He is perpetually annoyed with dust, and, what
is worse, plenty of prying pe(q>le, who congregate about any-
thing they do not understand ; and any body who has tried
it knows how seldom they can get a view without some ono
wishing to improve it by standing gazing into the camera,
and that such an acquisition to the view does improve it
who can doubt ? Again, tho difficulty in removing from one
place to another is so great that the wet-plate photographer
often carries camera and stand two or three hundred yards
around his tent, returning each time to develop his plates,
the result being that he returns home thoroughly exhausted,
and often with little success.

Let us now accompany two ardent photographers into the
country. They are going together for a day’s pleasure. The
weather is beautiful. What a lovely change from working iii
the operating room, on a hot summer’s day, to a ramble in
the country, where they can, for one day at least, inhale the
pure country air, instead of the poisonous fumes of the smoky
town ! Both have with them their apparatus. One carries
a tripod in one hand and a small parcel in the other, and walks
along as though he were empty-handed ; the other carries
in one hand a parcel (or, rather, a large box, containing
camera, chemicals, &c.), in the other, and also suspended by
a strap round his neck, a still larger box. Their journey is
about three miles, and as they cannot go by rail, of course
they must walk. The first mile or so is got over pretty
easily, and the man carries his luggage and complains not;
nay, he thinks he can manage very nicely. His parcels are
not over heavy, but as they near their destination he begins
to think the weight increases. They arrive at last, however,
and pick out a view, agree upon a place of meeting, in time
to return home.

The dry-plate man has exposed a plate before the wet-
plate man has cleaned his first plate, and, if he has plates
enough with him, can take two views for the wet-plate man’s
one the day through. I will not dwell upon the difficulties
experienced by the wet-plate man, as most of you are aware
of them ; let it suffice that he meets the dry-plate man, who
has exposed his plates with little or no trouble, and has
enjoyed himself amazingly. When they are returning
home they meet a friend, who desires to know how far he
has carried those things. “ Not far,” says the wet-plate
man ; “ only about four miles, and two to go.” The friend
jogs along, and the wet-plate man heam, floating along the
breeze, the lovely words, “ Britons never shall be slaves !”

Many of you may say you are aware that it is less work to
take landscape scenery with dry plates than with wet ; but
you know not until you return home what you have got.
But I tell you a person accustomed to dry-plate work knows,
when he has exposed his plates, what sort of pictures he will
have ; he has seen the view he wants on his ground glass,
exposed his plate, and takes it home with as much confi-
dence as if it were already developed.

The formula I use is the one given by Mr. England, or
near it ; you have all seen it in some of the photographic
papers or Year-Book. But, to remind you of it, I will here
state it : — Pour collodion on a clean plate, and sensitize in a
30-grain bath, as for wet plates, then wash until all greasi-
ness disappears ; next pour on a solution of albumen con-
taining a few drops of liquid-ammonia ; let it flow over tho
plate like collodion, and return to the bottle. Repeat this
two or three times ; wash moderately. Now carefully pour

248

THE PHOTOGRAPHIC NEWS.

[May 22, I8C8.

over the plate a 20-grain solution of nitrate of silver con-
taining a few drops of acetic acid to one ounce of solution.
Let this stay on a few seconds ; pour off into another bottle ;
this must not be used over again. This is the backbone of
the process, as every plate gets the benefit of a new bath,
and is thereby equally good. After this the plate only wants
thoroughly washing, and you have a plate which, when
dry, is capable of producing the best results (equal to wet
lates), and should it fail, the development or exposure is to
lame. To develop, pour on a .“l-grain solution of pyro-
gallic acid, and, when the picture is faintly but thoroughly
out, intensify in the usual manner with pyroand silver; fix
with hypo of soda. I never use distilled water for any of
the washings, but use it for silver baths and pyro for
developing solutions.

I think nothing more need be said in favour of this pro-
cess than that Mr. England uses it in preference to the wet.

^creut IJutnit.').

PKODUCING TRANSPAEENT DESIGNS ON
PAPER.

BY WALTER B. WOODBURY AND R. II ASHTON.

The object of this invention, which is simply one of the
variously ramified applications of the photo-relief printing
process, is to produce by pressure on paper, with a relief
photographically obtained, designs resembling the ordinary
water-mark, with the object of preventing forgery in bank
notes, cheques, &c. The method is also applicable for pro-
ducing images on lithographic stones, by placing thin
paper charged with a greasy substance between the relief
and a lithographic stone. The operations are described in
the specification as follows : —

In carrying out our invention a relief is first obtained in
gelatine by the process described in the specification of letters
patent granted to Walter Bentley Woodbury, and dated 23rd
September, ISG-t, No. 2338, or by any other analogous means.
This relief is mounted or laid on a plate of hard metal, and the
paper to be impressed is rolled or passed through a press in
contact therewith, by which means the paper will be rendered
transparent at those parts where it has been pressed in contact
with the relief parts of the design. On looking at the paper by
reflected light a positive picture will be seen (the transparent
parts appearing darker than the surface), but upon viewing
the same by transmitted light it will appear as a negative ; if
the reverse effect be desired it will bo necessary to replace the
ordinary negative by a transparent positive in the production
of the gelatine relief ; or a metal relief or intaglio may be
obtained from the gelatine (by pressure or by the electrotype
process) and used with the ordinary paper machinery for pro-
ducing the water-mark. Either line subjects or those bearing
half-tints may be thus impressed on the paper; in the latter
case the different amounts of pressure given to the paper by
the varying heights of the relief will produce the effect of the
raiddle tints as well as the extremes of light and shade. In
place of using the relief direct as obtained to produce the
water-mark in the paper, a reverse of this relief may be
obtained by means already known, and a number of casts of it
may be made in gelatine on the surface of a steel or zinc plate,
and when dry those plates may bo used for pressing the paper,
or a sheet of highly pressed paper may take the i>laco of the
steel or zinc jdates. Where the reliefs obtained by light are
used, having for their support collodion, these may bo cut to
any shape, and mounted on the zinc or copper plate by means
of india-rubber or other varnish or cement. It will bo evident
that if (while the paper is undergoing pressure in contact with
the gelatine relief) a piece of fine paper charged with a
coloured greasy material similar to the carbonized paper used
for copying letters is interposed between the relief and the
sheet of unsized paper, a design bearing half-tones, according
to the variations of the relief, will be impressed upon the latter,
which may be transferred to stone, and used to print litho-
graphic impressions in the ordinary manner; ortho imago may
by the same means bo impressed at once on to the stone with-
out transferring.

Having now described the nature and object of our said
invention for “Improved Means of Producing Designs upon
Paper,” together with the manner in which the same is to bo
or may be performed or carried into practical effect, we would
remark in conclusion that we claim as our invention the pecu-
liar method hereinbefore described of producing transparent
designs or water-marks upon paper from reliefs or intaglios
obtained by the aid of photography, and also of producing by
the same means (with the interposition of paper charged with
a greasy substance) of designs either directly upon stone, or
which may be transferred on to stone for printing by the ordin-
ary lithographic process.

PRODUCING PRINTING SURFACES.

BY A. A. DI3DERI.

Thi-s process, for which M. Disderi received provisional pro-
tection, is not very fully stated, as the patent was not com-
pleted. The provisional specification is as follows : —

This invention comprises two distinct features ; first, the
transformation of a photographic imago into a matrix obtained
by galvanoplusty ; and, secondly, the production with this
matrix either ot impressions with inks or of any colour upon
paper, textile fabric, glass, ceramic ware, wood, stone, and
metal, or of countertypes in relief or iu intaglio on any metal,
or of engraved blocks for printing.

The invention consists — 1st. In obtaining by means of a
vehicle (say albumen, gelatine, or other analogous body) a
coating or layer containing salts which modify under the action
of luminous rays, such as nitrates, chlorides, bichromates, prus-
siates, and the like, double salts of different metals, gold, silver,
copper, and the like. The said coating or layer gives a proof in
relief by causing to dissolve, according to its nature, the parts
not impressioned by light, by means of water at different tempe-
ratures, alcohol, ether, or acids, and thus leaving bare the parts
gradually metallized. This coating, or layer, obtained in relief
after the mode of an ordinary photographic negative, will give
a positive proof by transparency with the blackest lines in
relief and the whitest in intaglio.

2nd. In varnishing the contour of the glass bearing this posi-
tive proof with gutta percha, in order to avoid damage ; in then
employing the means ordinarily adopted in galvanoplasty in
order to cause a deposit upon this image of a layer ot gold,
silver, copper, or other metal, and to obtain thus a matrix, the
hollows of which will be formed by the black or dark parts and
the relief by the white or light parts. The production of this
matrix constitutes the first part of this invention. Now with
the matrix I can obtain various artistic and industrial results,
which constitute the second part of the invention.

Firstly. I can cover;this matrix with an ink at the ordinary
temperature, and apply it to printing upon glass, wood, stuffs,
porcelain, paper, aiul other bodies. Dessication takes place ;
then, to detach the image easily from the matrix, and to leave
it adherent to the body applied to receive the impression, I heat
the matrix gently with a spirit lamp. 1 compound the ink by
mixing therewith ingredients which melt under heat, such as
gelatine and the like, and colouring ingredients to vary the
effects ; 1 also add vitrifiable matters if I wish to print on por-
celain and to obtain enamels and the like. Finally, I can, by
the process above-described, produce impressions on wood,
metals, paper, glass, stufl’, stone, plastic substances, and other
surfaces.

Secondly. I c.an submit the matrix to a second galvanic opera-
tion to obtain proofs in relief in gold, silver, copper, or other
metals, which, besides appearance, will give results the most
favourable to great preservation. These proofs can also, by
the known typographic processes, servo for printing, as with
engravings in wood or metal.

rORTABLE APPAR.\TUS FOR THE FIELD.

BY HENRY COOK.

This portable laboratory or apparatus for working wet
plates in the field was only provisionally protected. The
specification is as follows : —

The photographic apparatus which forms the subject of the
present invention has for its object the construction ot a con-
venient form of portable apparatus tor taking views without
the necessity of carrying about a cumbrous and unwieldy quan-
tity of apparatus.

May 22, 1868.]

THE PHOTO GKAPHIC NEWS.

249

The app.aratus is composed of two main parts, consisting,
firstly, of a circular bos G inches in diameter and 2i inclios in
thickness, constructed to contain fifty or any other convenient
number of prepared and sensitized glasses, each li inches
square. These glasses arc brought by means of the simple
rotation of the case one after another directly over a door
which opens and shuts automatically.

The second part of the invention consists of the photographic
apparatus or camera itself, which forms the principal part of
tho invention. This apparatus is of the form, dimensions, and
appearance of an ordinary opera glass. Tho glass plates used
in tho camera aro exquisitely sensitive, and will keep so for
twelve months, and the images taken may be developed at any
interval after exposure. The two tubes of the opera glass are
furnished with two lenses exactly similar in focus ; one of these
serves to project the image to be taken on to tho ground focus-
sing glass which occupies tho largo part of the tube, the other
to produce the image on tho prepared glass plate, which
occupies a small dark chamber formed in the opposite tube.
Tho circular box in which aro arranged the prepared glass
plates is pushed over an opening in this chamber provided with
appropriate grooves ; tho doors of tho box and of the dark
chamber are simultaneously opened, and a prepared glass plate
falls from the box into the dark chamber. When tho view has
been taken the apparatus is turned upsido down, and the glass
plate which has been exposed will fall back into its place in the
box, which is then removed. Tho door of this latter closes, and
a small movement to tho right or left brings another prepared
glass plate over the door and the opening in the camera. As the
place of each prepared glass plate is numbered, all danger of
using a glass twice over is avoided. The tube which contains
the ground focussing glass is provided with a magnifying power
to facilitate the linding of the focus ; that which contains the
dark chamber is provider! with a spring and screw to hold the
prepared glass in its place ; this tube is likewise furnished with
a very convenient stop or blind, whicb, when the instrument is
fixed and the focus found, may bo opened and closed according
to the time of exposure. When all tho prepared glass plates
in tho box have been exposed they may bo removed in artificial
light and placed in the supply box, from which an equivalent
number of fresh glasses may be taken. Within the space or
size, therefore, of an opera glass, a drinking cup, :nul a pistol
case for extra glasses, a man may take and bring home with
him two or three thousand views. If he be a photographer he
will develop the views himself ; if not, he will give them to a
professional man, who for a trifling expense will complete and
enlarge them for him. So great is the facility of enlargement,
and so perfect are the results, that it is quite an undecided
question whether it would not bo wiser in all cases to adopt the
system of taking small views. A very perfect stand has been
devised uniting the requisite rigidity with great lightness ; it
is a simple socket and upright post provided with an universal
joint of great simplicity, which permits of the rapid fixing and
removal of the instrument.

METHOD OF ENLARGING.

BY J.iMES SIMPSON.

Tins method of enlarging, or rather the arrangement of
apparatus for carrying it out was only provisionally pro-
tected. The specification is as follows: —

My invention is designed for tho purpose of fiicilitatiug tho
process of obtaining enlarged photographic pictures from small
negatives, and also for producing from such negative a superior
positive print than is obtained with tho process now adopted :
and tho improvements consist in the employment and use of
an ordinary photographic camera and lens in connection with
an elongated conical dark tube or other shaped box, which may
be constructed of one given length or arranged telescopically
in order that it may be diminished or elongated in length.
Tho camera or cameras are connected with the dark box so as
to have the lens enclosed and embraced by tho narrow end of
the cone, or inserted in one side of tho box, the opposite end
or base being provided and enclosed with a slide or slides con-
structed like the ordinary dark slide of a camera, in order that
it can receive a sheet of paper or other material having a pre-
viously prepared sensitized surface ; the ordinary dark slide of
the camera at the reverse end and outside the conical box is
arranged so as to receive the negative to be printed from,

which thereby becomes the only medium through which the
light entering tho box will bo allowed to penetrate, tho rays of
light so entering tho box being dift'used and governod accord-
ing to the opacity or transparency of tho negative, become iu
their passage through the lens gradually enlarged until they
strike upon and are received by tho previously sensitized sur-
face placed at the base of tho cone, the result of which is a
direct enlarged positive print, the depth or intensity of which
is regulated according to the time the sensitized surface is
exposed to the action of light through tho negative and lens.
The conical dark box is provided with sliding doors, one near
tho adjusting screw of the lens, and the other for the operator
to look through, in order that tho greatest nicety of focus may
be obtained before exposing tho sensitized surface, the doors
being closed before such exposure.

INSTANTANEOUS PHOTOGRAPHY A QUARTER OP
A CENTURY AGO.

A DESCRIPTION of instantancous photographic portraiture
upwards of a quarter of a century ago seems at first sight
somewhat startling, and might lead to the question. Have
we really progressed ? A little reflection would, however,
leave little doubt on that subject, but would not deprive of
interest an account of the operations in a photographic
portraitist’s e.stablishment si.x-and-twenty years ago. A
correspondent has called our attention to the following ex-
tract from the Spectator of April 16th, 1842, describing
the late Mr. Claudet’s operations at the Adelaide Gallery
when photography itself was a novelty and a wonder.

It seemed sufficiently wonderful to liavo one’s “ portrait in
little ” limned by the sun in a few seconds, but now it is done
instantaneously ; a passing expression is transferred to a plate,
and tho “ Cynthia of the minute or rather of the moment —
is caught and clapped into a case in no time. This magical
celerity in taking photographic likenesses by tho Daguerreo-
type, at the Adelaide Gallery, is the result of some improve-
ment in the process recently made by M.Claudet, who has also
greatly improved the pictorial effect of tho miniatures by tho
introduction of backgrounds, and ho adopts a method of fixing
tho imago peculiar to himself. The momentary quickness
with which the likeness is taken prevents the necessity for re-
taining a fixed look and posture for a certain time ; this is not
only more agreeable to the sitter, but gives a life-like ease and
vivacity to tho photographic portraits : thus, the objections
made to their stern and gloomy expression are obviated in a
gloat degree, tho most transient smile being reflected in the
polished surface of the pl.ate as in a mirror. The addition of a
background of trees, arclrjjecture, or a library, takes away from
the metallic effect of the plate, and gives to the miniature tho
appearance of an exquisitely finished mezzotint engraving seen
through tho wrong end of an opera glass. This addition is
made by simply placing a scone, painted in distemper in neutral
tint, behind the sitter, and arranging the focus of the lens of
the camera so that the upper part of the figure is shown. By
diminishing the size of the head, the defects arising from an
exaggeration of facial peculiarities aro got rid of, and the
salient points of the physiognomy are, as it were, concentrated ;
the fixing process, too, imparts a warm brownish tinge to the
miniature, substituting tho tone of a sepia drawing for the
livid coldness of the metallic surface. Tho roof of tho Adelaide
Gallery is the scene of these operations, on which a chambjr
glazed with blue glass is erected for use in cold and rainy
weather. When it is fine the sitter is placed in tho open air
under an awning to screen tho face from tho glare of sunlight.
Waiting your turn, and whiling away the time by trying to
discern distant objects through tho smoke, or looking at tho
steeple of St. Martin’s Church that rises in bold relief before
you, a courteous person invites your attention to a little square
box that he holds, and, placing it on a stand directly opposite
to you, begs you to remain steady for an instant. lie lifts up
the little dark curtain that veils one side of the cube-shaped
box, and lets it drop directly. You suppose there is something
wrong. Not at all; the thing is done. Whatever your look was
at that moment it is transfixed on the plate, and you may go
to the little laboratory where the process of “ fixing ” is per-
formed, and, as tho moisture of the preparation is evaporated
from the surface, see what was the precise expression on your

250

THE PHOTOGRAPHIC NEWS,

[May 22, 1868.

face at the time. There is your image as though a diminish-
ing glass had perpetuated the reflection, only without colour.
But what a hand ! Surely you have not got such a huge fist ?
No ; you happened to thrust it forward before the plane of the
picture, and hence it has been taken under a different angle.
You don’t like to present a portrait with such a fist to the fair
one to whom you have ofiered your hand, and you hesitate,
though the likeness is so striking. M. Claudet perceives your
embarrassment, and, anticipating the objection, says : “ Let us
try again, if you please and the operation is repeated — ay,
and a third time, if any accidental failure renders it necessary.
Should you prefer it, a friend may share the operation, and, at
the same moment, hoth phizzes will ho transferred to the plate.
We saw a loving couple taken in this way^nay, even groups of
three ; you may have a whole family enclosed in a couple of
miniatures. The small size of tho heads does not diminish the
likeness ; you might have a sot of shirt-studs ornamented with
portraits of your friends.

South Londo>t PHoxoaRAPiiic Society.

The ordinary meeting was held in tho City of London Collogo
on the evening of Thursday, May 14th, Mr. T. Sebastian
Davis in tho chair.

The minutes of a previous meeting were read and confirmed,

Mr. Henderson exhibited some exceedingly fine enamels
which he had produced by a process which ho has recently dis-
covered. The re.sults were exceedingly fine.

Mr. Wharton Simpson exhibited some examples of Marion’s
“ Vitrified India-Rubber Sheet,” which ho explained did not,
on examination, appear to bo india-rubber. It was, most pro-
bably, made in tho same way as Herr Grune’s “ leather collo-
dion,” made from collodion containing castor oil. He also ex-
hibited some of a similar pellicle made by Mr. Woodbury,
which was at the same time treated with iodized collodion,
excited, and a preservative applied, forming, in fact, a dry collo-
dion plate without glass. Ho also showed a negative produced
on such a dry plate.

After some conversation on the subject.

The Chairman called attention to some fine examples of
Mr. Rejlander’s photography, consisting of tho seven studies
taken when he was producing the negative from which the pre-
sentation print of tho Society, “ A Night in London,” was
printed. It illustrated that in working out a good idea several
attempts might bo necessary before the highest result could be
obtained. Ho also called attention ^ throe charming studies
from life by Mr. Rojiander, one of which was an admirable
head, after the stylo of Guido’s Beatrice Cenci.

No paper having been provided, in response to the Chairman’s
invitation to any member to introduce a subject of conversa-
tion,

Mr. Rejlander said he had often seen articles in which the
advantages of clear glass in tho shadows of a negative were
claimed. Ho thought there was danger in aiming at this,
unless much judgment were used. In a portrait with a dark
background, it was a good rule to avoid liaving tho deepest
shadows in the figure as deep as tho background, whilst with a
light background they must of course bo deeper. The effect of
the shadows, being holes in which you could look through and
see the background, should be carefully avoided. A negative
with all tho shadows represented by bare glass would not
possess much gradation ; a good picture should only have a very
sparing amount of pure black or white.

A desultory conversation on the subject followed, and on
the question whether a picture was better for the entire absence
of any points of pure white. After which,

Mr. Simpson showed a number of Mens. Adam-Salomon’s
prints unmounted or finished in any way, to illustrate the
amount of touching in the finished prints. They were much
admired, and a general acknowledgment was made that touch-
ing was rarely needed, the photography being exceedingly per-
fect, and tho pictures singularly full of half-tone and model-
ling.

Tho Chairman announced that the presentation print would
be ready for issue at the next meeting,

Tho proceedings then terminated.

MR. ENGLAND’S PROCESS.

Sir, — While perusing a recent number of one of the jour-
nals I was surprised to find that the application of nitrate of
silver as a sensitizer to the collodio-albumen film was attributed
to Mr. England. This, sir, is not correct ; for that fact was
discovered by me in the summer of 1858, and the process laid
before the North London Society on the 26th of Juno in the
same year, and subsequently embodied in a paper which I read
before the liondon Society, at King’s College, on tho 4th of
December, 1800.

Now, sir, I do not wish in tho least to charge Mr. England
with taking to himself that which he believes to bo another’s ;
and therefore tho only reason I can assign for so old a photo-
grapher not knowing that such a process did exist is, that while
Mr. England gave his mind entirely to wet-plate photography,
myself and others were engaged in endeavouring to discover a
dry plate process available in tho field, and certain in its
results.

One word with regard to the keeping properties of the plate.
If you finish it at once, the sooner it is exposed the better ;
but 1 would recommend that the film should be allowed to dry
after the albumen has been washed off ; because, in this state,
it will keep any length of time, and it can bo rendered
sensitive at any time by redipping in the nitrate bath, or a
solution of nitrate of silver poured over the plate, taking care to
well wash afterwards. — I am sir, yours, &c., J. Ryley, M.D.

48, Gibson Square, Islington, Mag 14, 1868.

HONEY PROCESS.

Dear Sir, — For the benefit of your readers who may not
have seen the early numbers of the Photooeaphic News, I
repeat the process, strongly recommending it to keep for any
time within six or eight hours. When your plate is ready for
the carrier, pour over it a solution of honey ; pour off ; again
pour on from the opposite corner a fresh quantity. The second
lot may be used for the first coating of next plate. Exposure
not more than three to four seconds more than the wet plate.
Develop with either iron or pyro (caution : beware of too much
intensity in tho sky). Flood tho plate with developer. When
detail is nearly out, add 2 to 3 m. of silver solution, wash, fix
hypo, wash. To make the honey solution, buy the country
honey, which in season may bo purchased from lOd. to Is. 4d
per lb. Take 1 ounce by weight, add 2 ounces of distilled
water, filter through cotton wool, neutralize with drops of a
10-m. solution of liquor ammonia. When neutral, add 1 or 2
m. of a 10-m. solution of nitric acid.

I believe tho whole secret of tho process lies in neutralizing
and acidifying the honey, to get good clear results. If for
keeping longer, wash tho plates after they come from tho
bath before applying tho honey, and report progress. — Yours
respectfully, S.

SULPIIOCYANIDE TOMNG.

Dear Sir,— I have for some time used tho sulphocyanide of
ammonium for toning, but from tho first three or four lots of prints
1 toned in that way I perceive, that with all its advantages (and
they are many), one great objection was the tendency they had
to lose their puritg in the whites. In some few cases, of course,
this effect is an improvement ; but in prints from negatives
which have those delicate half-tones that all photographs ought
to have, it deteriorates much from their beauty if the whites are
not pure. To obtain my prints free from that defect, I wash
them in the ordinary wray, and then put them for a few minutes
— or until I see them clear in the whites — into the following
bath ; —

Acetate of soda
Carbonate of soda

Water

Chlorido of gold

... 4 drachms

... 10 grains

... 20 ounces

... 2 grains.

After taking them from this bath, just give them one wash, and
proceed in the ordinary way with the sulphocyanide.

I enclose two prints from the same negative — one toned with
the sulpho bath only, and tho other in tho way I have described.

Mat 22, 1868.]

THE PHOTOGRAPHIC NEWS.

251

I would like to have your opinion of that. — I am, dear sir, yours
truly, ’ Gcoeoe H. Bkittok.

10, nigh Street, Forest Hill, S.E.

[The tone of both prints is good, but that treated as above is
purest in the whites. — Ed.]

lalk itt tbf

Royal Cornwall Polytechnic Society. — The prize list
for the exhibition of the Society to be held this year is just
issued. In photography the following prizes ^ro offered to pro-
fessional photographers ; — For the best landscape, a silver
medal; for the best portrait or group, a silver medal; for the
second best landscape, a bronze medal ; for the second best
portrait or group, a bronze medal. Medals and prizes will bo
awarded to meritorious productions contributed by amateurs.
In all cases the prints must bo untouched ; and of vignetted
pictures, fully printed copies must also be seat for the inspec-
tion of the judges. All articles intended for exhibition should
be sent to the Polytechnic Hall at Falmouth, not later than
the 21st of September. Photographers desiring further infor-
mation should communicate with Mr. J. C. Stephens, Fal-
mouth.

More Piracy. — A few days ago at Lambeth, Mr. Woolrych
heard a number of summonses, taken out at the instance of
Mr. Graves against Mr Prince, a dealer in photographs, carry-
ing on business in Ilolborn, and residing at Caroline Cottages,
Brixton, for selling a number of photographs of which the
complainant had the copyright. There were twenty-one alleged
offences, and the penalties, at £10, would amount to £210.
Mr. Lewis, Jun. [Lewis and Lewis), appeared in support of the
summonses, and Mr. Brandt, barrister, was for the defendant.
Several cases were taken. The evidence of Emil Kaltenbrunn,
a German, in the employ of Mr. Graves, was to the effect tliat
he went on several occasions to the defendant’s place of busi-
ness in Holborn and selected photographs from a bundle
handed to him by the clerk. Mr. Boydell Graves, son of the
complainant, stated that some years ago ho went to the defend-
ant’s place of business, and when ho came in he was recognized,
and threatened to bo kicked downstairs if ho did not leave the
place. Mr. H. Graves produced the certificates of registration.
Mr. Brandt took several objections in tlio course of the discus-
sion. The learned counsel said that under the Act of Parlia-
ment the penalties would amount to a large sum, and ho urged
that each case should bo strictly proved. Mr. Graves said that
many of the photographs were made in Berlin and Birmingham.
Mr. Woolrych, after hearing a number of the cases, said the
case was far too important for him to decide without considera-
tion. He would consider the points urged, and the construc-
tion of the Acts of Parliament. His present impression was
that the case had been established, but ho would, before ho
gave his judgment, consider all the objections taken. As ho
was going to leave town for some time the case must stand
over. Mr. Lewis mentioned that the Act required the penalties
to be recovered within six months from the time of the offence,
and several of the summonses were for offences committed in
December last. Mr. Woolrych said he would give judgment
on Saturday. Mr. Lewis asked for bail to bo given for the de-
fendant’s appearance. Mr. Brandt objected. The defendant
had appeared, and would appear again. The magistrate re-
quired bail from the defendant in £100, and his own recogniz-
ance in £200 for his appearance. On Saturday the case was
further heard, the defence being conducted by Mr. Seaman,
Bolieitor ; Mr. George Lewis, Jun., again attended for Mr.
Graves. Several further cases were brought forward, after
which Mr. Woolrych said ho had considered the objection
urged and the construction of the Acts of Parliament, and was
clearly of opinion that the offences had been established against
the defendant. The first case was “ Ordered on Foreign
Service.” The wrongful act of selling the photographs was
made out, and ho inflicted a penalty of £5 with costs, or the
alternative of fourteen days’ imprisonment. It was, in his
opinion, a most daring and audacious infringement of a copy-
nght which Delonged to Mr, Graves, who had made largo and
liberal outlays to produce beautiful works of art, and was en-
titled to all the protection that the law afforded. Mr. Seaman
reminded the learned magistrate that several purchases were

made on the same day. Mr. Woolrych said tho Court of
Queen’s Bench had decided that each purchase, notwithstand-
ing it was made on the same day, was an offence, and ho
should inflict the penalty in each. Then as to tho photographs
“ Waiting for the Verdict,” and “ Tho Acquittal,” tho penalties
would be the same, as also on “ My First Sermon ” — they were
all spurious copies. As to tho photograph.^ “ Morning before
tho Battle ” and tho “ Evening after tho Battle,” he should
award a similar penalty or fourteen days. Tho photographs of
“ Piper and Pair of Nutcrackers ” would follow tho same rule,
as also “ Home and its Treasures.” There were nineteen con-
victions of £o each, it would appear, or fourteen days’ consecu-
tive imprisonment on each, making some months. Mr. Lewis
said he would not press for costs. Mr. Seaman said the object
was to brin tho matter under tho Small Penalties Act, which
he submitted did not apply. The penalties were ordered
without costs. Tho defendant was locked up in default of tho
payment of theni notcon penalties.

PiiOTOOKAPiiY IN Abyssinia. — Tho photographs taken by
tho Abyssinian expedition which have hitherto come under our
attention have not hitherto, with the exception of some large
groups, consisted of portraits. Speaking of 'Pheodore, ono corre-
spondent observes : “Mr. Holmes, of tho British Museum, has
taken an exceedingly good likeness of tho dead monarch ; in-
deed, I do not know that I ever saw a more striking resemblance.
The engineers have also taken a photograph of him.” The
correspondent of tho Times says : “ Some facetious fellow-
captive, with a curious quaver, however, in his voice, which
makes tho facetiousness give forth an uncertain sound, has just
sternly ordered the ladies to come with their husbands and
children, and ‘ have their heads taken off,’ in a photograph,
and, of course, I must presently go too, to have my first good
look at 80 interesting a group, this being about the fiftieth in-
terruption since I began this morning to try to make mental
notes of what I had gone through in the last two days.”

PoisoNiNO BY Cyanide. — Asad accident occurred at AVade-
bridge last week, when a little boy, two years of ago, son of
Mr. C. Lobb, photographer, got into tho dark room wliilo his
father was engaged talking to some customers, and drank from
a bottle of cyanide that had just been in use. Death occurred
in about ten minutes. Tho coroner’s jury on tho ovidonco laid
before them returned a verdict of “ Accidental Death.”

Remarkable Mirage at Dover. — A mirage was strikingly
conspicuous on Sunday afternoon and evening at Dover, 'i'lio
dome of tho Cathedrai and Napoleon's Pillar at Boulogne were
to bo seen from tho Crescent Walk by tho naked eye, but with
a telescope ot ordinary power, tho entrance of tho port, its light-
house, its shipping, and the surrounding houses, the valley of
tho hillside of Capeenre, and the little fishing village of Portol,
wore distinctly visible ; whilst on the eastern side the principal
features of tho country— the lighthouse of Capo Grinez, iho
adjacent windmill, numerous farms and villages, with their
windows illuminated by the setting sun — stood out with extra-
ordinary clearness. Whilst these were under observation, a
locomotive was seen to leave Boulogne and travel some miles in
the Calais direction by its puffs and wreaths of white steam.
Shortly after sunset the mirage subsided. — Dover Chronicle.

Uneven Drying of Sensitized Paper. — To prevent the
silver solution from collecting in drops on tho albumen paper,
buff the surface with a tuft of cotton before sensitizing. — D. G.
Hunger, in Philadelphia Photographer.

Strengthening Negatives by Heat.— A correspondent of
the Philadelphia Photographer says: — “As tho tendency of all
intensifiors is to flatten and destroy the beauty of the photo-
graph, it is desirable to omit them as much as possible. I often
avoid their use by the following ‘dodge.’ If, after the nega-
tive is developed, fixed, and washed, it needs a little a rein-
forcing, I dry it rapidly by tho stove or otherwise, which usually
brings it right for printing. Any one who will try the experi-
ment will bo surprised at the difference between a negative
thus dried and ono that is allowed to dry spontaneously. Ne-
gatives, after washing, should be flowed while wet with a solu-
tion of gum-arabic in water. This prevents the hard varnish
from changing them.”

Using Imperfectly Cleaned Glasses. — Tho Hon. Nassau
Jocelyn writes ; “ I recently hoard of a very good plan for
using dirty glasses — not that any careful workman would do so
willingly, but sometimes it is pleasant to be independent of a
glass cleaner. Take of ether and alcohol 100 and 10 parts re-

252

THE PHOTOGRAPHIC NEWS,

[May 22, 1868.

spectively, and add to them 1 part of ordinary uniodized collo-
dion, and l-5th part of tincture of iodine. Spread this very
thin film on the glass, and, when it has set, collodionize and
sensitize as usual ; this forming n perfectly chemically clean
surface, it is natural that any dirt or stains which may lie
beneath will not appear in the upper film. This proceeding
is useful under certain circumstances, when tha conditions of
the atmosphere do not favour an easy cleaning of plates by
the ordinary method.

o

l0

J. Stothard. — To have made an acetate toning bath properly, the
gold salt should have had the acid driven off by evaporation at the
outset ; but by careful management of the solution you have, in
the manner wo indicated, j’ou will get, as you have doubtless
found, very good warm black tonn.s, e.specially with vigorous
prints. The object of the various additions to the chloride of gold
solution is to induce a tendency to decomposition, liberating the
chlorine, and precipitating the gold in a metallic form. The colour
of gold precipitated in this way is modified by the size of the
particles, and the size of the particles is modified by the substances
used to effect the decomposition. If the decomposition be rapid,
as when carbonate of soda is used, and the prints be immersed at
once whilst there is nascent chlorine in the solution, the prints are
attacked and become mciily and grey. If from imperfect evapora-
tion of the acids in making the gold salt, as in your case, hydro-
chloric acid, or chlorine, is pre.sent in the solution, a similar result
ensues. 2. For a .strong developer for short exposm-es, avoid gela-
tine. Use a strong iron solution with a small portion of acetic
acid. Try 40 grains of protosulphate of iron and 20 minims of
acetic acid. Gelatine promotes vigour and cleanness, and, in short
exposures, often tend to hardness. Thanks for your reminder as
to the method of copying. Wc shall describe, shortly, your appli-
cation of it.

Duffer. — It is legal to copy a picture in which there is no copyright.
The registration at Stationers’ Hall does not confer copyright, it
is only a necessary record of the existence of copyright. If j’ou
po.ssess the copyright of a picture it is necessary to register it at
.Stationers’ Hall, but such registration would not give you a copy-
right in something belonging to another. If your object be to
ascertain whether by registering your copy of a non-copyright pic-
ture you acquire a copyright, the answer is, that you acquire a
copyright in your copy, but that would not deprive anyone el.se,
who had opjxjrtunity,' of the right to copy the original picture.
2. If you send a de.scription of the photograph in the mrm we
have often described, together with fifteen stamps, to our Publisher,
he will duly register it for you and pay the fee. 3. The printing
bath turning white and turbid indicates that it is getting weak, and
is dissolving the albumen and chloride from the paper floated
thereon. 4. Excess of salt will redissolve a portion of the chloride
of silver in the wa.shing water, instead of precipitating it ; but no
proportion of salt can be given, because the proportion of silver
present is unknown. 'Take care to add a little at a time for safety ;
or, better still, use hydrochloric acid to precipitate the chloride, in
which case there is no danger of adding excess.

Ax Amateur. — It is very probable that the cause you suggest may
have operated in your case, and that the u.se of excess of silver in
your collodio-bromide may have been the cause of practical insen-
sitiveness. We scarcely agree with you that a process which is
rendered worthless by want of precision in carrying it out is not
worth pursuing. Precision is one of the first requisites in .success-
ful photography. However, there is large choice of excellent
dry proces.ses open, and the gum process we know to be excellent.
Thanks for your experience confirming the value of perm.anganate
solution for rectifying the bath.

SiLEX. — The occa.sional uneven toning of collodio-chloride prints is
due to the use of a repellent homy odlodion, which prevents ready
and even permeation of aqueous solutions. The white opatiue
effect in the shadows is abso due to unsuitable collodion. The plain
collodion used should diy quite clear and transparent when tried
on a glass plate ; some samples dry dull, opaque, or opalescent,
and such will give dull, grey, opaque shadows when employed for
collodio-chloride. Wo explained the reason why your questions
frequently do not reach us. We never neglect to answer questions
which do not seem important, because we know that the most
trivial difficulty is important to one suffering under it.

X. Y. — Spirits of wine 56 over-proof is not sufficiently highly
rectified for making collodion ; it should not be less than 60 over-
roof at weakest ; it is usually u.sed stronger than that. Spirit of
6 over-proof is about 837 sp. gr. ; spirit of 60 over-proof is about
830 sp. gr. ; and spirit of 63 over-proof is about 823 sp. gr.

W. F. Morgan. — You are right in your statement of Mr. England’s
practice ; but as very- little more silver solution need be used than is
necessary to cover the plate, and as the solution poured off may bo
added to the residues, there need be little waste. The results are,
as you observe, exceedingly perfect.

W. H. Payxe sends us a good 10 by 8 architectural photograph, to
show how perfect a result may be obtained with a Jamin quarter-
plate lens. He does not state the focus of the lens ; but the result
IS certainly good.

II. W. — Mr. England generally uses distilled water for the first and
final washes, using common water for the copious washing. In
his last Continental trip he wet with good rain water, which
answered every purpo.se. 2. In mixing iodides or bromides with
plain Collodion, the quality of the latter determines the mode of
proceeding. If it be too thick for u.se, then the salts must be dis-
solved in a proper quantity of alcohol, and added ; but if a collo-
dion of considerable body be required, and the plain collodion be
of the desired thickness, the salts must be added direct, and dissolved
by frequent agitation. For such a purpose, the most soluble salts,
such as those of cadmiiuu, should be chosen.

S. — The formation of oxide of silver by the addition of lime water
to nitrate of silver solution might be useful to the photographer ;
but, on the whole, we prefer the method we usually recommend ;
namely, the addition of a little caustic potash to a solution of nitrate
of silver. Thanks.

II. S. — The residue you describe as obtained after boiling your bath
to dryness and fusing, which you sent a week or two ago, wc find
to consist for the most part of reduced metallic silver, uie appear-
ance of which was, however, much altered by the presence of sul-
phate of silver, together with some crystallized nitrate. Upon
applying heat, we foimd no difficulty in dissoh-ing the precipitate
in nitric acid.

W. J. A. G. — As a rule, the use of strong hvposulphite solution
and short immersion is safer and better than the use of weak solu-
tion and long immersion. In some cases, especially in prints from
weak negatives or witli highly salted paper, the prints are some-
what reduced and weakened by using very strong hypo ; but wc
never like to use less than a quarter of a jjound to a pint of water.
The use of a warm hypo bath, except in extremely cold weather,
is not desirable, as it will impoverish the prints and reduce the
tone more, and heat facilitates decomposition in the hypo bath.
2. In the studio you describe you will find the use of a black or
dark blue blind over half the top very desirable for seeming
shadow. See our recent notice of the studio of Mr. AVJliams.
Much depends on the size of the room as to the best mode of
sliding. If the room be small, let it slide from side to side ; if
largo, and two or three blinds Mill be neccs.sary to cover the sky-
light, let them slide from caves to ridge, using one or more down
at a time as necessity may require. 3. Mr. England’s Rhino
views were produced from dry plates. You can obtain them of
Marion, Soho Square.

F. S. — The heat of a common fire, unless kept m> very high with
Ix llows, is not sufficient for reducing residues. 'The best plan will
be to break up the slag, add more flux, and apply the heat of a
proper furnace. 2. The term “ Ivorytj-pe ” nas been given to
scveial forms of photoCTaph which have been made transparent ;
but generally with colour. Several such processes have been
patented, but we believe that none of the patents are maintained.
\Ve have published several such processes in the Nem’s at differ-
ent times ; but wc cannot, without more definite information as to
which process you want, give details here. If you can let us
Know more precisely, we can probably refer you to the information
you require.

R. Gillo and Kent. — Received. Thank.s. In our next.

Several Correspondents in our next.

o

9()otoarapf)s lArgtstmli.

Mr. II. SwixsioN, Olostcr,

1‘hotoKraph of an Engraving of a Triumphal Arch at Gloaler
1777.

Mr. Qinsos, Hexham,

Photograph of Miss Burnett.

Mes.srs. Cilte and Osgutborpx, Sheffield,

Photograph Group of Founders of Odd Fellows.

Mr. II. Watson, West Bromwich,

Photograph of Kev. U, Farrow.

Mr. T. Annan, Glasgow,

Photograph of Lord Bilhaven.

Mr. Tuos. Fobeest, Pont-y-pridd.

Photograph of the late John Hewitt.

CONTENTS.

PJOE

Mr. McLacbIan'8 Discovery i53

The Ketouchinf; of M. Adam-Salomon’s Pictures 254

Mr. McLacblan’s Nitrate of Silver. By John Spiller, F.C.S. ... 254

Pictorial ESect in Photography. By H. P. Robinson 255

Gradated Backgrounds for Heads, etc. By R. Gillo 256

Photographic Printing in Silver, Theoretical and Practical. By

W. T. Bovey 256

Collodion-Cuir and the Carbon Process. By M. Despaquis 257

PAGE

On the Preservation of Collodionized Plates in a Moist Con-

dition. By General Mongin 258

Remarks upon the Wet Collodion Process. By Mr. McLachlan 259
Proceedings of Societies— Liverpool Amateur Photographic

Association 261

Correspondence— Scl Clement— Injury to Negatives by Var-
nishing 262

Ihtik in the Studio 262

To Correspondents 264

MU. McLACULAN’S DISCOVERY.

We shall now endeavour briefly to state what appears to us
to be the suggestions to be derived from Mr. McLachlan’s
experiments. The chief feature of his operations appears to
consist in his care to produce a neutral bath. In stating
this, it is only fair to say, however, that he himself very
emphatically denies that the issue of his treatment of the
nitrate of silver solution simply results in the production of
a neutral bath. He insists that some unknown, unrecognized
change is effected by the action of light on the neutral silver
solution, by which it acquires new properties quite distinct
from those of any bath, either acid, alkaline, or neutral,
hitherto known. We must decline, however, to refer to occult
causes results which can be assigned to known agencies ;
and pending the further test of experiment, which it is
always fair to Mr. McLachlan to hold in reserve, we may
without impropriety consider how far the good results he
has described may be consistent with much that is already
known, but the importance of which is possibly not suffi-
ciently recognized.

Mr. Spiller’s experiments lead him to believe that the re-
sults described by Mr. McLachlan arc due to the presence of
a trace of chloride of silver present as an impurity in the
nitrate used, and this view is strengthened by an examina-
tion of the sample of Mr. McLachlan’s favourite nitrate,
details of which will be found on another page. Whether
this be the explanation or not, Mr. Spiller's experiments
have shown that atiO-ounce bath to which 1 grain of chloride
of sodium had been added, after sunning for some weeks, aud
treating with caustic potash, as directed by ^Ir. McLachlan,
gave, with a collodion rendered colourless and neutral by
treatment with a potash solution, perfectly brilliant and
clean pictures, without any trace of fog, as an example now
before us proves. Thirty drops of a solution containing
half a grain of caustic potash in an ounce of water were
added to the pint of nitrate solution, which was, according
to Mr. Spiller, rendered quite neutral, and according to !Mr.
McLachlan decidedly alkaline. We may here, by the way,
remind Mr. McLachlan of a fact which seems to have escaped
his attention, and may have misled him in some of his con-
clusions. He assumes that the bath is necessarily in an
alkaline condition, because it slowly restores the blue colour
to reddened litmus paper. He should remember that a solu-
tion of perfectly pure nitrate of silver will restore the blue
tint of reddened litmus paper.

We return, however, to the fact that a bath so free from
any trace of free acid as to slowly restore reddened paper,
and a collodion rendered colourless by caustic potash, did give
clean brilliant negatives. This is, of course, not absolutely
novel, but it is certainly rare. The tendency of working in
late years has been to a decided increase in the use of nitric
acid in the negative bath. The neutral bath and freshly

mixed simply iodized collodion in a colourless neutral state,
which many years ago were regarded as securing the perfection
of conditions, are now almost unknown. When simply iodized
collodions were employed, the least trace of nitric acid in the
bath was fatal to sensitiveness, and it was never employed ;
but, since the use of bromo-iodized collodion for negatives
has become universal, nitric acid — which, when bromides
are present, interferes little with sensitiveness — has been
largely used as a means of preventing fog in a bath which
would otherwise give dirty negatives. The free use of nitric
acid has, in fact, often permitted the use of a bath con-
taining considerable impurity.

Now, we are by no means sure that the use of nitric acid
intolerably large proportion is an evil. We have used it freely
for many years without suffering any serious inconvenience
which we can trace to its use. But there are certain evils
which may result from its use which are worth considering.
In the first place, if a collodion containing a very small
proportion of bromide be employed, nitric acid will impair
sensitiveness. In the next place, under many circumstances
it tends to the foi'mation of a thin grey metallic-looking
image, instead of the dense brown image desirable in a nega-
tive. In the next place, its presence in the nitrate solution
will tend to oxidize the alcoholic bodies accumulating in
the bath, and to cause the formation of aldehyde, and so
gradually induce the fog it was .added to prevent. And
Hually, the presence of nitric acid increases the tendency of
the bath todissolve iodide of silver, which will, therefore, more
rapidly increase in the bath the greater the proportion of
nitric acid present, and so promote the accumulation of one
source of pinholes.

Having regard to these considerations it may be well worth
while to consider whether the system, the practicability of
which !Mr. McLachlan’s experiments suggest, of working
with a perfect!}' neutral bath, and a collodion without any
trace of free iodine, by which nitric acid would be liberated
in the bath, may not possibly tend to dimini.sh or eliminate
many of the evils which are occasionally troublesome in the
ordinary mode of working. Confirmatory experience is not
found wanting. Many photographers have stated that a
nitrate bath neutralized and sunned often works admirably
without any addition of acid. Mr. Bland ard has more than
once stated this fact in our pages. Mr. England, who works
with a nearly neutral silver bath, also works with a perfectly
colourless collodion ; and the practice of some other authori-
ties tend in the same direction.

The fact that the iron developer yields cleaner and
brighter results rvhen it contains a trace of a persalt is not
new, but has long been held by the majority of the practical
photographers. Mr. McLachlan’s somewhat roundabout
mode of securing the oxidation of the iron salt does not, so
far as we can at present sc, possess any advantage over the
simpler known methods.

254

THE PHOTOGRAPHIC NEWS.

To his condemnation of the use of bromides in collodion
we cannot attach any weight, inasmuch as it is not sustained
either by any statement of reasons or of experience. On the
contrary, we find that he prefers, and in his own practice
employs, a commercial sample of collodion well known to
contain a bromide.

That some uncertainty in working should occasionally
arise in the practice of the ablest and most experienced men
is, as before pointed out, inevitable from the inherent nature
of the wet collodion process ; but we believe by far the most
fertile cause of troubles is one which was suggested in the
course of the discussion at the Photographic Society by
more than one speaker : we mean the over-working of baths.
In many cases one or two baths of not much larger capacity
than is required for sensitizing the size of plates employed
will be worked incessantly without replenishment and with-
out rest, day after day in constant practice. Sometimes
collodions of different constitutions arc excited in such baths.
Ether, alcohol, iodide of silver, the ba.sesof different iodides
and bromides, and occasionally the traces of plate-cleaning
mixtures on the edges of the glass, are accumulating in the
bath, whilst every plate abstracts silver, which is the one
essential element the bath requires. It is not surprising
that working conditions should often be impaired, and
sometimes entirely break down.

We will conclude by describing the practice recently
detailed to us by one of our ablest and most experienced
■professional portraitists, a practice in the course of which
troubles with the nitrate bath arc almost unknown. Six
40-ounce baths are continually kept in use, one for each
day in the week. The quantity remaining of each hath is.
at the close of each day, emptied into a wide-mouthed
bottle, and set aside, loosely covered with a piece of paper
to preserve it from dust, but not stoppered to prevent the
escape of ether and alcohol. After live days’ rest, it is filled
up to its full quantity with a fresh 50-grain solution with-
out any iodide of silver, filtered, and again brought into
use ; when, as might be expected, it is found to work in all
respects satisfactorily. The plan of filling up with fresh
plain solution, it will be seen, prevents the rapid accumala-
tion of iodide of silver, whilst it prevents the weakening
of the bath. The accumulation of ether and alcohol is
checked by the facility for evaporation, and the well-
known advantages of rest arc secured to every bath. Under
such a system the photographer is never placed hors de
combat by the sudden (and as some fancy) inexplicable,
although really very natural, complete break down of
perhaps the only nitrate bath he has to rely upon for his
daily practice.

' THE KETOUCHING OF M. ADAM-SALOMON’S
PICTUllES.

It is somewhat late to revive the question of the retouching
of the marvellous portraits produced by M. Adam-Salomon,
inasmuch as the majority of photographers taking interest
in the matter have had opportunity in one way or other of
personally examining some of the prints, and confirming
our repeated statement of the case, to the effect that whilst
some of the prints are more or less retouched, a large
number, and these the finest, are quite untouched. As we
have some confirmatory evidence to add on the subject, it
inay be worth while once more brielly to refer to the ques-
tion. M. Salomon has recently favored us with a number
of unmounted prints rough from the washing trough,
chiefly duplicates of those we exhibited some months ago in
Conduit Street, and permitting, therefore, of the most minute
comparison between the finished print and the rough un-
mounted. The test is a most satisfactory one, and proves
that those prints in which a little touching is manifest owe
very much less to the pencil than even the most careful
observers would imagine, being for the most part perfect in
detail, in modelling, and a brilliancy without any touch
whatever, and every one distinguished by that exquisite ren-

[May 2'J, 1868.

dering of texture and colour in which a perfect distinction
is maintained between the tint of flesh and of white linen,
a distinction which so many photographer’s, in their aim to
secure factitious brilliancy, contrive so often to destroy.

One especial fact is worth noting. A correspondent of
one of the journals affected some time ago to describe an
analysis or examination of one of the prints described as
“ The Lady with the Riding-whip,” and stated that after
removing the encaustic and sponging the print, all the re-
touching being removed, a hard black-and-white picture,
destitute alike of detail and modelling, remained, proving
M. Kalomon, although a good artist, a bad photographer.
Now wo have both the finished and the unmounted print of
this negative before us, and we find in the latter as well as
the former an exceedingly fine photograph, possessing
much very perfect and delicate half-tone, as well as the
greatest richness and brilliancy. We can only come to one
of two conclusions, therefore : either that the writer in ques-
tion stated what was not true, or that he had performed a
work like that of some unskilled cleaners of oil paintings,
who contrive to remove not only dirt and dirty varnish, but
also half the work of the painter, and, having done so,
descant on the want of skill in the artist. It is possible,
of course, by dint of resolute friction, to scrub away parts of
the surface of an albuminized print, and so destroy part of
the picture.

We shall have pleasure in showing these unmounted
prints to any of our readers who may desire to see them,
and who have opportunity to call at our residence for
the purpose.

o — -

MR. McLAClILAN’S NITRATE OF SILVER,
nr JOHN sriLLER, f.c.s.

O.N tlfe I2tli instant, Mr. ^IcLachlan was kind enough to
give me a sample of the nitrate of silver which he found to
be peculiarly well fitted for tlie preparation of the bath
according to his recent instructions. The crystals have a
distinct violet tinge (or “ dirty bluish-looking appearance,”
according to the published description), which is, however,
confined to the surface, for if they be momentarily washed
with water all the colour is at once removed, and the pure
white (or colourless) nitrate underneath, if then taken out,
dried, and sunned, does not appear to be in any way affected.
The aqueous solution obtained by washing the crystals was
discoloured as though by the presence of blackened chloride,
sulphide of silver, or other dark matter in suspension, and
on filtering the solution it came through bright and clear.
The insoluble portion left on the filter was, however, exceed-
ingly small, and I am only able to say of it that its bulk
was diminished by treatment with ammonia as though by
partial solution. 1 found, also, that the discoloured crystals
gave a clearer liquid when dissolved in dilute ammonia than
when pure water was employed as a solvent. Nitric acid
added to either of these ammoniaeal solutions produced a
faint turbidity, as though chloride of silver in small quan-
tity was precipitated. I tested the clear aqueous solution
of the crystals, for metallic and other impurities, by adding
hydrochloric acid in slight excess to throw down the silver,
separating this by means of a filter of Swedish paper, and
evaporating the clear filtrate to dryness in a small porcelain
capsule mounted on a water bath. There was practically no
residuum, and not even a trace of lead was indicated by
iodide of potassium ; so that 1 may fairly assume that the
fine silver from which these crystals were prepared was per-
fectly pure.

By way of accounting for the peculiar discoloured appear-
ance of the crystals, which 1 have shown with some degree of
probability to be due to a very superficial incrustation of
blackened chloride, it has just now oecurred to me that this
sample of nitrate of silver may have been spread out to drain
and dry in a slightly chlorinated atmosphere, sueh as would
result from the simultaneous prei>aration of chloride of gold,

May 29, 1868.]

THE PIIOTOGllAPIIIO NEWS.

255

or the working of platinum — operations in which aqua rcyia
is employed — in the same laboratory ; and although such a
film of chloride, at first white, might not be noticed in the
ordinary course of manufacture, it would undoubtedly render
the crystals liable to alteration by light.

I have only to add, that the sample given me by Mr.
McLachlan was apparently neutral to litmus paper ; but this
mode of testing for free acid in silver-salts is not nearly so
delicate as is commonly supposed.

Woolwich, May 2bth, l8G8.

riCTORI.VL EFFECT IN PlIOTOail.VPIIY ;

Beino Lessons in

Composition and Cni.vuoscua.v for PiiOTOORAPnERS.

BY U. P. ROBINSON.

Chapter XVIII.

“ In such cases tliere will be found a better likeness, and a worse ; and
the Utter is constantly to be chosen.”— Z>rj/dcn.

“The body of beauty is as essential as the soul of truth— truth without
beauty cannot make art. • * * Without beauty there is no art. Over
both the choice of subjects and their execution, tL's canon is inflexible.
No other consideration in the choice of a subject, and no other merit in its
execution, can atone for the neirlect of haauty. Mere accuracy of portraiture
is draughtsmanship, not art. The .artist is he who above all men has an
eye for the neautiful, and can embody the beautiful in some art form." —
Tainsh.

PoRTR.UTURE — continued.

As I am dealing with principles, I shall not, in these
chapters on portraiture, give any illustrations of poses,
which could be of vuy limited application, and would only
induce in the student a habit of servile imitation, very
detrimental to originality, and unworthy of him who would
call himself an artist. An inferior photographer may find
a few illustrations of different poses of some use to him,
inasmuch as they may assist him in varying his one pose ;
instead of the one pose beyond whlch_ his feeble imagina-
tion will not allow him to venture, they may give him the use
of three or four ; but if ho will take the trouble, or has
suQicient ability, to master principles, ho will find himself
possessed of a continual fund of ideas ready for use, as is
necessary in Successful portraiture, at a moment’s notice ; if
he have not the ability and patience to master the few prin-
ciples on which his art is based, I hope he will excuse me
if I hint that he had better try some other means of being
of use to his fellow-creatures, for he would be only doing
mischief to photography by continuing in the profession.

Besides being of very little use, there is also actual harm
in a “set” of poses, the structure of which is not understood,
as will be seen if a sitter is allowed to select the position in
which he will be taken, and which has perhaps exactly suited
some other person.

Sitters often want to be made to look like other people ;
or, rather, they think that if they sit in the same position
and attempt the same expression, however unsuitable, they
will look as well as some example they have seen. It con-
stantly occurs that persons will come into the reception-
room, and, selecting a portrait of another totally unlike
in age, style, and appearance, will say: “There, take me
like that.” Peter Cunningham gives an anecdote that, pos-
sibly, may be out of place hero, but is too good to omit.
“When Bernard Lens was drawing a lady’s picture in the
dress of Mary Queen of Scots, the fastidious sitter observed :
‘ But, Mr. Lens, you have not made me like Mary Queen of
Scots ! ’ ‘ No, madam,’ was the reply ; ‘ if God Almighty

had made your ladyship like her — I would.’ ” The same
may be said of the lenses of the present day !

Other sitters endeavour to improve their faces by all
manner of contortions : stare with their eyes to make them
larger, and screw up their mouths to make them smaller. Opie
was once troubled with such a sitter, and he quickly said to
him (so Ilaydon tells us) : “ Sir, if you want your mouth
left out, I will do it with pleasure.” Instead of blunt wit
of this kind, the photographer will find it answer better, and
will involve less trouble, to make the sitter forget his mouth

altogether. This cannot be done if the sitter is constantly
reminded of particular features. Many photographera keep
a cheval glass in their studios to enable their sitters to look
at themselves while the exposure is proceeding. There are
rare cases where the practice may be beneficial, but on the
majority it has a very bad effect. I have tried it in my
own practice, and found it was a great temptation to tho
sitter to make the most ridiculous contortions of the face, in
the hope of calling up a satisfactory expression. King
Lear’s wise fool was, perhaps, not far wrong when he said
“ there was never yet fair woman but she made mouths in a
glass.”

A good deal depends on the temper of the sitter at tho
time of sitting. If ho come in a great hurry, and feel
bored by tho operation, good results cannot bo expected.
Engagements should be made that sittem should not be kept
waiting. This is not so difiicult to manage as may appear.
Be punctual, and exact punctuality. Do not accept pictures
to do iu half an hour that should have more than double
that time allotted to them. It is impossible to make a
hungry man look happy. It may be said of a man whom
the photographer has kept away from his dinner, as Meni-
nius Agrippa said of Coiiolanus : —

“ He was not taken well : he had not dined :

The veins unOlled, our blood is cold, and then
We pout upon the morning, are unapt.”

It almost constantly happens that the photographer sees
his sitter for the first time as he enters the studio. Thus ho
has no opportunity of studying the characteristic attitudes
or expression, or tho best general arrangement or effect.
This difficulty is almost insurmountable, but can be most
nearly overcome by an intimate acquaintance with the rules
of art, which will enable the artist to think quickly and
make all his arrangements without hesitation, thus allowing
him more time to study character. The figure should not
be posed until everything is ready, and then the final
arrangements should not take a minute. This can only bo
done when the operator quite knows his business, and has
thoroughly made up his mind what he is going to do. Ho
should be able to see the finished result in his mind’s eye
from the beginning. There is nothing so irritating to a
sitter as being kept waiting after being posed ; he begins
to feel he is in a ridiculous position, when it should be the
object of the photographer to prevent him thinking that he
is in a position at all. A well-posed figure may be easily
upset by a bungling use of the head-rest. (Let us lay it
down as an axiom that this instrument is indispensable, even
for short exposures, say of five or six seconds.) The rest
should be understood, in ordinary cases, to be a delicate
support, not a rigid fixture against which the figure is to
lean. There is another rule that photographers should re-
gard as axiomatic ; the rest should be moved to the head, not
the head to the rest : first the pose, then the rest ; not first
the rest, and then the pose. In my own practice, I prefer a
very light, simple rest, of the old American pattern, with-
out any complications ; one so light that I can carry it about
after the sitter without trouble.

It must be borne in mind that, in a good photographic
portrait, as in a painted one, it is expected will be produced —
“ Not the form alone

And semblance, but, however faintly shown.

The mind’s impression, too, on every face.”

Here the educated photographer has a great advantage over
those who are less fortunate. He will endeavour to so enter-
tain his sitter that he will feel more at ease than if he were
taken into a strange room, fixed incontinently in a chair,
and photographed. It will be found that not only the
expression will be improved, but that pictorial effect, as re-
gards arrangement of lines, will also be much improved by
the increased ease the sitter feels as he becomes more familiar
with the studio and the student. I have known many per-
sons who, after months of pei-suasion, have consented to have
their portraits taken, and who come in fear and trembling,
but who, by judicious treatment, have eventually so posi-

250

THE PHOTOGRAPHIC NEWS.

[May 29, 1868.

cr

lively enjoyed the operation, that it has become almost a
passion.

It is more than probable that this objection to “ sit ” has
been engendered by the brusque manners and rough, un-
courteous, and conceited behaviour of photographei's them-
selves. A certain amount of self-confidence, if there is any
basis for it, reacts favourably on tbe sitter, but it should not
be carried too far, or some sensitive people may consider it
amounted to rudeness.

A good deal depends on such an apparent trifle as the
manner of taking off the cap of the lens and exposing the
plate ; and there is as much difference in the method of per-
forming this simple operation as there is difference of opinion
amongst photographers on any other circumstance connected
with their art. One will shout : “ The exposure’s agoing to
begin ! ” in such an angry and threatening tone that you feel
inclined to call the police ; while another will so smother
you with the suavity of his manner that you feel ashamed of
troubling him. The first rarely succeeds in anything but
disgusting his customers; the other oppresses them by
over- politeness. It is evident that some course between these
two is the correct one. The photographer must have a strong
will to enable •him to carry out his idea as to arrangement,
and sufficient subtlety to do so, and, at the same time, plea.se
his subject. Ilis motto must be, suavitcr in modo, fortitcr
in re.’’

It may be asked : What has all this to do with “ Pictorial
Effect in Photography”? Simply this: It is the province
of the artist to secure the most characteristic, the most truth-
ful, and the most pleasing aspect of every subject ; and that,
without regard to the matters to which I have been direct-
ing attention, character, truth, and beauty will alike be want-
ing in photographic portraits, whether the originals be
common-place or distinguished.

GRADATED BACKGROUNDS FOR HEADS, ETC.

BY R. GILLO.

The effect of gradation on a background in producing relief
in a portrait often seems to be overlooked by photographers.
Ruskin says : “ No colour exists in nature, under ordinary
circumstances, without gradation,” and enforces again and
again that an ungradated touch is bad at any time. Any
one, on looking over a collection of photographs, vignette :
heads, medallions, &c., cannot fail to notice the even and
unbroken tint of the backgrounds generally. Look at
a portrait by a first-rate artist, a miniature, or any
finished work of art, and you will find the background
a study of itself, and that on account of the gradation it
contains.

The following plan will, in great measure, supply what
is wanted, without extra time or trouble ; — A square back-
ground (about four feet is a convenient size), on a frame with
a cross-piece at the back, in the centre of which is a hole to
allow the horizontal rod of rest to pass. It will be seen
that when the rest is placed against the head of the sitter
the face appears in the centre of the square. There will be
found no difficulty in painting this small background with
a gradation from dark on one edge to light at the other.
Lampblack and whiting, with a little size, answers
capitally.

When you have .arranged the sitter, you cau turn this
round any way you please : light at the top, shading
into dark below, or vice versd, or <a diagonal grada-
tion to suit circumstances and your own feeling. It is
astonishing the different effects produced by turning this
background round. Sometimes the effect m.ay be improved
by shielding part of the light from the background with a
blind or curtain. From the fact ot this background being
so close to the head of the sitter, you often get a boldly
cast shadow from the head or shoulders, which is very
effective.

PHOTOGRAPHIC PRINTING IN SILVER, THEO-
RETICAL AND PRACTICAL.

BY W. T. BOVEY.

Haxdli.no Sensitive Paper — Filunq Frames, etc.

The chemical influences which work out a photographic fac-
simile of objects are so delicately arranged, so exquisitely
sensitive to disturbing agencies, and the turning points that
create an issue of weal or woe are so tenderly balanced, that
a philosophic regard for minor details becomes an imperative
necessity if the operator would steer clear of the difficulties
that so frequently make shipwreck of his hopes and pro-
ductions. Doubtless m.any of my readers who have hitherto
failed to recognize the importance of minor considerations
will feel inclined to scoff at the idea of any value being
attached to so insignificant an operation as handling paper
and “filling in frames.” Whether inclined to scoffing or
scepticism, believe me, dear reader, when I say that I would
prefer entrusting the work of printing to inexperienced
hands than allow the paper to be creased, thumb-marked,
and stained by the careless fingers of an ignorant assistant,
whose sins of commission and omission are too frequently
visited on the devoted head of the p.aper-alburainizer or
dealer, whose daily routine is made a worry and bore by the
complainings ol thoughtlessness and the denunciations that
proceed from ignorance.

And here let me observe, I hav^e not the slightest ambition
to become a sensational agent, nor do I wish to wound
the self-esteem of photographers; but I am backed so
strongly by evidence indisputable 1 hold in my possession
that 1 have no hesitation in asking every photographer to
pay heed to the instructions I from this point proceed to
giv'e, for they need it sadly. And I beg every reader to
throw his prejudices in favour of this or that method over-
board if the results such methods yield are wedded to uncer-
tainly. I fully purpose placing in the hands of my readers
a sure and certain remedy for all toningdifficulties, a remedy
based on strictly scientific grounds. And I must here
apologize for the liberties I feel bound to take in showing
that, however strong the remarks and ridicule levied on the
self-devoted, and, I believe, entirely disinterested Mr.
McLachlan, on account of the round-about path he takes to
obtain certain results, precisely the same adver.se arguments
apply to all the 'fashionable toning methods, where the
fanciful bases cither perform their work tardily, or bother the
action of the gold in such a way that it takes a fit of sulks,
and won’t tone at all.

When sketching out the design of the present series of
papers on printing matters, 1 purposed taking each opera-
tion in regular course, and to deal with all matters per-
taining to silver printing exhaustively ; but I am tempted to
deviate from my original plan by the numberless applica-
tions I am receiving from all parts for aid in ridding the
applicants of their toning difficulties; and as the season is
advancing I am desirous of assisting my readers in the most
effective manner; consequently I shall run through the pre-
liminary instructions as briefly as possible, and at as early a
date as circumstances will admit.

I shall first deal fully with the toning bath, and after-
wards retrace my steps to describe the various dodges con-
nected with the printing which are reso''ted to by printers
who are desirous of getting something more than the nega-
tive alone is capable of yielding.

I now return to the high road, and proceed to deal with
the handling of photographic paper. Summarizing the
remarks I have to ofl'er, and, for simplicity sake, dividing
them into three parts, my first is a caution.

1st. Never bring two albuminized surfaces into immediate
contact, either previous to, or subsequent to, sensitizing.
Neglect of this rule occasions abrasions, streaks, subdued
lustre, and divers other imperfections, which the injured
prints alone arc capable of rendering intelligible.

2nd. Avoid any contact of fingers with the suiface of
the sensitive paper. However clean the fingers may have

May 29, 18G8.]

THE PIIOTOGRAPIIIO NEWS.

257

beeu made with soap and %vater, there is always a saline
dampness exuding from the skin which will produce mark-
ings on the paper that by no means improves the beaiity
of the picture aimed after.

3rd. By every precautionary meanstake heed that the paper
at its back be not defiled. Nothing so forcibly shows up a
slovenly workman as ilisplay of hideous, yellowish, green-
ish and mud-coloured stains on the backs of the prints he

E reduces. I would as readily condemn a print stained at its
ack as one spoiled on account of any uuconccalable defect.
When cutting up paper I prefer using seissors, plaeing
the paper before me, sensitive surface upwards. If carte
size pieces are needed I cut the paper into two halves,
again divide into quarter sheets, and once more subdivide
into quarter-size pieces. A sheet of paper thus treated
should yield thirty-two carte prints. For pictures of larger
dimensions the requisite mode of procedure will be readily
suggested to those who make up their minds to go in for
perfection. It will be observed that I do not fold the paper
at all, and it is surprising how accurate the eye becomes after
a brief allowance of practice.

Moving on another stage, I ask care and attention in the
“ filling in of frames.” Don’t be over “ cheese-paring
the paper large enough, for it is wise at all times to allow
a margin beyond the extremities of the neg.ative for handling
purposes. When fingering the paper the fingers should, as
much as possible, be applied to its edges ; never must they
be permitted to touch the surface on which any portion of
the picture is to appear.

The remarks contained in the above threefold division
deserve the careful attention of those who are desirous of
obtaining clear and delicate prints. The reward I ofl'er to
all who will digest and practise the hints embodied in those
paragraphs are unsullied prints, on surfaces as brilliant as
the albumen surfaces they received from their photographic
paper dealers.

The subject of printing now demands .attention, and I
assk my reader to recall to memory the sun versus shade
printing controversy which, a few months since, engaged the
pens of Sir. Cherrill and myself. Since that time I have
paid special attention to the subject, and the results of my
numberless experiments have more than ever convinced me
that sun printing (save under rare exceptions) is altogether
a mistake, oft-times the unsuspected cause of failures and un-
satisfactory results. If the several gradations of a negative
that range, without perceptible divisions, from opacity to
transparency, maintained a proportional power to resist
light under all circumstances, sun printing would, under
such conditions, be perfectly admissible ; but on reflection
it must be admitted that such is not the case. Direct sun-
light finds ready entrance where diffused light would be for
a longer time excluded ; hence it follows the weaker light
effects a considerable reduction in the deeper shadows ere
the higher lights become at all changed. A second and no
less forcible protest against sun printing presents itcelf.
When an excited albumen surface is exposed to diffused
light, the most sensitive srvlt first succeeding that salt being
the chloride of silver, the print for a considerable time is seen
to assume a violet hue. If the light is very weak tha picture
finishes up without reduction, to any extent, of the organic
salt ; but in ordinary diffused light, with the now usually
weak salted paper, the albuminate of silver goes to make up
to a considerable extent the last printed half of the picture.
Thus we have the softness of the chloride picture with the
vigour and persistency which the albuminate of silver im-
parts, and together, perfection is to a considerable extent
worked out. But alter the conditions ; instead of printing
in diffused light do so in the direct solar rays : what is the
result ? The albuminate of silver is reduced at once ; a
superficial film of the reduced organic salt is made to form
the picture ; the dense portions of the negative are pene-
trated long before the shadows have attained the requisite
depth, and you have a poor, flat print, which, in some in-
stances, appears as mealy before toning as one that had been

exposed to the most virulent attack of chlorine. Reason why :
If the surface of a negative is closely examined, it will in
most instances be perceived that the deposit by re-develop-
ment is not perfectly even, that some portions are more
transparent than others ; the defect described is not seen
when the print is executed in diffused light, but sunlight
penetrates direct, everywhere, and registers everything. My
advice, therefore, must be, print in diffused light, except you
have a specimen of the ancient “soot-and-whitewash negative
to deal with ; then by all means print by the direct solar rays.
The quicker the printing qualities of a negative, the deeper
the gloom in which the printing should be conducted. I
frequently allow a whole day for printing a copy from a
negative which, in sunlight, would yield hundreds of copies
in the same time. But quality m.akes ample amends for
I0.SS of quantity. As I am soon to enter on toning matters,
if you make up your minds to try my new-fashioned method,
do not print much deeper than needed in the finished pic-
ture, and place it in your portfolio, where it must remain
until my next, which, on account of the many demands I
have received, will soon put in an appearance. And until
details are given, pray accuse me not of egotism.

COLLODION-CUIR AND THE CARBON PROCESS.

BV M. DE3PAQUIS.

At the April meeting of the French Photographic Society,
the author demonstrated the practical working of the pro-
cess he employs to obtain photographs in pigments by
means of collodion mi.xcd with castor oil, a compound de-
nominated collodion-cuir. The film of collodion on which
the pictures are produced may either be rendered dull and
semi-opaque, like ground glass, or may be left in its original
transparent condition, the prints in the latter case having
the appearance of glass photographs. Throughout the pro-
cess ordinary spring water may be used, and the gelatine
employed, so long as it is soluble, need not be of the finest
quality ; it is as well sometimes to add a few drops of
ammenia to the gelatine solution, to prevent the formation
of air-bubbles when the material is being poured upon the
glass or paper surface. The best colouring matter that can
be used in the process is indian ink of the finest quality
which has been carefully filtered ; for portraiture no other
pigment is admissible. Lamp-black and other similar
materials, .although very finely ground, always produce a
disagreeable effect in the delicate half-tones of a portrait,
where the minute grains or particles of the pigment are
visible. For landscape photography, however, lamp-black
may be used with advantage ; it is more intense in colour,
and likewise more moderate in cost, for while 100 grammes
of it may be obtained for half-a-crown, the same amount of
colouring would scarcely be produced by a litre of indian
ink, costing from twelve to sixteen shillings. To improve
the tone of the prints, various colours may be added to the
blacks employed, such as arehil red, Prussian blue, purple,
&c. ; indigo is also one of the finest colours that may be
used, as it is soluble, and produces no grain. Unfortunately,
mixtures containing indigo preserve their sensitiveness for a
very ^hort time only, and it is necessary, therefore, to employ
the same within twenty-four hours of its preparation. In
fact, whenever any other pigments but indian ink, or a car-
bon black of some kind, are employed, the sensitive mixture
does not retain its qualities unimpaired for more than a
week, fortnight, or at most a month ; whereas compounds
made up with indian ink and bichromate of ammonia pre-
serve their sensitiveness for twelve months or more. If
bichromate of potash is added, the mixture soon loses its
sensitiveness, and becomes useless after a period of two days.

The formulae u.sed are as follows : —

Gelatine 10 to 12 grammes

Indian ink ... ... 20 „

(Or of lamp-black a sufficient quantity.)

Water 80 „

Colours according to circumstances.

•25?

THE PHOTOGRAPHIC NEWS

[Mat 29, 1S68.

This mixture is dissolre-l in a ponrelalu dish on a hot-
wijfr bath, and then is added ; —

Bichromate of ammonia... IJ grammes

The whole is agitated for sereral minutes, in order to bring
aboat perfect dLssolntion and mixture cf the bichromate.

A glass plate, such as is used for obtaining gelatine
moulds, is rubbed orer lightj with a little ox-gall : it is
then coated with the sensitive mixture bj passing it over a |
TfTT fine wire sieve covered with a piece of fine cambric, the
superdnocs material being poured off and the plate allowed
to dry horixontally. Fire ot six hours are required to dry
the film when placed in a room heated to 2*-' degrees
Cent. When dry. the plate is coated in the ordinary manner '
with thin normal collodion, and. five or ten minutes after-
wards, when thb ha« set perfectly hard, a second coating of j
thick collodion, mvde up according to the following formulx '
is placed upon it : — ''

Ether ...
Alcohol...
Gun-cotton
Castew oil

... 1'>1 grarumc-s

lint

2 u)6 !!

The castor oil is an indispensable constituent of this
collodion, for npon i: depends the whole value of the process.
It imparts suppleness and strength to the collodion, and
prevents the latter from becoming shrivelled. From
s -m; cause or other, for which no chemical reason can be
assigned, it !•= found that if the castor oil penetrates into the
aensitive material, the employment of repeated applications
of boiling water is nt-ocssary for washing and developing
the picture. It is on this account that a thin film of col-
lodion nnmixed with castor oil is first applied as a preser-
vative to the Sensitive material.

To avoid the emploTmeat of two films of collodion, the
coating of thick castor oil collodion may first be applied and
allowed to dry. and then the sensitive mixture superposed ;
In this case no fear need be entertained of the castor oil
doing any harm, but great care must be taken to employ
glass plates of the most even and uniform description, placed ,
npon a perfectly level surface, so that the film of collodion
is of the same thickness throughout. An irregular coating [
of collodion will militate gainst the perfect removal of the !
film, which refuses to leave the plate in those parts where the |
material has been insufficiently applied. ,

Either of these methxls may be followed, according to
the description of pictures that are desired. The first is i
applicable to the production of prints required on a thin
film d-.-stined to be mounted upon cardboard or up'ou glass. I
or of dull unglazed pictures, in which case the film of col- j
lodlon is dissolved away, in order to remove the brilliant
surEaoe. This is best done by mounting the print, when it
is thoroughly <'
into a Bolntioa
portions. The

print remains adherent to the cardboard or glass ; the opera-
tion must, however, be closely watched, in order that the
print is removed as soon as collodion disappears, as a
prolonged sojourn of the photographic image in the alcohol
and ether has the effect of detaching the picture from its
support. The ether and alcohol in which the collodion has
been re-di^olvc-d may be subsequently used for the manu-
facture of collodion by adiling thereto a certain quantity of
gun-cotton.

The second mole of operating is ni-rfal for obtaining
prints npon a thick film of collodion, which are to be u«ed [
unmounted without any support, and for preparing fabric '
for photographic purposes. The fabric is prepared as i
follows : — A piece of fine linen or cotton camime is moir-
t*ned with alcohol, stretched upon a glass plate, and nressed
by means of a roller, to expel the air-bubbles. W hen it
has been well pressed against the glass, it Is covered with a
film of castor <h1 collodion, and allowed to dry. The sensi-
tive carbon mixture u next applied, and, when this is per-

Iry, upon cardboard or glasss, and dipping it
containing alcohol and ether in equal pro- j
pellicle of coUodioa is dissolved, and the

fectly dessicated, the whole is removed from the glass plate.*
This prepared fabric is very suitable for photo-paintings
and for enlargements ; for the latter purpose photographers
will find it especially applicable, as being very economical
in its employment, and successfnl and permanent in its
results.

It has been stated that the carbon process is less costly
than the ordinary silver process. Thfe statement is easily
proved by giving the cost price of the sheets of eollodion-
enir ani pre|>ared fabric .os manufactured and sold at the
author's establishment. A sheet of prepared carbon paper
ready for manipulation in the pressure frame or npon the
screen for enlargements, which is sold for rather more than
three shillings, costs from one shilling to fifteen pence to
prepare, according to the thickness of the collodion film.

But to proceed with the process. As soon as the sensi-
tive film has been prepared, as has been described, npon a
thin transparent pellicle, the sheet is placed under the nega-
tive. taking care that the collodionized surface is put in
contact with the cliche. After a sufficient exposure, which
varies according to the intensity of the light, but which is
always much less than that required in the ordinary silver
process, the print is placed in a bath of warm water in a
^iark room, and afterwards d tied and mounted.

One of the princi{>al features of the process is the possi-
bility of imparting to the co.'.'?'hVn-c«ir, if necessary, the
dull opaque appearance of ground glass, by means of which
the necessity of backing is dispensed with in stereoscopic
slides and pictures of that description. The specimens ex-
hibited by the author sufficiently showed the value of this
modification. The nnglazed surface of the film allows of
painting and retouching of every description, and no glass
mounting bciog required for transparent photographs,
their weight and expense are much diminished.

The author accompanied his remarks by a practical de-
monstration of the process. lie applied the sensitive material
to the surface of a plate ; detached another film prepared
some time beforehand, and developed in warm water three
prints, of which two were stereoscopic on dull collodion, and
the third a large transparency. The experiments were ex-
ceedingly successful, and were watched with great interest.

ON THE PRESERVATION OF COLLODIONIZED
PLATES IN A MOIST CONDITION.

BT CESERaX MOXGtS.f

At the special request of a member of the Society, I have
much pleasure in commnnicating the details of a method,
reoenth employed by myself, of working with wet plates
which bad b^n preserved and exposed to the vicissitudes of
travelling in a grooved box constructed for the purpose.
The process (if process it can be called) is based upon the
fact that if a plate coated with collodion in a certain manner,
which I will hereafter indicate, be carefully washed after its
exit from the sensitizing bath, and afterwards placed in a
bath of pure water sheltered from the light, the collodion
will remain perfectly adherent to the glas.s. provided the
water sunounding it is not violently disturbed ; moreover,
the prepared plates lose but very little of their sensitiveness
in this condition. In making this statement I must frankly
admit that I cannot speak for certainty of a longer period
than ten days, as I have myself never kept plates for a
lonsrer time ; the only thing to be observed in working the
process is to add to the developer a few drops of nitrate of
silver solution to replace that removed in the operation of
washing.

The ColMion and Silitr Bath.

First of all it b necessary for me to state that when speak-
ing of the employment of water, I always mean rain-water ;

* We are at a loai to oodentand hov the lineo prepared ia this atanner
is to be priated. as the treafea; with alcohol Tooid scarcelj reader the
tabrie traasparent. — Eo P. K.

r Bead before the French Pbocofraphlc socirCj.

May 2<J, 1868.]

THE PHOTOGRAPHIC NEWS.

259

not but what ordinary water would no doubt give similar
results to those I have obtained, only I have never experi-
mented with it. Next with regard to collodion. The mate-
rial I use is that iodized and bromized with cadmium salts
only, and sensitized in a bath prepared with re -crystallized
nitrate of silver, and not containing even a trace of any
other metallic salts than those of silver and cadmium ; that
is to say, the bath should be one that has never been em-
ployed for sensitizing collodion of any other description
than the one I have indicated, for otherwise it would most
likely contain small quantities of nitrate of potash, ammo-
nia, &c., derived from other collodions. If this matter is
not strictly cared for the process will be unattended by
success, as the plates will become fogged at the moment of
development, or be otherwise rendered unserviceable.

Cleaning and Coating the Plates.

The plates are cleaned and coated -with collodion in the
ordinary manner, but care should be taken in this, as in all
other processes, to collodionize the plates in a room of the
same temperature as that in which they were cleaned, other-
wi.se a deposition of moisture, imperceptible to the eye, may
be formed, which prevents the adherence of the film.

Washing the Sensitized Plates.

The plates are sensitized in the regular w.ay, and, on
leaving the bath, carefully washed. This is done by hold-
ing the plate at one of the corners, and allowing a small jet
of water from a wash-bottle to play over the back and front
of it ; it is then passed carefully into two or three baths of
pure water in succession, remaining a few minutes in each,
and finally placed in the grooves of the water-box. This
box should previously have been put into its bucket, or out-
side covering, wiiich is filled with water to within an inch or
two of the top. To introduce the plate into the box, the
collodion face should be turned towards the bevelled part of
the groove, and so manipulated with the hand that the sur-
face of collodion d(x;s not become injured at the edges ; the
same precaution is nece.ssary in withdrawing the plates from
the box.

The water baths will serve for the preparation of twelve
or fifteen plates before they require to be renewed.

Carriage of the Plates.

The plates are now ready for use, and, when the lid of the
water-box has been closed, and the cover of the bucket con-
taining it adjusted, they may be transported without the
least inconvenience. The iluctuation of the water in the
bucket, cau.sed by movement during transit, is broken
against the sides of the box, and is not transmitted, there-
fore, to the interior, and the plates arc thus kept immersed
in a liquid in a state of perfect repose. I have contemplated
the feasibility of replacing the water in the bucket by an
accelerative bath, either of nitrate of silver or tannin, or some
such substance, but as my process is merely for landscape
work, there would be no advantage in a proceeding of that
description ; besides, the employment of tannin, or of any
material susceptible of fermentation, would bring about mil-
dew, and possibly give rise to other evils.

Exposure.

In operating, I first fix my camera in the proper position,
and then focus my picture. When this has been done I
place myself in the dark, and withdraw one of the plates
from the box. Everybody has his own peculiar style of
dark tent; mine is simply a bag of dark stuff rather more
than a yard in diameter, which I pull over my head, kneel-
ing down in such a manner that the sides touch the ground
in every part. By the aid of a light furnished with a yellow
shade I am then able to perform my operations as welt as
in a laboratory. The exposure required for plates of this
description is about two or three times that necessary for
ordinary wet plates ; four times the ordinary exposure may
even be given, as the plates, being free from nitrate of silver,
rarely evince symptoms of over-exposure. After withdraw-

ing the plate from the camera it should be returned to the
box with the same precaution as before, the development
being effected on the return borne, either on the same even-
ing or on the morrow.

Development.

The operation of development requires the most careful
attention, a strict adherence to the following rules being
necessary to prevent the formation of stains and markings,
which are otherwise often obtainable in this method of work-
ing. I prepare, first of all, two solutions compounded as
follows : —

No. 1. — Nitrate of silver 4 grammes

Citric acid 4 „

Water ... ... ... 100 cub. cents.

This solution will keep good for an indefinite period. A
white crystalline deposit will bo formed at the end of two or
three days, but this may be allowed to remain at the bottom
of the bottle, as it exerts no influence upon the liquid.

No. 2. — Pyrogallic acid ... ... 15 grammes

Alcohol ... ... ... 100 cub. cents.

The acid is dissolved in the alcohol, and thesolution filtered.
This liquid may also be kept for a considerable period.

Pyrogallic Acid Bath.

This is very easily prepared from No. 2 solution. Ten cub.
cents, of the latter, and a like quantity of acetic acid, are
added to 200 or 250 cub. cents, of water, and the whole well
shaken. It will keep in good condition for a fortnight or
three weeks.

The operation of developing is conducted in the following
manner : — Two smrdl glass vessels are taken, and into one
of them (which wo will designate No. 1) are poured a few
drops of the No. 1 solution. The other vessel (No. 2) is then
filled with liquid from the pyrogallic acid bath, a propor-
tion of the latter being afterwards transferred to No. 1
vessel. The negative is carefully withdrawn from the box,*
and covered with the pyrogallic acid solution contained in
No. 2 vessel ; this operation is indispensable to the produc-
tion of clear negatives. Subsequently the liquid in No. 1
vessel is applied, and the development proceeded with in
the ordinary manner.

The image is sometimes three or four minutes before it be-
comes visible, but when once apparent it develops with
great regularity. When the operation has been carried
sufliciently far, the plate is carefully washed by means of a
wash-bottle, and fixed with cyanide of potassium. The sub-
sequent manipulations require no special description, and are
carried out in the ordinary manner.

REilARKS UPON THE WET COLLODION PROCESS.

BY MR. MCLACHLAN.f

There is now the silver bath, upon the proper preparation of
whicli everything depends ; it is. in fact, the foundation of
the whole process, to prepare which, obtain, if possible, a
rather dirty-hluish-looking crystal, transparent, and quite
neutral ; dis.solved in distilled water, it deposits whatever
is mechanically held in the crysfids, and is afterwards quite
clear in solution. I believe it to be the most neutral of any,
and the only kind free from nitrite or acid ; this silver is best
for any bath, especially after a day’s sunning in concentrated
solution : there is no other which gives the same firm pictures
for such a long time.

This silver can be obtained from Johnson and Son. To pre-
pare the bath, take 1 oz.of the silver described to 1 oz. distilled
water, place whatever quantity you prepare in the open light —
the most actinic part of the year is the best, say from May to the
end of July ; this length of time is quite long enough, even with
Manchester light. This silver, by lengthened exposure to light,
has the power of dissolving and keeping in solution a great
quantity of oxide of silver; from some experiments I am now
making I think the stopper should be very loose in the bottle.

* The hands should be perfectly clean when manipulating with the plates
in the box.

t Continued from p, 247.

2G0

THS PHOTOGllAPIIIC NEWS.

[May 29, 1868.

It is very likely the change might be quicker brought about if
the silver was dissolved in a greater quautity of water. After
sunning, filter; then take a solution of caustic potass, strength
1 grain to 1 oz. water ; add one drop of this to every ounce of
silver in strong solution ; more potass than this will take away,
to a certain extent, that perfect modeling that is peculiar to this
bath, and no other ; allow the potass to remain in the concen-
trated solution from one to three days, of course not in the
light. Now, for every ounce of silver take two or three drops
of the strong solution in a glass measure, in another measure
dissolve 2 grains iodide of potassium in a few drops of water ;
add to measure hlo. 1, stir and wash well; add this iodide of
silver, which will have a slightly green appearance, to strong
solution (this is 2 greins to every ounce silver); let this rest about
an hour, then add distilled water, to make up to 35 grains to
ounce; this addition of water will not precipitate any iodide,
that is if the silver in the first instance has been sunned enough ;
if not there will be more or less 'precipitate, according to the
effect the light has had upon the silver : this never happens
when the silver is sunned three month.s, but will often in a
shorter time. When it does, sun again for a day or two, and
filter. Remember, the bath is not in a proper condition unless
it keeps quite clear when the water is added. After a few days
in the fully sunned bath, the great excess of iodide will bo sud-
denly precipitated, still leaving the solution clear ; filter this
out, and never after does this bath want anything doing to it,
whatever the quantity may be, and however long in use ; much
water could now bo added to it without causing the slightest
precipitate. A bath that keeps clear has the power of dissolving
and keeping in solution a much greater quantity of oxide of
silver than the one that the precipitate is from. It is this
quality that gives it its value, and is the foundation of the whole
process ; without it you cannot neutralize your collodion ; for
with a bath that goes milky you are liable to get the pl.ates
fogged ; indeed you most certainly will, after a few trials. The
other takes away the possibility of this, because of its power in-
stantly to dissolve any alkalinity. This is its great virtue, and
keeps everything right; the quality of the picture is main-
tained lor a very long time, quite out of all proportion to any
other bath that can possibly bo made. Want of quality will at
last arise from this power becoming partly exhausted, but it is
never wholly so. In this state the iron should give an excess
of half-tone ; the drop of weak potass is added to the strong
solution for two reasons — first, to neutralize any free acid that
might not have been detected in the silver ; secondly, to give
it a faintly alkaline reaction, so as to cause the collodion to
harmonize with it when rectified with the potass. If trans-
parencies are wanted, sun until you get tho density wanted.
They will be absolutely perfect in half-tone and clearness.
After once obtaining silver in the proper condition, a drachm,
or even one drop of it, can be tested with a weak standard solu-
tion of potash ; the amount dissolved will be a guide for preparing
it in the same state at any other time, although three months
makes a bath that will allow any number of plates to be taken
in it without breaking down in any way, nothing exhausting
it but the silver becoming so low as not to cover tho plate. It
may be used every day, never gets in the least greasy when
the collodion is properly tempered to it ; in fact, you can never
injure it by tho ether and alcohol from tho plates. A few days’
very actinic light will give you a very good bath, but not to bo
compared to the first. Every kind of silver that I have ob-
tained, however pure so far as appearance and guarantee is
concerned, is acted upon by light at any time of tho year, to
a certain extent. I am quite sure that the condition of tlie
silver is everything ; for instance, if you take the same neutral
silver-salt, dissolve C oz. in G oz. distilled water, and drop
into it one drop of weak potass solution, you take from it, to a
great extent, the power of changing in light ; every drop
added makes it less changeable. Pictures taken witli this
silver want firmness ; the bath breaks down immediately. If
nitric acid is added, even the thousandth part of a drop, there
will be greasiness in development ; the more acid, tho worse
the bath becomes, for no developer will lie even on tho plate.
After the acid, the pictures, as long as you can get any, will be
very soft; before the addition of acid, and according to the
amount of potash, they would want half-tone, though they
will be quite clear.

Now take another silver that has an opaque look, and that
you suspect to incline to alkalinity ; drop into the 6-ounce
silver as before fsay) two drops weak nitric acid of the strength
of 1 drachm to b ounces of water ; place this in tho light ; but

first test if it is neutral ; and although it appears so to test-
paper after sunning, test again, and you will find an acid re-
action, tho light in some way developing tho acid, or, at any
rate, causing it to indicate its presence, while before it was
disguised. A bath made from silver in this state would give
streaky pictures, and would not be acted upon so quickly by
the light ; by this you will see the silver should bo quite
neutral without any addition to make it so, unless pure oxide
of silver would answer to neutralize any acidity ; this I have
not tried. What causes greasiuess in a bath is not the accumu-
lation of alcohol and ether, for a new bath will often be found
in this state, and ought to bo sufficient to prove this. Tho true
cause is a certain amount of acid — alkaline base and alcohol —
forming a kind of fusel oil, so that you will see to work this bath
it is essential that no free acid shall be allowed to be in it, more
especially that kind of acid which arises from pyroxylino, which
is made by an excess of sulphuric acid. It is this peculiar acid
which causes streaks in the direction of tho dip, brain mark-
ings, &c. ; spots arise, but not always, from tho solvents being
too strong. This kind of collodion is the best, nevertheless, for
the present method of working. Most defects are easily reme-
died by the weak potash solution. I like the collodion, in tho
first instance, to be pretty deep in colour, not old. I use Maw-
son’s. When very bad, the best way is to make the collodion
slightly alkaline ; take 2 drachms, or thereabouts, of another
old collodion free from these imperfections, and add 6 oz. of tho
alkaline kind ; this is almost certain to put things right.
Hardness and other imperfections cannot now be entered into ;
any neutral collodion that gives good pictures will do for my
bath. I cannot give a better practical illustration of tho cause
of greasiness in the ordinary nitrate bath than the experiment
with tho iron solution ; for the alcohol and water never become
homogeneous in the iron until tho alcohol is made slightly
alkaline.

It is advisable when the nitrate bath has been long in work,
and the picture is inclining to be hard, to expose well, redeve-
lop, but very little, with the iron in the dark room, finish with
pyro in tho light — 2 grains to 15 drops glacial acid ; this gives
more brilliancy under such circumstances. Baths that are old
have another peculiarity. Suppose you were to apply a deve-
loper at 70 deg. temperature, you would get hardly any picture,
and a fogged plate ; tho amount of alkaline base in the bath
seems to decompose the developer ; fix with cyanide or hypo ;
wash very well. There are more negatives spoiled through
careless washing than is supposed.

I believe the action on silver might be much hastened by
placing it in shallow dishes or cells, and concentrating light
upon it by reflectors or lenses. I have an idea that it might bo
charged at once with perfectly pure oxygen or ozone, for I be-
lieve it is oxygen changed by light, and absorbed by the silver,
that is tho cause of its peculiar condition. Silver in this state
answers much better for the printing-bath, keeping clear much
longer, and giving more brilliant prints ; and as it has the power
of holding oxide of silver in solution, all acidity can be effect-
ually destroyed, which leads me to hope much from it as a
means of preventing prints from fading, especially if they were
allowed to remain a short time in a very weak solution of
caustic potass dissolved in alcohol.

If a definite crystal of silver was chosen, it would act as an
actinometer for measuring the amount of actinism in light of
different colours. Very long exposure would bo necessary in
deep yellow, red, or blue dishes ; the amount of actinism all
over the world might bo registered : ns a certain exposure to
light will only dissolve a certain quantity of potash, a scale
could easily be graduated to indicate tho differences between
one quarter of the year and another. My theory of tho latent
image is, that the iodide is oxidized ; I could bring many
proofs to support this.

Remarks upon what is to be most attended to in working this
process. — Bo sure tho collodion is neutral, for as long as you
keep out acidity tho bath will never get greasy, nor even want
filtering, unless from pieces of collodion falling into it. Never
try a new collodion in this bath, use an old one for this purpose,
and never add any silver to it unless it is of tho same kind.
For baths partially sunned, take a C-ounce bottle, place in it
about 3 drachms old collodion free from imperfections, fill up
with the neutralized or slightly-altaline collodion ; this should
leave it about a sherry-colour. A bath used with collodion in
this state will want sunning often, and filtering often, from the
acidity of the collodion causing a precipitate of iodide of silver.
This happens more to a sunned bath than any other. What-

May 29, 18G8.]

THE PHOTOGKAPIIIC NEWS.

261

ever you do, keep out nitric acid, or j'ou will certainly have
plates that the developer will not lay upon. There arc other
peculiarities belonging to a partially sunned bath that would
take too long to describe.

To reintensify, take 7 grains iron, 14 grains citric acid, to
1 oz. water; make several Winchester quarts of this, ns the
longer it is kept the better it gets, and is not in good condition
for at least two months. To each Winchester add 3 drachms
glacial acid ; weaker iron makes the picture whiter in the face,
stronger, greyer, and develops more. Here .again tho dilierent
kinds of iron give difterent results. Tho iron that remains
clear a long time when dissolved gives the strongest picture,
that which dissolves tho most milky gives tho most half-tone
suitable for a very hard collodion.

There is a pyro.xylino that will act tho same part in tho col-
lodion that tho sunned hath does in dissolving o.xido of silver. I
expect soon to accomplish this by exposing certain kinds to
light in difterent ways. I had prepared everything for these
experiments last year, but was so exhausted by continual ex-
perimental testing of what I had accomplished, that I was
afraid to begin a series of experiments, that would require an
almost endless proving, between bath, collodion, and developer.
To prove with certainty a success, even if obtained, when I
accomplish this my original idea, then it will bo impossible to
fail but by gross carelessnes.s. Until this is done, tho process
will be imperfect, as I consider doctored collodion and .all others
only temporary experiments. With a collodion made from
such gun cotton and my bath, you wall not bo able to obtain
any iodide of silver but tho proper kind. At present thi,s is not
so. Tho rapidity will be something extraordinary, as I know
from tho few successes I have obtained. To accomplish this
has been the object of all my aims, and I have failed ; but it
has been to me tho hidden treasure, and h.as given me an ex-
perience that could not possibly bo obtained otherwise. From
these experiments I have learned that bromides are injurious
in making a perfect collodion, and that they are not necessarily
more sensitive to coloured light than the iodides ; in fact, they
are highly injurious for perfect working.

Understand distinctly that I am only giving the natural
action of each chemical ; for it must not be expected tliat an
iron, the character of which is to give soft pictures, will do this
when the collodion has not the quality of giving half-tone ; but it
will favour it all that is possible. If tho collodion is tame, the
iron that dissolves and keeps clear, and gives a vigorous pic-
ture, can only help it ; but it will never do the work of tho
collodion ; what is wanted is harmony ; and if this is not
attained, no chemicals, however perfect, are of any avail in
giving constant success. Success depends much more upon
the condition or state of chemicals than theii perfect purity.
I know of no chemicals, however pure, that can be obtained
with any certainty twice alike ; their conditions are different ;
and unless this is t.aken into account, there cannot be certainty
of results. I have nine different bottles of silver in the light.
There are three distinct kinds, three bottles for each ; one of
each kind with saturated solution, another with twice the
amount of water, the third with throe times as much. I mean
to put out more silver differently prepared, so as to snake sure
of the best method of preparing it.

This paper will not allow me to say enough of collodion to bo
of much value. I have not gone deeply into any part of the
process, as I think the information wanted can be best brought
out in discussion. Tho majority of facts here stated were known
to me many years ago ; my difticulty was to harmonize them.

Well knowing the odium that must f.ill upon me should I
fail to accomplish all I say, I have put the whole to tho test in
daily practice for two and a half years, and 1 again .assert that
I am not only willing, but most anxious, to be put to tho proof,
as no argument will ever decide anything. This I expect will
be done by the London Photographic Society. This is not
the time to state how much 1 have sacrificed to obtain this
knowledge, nor tho motives that bear mo up against an opposi-
tion that I felt certain I should have to encounter. 1 trust it
will bo admitted that I have so far performed all that I
promised ; and I have not accomplished this much without an
expense that should at least place me above suspicion. 1 ought
to know my business ; for 1 believe there are few, if any, in
Europe who have had the same amount of experimental prac-
tice ; and for any one to assert that the common process is at
all like mine, or could bo made with any amount of skill to
give a continued certainty and quality that I state mine will,
is a great mistake.

|)r0rccbinf(.‘; of ^udftics.

Liverpool Amateur PnoTOGiiAPuic Association.

The ordinary monthly meeting of this Association was held on
Tuesday evening, the 2dth inst., at tho Free Public Library,
William Brown Street, tho President, Rev. G. J. Banner, in
the chair.

Tho minutes of the previous meeting having been road and
confirmed,

Mr. Forrest laid on the table a number of pictures taken
lately at Bettws-y-Cood, upon plates prepared by the Liver-
pool Dry-Plate Company, and stated that out of the whole
number ho had exposed ho had not had a single failure. The
development was effected by means of a weak solution of
ammonia applied to the plate for a longer time than usual.

An animated discussion arose as to tho relative advantages
of weak and strong ammonia for developing, Mr. Mawdsley
advocating a rather strong solution, and other members up-
holding the weak.

Mr. Hughes s.aid ho h.ad exposed a plate at Eaton Hall, tho
imago upon which was perfectly visible before develop-
ment.

Mr. Ma\vdsley said that it was a very frequent occurrence
with over-exposed plates. Ho said he had noticed it in a
mark.>d degree upon a plate he had exposed tor an interior
when the window was well out, before developing.

Mr. Green remarked that since collodio-bromide had come
into use very little was heard of comets.

Mr. Mawdsley said he had never, with collodio-bromide,
met with a single instance of tho old tannin spot, round, and
transparent, with a black nucleus.

Mr. Forrest exhibited a piece of glass which had been ex-
posed to light for over three years in tho window of a church,
part of it covered with paint, and pointed out the marked
change which had taken p ace in the colour of the exposed part,
it having acquired a decided pink tone. After explaining tho
cause of tho change of colour, he touched upon the importance
of having photographic lenses, especially those exposed to a
concentrated light in enlarging, free from any cause of change
of colour.

Mr. Hughes said he had a pair of portrait lenses by Ross, one
ot which had been much used for enlarging, but no change had
taken place in its colour, as it worked as rapidly as the other,
which had never served that purpose.

Mr. Wiiarmby said tho change of colour in photographic
lenses was generally attributed to the Canada balsam used in
mounting them.

The President said he had great pleasure in announcing
that Mr. Green had offered two more of his large photographs
to the Society to b'o disposed of as follows ; — One to be pre-
sented to Mr. Sayce in recognition of his efforts in perfecting
the collodio-bromide process ; the other to be given as a prize
for the best collection of twelve stereo pictures, to bo exhibited
at tho July meeting.

The cordial thanks of tho meeting having been tendered to
Mr. Green,

Jfr. Hughes made some remarks upon “Enlarging.” Ho
said ho had brought all his apparatus with him for the purpose
of pr.actically illustrating the enlargement of microscopic
objects, but owing to his inability to procure a dark room he
was unable to do so. He, however, exhibited his apparatus,
and explained the method of applying it, calling particular
attention to the tact that the focussing was done upon the sur-
face of a piece of white cardboard instead of through ground
glass.

A discussion arose upon the subject of ground glass, &c., for
focussing, and Mr. Forrest promised to show at the next
meeting a specimen of a new sort of dull glass, which he
thought was just the thing required for fine focussing.

A vote of thanks having been passed to Mr. Hughes, the
second excursion was discussed, and it was decided to go to
Llangollen on the 22nd of June, the President kindly inviting
tho members to dine with him upon that occasion.

2G2

THE PHOTOGRAPHIC NEWS.

[Mat 29, 1868.

Carrt3p0nbinr£.

SEL CLEMENT.

Deak Sib, — It is a very easy matter (but dcsorviug protest
which I offer), to attribute to an adversary absurd allegations.
Where did the “ Analyst,” in your pages, find that I pretended
to classify hydrochloric or nitric acid in the organic chemistry,
because they contain hydrogen or nitrogen ? That suggestion
can be, without difficulty, returned against himself. Is car-
bonic acid or oxide of carbon classified amongst organic bodies,
because containing carbon — mailer sine qua non (as ho said)
in every organic substance ?

Carbon is not the exclusive matter constituting those kinds
of bodies ; hydrogen or nitrogen (as I say), often both (oxygen,
of course, frequently), are necessary, in simultanceus presence
with the carbon, for buildingevery organic matter. All chemists
and all authors are unanimous in that doctrine. Also I said,
and again rcpcar, the apparatus was not properly arranged for
demonstrating the presence of organic principles.

Because the “ Analyst ” obtained a precipitate of carbonate
of lime with a piece of sugar, and did not succeed the same
with the Clement Salt, he concludes to a deficiency of carbon !

I there stop him. He supposes, then, the analysis of nitrates
(containing some other reagents) must be conducted by the
same way as tlie analysis of a piece of sugar. I must exclaim
there, as he does : “ Impassible ! ”

Did the learned gentleman not know that alcohol, ether,
spirit of wood, acetic acid, &c., will go through his apparatus
without being decomposed and without precipitating lime
water? Nevertheless, the above-mentioned matters are cer-
tainly organic, and doubtless very rich in carbon. Meanwhile,
starch, gums, resins, sugar especially, will bo suddenly, on the
contrary, decomposed, and give the cliaracteristic precipitate in
lime water, but characteristic only with tliosc kinds ot sub-
stances.

Now, being complaisant as po.ssiblc, I will admit the heat
was sufficiently strong in the combustion tube to decompose
the Clement Salt in its immediate principles. 'I'lien I must re-
peat what I have stated in my last letter: —

“ The nitrous red fumes have probably altered the little
quantity of carbonic acid present in a nascent state, bcc.ause the
free oxygen taken partially for the oxidation of tho carbon had
found sufficient quantity of hydrogen to produce water.” In
the present case, where is tho supposed oxidizing atmosphere ?
What will disturb, also, the reconstitution of the hyponitrous
acid in nitric acid, taking one equivalent of oxygen from tho
nascent carbonic acid, and showing consequently oxide of
carbon? Every day, and in every furnace or closed apparatus,
we notice that phenomenon ; viz., production of oxide of carbon
at tho expense of tho carbonic acid by deficiency of oxygen.
And what will be the matter with the nitrogen, laying aside
that included in the nitrates, if some proportion of the Clement
Salt? It will certainly be acid of oxygen.

In my special case I am compelled to declare the appa-
ratus was not well adapted for a public analysis, the tendency
of which was evidently, if not willingly, to pull down my recent
industry, and which was presented as a challenge to tho manu-
facturer of the Sel Clement. For such serious matters sonre-
thing more correct, something fulfilling better the purpose, must
be presented, I think, to the scientific readers. Whatever re-
mains of tho chemical lesson given by tho “ Analyst ” to the
maker of Sel Clement, only his final assertion : “ Tho

nitrate of magnesia and a great amount of water are tho e.ssen-
tial compounds of Sel Clement.” “ It is virtually conceded,”
ho said. Where has tho “ Analyst ” read such a concession ?
I wrote in my last letter that part of the magnesia was very
exaggerated in the newspapers. I can easily offer the proof of it,
send ng to him a salt producing exactly the same efl’ects as the
Clement Salt, and containing only 2 percent, of nitrate of mag-
nesia. With regard to tho water, tho Sel Clement contains
strictly its water of constitution, and tho proof of it, easy to
verify, is its quick decomposition, drying it more on the fire.

Dear sir, some other matters, till now not discovered, are pre-
sent in the Clement Salt. Those matters— organic, cf course —
losing reductive power with the silver salt when dissolved
in certain reagents — although in a very minute proportion-
are not tho less important in tho mentioned product.

In the same number of your estimable Journal in which I
found the letter of the “ Analyst,” you have a striking example

of such phenomena. Tho first paragraph of “ Talk in the
Studio,” entitled “ Sugar in the Printing Bath,” records a
curious fact of an organic substance losing its reductive power,
although in contact v/ith nitrate of silver, in despite of scientific
assertions. Adding some alcohol — organic and carbonic matter
— the same phenomena persist.

Let me conclude in few words. The public certainly will be
indiflerent to a more prolonged doctrinal discussion, which I
have not sought, and which obliged me to bo disagreeable to
tho ‘‘ Analyst,” defending my right and my industry. Amidst
all that noise and such contr.adictions, the direct and personal
experiment of tho photographers will bo tho only right and true
criterion of the economical and technical properties of the
Clement Salt. To tho photographers I commit my pro-
duct, if, as I hope, its French origin shall not bo a stigma of
reprobation amongst tho employers of Hive's albuminized paper.
Chemistry is, like all sciences, a cosmopolitan one, without
native soil. The .Makeb of the Sel CLEStE.\T.

Paris, \Zth May, 18C8.

INJURY TO NEGATIVES BY VARNISHING.

Dear Sib, — There is one little piece of manipulation which
may possibly bo of service to some beginners in photography.
Some year or two since, when varnishing my negatives, I was
very frequently troubled with tho varnish causing the dense
parts of tho negative to become extremely coarse and granular.
Under a microscope, tho appearance was as if the density was
broken up and gathered together in granules, largo and small.
Tho consequent picture was very coarse indeed, and thoroughly
unsatisfactory. Various samples of varnish brought the same
disaster, and I was compelled to take to an aqueous solution of
gum arable to get tho film to give mo a passable positive. I
at tho time intensified with pyro, citric acid, and silver, pre-
ceded by tho solution of iodine and iodide of potassium.

I am quite satisfied that using too much silver is one cause
of this coarse deposit ; but I have reason to believe there are
others, as it has occurred when no excess of silver was used.

This continued for some time, and I could get no cure for tho
evil, when one day I attempted to intensify further a negative
rather weak, with a varnish which contained a sm.all portion of
tincture of iodine, recommended by Mr. Jabez Hughes. Much
to my surprise and delight, on tho application of this, tho nega-
tive resumed its normal state ; the coarseness disappeared ; and
since then I have never tailed in curing this evil by a similar
application. The negative will, of course, be slightly further
intensified by the treatment, which may,or may not, be a benefit ;
but 1 was glad to get rid of the coarse deposit at all cost.

Anyone troubled with tho annoyance, may safely try this
remedy ; it will not harm his negative much, if it should not
cure.

As I have very often indeed been greatly bonofitted by
sundry hints in the pages of tho New.s, I owe it to mention
this, as I do not remember having seen it stated anywhere. — I
remain yours, &c., Kent.

May mh, 18G8.

m Stubi0.

Actinism versus Illumination. — A curious illustration of
tho distinction between tho actinic and the luminous quality
of light recently brought under our attention by Mr. Rojlander.
A few days ago ho was producing a portrait in tho open air, a
little after seven in tho evening. Tho sotting sun, low on tho
horizon, illuminated all objects on which it shone with a yellow
glow ; whilst tho opposite arch of the sky was bright clear and
blue. Oil examining tho sun-illumined imago on the ground
glass, Mr. Rejiander was struck with tho fact that the side
which was practically in shadow was much more actinic in
colour, and expressed a conviction that tho side of tho face on
which tho sun shone would, in the picture, bo tho darkest side,
and tho opposite and apparently shaded side the lightest.
Singularly enough, such was tho result, and a print of a very
fine portrait, now before us, illustrates the odd phenomenon of
sunlight being represented by shadow, and reflected light pro-
ducing the actual hghts of the picture. Wo have seen clever
paintings of candle-light effects, in which one half of a face is
brilliantly lighted by a candle or lamp, tho other relieved from

May 29, 1868.]

Tllii PIIOTOGIUPIIIC NEWS.

263

perfect blackness by the bluish grey light of the moon, or o^
twilight through a window. Such pictures would in photo-
graphic reproduction probably yield a result as wo have
mentioned ; but it is. very rare that a scene in nature would bo
so represented.

Sale of Poisons. — A Bill has recently been laid before the
House of Lords by Lord Granville which may possibly affect
all dealers in photographic chemicals. It proposes to enact
that after the 31st of December, 1868, no persons shall keep
open shop for retailing, dispensing, or compounding poisons, or
use the title “ chvraist ” or “ druggist,” unless he is a phar-
maceutical chymist, or was before that date in business as a
chyraist and druggist keeping open shop for compounding pre-
scriptions, or has for two years before the passing of this Act
been apprenticed to a chymist and druggist, or at tho time of
passing this Act, being of full age, has been actually engaged in
compounding prescriptions as an assistant. An annual register
of qualified persons is to bo issued. Poisons are to be distinctly
labelled. Tho Bill, as at present proposed, is not to extend to
wholesale houses, or to sales for use in photography, or to patent
medicine vendors, or to qualified medicai practitioners or
veterinary surgeons. Chymists and druggists are not to bo
liable to serve on juries. Tho following .aro to bo declared
poisons : — Arsenic and its preparations, oxalic acid, prussic
acid, chloroform, cyanides of potassium and mercury, strych-
nine, and all poisonous ' vegetable alkaloids and their salts,
aconite and its preparations, emetic tartar, corrosive sublimate,
belladonna and its preparations, essential oil of almonds, unless
deprived of its prussic acid, cantharides, and savin and its oil.
Those interested should keep an eye on the matter to seo that
clauses are not introduced, in tho passage of the Bill, which
may curtail the proper trade facilities in vending various
chemicals.

Influence of the Shape of the Apauture in Stops. —
Mr. Kejlander has recently brought under our attention a very
curious iilustration of tho iulluenco of tho shaiio of the aperture
in the stop employed with a lens. Tho i)icturo is a pretty open
air group, with trees in tho backgrouud. I’hotographers will
h.tve noticed that the light passing through tho apertures of
foliago which is out of focus assuiues tho form of numerous
white discs. In tho case in question a square aperture was
used instead of tho circular hole commonly employed, and here
tho light spaces between the foliago which is out of focus con-
sist of so many square white patches instead of the usual white
discs.

Royal Society of Medical and Natural Sciences of
Brussels. — Tho chemical prize of this Society has just been
awarded to an Englishman, Dr. T. L. Phipson, F.C.S., of
London, for a paper “ On the Application of certain Optical
Properties of IJodies to Chemical Analysis.” Dr. Phipson’s
name is known to our readers as a frequent contributor on tho
chemistry of photography.

Re Disdeei and Cohpany. — An application was made a
few days ago, before Vice-Chancellor Sir R. Malins, for tho
appointment of a provisional liquidator under tho 80th section
of the Companies’ Act and the general orders. Mr. Disderi,
having establishments in Paris and Spain for tho earrying on
a superior photographic process, had endeavoured to form a
company in this country, but without success. The seven
shareholders and directors had paid nothing, and creditors
were suing Mr. Disderi. Under these circumstances ho had
presented a petition himself, and now asked ex parle for the
appointment of Mr. George Augustus Cape, tho well-known
accountant, to bo appointed liquidator until tho hearing of tho
petition. 'The Vice-Chancellor made tho order.

Indecent Photographs.— On Tuesday, at Bow Street, John
Dukes was charged with selling indecent photographs. Tho
prosecution was conducted by Mr. Sleigh, tho barrister, in-
structed by Messrs. Pritchard and Colette, solicitors to the
Society for tho Suppression of Vice. Tho “ cartes” had been
purchased by Willis, an agent of tho society. Tho defendant
said they were artist’s photographs, and not indecent. Mr.
Fiowers said they were not so bad as many which, unfortunately,
it had been the duty of the magistrates at this Court to deal
with ; still they were decidedly indecent, and it would be for
a jury to say wHether they believed that such productions could
have been intended for the use of artists or for any innocent
purpose whatever. He should commit tho prisoner for trial.
Sophia Dukes, wife of the last prisoner, was committed on

similar evidence for selling photographs decidedly more offen-
sively indecent than those purchased from her husband. Mr.
Abrams, who defended her, said she was acting under the
direction of her husband, and on Mr. Sleigh expressing his
dissent, Mr. Abrams said the learned counsel would have taken
that view if he had been acting for tlio defence. Both prisoners
were bailed in two sureties of £20 each.

Copyright in Photographs. — Strahan v. Graham — Vice
Chancellor’s Courts, May 30. — In this case, tho details of which
will bo within the memory of our readers, Mr. Strahan, tho
publisher of Good Words, purchased from Mr. Graham tho
right to engrave certain jihotographs of the Holy Land, to
illustrate articles in Good Words. Mr. Strahan also published
tho engravings in a volume called “ Eastward ” in a separate
form, and an injunction was obtained to restrain him. This
order was appealed against, but confirmed on appeal. It
appeared that 1,300 copies of the work had been sold, and it
was referred to Chambers to ascertain tho amount of damage
sustained. Tho Chief .lustico was of opinion that 2J guineas
was a fair sum to bo allowed for each photograph. One party
appealed against this view, and the other side moved to have
the photographs delivered up. The Vice-Chancellor said the
question ought never to have been raised, and dismissed both
applications with costs.

Elastic and Swef.t Glue, which does not spoil, is obtained
as follows : — Good common glue is dissolved in water, on the
water batli, and the water evaporated down to a mass of thick
consistence, to which a quantity of glycerine, equal in weight
with the glue, is added, after which the heating is continued
until all the water has been driven off, when the mass is poured
out into moulds, or on a marble slab; This mixture answers for
stamps, printer’s rolls, galvano-plastic copies, &c. The Sweet
Glue, for ready use by moistening with tho tongue, is made in
the same way, substituting, however, tho same quantity of
powdered sugar for tho glycerine. — Druggists' Circular.

Photographing the Interior of a Tunnel. — Mr. Evans
has presented to tho New York lustituto of Engineers a
photograph of the higli level tunnel of tho Central Pacific
Railroad. Tlie cast end of tlio funnel being sometimes illumin-
ated at sunrise, a largo mirror was employed to reflect the sun’s
rays equally over tho whole of tho interior while tho picture
was being photographed. Tlio plate having been exposed
about fifteen minutes, a print was taken showing every detail,
even to the timbering of the drifted headings, with great dis-
tinctness and accuracy. — Scientific American.

Suicide ■with Cyanide. — A few days ago an inquest was
held on the body of William Augustus Barnes. The deceased
had been engaged at Drury Lane Theatre as pantaloon in a
pantomime last Christmas, since which time he had taken to
photography. A /losLmortPOT examination of the body showed
that death resulted from taking cyanide of potassium.

Ornamenting Windows in Studios. — A correspondent of
tho Scientific American describes how he treated the window of
his dark room, which communicated with his studio. He says :
“ Thinking I would mako it ornamental, I procured a pint of
stale ale, four ounces of Epsom salts, and a small vial of
magenta-coloured liquid. 1 then took out the window, and in
its stead placed a largo single pane. After mixing a saturate
solution of the ale and salts, and adding the colour, I filtered
the solution, then cleaned the glass with alcohol and cotton
chemically clean, placed it on a levelling stand, and made a
small ledge with putty around the edge, then poured ou tho
solution enough to cover the plate evenly in all parts. In a
few hours the crystals began to form around tho edge, and in
forty-eight hours it was all covered with tho most beautiful
crystals, of large size and of a rich purple colour. When it
was perfectly dry I placed it in tho window, where it remained
all summer, and was tho wonder and admiration of the curious.
But when winter came, aud the stove was put up close to it,
it soon began to lose colour, and tho crystals gradually dropped
oft’.”

A Wonderful Photographic Secret. — A singular adver-
tisement recently appeared in the Times, to which we give a
gratuitous publicity in the circles where it may be interesting.
Wo quote it verbatim ; “ The secret of diilerent modifications
of a photographic collodium wool, produced exceedingly cheap,
by a new and easy proceeding, is to bo sold, for a sum of £3,000.
Certificate from the Russian Technical Society, and from tho
Photograph of tho Imperial Court of St. Petersburg!!, as well

264

THE PHOTOGRAPHIC NEWS.

[May 29, 1868.

aa specimeus that will distinctly show the manner of
proceeding, will be immediately forwarded upon the receipt of
3 rbls. Apply to the inventor (in the German languagel, by
letter, post paid, addressed C., to the Central Oflice of Adver-
tisements of Al. Wilcken, in St. Petcrsburgh, Wassili Ostroft',
5 line.”

Photogeaphy the best Detective. — The Viennese Xeue
Freie Presse relates the following respecting the capture of an
Englishman, named Grey, who by moans of forged cheques on
the Union Bank of London swindled the house of Kosenbaum
of a large amount of money. Through accident the said
banker, Mr. Kosenbaum, became possessed of a pliotograi>li of the
fugitive, and gave the same to the police inspector, IJroitenfeld,
at Vienna, who remitted it to Mr. Pollaky, an Austrian resi-
dent in London, who caused the necessary inquiries to be made
in London, as it was supposed Grey made direct for England
with his booty. Last week it happened, however, that Mr.
Pollaky, on his way to Vienna, passed through Hamburgh, and
there visited the theatre, and during the entre’ acte ]>assod his
time by inspecting tho audience, when, to his great surprise
and no less satisfaction, ho discovered in one of the visitors the
most striking resemblance to tho jihoto sent to him some months
ago from Vienna. Of course this man was at once closely
watched, and a telegram' despatched to Vienna ; upon which
the firm despatched their cashier, who recognised the swindler,
although a great change in his appearance had taken place
since his debut at Vienna. A largo sum of money has been
recovered, and Grey has since jdeaded guilty to the charge, and
has been sent to Vienna to be dealt with there according to flic
Austrian laws. Strange to say, this man, who assumed tho
nationality of an Englishman, is no Englishman after all, but a
Frenchman by birth, and speaks English very imperfectly.
About £7,000, with drafts to tho amount of 30,000f., have been
found on his arrest.

Mr. Warren de la Rue’s Photographs of the Moon. —
Our excellent contemporary the Engineer, of last week, has a
most admirable and complete account of .Mr. Warren de la Rue’s
photographic operations at Cranford Observatory, with capital
and extensive illustrations. We shall have something more to
say on the subject in our next ; but we should counsel all our
readers having any interest in this branch of our art to got last
week’s Engineer for preservation.

o

3^0 ^jormpoubents.

F. B. — Hitherto no licence has been required by amateurs for work-
ing with Swan’s ciirbon jirocess, and, so far ns wo know, none will
be required in future ; but as tho patent is passing into fresh hands,
and it* commercial application will receive energetic attention, we
cannot with certainty detail the future arrangements. We believe
that a common .screw-press may bo made available for cll'ecting the
transfer.

.\matei r. — .K weak solution of sulphide of ]>otassium may bo em-
ployed to intensify a negative after it has been suffered to dry ; care
must bo taken, however, to moisten the film thoroughly first, other-
wise there will be danger of uneven action of the intonsitier. For
the purpose you require, we should be disposed to try pyrogallic
acid with a very slight trace of nitrate solution added.

Henry Williams. — 'rhe llatnc.ss and want of modelling and texture
in the card sent, and which constitute the chief difference between
it and the productions of your Regent Street namesake, arc mainly
due to over-development or over-intensification. You have also a
little too much top-light. The print sent would have been much
better for deeper printing; but when a negative h-, us had detail and
texture buried in an excess of deposit, it is difficult, by luiy mode
of printing, to secure the delicate soft texture of flesh in the
print.

C ..\. M. W. — It is diflicult for us to form an opinion without see-
ing the negative, lus to whether it will yield more brilliant prints
than that you enclose; but wo should Ibink it very probable that
it will. Pictorially, the negative is capital ; the grouping and light
and shade are very good ; but the print certainly lacks vigour. Try
a sample of Hive paper, use a oO-grain bath, print somewhat deepljq
and tone with the lime bath. It is very probable that this mode of
working will give you a print with more vigour and contrast.
2. A varnish made by dissolving shellac in wood naphtha or in
methylated spirit will answer well for vami.shing the jicrforated
oak false bottom to your washing machine, and it will be uU the

better for such treatment. It is difficult to estimate the length of
time that will bo required to wash prints thoroughly in such a
machine. We shouM think that if the machine is suffered to fill
and empty itself ten or twelve times, tho prints would be well
w.ashod, especially if they receive a thorough washing for a quarter
of an hour with rapid changes of water 'before placing in the
machine ; but we should prefer using some of tho most delicate
known tests for the presence of hypo to little of tho water draining
from a jirint supposed to be well washed. 3. The continuous
dribbling of the syphon is probably due to insufficient prc.ssure of
wafer in the supply-pipes. Let the water enter with greater force,
and also flatten the bend of the syphon. 4. The silver bath with
sugar, recommended by Mr. Bovey, answers admirably for amateur
purposes. Tho sulphocyanide bath gives excellent results of a
special kind. You will best ascertain if they please you by trying.
0. The yellow v.irnish for dark-room windows was described in the
X lews for 1864 and the Ye.vr-Book for 18Co. It con.sists of equal
parts of raw sienna and orange chrome No. 3, as sold in tubes by
colourmen, diluted to a consistency for u.se with japanners’ gold
size and turpentine, with a little “ patent driers” added.

Arthur Stride. — The yellowness and spots in tho prints forwarded
are jirobably due to imperfect fixation, although such a result might,
in some cases, arise from leaving the print saturated with hypo.
It is probable, however, that the prints were immersed in aii old
and exhausted hypo bath, and are imperfectly fixed. The prints
enclosed in your letter seem to be iierfectly fixed. 2. Tho lens in
an English ])ortrait combination are generally so fixed that you
cannot very well place them wrong. In French lenses, which are
not burnished into the cells, it is. however, pos.sible to arrange them
improperly. The front part of the combination is placed with tho
convex side outw.irds; in the back combination the bi-convex is
jilaccd in tho cell first, tho ring is jdaced in next, and then tho
meniscus, concave side towards the bi-convex lens. 3. AVe cannot
recommend any very simple work on photograiihic chemistry. You
will best find what you require by reading the various articles in
our pages.

AV. J. \. O. — For landscape work, such as tho Scottish Highltinds,
decidedly No. 3; for architecture. No. 2. .V jilatoof about GJ by 4J
or 7 by o we should recommend.

J. C. S. — .V monohyilrated acid is tho strongest form of the acid,
and contains only one atom of water. I’ure nitric acid, for instance,
is a solid crystiilline body ; but tho most concentrated available
acid is the monohydrated, which has a specific gravity of about 1 -500.

.An Asriring One. — The chief photographic fault in No. 1 is that
tho negative has been slightly under-exposed, and tho print a little
over-printed. In No. 2 the negative has been slightly over-inten-
sified, which makes the face a little chalky. The light is too
directly in front of the sitter to give relief; to secure the best effect
of relief and modelling, you rcijuire a high side-light as the domin-
ant light, with a little diffused light or reflected light to prevent
hardnc.ssand blackness in the shadows. Your carpel is too decided
in p;ittorn, and gives a .somewhat spotty effect. We shall have
pleasure in helping you at any time.

S. .Vrtidge. — You have .succeeded very well considering the diffi-
culty of the task ; but perfect success in such an undertaking, with
such limited facilities, could scarcely have been expected.

Wm. Bartholomew. — We fear that much of tho chaos to which
you rcfia- will remain after the most c.ireful explanation. We do
not know whether the magnesia toning bath is commonly used or
not, but shall print your brief remarks thereon. Thanks.

Mr. W. H. Warner, of Ross, has favoured us with an example of
a tinted mounting-board in which the anti-chlor is .said to be quite
neutralized. AVe shall test it carefully, and again refer to the
subject. .

Ignor.vmus. — AVe do not recommend making any portion of tho
northern roof opaipic ; but it might be well for summer use, at
least, to make such portion of it as may permit tlie entrance of
direct sunlight semi-opaque, by stippling with white paint or
covering with tissue paper. Tho proposed projecting board would
keep out direct sunlight in sunny weather, but would obstruct
much light in dull weather. For the roof light, a scries of blinds ;
for theside-light, curtains. 2. For intensifying before fi.xing, when
necessary, iron and citric acid, with a little nitrate solution, is most
convenient, and gives c.xcellent results. Thanks in advance for tho
2)rojcctcd account of operations.

Erratu.m. — Through mi inadvertence, the diagram in AA'instanley’s
article on Artificial Light in our last w.is iilaced upside down.

Hinsdale and Co., and several Correspondent.s, in our next.

All Communicafions for tho Editor to be addressed to 15,

Gough Square, Fleet Street, London, E.C.

*,• All photographs forwarded to the Publisher for registration receive
attention at once ; but the pressure on our sjihcc sometimes compels us
to defer the acknowledgment in this column. It should be borne in
mind, therefore, that non-acknowledgment al once does not necessarily
inijdy uou receipt or nou-registration.

THE PHOTOGRAPHIC

NEWS.

Voi. XII. No. 509.— /««« 5, 1868.

CONTENTS.

PJOB

Bromides in a Collodion Containing a Potassium Salt 285

Pictorial Effects in Portraiture 268

Echoes of the Month. By an Old Photographer 266

Sketches of Travel from a Sun-paintePs Portfolio 267

“Lux Oraphicus”on the Wing 263

A New Made of Drying Plates. By .M. Carey Lea 269

Pictorial Effect in Photography. By II. P. Robinson 270

On a New and Simple Method of Recovering Metallic Gold and
Silver from Residues. By Victor G. Bloede, Chemist 5.72

PAAB

Solar Printing on Canvas 972

Mr. Warren de la Rue's Photographs of the Moon 273

Proceedings of Societies— American Institute— Philadelphia

Photographic Society 271

Correspondence— The Action of Ilypochlorous Acid in the Nit-
rate Bath — Removing the Collodion Film used in Trans-
ferring Enamels 275

Talk in the Studio 275

To Correspondents 276

BROMIDES IN A COLLODION CONTAINING A
POTASSIUM SALT.

All who have expevimentcJ in the manufacture of collo-
dion arc familiar with the difficulty of introducing any
moderately large proportion of bromide into collodion
in the presence of iodide of potassium. Bromide of potas-
sium is so well known to be comparatively insoluble
that, as a rule, no attempt is made to use it in collo-
dion. Bromide of cadmium, being very soluble, is most
frequently used ; but a difficulty has generally been ex-
perienced, especially if the solvents employed were highly
rectified, in using at the same time an iodide with a potas-
sium base. A double decomposition has been found to take |
place, in which bromiile of potassium has been formed and I
precipitated in the collodion.

Nevertheless, the use of a portion of iodide of potassium in
conjunction with iodide and bromide of cadmium is often de-
sirable. The potassium salt possesses advantages over other
alkaline bases which make it a favourite with many pho- |
tographers. Its presence in a collodion frequently secures
intensity, brilliancy, and freedom from fog in degree greater
than many of the iodides. The product of its decomposi-
tion in the silver bath — nitrate of potash — a.ssists, by its
deliquescent character, in the retention of moisture on the
plate during long expasurcs, and checks the tendency to matt
silver stains. Ti e difficulty of using it with a full propor-
tion of bromide has therefore often been a subject of regret
with photographers.

Mr. Russell Manners Gordon informs us that as the result
of some carefully conducted experiments he is able to intro-
duce as much as two grains per ounce of bromide of cadmium
into a collodion containing iodide of potassium without
causing a precipitate. The proportion which can be added
in the usual mode of mixing rarely exceeds half a grain pe-
ounce. To secure the power we have just indicated a certain
order of mixing must be carefully observed, the potassium
salt being dissolved in water and the bromides in alcohol j
of 805 sp. gr. It will readily be seen that in adopting a |
method of this kind rigid accuracy is required to secure the
exact condition in which, without adding too much water
to the collodion, a sufficiently aqueous condition is main-
tained to keep the salts in solution. If the alcohol employed
in collodion be much weaker than 820^ the collodion will
risk showing signs of reticulation ; but if alcohol of this
strength be employed in a direct manner for dissolving the
salts, the bromide of pota-ssium formed will generally be
precipitated.

The first consideration, then, is to ascertain that the
.minimum quantity of water in which the potassium can be
dissolved, and which, when mixed with the alcohol containing

cadmium salts, will keep the whole in solution, does not
reduce the alcohol below the proper standard for making
collodion without reticulation. Mr. Gordon has carefully
worked out the conditions necessary. Commencing with
alcohol commonly called absolute, but containing really a
little over three per cent, of water, it will be found that the
addition of water changes the specific gravity in the follow-

ing ratio ; —

To 1 ounce of alcohol

5 minims of water added give ...

10

20

>>

n n

)f ti

ff »»

91 99

805 sp. gr.
810 „
817 „

822 „

With these fact before hitn, which have been carefully
verified by the aid of the specific gravity bottle, Mr. Gordon
proceeds as follows : — _ •

First prepare the normal collodion after the following
formula: —

Ether, 725° 4 drachms

Alcohol, 805° ... ••• 2 ,,

Soluble cotton ... ... .•• 6 grains

Then proceed to prepare the iodizer, as follows ; —

No. 1.

Iodide of cadmium

Alcohol, 805°

. , 8 grains

.. 6 drachms

No. 2.

Iodide of potassium
Water

.. 8 grains

.. 20 minims

Dissolve, and add to No.

I.

No. 3.

Bromide of cadmium
Alcohol, 805°

.. 8 grains

.. 2 drachms

Dissolve and add to the above, then filter and keep for use.

Then add one part of this mixture to three parts of the
normal collodion.

Each ounce of the prepared collodion will then contain —

Ether

Alcohol, 805°
Alcohol, 822°

Soluble cotton
Iodide of cadmium ...
Iodide of potassium...
Bromide of cadmium

a

*

2

2

6

2

2

2

ounce

drachms

•

grains

99

99

99

“ This,” Mr. Gordon adds, I find as good a collodion for
the wet process as any I ever used.

“ I do not like it for dry plates, as I prefer 3 grains of
bromide for this purpose, and the potassium salt will not
admit of so large a quantity.”

266

THE PHOTOGRAPHIC NEWS.

[June 5, 1868.

PICTORIAL EFFECTS IN PORTRAITURE.

We have recently received from Messrs. Robinson and
Cherrill* some very admirable examples of cabinet por-
traiture, in wbicb it is attempted to secure something beyond
mere portraiture, each subject being treated as a picture
possessing charms independent of the question of likeness,
in relation to picture-making, the superiority in size of the
cabinet to the card portrait becomes an important element
of success or failure. It is an advantage and an element of
success if the photographer be master of the art department
of his work ; it is an element of failure if he lack the power
of composition or securing pictorial effect ; and this is pro-
bably one reason for the tardy adoption of cabinet por-
traiture : it undoubtedly taxes the artistic capacity of the
portraitist to a greater degree than does the card portrait.

The idea embodied in the charming portraits introduced
by Mr. Edge has doubtless suggested the mode of treat-
ment adopted iu these pictures ; but as the size is larger, a
more ambitious treatment becomes necessary. In Mr. Edge’s
cards the ^picture consists chiefly of foreground and dis-
tance, without appreciable middle distance, and the limited
dimensions of the picture seem sufficiently filled, and scarcely
suggest a want. In the larger cabinet size this treatment is
not permissible ; every plane must be properly made out, or
the picture is imperfect. The subjects consist, for the most
part, of pretty children, some in rustic costume, playing
amid trailing wild flowers, grass, and ferns ; in some cases
a tine landscape from a second negative furnishes the back-
ground ; in other cases a skilfully painted scenic back-
ground is employed, which is so contrived ns to admirably
blend the natural effects in the foreground with the painted
effects on the screen. In some other of the specimens a
winning little child is dressed in somewhat quaint-lookiug,
old-fashioned costume, forcibly reminding us of some of the
favourite pictures of Sir Joshua Reynolds, whose style is
somewhat followed in the treatment of the pictures, which
have dark backgrounds, with a few dimly made out acces-
sories, employed for the effect of light and shadow,
rather than the sharp rendering of their forms as objects of
importance. In all cases the pictorial eft'ect is admirable,
and many of the pictures altogether charming.

AVe have also before us some very admirable examples of
cabinet portraiture by Mr. Inglis, of Montreal, especially
distinguished by their pictorial treatment and for the skill
with which a natural foreground is supplemented by a
scenic background. In some of these the effects of snow and
ice, which we have before described in connection with Mr.
Notman’s pictures, are admirably rendered, and produce a
good effect of harmony with the Canadian winter costumes
of the models. In others a good effect is produced by a
rocky foreground with well painted sea and sky for distance.
In others, again, we have children playing in a garden scene,
with capital natural accessories, and well-painted landscape
beyond. Fine judgment is required in this blending of
the natural with the artificial, in order to secure keeping and
harmony, and Mr. Inglis has iu all cases succeeded admi-
rably. The portraiture and the technical photography are
throughout of high excellence.

A series of card portraits of children with which ]Mr. Inglis
has favoured us are amongst the most marvellous things we
have seen in child portraiture. The models chiefly consist of
two little ones, of apparently about two years old and four
years old respectively. They furnish about a couple of
dozen different subjects, in which almost every phase of
expression possible to childhood is embodied. There are
various phases of mirth and laughter, various forms of grief
and crying ; surprise, defiance, mischief, study, pensive con-
templation ; action of various kinds, and repose in various
forms, all very capitally rendered, and telling their own tale.
Mr. Inglis appears to have succeeded in acquiring the true
art of taking young children — working rapidly, keeping the
sitters interested, and avoiding coercion or fatigue.

* The charming pictures by Messrs. Robinson and Cherrill are published
by Marion and Co.

ECHOES 01^ THE MONTH.

BY AK OLD PHOTOGRAPHER.

English Lenses — Mr. McLachlan’s Communication —
Mr. AVoodbubv’s Process — The Carbon Process — M.
Salomon’s Unmounted Prints— Drying Negatives by
Heat — Transformation of Silver into other Metals
— Societies.

I WAS strikingly reminded of the wholesome old proverb, Ne
sutor ultra crepidam, by a recent article in your generally
excellent contemporary the Mechanics' Magazine, in which
the writer is excited to virtuous indignation by a contempla-
tion of the high prices charged by English opticians for
photographic lenses, whilst, according to this writer, equally
good lenses can be purchased in Paris for half the money.
J.t seems, too, that photographic journals have sadly
neglected their duty in not inRirming photographers of
these facts, and calling their attention to the superior cheap-
ness of the continental productions. There is something
very amusing in the profound ignorance of the writer, who
fancies he is communicating a new thing to photographers
in stating that French lenses are cheap, or rather low-priced.
Perhaps there is scarcely a studio in the kingdom in which
there is not, or has not been at some time, a cheap French
lens, which in some exceptional cases may be a good one,
but which, in the majority of cases, is so far otherwise, that
when the photographer can possibly afford it he will pay
three times the price of the French lens for a first-class
English instrument. If the writer had been informed upon
his subject he would have known that not only are photo-
graphers generally tolerably familiar with the qualities of
French lenses, but that French and other continental photo-
graphers know something of English lenses, and, notwith-
standing their greater price, use them. If he had visited the
studios of Bingham, Reutlinger, Ferrier, Disderi, Angerer,
and many others whose works are known throughout the
world, he would have seen that they employed English
lenses ; and he ought further to have known that his state-
ment that at the late International Exhibition a “ foreigner
carried off the first prize for photographic lenses, leaving
the best English opticians out in the cold,” was simply not
true. There were only four silver medals awarded to
opticians, and these were for English, French, Prussian, and
Austrian lenses ; and, further, the two principal English
opticians each received gold medals. The scientific blunders
in the article, I presume, you will deal with in good time.*
The conviction I stated in my last Echoes, that Mr.
ilcLachlan underrated the intelligence and capability of
photographers generally, was, I think, more than justified
by that gentlemen in his recent communications to the
Photographic Society, and I was glad to hear Mr. Fry, with
considerable point and force, endorse my remarks. It
required all one’s respect for Mr. ^IcLachlau’s honesty and
earnestness, and gratitude for his evident good intention, to
keep anything like patience with the strange farrago of un-
scientific terminology. I felt strongly inclined to quote
Sir Walter Scott’s Antiquary, where ho exclaims to Sir
Arthur AVardour : “Take a glass of wine, and wash down
that bead-roll of unbaptized jargon that would choke a dog.”
If 1 understand the practical advice given to photographers,
it is to this effect: “ You have already sunned your baths a
little ; you will find it advantageous to sun them much
more. You have been in the habit of using nitric acid ;
henceforth avoid it. Yon have preferred ripe reddish collo-
dion ; in future use a colourless neutral sample. You have
hitherto found that an iron developer worked cleanest when
a portion of it had become oxydized ; I recommend you to
produce the same result in what I conceive to be a better
manner.” Voila tout / Much of the advice is doubtless good,
but I cannot see why it should have been heralded as a
great secret.

* The article in question was so curiously full of obvious error tliat it is
not likely to mislead many. The pressure on our space of more interesting
matter leaves us no room for dealing with an unimportant matter. — £n.

THE PHOTOGRAPHIC NEWS.

2G7

eioNB 5, 1868,]

Few inventions have been the victim of so many com-
mercial misfortunes as Mr. Woodbury’s photo-relief printing
process, all of which tend to retard its fair chance of com-
mercial application. After more preliminary troubles than
most novelties encountered, a company was formed for work-
ing it in Manchester ; but, beyond causing considerable
delay, nothing was effected. The commercial utilization of
the process did not seem to be advanced at all. Next, we
hear that the patent has been purchased by a company in
London, Disderi and Co., Limited, and active preparations are
made for the working of the process. Fine examples of the
work begins to be seen in retail establishments, and a full
tide of prosperity seems to be promised, when suddenly Mr.
Disderi is reported as “ wanting,” and shortly his solicitor
applies to the Court of Chancery for a liquidator, and states
that no money at all has been contributed by the share-
holders and directors. On (lit, that not less than X40.000
has been supplied by a French capitalist to the company in
London to initiate and carry on its business, but that no
satisfactory answer can be given as to where the money has
gone. To those having a purely scientific interest in the
progress of this mode of printing, these things are somewhat
distressing, because they delay the establishment of a good
process, which, in spite of the commercial difiiculties, has
steadily progressed in the excellence and certainty of its
results.

The commercial application of the carbon printing pro-
cess has not been so rapid as might have been desired ; but it
has had no such drawbacks as those I have just mentioned, and
in the hands of the new company, which will, I understand,
direct its fortunes for the future, will, I believe, be worked
with great energy. Perhaps its success in the hands of Mr.
Braun, of Dornach, is unparalleled in the history of our art.
It seems only the other day since it was initiated by Mr.
Swan, in Dornach, and now they are turning out fifteen
hundred prints daily by the process; and the spirited pro-
prietor, who has invested over £TG,000 in tlie work, is, I
hope and believe, making a rapid fortune by it. The pur-
pose of the Autotype Company, to inaugurate a new system
of reproduction by the aid of this process, promises well for
art education in a form hitherto sadly neglected.

The unmounted Saloman prints will, I presume, remove
the remaining doubts of sceptics. For my own part, al-
though fully satisfied that the photography was of rare ex-
cellence, I must confess that a sight of a score of such
examples of magnificent photography in the rough state
has surprised me, and I am almost disposed to concur with
the dictum of an artistic friend, that any touehing upon
such prints was almost desecration. I may here repeat one
curious remark I have heard, to the effect that if any
“ dodge ” had been practised, it consisted in giving a few
touches, to suggest that a far greater amount of artistic skill
had been applied in finishing than the prints had either
received or required.

Have any of your readers ever notice<l a fact recently
mentioned by an American correspondent in your pages,
namely, that a negative dried by the fire was generally moje
brilliant than one left to dry spontaneously. I have never
seen it mentioned before, but I remember to have been
occasionally struck by the fact in my own praefee. It is j
surely something worth further examination.

One of the most interesting papers I have read for a long
time is that recently contributed by Heir Grune to your
pages, on the transformation of the image obtained in silver
to some other metal by a process of substitution. It appears
to me to point out a comparatively unworked field for pho-
tographic experiment. With the exception of the well-
known method of converting the image in a salt of mercury,
but little has been done in that direction. Research in this
direction furnishes a new field, I fancy, for experimentalists
in photographic engraving.

The meetings of societies during the month have in many
cases been interesting. The length of Mr. McLachlan’s

communication at the Parent Society left little time for dis-
cussion ; but the remarks made were interesting, and to the
purpose. Mr. Spiller’s comments on th? statements put forth
furnished an admirable example of quiet force strikingly in
contrast with Jlr. McLachlan’s excited exuberance. The
example of Mr. Robinson’s promised presentation print, a
charming composition, entitled ‘‘Watching the Lark,”
excited much interest. At the North London, Mr. Bockett’s
paper on the condition acquired by chemicals after long
disuse, was interesting, and might in a fuller meeting have
excited more copious discussion. At the South the material
was more meagre than usual, or the members were less dis-
posed for discussion. Some capital enamels were exhibited
by Mr. Henderson, and some fine studies by Mr. Rejlander,
as well as a large number of M. Salomon’s unmounted prints,
which excited equal surprise and gratification by the photo-
graphic perfectness of the pictures.

At the Oldham Society, which maintains its activity, Mr.
Beverley read a good paper on ‘‘ Dry Plate Photography,”
in which he expressed his preference for Mr. England’s pro-
cess. At the Edinburgh Society Mr. Muir gave some pho-
tographic experiences in Sweden. A discussion followed
on the fading away of the image on dry plates when kept
long before development. At the Liverpool Society an inte-
resting discussion took place on the collodio-bromide plates of
the Liverpool Dry Plate Company, some fine negatives, ob-
tained by development with a weak solution of ammonia,
being shown in illustration of the value of this mode of
operating.

SKETCHES OF TRAVEL FROM A SUN-PAINTER’S
PORTFOLIO.

BY STEPUEN THOMPSON.

“ What we write

Should be the reflex of the thing we know.

How can he limn the glories of the morn

Whose eyes have never looked upon Aurora’s face 1”

Prof. Aytoun.

No. 1. — A Week on the Island of Iona.

There is a little island lying oS' the bleak and stormy
co.-jt of Argyleshiro to which, in bygone days, a peculiar
odour of sanctity was attached, and a belief in special
privileges to be conferred at the end of the world on those
buried thereon. There together sleep the mighty of a long
past age — a long line of Scotch, Irish, and Norwegian
kings; a race of “ Lords of the Isles,” and powerful chief-
tiaus from far and near. After maily a stormy and turbu-
lent life, Norseman and Scot alike came there to repose in
quiet proximity. On dark winter nights, when the storm-
driven waves of the Atlantic lash the wild rocks on the
seaward side of the island, and the blue hills of Morven to
the north, wreathed in mysterious mist, are full of all that
which inspired the song of Ossian, the ear of fancy may
hear borne on the wings of the wind the wail of sorrow for
‘‘ the dark-haired Orla, destroyer of Lerves, chief of Oithona,”
or the bards raise the song of praise for the yellow-haired
S0.1 of blue-eyed Mora, —

** Whose (lark ghost gleams on the red stream of tempests ? — Lovely was t
thou, but not harmless was thy sword I It hangs in thy cave : the ghosts of
Lochlin shriek around its steel. Hear thy praises ! Thy name shake.s on
the echoes of Morven 1 Then raise thy fair locks, spread them on the arch
of the rainbow, and smile through the tears of the storm.'*

A low rocky i.sle set in the Northern Sea, is the island of
Iona, one

“ Where more of winters than of summers be,”
but though destitute of tree or shrub, there are patches of ver-
dure here and there, upon which the black Highland sheep
graze and are content. The cottages in which the islanders
dwell are of the rudest description : — roofs of thatch, secured
with lacings of hempen rope where the Swiss chalet would
have had rude planks of dark brown timber secured with
large stones at regular intervals. Under one of these roofs
I was fortunate in possessing half a bed-room shared with
an engineer engaged in superintending the construction of
another lighthouse near the far-famed Skerryvore, built by

268

THE PHOTOGRAPHIC NEWS,

[JiJME 5, 1868.

Stephenson. Many rough days and tough yarns had we at
night over difficulties experienced in effecting a handing,
he on his rock, and I on mine at Staffa!

But there is no place sacred from the ubiquitous camera,
and Wilson’s admirable views have made the island familiar
to many of those who will never tread its shores. The
remains of the world-famed cathedral and mona-stic establish-
ment are situate on the more sheltered side of the isle,
looking towards the Ross of Mull. This earliest of Christian
temples, this link of links between past and present, is
invested with associations of undying interest. The story
of St. Columba is a peculiarly fascinating one, and reads
like an epic : his noble self-denial, his lofty piety and
indomitable courage, his formidable contests with Druid
priests and a barbarous people, until Christianity spread
over all Scotland ; how he lived and laboured on, and bow,
when life’s long day was spent, laid himself down in his
cell by the sounding sea, and at evening time there was
light !

It presents no peculiar difficulties to the photographer,
save those of forethought in connection rvith the safe transit
of fragile apparatus and chemicals over seven or eight
hundred miles of land and sea, and the landing and re-
shipping the same in small open boats at sea on an iron-
bound coast. The finely-balanced nervous temperament of
the Duke of Wellington, we .are told, consisted in a due mix-
ture of the apprehensive and the resolute — a constant appre-
hension and expectation of contingencies, and a perpetual
preparation against them. When once questioned on the
subject, he stated that he never thought of what he should
do if victory were his, but a great deal about what he should
do in case of defe.at. Similar qualities should be those of
a landscape photographer. The journey occupies three or
four days from London ; from Glasgow two days. Leaving
the Bromielaw at 7 a.m., by Messrs. Hutchison’s magnificent
steamship Iona, built on the American principle, you reach
Oban the same night by way of Ardrisbaig and the Crinan
Canal. In the season, another bo.at leaves Oban twice or
three times a week for Iona and Staffa. As the wind and
weather in these Western islands is often of such a nature
.as to ensure a long detention, it is as well to prepare before-
h.and. Those mindful of their creature comforts m.ay be
reminded that there are such people as Crosse and Black-
well, and such things as potted meats .and other etceter.as.
Good eggs and butter may gener.ally be obtained, but any-
thing further must not be reckoned upon. Even fish, except
.a species of weak, watery flounder, is not to be had. Their
boats are not scaworthj' enough for good fishing. 8])irits of
any kind is interdicted upon the island by the J)ukeof
Argyle, to whom it belongs. No whi.sky toddy (!) unless
you have a flask of your own. I, who write, have often sub-
sisted for days and weeks upon little more than oatmeal
cake and butter, in remote parts of the llighLands; but
there are times when one is overt.akeir by an inexpressible
longing for the flesh-pots of Egypt.

There is one great comfort in photographing cathedrals :
being always built from cast to west, and generally cruci-
form, you know beforehand at what time your subjects will
be duly lighted for your purpose. The east end must be
looked after pretty early ; the south porch during the day ;
the north porch at almost any time, as the sun will never
be on it ; and your chrf-d' oeuvre, the west front, later in the
diiy ; or, best of nil, if the porches are not very deep, just
as the sun is stealing round and casting flickering shadows
athwart its best points. If the foundations of the hills were
laid from east to west, and the rivers all flowed in one direc-
tion, what a deal of prospecting it would s.ave us. Now an
■artist (!) h.as to spend a day in prospecting,' or run the
hazard of perhaps hiring an expensive hack-carriage, to find
himself, on arriving, just an hour too late. As there is one
hour when a subject is at its best, the odds are exactly eleven
to one against him. Indeed, even as the first Napoleon said
battles were lost or won by a critical quarter of an hour, so even
of the hour at which a subject is due, there is one quarter of

an hour at which it is emphatically best. If any one doubts
this, let him take two or three negatives fifteen minutes apart,
and he will not have .any difficulty in afterwards indicating
the best cne. The wind is always troublesome here; but,
from the bare and sterile character of the place, there is no
difficulty with the foliage, because there is none ; and a big
stone, as heavy as possible, laid on the camera will always
keep it rigid. There arc but two good views to be had of
the Cathedral — one from the S.E. and one from the S.W.,
beside some details. A. view of “ Dun-Y ” — mentioned in
Scott’s “ Lord of the Isles ” — may be taken ; but le jeu ne
vaut pas le chandclle.

Here, on the skirts of civilization, papers and letters reach
you at long intervals. It seems a place " h.alf without and
h.alf within ” the busy world. The “ Post Office ’’ is a rude
hut, with mud for the floor, and thearriv.al of Her Majesty’s
mail via “ Mull’s dark sound,” per marrowbone-stage, is
duly celebrated on those nights by a tallow candle stuck in
the neck of a bottle, a great sorting of half-a-dozen letters,
and much excitement.

If you get some rainy days, it is well if you have books
with you, for there is little else to kill the time. It is always
better to cany one or two standard books of a calibre that
will bear reading again and again. Lighter books, once
read, are “ sucked oranges,” and perhaps, notwithstanding,
being too expensive to toss aside, become an annoying en-
cumbrance all the remainder of your journey. If you are
familiar with that inimitable biography, “ Boswell's Life of
Johnson,” you m.ay go and stand where the worthy Doctor
stood with his attendai.' shadow Boswell, while ‘‘ doing the
Hebrides,” and once again hear him utter, in ponderous sen-
tences, full of the true Johnsonian ring, with outstretched
hand, and cane firmly planted the while, th.at remarkable
passage containing om; word for Iona and two for the
mental supe.iiority of himself and his friends: “We are
now treading that illustrious island which was once the
luminary of the Caledonian regions, whence savage clans
and roving barbari.ans derived the benefits of knowledge
and the blessings of religion. To abstract the mind from
all local emotion would be impossible, and would be foolish
if it were possible. Whatever withdraws us from the power
of our senses, whatever makes the p.ast, the distant, or the
future preJoniin.ate over tlie pre.sent, advances us in the
dignity of tliinking beings. Ear from me and from my
friends be such frigid philosophy as may conduct us, indiffer-
ent and unmoved, over any ground that has been dignified
by wisdom, bravery, or virtue. That man has little to bo
envied whose patriotism would not gain force upon the
plain of Jlavathcu, or whose piety would not grow warmer
among the ruins of Iona.”

But few of the beautiful crosses which marked where slept
mighty sea-king or bold chieftain are left. Upwards of
-300 of them were thrown into the sea by order of a stupid
Siinod of Argyle in the sixteenth century. There are, how-
ever, three still standing : Maclean’s Cross, by the pathway,
and two within the Cathedral precincts. Others now sleep
w'ithin the lonely walls which encircle this and St. Oran’s
Chapel ; and graves of more recent interest may there be
found side by side.

One dark December day — the last of the old yc.ar — dis-
abled, dismasted, unmanageable, scarce knowing where she
w.as (for the Skerry vore light had been sighted by her fine
Scot-American cai>tain too late to save, had the ship been
still under control), the Gu^ Manntring, a big New Yorker,
cotton laden, c.ame headlong on the pitiless rocks facing the
wild Atlantic. On the cliff top the islanders gathered in
a group, having hurriedly left the afternoon service at the
little kirk by the shore (it was Sabbath day) on learning
there was a big ship “coming in.” Little aid could they
reniler, but gazed in powerless horror, while some of them
endeavoured to indicate the best place — if there could be
any best — to bo dashed upon, or where, at least, most lives
could be saved. Alas ! all control was gone, and bold
hearts and skilful seamanship could avail nothing. Gathered

June 5, 1868.]

THU PIIOTOGRA.PHIC NEWS.

269

in another group, on the forecastle of the doomed ship, stood
ofiicers, crew, and passengem, awaiting in silent terror their
inevitable fate. A brief hiterval, and on she came. Oca
crash — a rebound — another, and the Oiiy Mannenng was
rent into a thousand pieces. Where a huge ship appeared
a moment before, the seething waves were dotted with planks,
broken spars, bales of cotton, and drowning seamen. Dark-
ness soon veils the rest, and when morn glimmers on the
shore the sleepers are many. The breeze of ocean lifts their
locks, but they do not awake. The people gather them
together under a sail on the hillside. After a few days, in
the feeble sunlight of an earlj' January afternoon, with bare
head and measured step, these islesmen bore them in long
procession across the island to the lonely Cathedral ruins,
where the last rite man paid to man was paid. So they
buried them, these simple Islanders, and the dust of these
nineteenth century seanren — Yankee, Irish- American, and
negro — mingles with that of kings and chiefs who lived
before the Norman Conqueror, 800 years ago.

-o—

LUX CRAPIIICUS ” ON THE WING.

The LA.TE Lord Brougham— New Fields for Photoorapiiy
— Natural Objects Coloured — The Monochrome and
Autotype — Mr. McLachlan again.

Death has just swept away one of the most gigantic intellects
of the nineteenth century. For me to state what the late Lord
Brougham was, or attempt to enumerate his vast attainments,
or measure the strength of his colossal mind, would be a piece
of iutole.’Tible presumption ; but I think I may safely say that
he was an enthusiastic admirer of photography. Years ago,
in the midst of his parliamentary and other pressing duties,
whenever he could find time to enjoy the quiet of Brougham
Hall, near Penrith, his giant mind was not above indulging in
the delightful relaxation it afforded ; and many a pleasant
hour he used to spend chatting with Mr. J.acob Thompson, an
artist of great ability, and also a very early amateur photo-
grapher, on the wonderful results obtained by the new art. The
late Lord Brougham began his literary career by publishing a
treatise on Light, before photography was known or thought to
bo practicable ; in after life he interested himself in its marvel-
lous productions ; and his last literary labour was also about
light. Not only did the great statesman “know a little
of everything,” he did a little in everything. The deceased
lord teok a lively interest in the progress of photography during
his lifetime, from its earliest introduction to within a short
period of his death ; and it would have been a graceful and
fitting compliment to the memory of the groat man of law,
politics, literature, and science, if the English newspapers had
embellished their memoirs of the late Lord Brougham with a
photographic portrait of his lordship. Such a thing is quite
practicable, and has been done successfully by our more enter-
prising confreres in Can.ada and the United States. The Mon-
treal Weekly Herald of April the 18th illustrates its memoir of
the late Mr. T. d’Arcy McGee with a very excellent carte-de-
visite portrait of the lamented and unfortunate Canadian
Minister, mounted on the upper corner of the front page, sur-
rounded with a deep black border. What an appropriate
accompaniment such a presentation would have been to the
able articles and memoirs which appeared in the daily press on
Monday, May 11th, 1808! How much more interesting and
valuable those clever biographical sketches of great men. ns
they pass away to their rest, which appear in the Daily Tele-
graph and other daily and weekly papers, would appear if illus-
trated with a photograph from life ! That it can be done the
Montreal Weekly Herald has recently and satisfactorily shown ;
and surely there is enterprise, spirit, and wealth enough among
the British newspaper proprietors to follow the very laudable
example of our transatlantic cousins. Negatives of great men
are always attainable, and there need be no commercial diffi-
culty between the photographer and newspaper proprietor on
the score of supply. A multiplication of negatives or Wood-
bury’s process, would afford all the necessary facilities for pro-
ducing the prints in largo numbers.

Many new fields for the good of photography are opening
up. Pathological works have been photograpically illustrated
with some amount of success. But far pleasanb;r fields are
open to enterprising photographers in the faithful representa-

tion of natural objects, such as flowers, fruits, ferns, grasses,
shrubs, trees, shells, seaweeds, birds, butterflies, moths, and
every variety of animal life, from the lowest orders to the
highest. I believe the time is not far distant when the best
works on all the physical sciences will be illustrated by coloured
photographs. Those very beautiful German photographs of
flowers recently introduced show most conclusively of what
photography is capable as a help to a study of the natural
sciences. The flowers are not only photographed from nature,
but exquisitely coloured after the same fountain of truth ;
and the sense of reality, roundness, and relief which they con-
vey is truly wonderful. Hitherto the colouring of natural
objects photographed from nature has been a very difficult
thing to accomplish ; but now it is done, and with a marvellous
success.

The monochrom.atic process is also making groat strides in
advance. Those very beautiful transparencies, cabinet siie, of
the Queen and Royal Family are now to be seen in most of the
photographic picture shop-windows in town and country. These
transparencies are the productions of the Disderi Company, by
Woodbury’s photo-relief process, and the results now obtained
are roally beautiful, both in effect and colour, and sold at a very
low price. But the rhef-d'ouvre of all monochromatic effects
has just been achieved by the triple labours of Mr. Macnee, the
artist, and Mr. Annan, the photographer, of Glasgow, and Mr.
J. W. Swan, of Newcastle. The subject in question is a work
of art in every respect. The original is a full-length portrait
of Lord Belhavcn, painted by Daniel Macnee, and now in the
Royal Academy Exhibition. A photograph taken from the
painting by Mr. Annan was worked up in monochrome by the
eminent artist, from which another negative was taken by the
same skilful photographer, and placed in the hands of Mr.
J. W. Swan, to bo printed in carbon, which the latter gentle-
man has done in the most admirable manner. Altogether, the
result is the most satisfactory reproduction by photography that
has ever been placed before the public, and is less like a photo-
graph and more like a fine mezzotint engraving than anything
1 ever saw. Mr. Annan is now publishing the work on his own
responsibility, and a specimen of it can bo seen at the offices
of “ The Autotype Printing and Publishing Company,” 6, Hay-
market, London. Mr. Hill, of Edinburgh, is also about to pub-
lish, in carbon, a photograph of that beautifully painted picture
entitled “ A Fairy Raid,” which was exhibited last year in the
rooms of the Royal Academy by Sir Noel Paton. As in the
former case, Mr. Annan copied the painting. Sir Noel worked
on a print in monochrome, which was again photographed by
Mr. Annan, and the negative passed to Mr. J. W. Swan to be
printed in carbon. I understand that Prynter’s celebrated pic-
ture of “ Israel in Egypt ” is about to bo published, in a similar
manner, by the Autotype Company. It is therefore quite evi-
dent that photography is becoming, in reality, more and more
“ a foe to graphic art,” and eclipsing the lights and deepening
the sh.adows of the unluxy engraver.

Mr. McLachlan has again spoken without giving any very
materially new facts, or throwing much more light on his
mysterious mode of working. The great point is, to throw
light on the concentrated solution of nitrate of silver ; and until
that h.as been done it will bo impossible for any one to say from
experience and practice that there is nothing in the principle.
Mr. McLachlan attributes a chemical property to the action of
light on the bath that has never been thought of before, and
ho seems to believe it so sincerely himself, and expresses his
convictions so earnestly, that I think photographers are some-
what bound to wait patiently till time and light will enable them
to comply with all the conditions he lays down, and make a series
of careful experiments, before they can say whether they are
under obligations to him or not. At any rate, natural justice
suggests that they should not render a foregone verdict. — Yours
very truly, Lu.x Graphicus.

May 17, 18C8.

A NEW MODE OF DRYING FLATES.

BY M. CAREY LEA.*

1 SHALL endeavour, in what I am about to say, to show the
vital importance of perfect drying for dry plates, the imper-
fection of the methods commonly employed, and then shall
describe a new method exclusively employed by me for
nearly a year with most satisfactory results.

* Philadelphia Photographer.

270

THE PHOTOGRAPHIC NEWS. [Jone 6, 1868.

First, then, I believe that the importance of perfect dry-
ing is as yet being only begun to be understood by some of
the most experienced dry-plate workers. To this source I
am disposed to ascribe the uncertainty commonly attributed
to dry-plate work, which uncertainty quite disappears when
a perfect method of drying is used. 1 can say that having
dried hundreds of plates by my own method I have never
seen one turn out insensitive.

M. de Constant, an experienced dr}'-plate worker, writes
me that he has succeeded in tracing up cases of at first most
puzzling non-success to a deposition of dew upon plates
transferred from a colder to a warmer and damper atmo-
sphere. This is the same thing in another form. A dry
plate must be dry. And when a photographer takes with
him a dozen imperfectly dried plates, and finds spots, stains,
and irregular development, he should have known that he
was preparing for himself nothing but disappointment.
Dry plate work, properly conducted, is singularly free from
stains of all sorts.

Again, the ordinary methods of drying lead directly to
imperfect results, unless, perhaps, where the operator places
his plates in an oven, aud so applies a steady, diy heat. Few
persons, however, have conveniences of that sort, and most
photographers will very decidedly prefer to dry their plates
in the dark room. This leads directly to placiug the plates
in a dark closet to dry, a method of the most imperfect
character, and liable to several grave objections. First, the
whole air of the closet becomes damp by the evaporation,
which is consequently checked. The last portions of damp-
ness are those most difficult to expel, and it is just when the
plates have reached that stage that the atmosphere becomes
most incapable of finishing its work ; in fact, the tendency
in such a case is to establish a sort of equilibrium of mois-
ture, the plates reaching the same stage of half dryness as the
air, and then ceasing further to dry. It is not surface dry-
ness that is wanted, hut through ami through dessication.
Another defect of closet drying is, that the plates are rested
on blotting-paper, which keeps up moisture at one end and
tends to irregular drying, which is always accompanied by
irregular sensibility, leading to unsatisfactory results ; and
if the closet be left a little open to change the air, we then
run the risk of dust settling on the moist surface.

In a close box some of these evils are avoided, but no
satisfactory drying can possibly be effected unless there is
present a substance that energetically absorbs moisture. So
far chloride of calcium is the only substance that has been
used ; very few, however, have been willing to use it. It
rapidly liquefies, and then must cither be rejected as worth-
less, or else must be evaporated down to dryness, and then
be fused in the fire. There is yet another objection to this
method, that if a particle of dust of the chloride should get
on a plate it would adhere, liquefy, and cause a ruinous
stain.

I avoid these difficulties, one and all, by the use of
sulphuric acid. However inappropriate this substance
might at first seem, it works so well as to leave nothing to
be desired. Sulphuric acid has long been used in analytical
chemistry for dessicating, and it may most advantageously
be introduced into photography.

The mode of employment consists simply in placiug it in
a pan or basin in the drying-box. The plates to be dried
either have a corner set in one of a series of tumblers ranged
round the sides, or else arc set in a frame which is placed in
the drying-box.

Now, one great advantage of this method is that its cost
is absolutely nothing. Sulphuric acid is so cheap, that even
if, after it had performed its office, it was rendered worthless,
the cost would not be great. But there is not even this
drawback. A considerable quaiitity of sulphuric acid is
wanted in the photographic laboratory for cleaning plates,
so that the method here proposed for drying works in most
conveniently with the method of cleaning with bichromate
of potash and sulphuric acid which I introduced some years
ago. The sulphuric acid, after it has absorbed so much

moisture in the drying-box as to be no longer useful, is as
good as ever for cleaning with.

As the acid augments continually in bulk, by reason of
the water which it absorbs, the photographer will do well to
bear this in mind in the selection of a vescel to contain it.
Ordinary photographic porcelain pans are not very suitable,
even the deep ones, on account of the danger of spilling
when they are lifted out. Basins about three inches deep
are better. Good porcelain will stand sulphuric acid inde-
finitely ; bad will not. Glass is excellent ; common glass
finger-bowls will do very well ; several should be placed in
the box with half a pound to one pound of sulphuric acid in
each. After the acid has swelled to double its original bulk
it should be replaced with fresh.

Although I had used this method for a long time, and
with regular and unvaried satisfaction, I did not care to
publish it without making a careful comparative test. Some
might imagine that plates which had been in presence of so
powerful an acid might, though very well dried, exhibit less
sensitiveness than plates managed in the usual manner. To
be able to reply positively to any such objection, the fol-
lowing comparison was made : —

Two plates were prepared under circumstances absolutely
identical. One was dried by the new method ; the other
was set in a dark closet, resting against a large bottle of
very hot water ; after drying, both received an equal expo-
sure, and were developed side by side in pairs. The plate
dried over sulphuric acid proved the more sensitive of the
two.

It seems of interest to make the remark here, that im-
perfect drying always diminishes the sensitiveness. For
example, the lower end of a plate is always the last to dry.
If a plate be exposed before the lower end is dry, that part
will be found to give a thinner image than the rest.

ily own experience points to twenty-four hours as being
the proper time in the drying-box. At least I find that if
plates be prepared at night, and be used the next morning,
there is danger of finding the lower corners insensitive from
incomplete dessication. Of course, when plates are dried by
heat, the time may be greatly shortened, but 1 have never
liked this mode. When a plate is dried horizontally, spots
tend to dry more slowly than the rest, and these cannot fail
to show themselves in the development. If the plates be
reared up, resting partly on a hot tin and partly on their
own edges, these edges need blotting-paper under them, and
this must tend to irregular action and cloudiness. Plates
dried as here recommended, in a box with sulphuric acid,
are very free from all faults that can bo ascribed to irregular
drying.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Beixo Lessoxs i.x

CoMPOSITIOX AXD CeIIAROSCOR V for PlIOTOQRAPEIERS.

BY II. P. R0BIX30.V.

Chapter XIX.

“ Peculiar toil on single forms bestow,

Tlien let expression lend its (inUhed glow.”— Frttnay.

‘‘ tVe must not omit to speak of the hand as an instrument of expression.
Formal dissertations have been written on this ; but were we constrained
to such authorities, we might take the great painters in evidence, since bj
the position of the hands, in conformity with the figure, they have ex-
pressed every sentiment. Who, for example, can deny the eloquence of th c
hands in the Magdalen of Quido ; their expression in the cartoons of
Raphael ; or in the Last Supper, by Leonardo da Vinci f We see there ex-
pressed alt that Quintilian says the head is capable of expressing. ‘ For
other parts of the body,' says be, ‘assist Uie speaker ; but these, I may .say
speak themselves. By them we ask, we promise, we invoke, we dismiss, we
threaten, we intreat, we deprecate, we express fear, Joy, grief, our doubts,
our assent, our penitence ; we show moderation, profusion ; we mark number
and time.’ ” — Sir Charles Bell.

Portraiture — continued.

PoRTR-ViTURE may consist in tbe representation of a single
figure, or of a group of persons. We will first consider the
composition of a portrait picture in which one person only
is represented.

Long experience will show that the two sides of every face
iff’er. This is very evident in many faces, and in all, how-

June 5, 18G8.]

THE PHOTOGRAPHIC NEWS.

271

ever regular the eyes may seem, or however straight the nose
may appear, close observation will discover that one side is
better than the other, it is this side that should be taken.
Even in a full, or nearly full, face this variation should
always be noticed and taken advantage of. These deviations
from exact correspondence of the sides of the face have not
been considered blemishes by great painters, who invariably
noticed and recorded them. It is notably so in the portraits
by Reynolds. It may be seen in the print from the Ugolino,
where it increases the look of fixed despair, and in the front
face of Garrick, in which the difference of the eyes strikingly
a.ssists the archness of the expression.

In photographic portraiture the face should be turned
away from the light. If the face is turned to the light,
however delicate the half-tones may be, the line of the nose
will be partly lost in equal light on the cheek behind it.
Painters occasionally represent faces in this position as
regards the light, but then they have the advantage of colour
to produce relief. The only exception to this rule — that the
face should be turned from the light — is in the case of a pro-
file, or the profile showing a glimpse of the off eye when the
nose comes clear against the background. For these reasons
— that is, because it is necessary to choose which side of the
face is to be represented, and because the face must be turned
from the light — it is well to have a studio so constructed
that the light can be obtained from the right or the left ; in
a ridge- roof studio, with one side glass and the other opaqiie,
both ends should be available for use. It is also well to have
it sufficiently wide to enable the operator to work diagonally,
and thus "get a modification of the shadows without the use
of reflectors.

Having decided the side to be taken, which also deter-
mines the gene’-al direction of the light, the next considera-
tion is that of attitude. As regards the position of the head,
Burnett observes : “ Every one who takes the trouble to
reflect must perceive that all faces contain two points of view,
where the char.acter is more or less developel — a profile, and
what is termed a front view ; and that the seat of a strong
likeness lies sometimes in one greater than in the other.
They must also perceive that what is called a three-quarter
view of the head gives the artist an opportunity of repre-
senting both j independent of which advantage, it has a
greater variety in the forms, and giv-ec an opportunity for
introducing a greater breadth of light and shade, and also
of showing the ear, which is often a beautiful feature.” A
full face is seldom so agreeable in photography as one
slightly turned away.

In selecting and arranging an attitude, the application of
the general principles I have dwelt on in previous chapters
will be of more value than any recipe that could be given ; in
fact, as 1 have said before, any specific directions or plans of
portraits — thus will we arrange a man, thus will we arrange
a woman, or thus will we arrange a child — would interfere
with individual characteristics, and do more harm than good.
But a few general remarks may be useful.

A single figure should be complete in Itself ; it should
not appear as though it had been cut out of a group, and it
should be incapable of having another figure added to it
without injury. The head being the chief object, every line
should be composed in relation to it, and the student will
find the rules of pyramidal composition invaluable to him
here. He must consider contrast of lines and balance,
variety, repose, and, above all, unity and simplicity. All
the rules for the composition of a group —such as the ‘‘ Blind
Fiddler” — hold good for the single figure, bearing in mind
that the head is the principal object, to which everything is
to be subordinate, which is to receive the sharpest focus, the
highest light, and the chief attention ; after which the hands
will claim consideration. The hands will be found very
useful in repeating, in a minor and subordinate degree, the
mass of light presented by the face. They have the advan-
tage, in one respect, of not being of so much importance as
the face ; they may be displayed (always without affecta-
tion) if they are fine ia form, or they may be hidden if

necessary. Just as, in the “Blind Fiddler,” no head is
exactly under another, so ought not the hand to be exactly
under the head. A great deal of character can be given to
the hand if properly treated. Sir Walter Scott, writing to
Wilkie of a picture he had seen at Windsor, says, “ There
was a picture of the Pope, which struck me very much. I
fancied if I had seen only the hand I could have guessed
it not only to be the hand of a gentleman and a person of
high rank, but of a man who had never been employed in
war, or in the sports by which the better classes generally
harden and roughen their hands in youth. It was and could
be only the hand of an old priest, which Lad no ruder
employment than bestowing benedictions.”

The action of the figure should be that which is most
common to the individual — such a position as shows it to
the best advantage. No violent action should be allowed ;
no appearance of strain. Some photographers seem to
think that grace consists of twists, and make spirals of their
figures, especially ladies, by causing them to turn their
heads over their shoulders and try to look down their backs
out of the corners of their eyes. The absurdity and affecta-
tion of this position is caused by exaggeration, A position
approaching to it, but without the strain, is exceedingly
graceful if the figure should be sufficiently easy and pliant
to allow of this pose. It cannot be too strongly impressed
on the student that the possibilities of the figure must bo
considered before the attitude is chosen ; every figure will
not allow of every attitude, any more than a decrepid old
man of eighty or ninety could perform the feats of skiliul
acrobats. Some figures are graceful in one position, while
they would be awkward in another, probably still more
graceful in a figure it suited. However graceful a figure
may appear which has cost some effort in the sitter to attain,
it does not compensate for the unaffected air and repose
derived from the head and body placed in one direction, as
we see in the grand portraits of old men by Titian, Vandyke,
and Raphael.

It must not be supposed from this last remark that I advo-
cate that every figure should be presented with the bead and
body exactly in one direction, although it is very suitable
for some persons ; but it will be found that a very slight
difference of direction between the head and the figure — as
in the illustration — will be sufficient to give animation with-
out disturbing repose.

The student will do well to observe attitudes assumed in
every-day life, and adapt them to his art. When he sees a
beautiful attitude, let him speculate upon the cause of its
being beautiful, and he will find that it depends on its con-
sistency with the rules of composition ; and although these

272

THE PHOTOGKAPHIC NEWS.

[June 5, 1868.

rules will not supply him with imagination sufficient to
enable him to perpetually invent new arrangements, he will
find they aid him very materially in giving e.\prcssion to
his inventions, and will prevent him being extravagant or
.exaggerated in his arrangements of the form. He should
also store his mind with incidents suitable to his sitters, ami
he may then, perhaps, be able to give less occupation to the
eternal book we see in the hands of photograph6es almost
as often as a roll of paper is represented in the statues of
statemen.

Remarks on the treatment of the single figure should also
contain something on the subject of vignettes, a style of
portrait usually confined to the head and shoulders, a kind
of picture so simple as apparently to require very little con-
sideration, hut I have seen them done so badly that a few
words may he of service.

A vignette head should never convey the impression that
the sitter was lounging in a chair or leaning on a table;
the reason being, that as the chair or table is not visible,
the figure would appear out of shape and deformed. As a
general rule, the shoulders should appear level, as though the

applying the non-coagulated coating, allowing it to dry,
then flowing the silver solution over the coating; but this
method is not so economical or convenient as the process
first described.

The method of preparing the ammonio-nltratc of silver
solution is as follows :--Takc of —

Nitrate of silver ... ... ... 1 ounce

Water ... ... ... ... 1 „

Pure nitric acid ... ... ... 2 drachms

Ammonia sufficient quantity.

“ Dissolve the silver in the water ; remove a small por-
tion, say 1 drachm. To the larger portion add carefully
sufficient ammonia to precipitate the silver and re-dissolve
the precipitate, guarding against .any excess of ammonia.
Then add the remaining drachm of the silver solution to in-
sure a decided excess of silver. Lastly, add the two drachms
of nitric acid, and the solution is ready for use at au}'
time.

“ After the printing process has been carried as far as may
be desired, it remains only to fix the impression, which may
subject was standing. A Httffi v4\SnS ' ^ rinsing away of the

tion of the head and shoulders will alw.ays give variety and free nitrate of silver, and then pouring over the picture a
animation. The lighting should be more delicate than that hyposulphite of soda for a few minu cs, after-

suitable for other portraits, and the background should the hyposulphite of soda by wa,shing the

always be light. If the white margin to the vignette be pnnt under a gentle stream.

very slightly tinted in the light after printing, the delicate ' p

effect will be increased ; but, when this is attempted, it is |

usually overdone, and then the effect becomes heady, and , ON A NEW AND SIMPLE JlIETIIOD OF RECOVER-
worse than if the white paper had been left pure. i ING MET,\LLIC GOLD AND SILVER PROM

In conclusion, make it a constant practice, before removing RESIDUES,
the cap from the lens, to first give a rapid glance at the I by victor o. bloede, chemist.*

sitter to see whether the outline of the figure composes well. Mercury has the property of rapidly combining with, or
that the light and shade is massive and round, and that dissolving, as it were, metallic gold and silver, and, in fact,
there appears some indication of the expre.S8ioii you desire most other metals, forming with them a liquid or pasty m.sss
on the face of the sitter. If there is a lack of either of these ; (according to the amount of foreign metal) which is teebni-

1 ounce
IJ ounces
20 grains

4 drachms

qualities, do not waste your plate until you have got them
before your lens.

o

SOLAR PRINTING ON CANVAS.

kiR. Is.\AC Reiin, of Philadelphia, has recently secured a
patent for a process for coating or sensitising the surface of
canvas for printing enlargements upon, by ine.ans of the
solar camera, by the use of which he claims to get perfect
results easily, and without injury to the cauvius. He pro-
ceeds as follows : — “ Take of —

Pure zinc-white
Albumen of fresh eggs
Salt, or chloride of ammonium . . .

Solution of ammonio-nltratc of
silver, containing 30 grains of
nitrate of silver to each drachm
“ Dissolve the salt in the albumen, then grind fine on a
painter's slab the zinc-white iu a portion of the albumen,
then add the remainder, and mix it unilbrmly ; place the
pigment mixture in a Wedgwood mortar, and jiroceed to the
dark-room ; then add the silver solution, which will imme-
diately coagulate the albumcu ; take the pestle and triturate
the coagulum until it becomes smooth and pulpy. It is then
ready for use. Now t.ake a flat camel’s-hair brush about two
inches wide, and paint evenly over the canvas or other
material with this combination, and it is ready for use when
dry ; or, if it is desired to print with the solar camera, it is
quite as good wet. If a very intense piint is required, the
coating may, when dry, bo subjected to the vapour of
ammonia, which will still add to the sensitiveness of the
coating.

“ This combination is very sensitive to light, and hence
due caution must be observed in regard to it, so ns not to
injure the whites of the picture. It has also the quality of
taking very kindly to all kinds of surfaces, oily or not, and
may be therefore very easily laid quite free from bubbles or
other defects. I have had quite as good results by first

cally termed an amalgam or “ butter.” A few drops of
mercury poured upon a gold dollar or silver five-cent. piece
very quickly dissolves either. When the mercury has taken
up a considerable amount of the precious metal from the
powdered ore, it is drawn off into bags or large pieces of
fine tough buckskin, and then subjected to pressure either
between the h.ands or under a screw. The pure mercury,
owing to its extreme permeability, rapidly oozes through
the fine pores of the leatl er, finally leaving in the bag a
compact, brittle m.ass consisting of tlii‘ precious metals, with
a per centage of mercury in combination. To obtain from
this crude mass the gold or silver in its pure reguline state
the am.algam is placed upon an iron vessel, or, better yet,
in an iron retort, and sulijected to a low red heat on an
ordinary coal fire. The mercury, owing to its extreme
volatility, very rapidly evaporates, and, in the course of a
few minute.s, leaves the precious metals in a state of purity.
If the process is carefully managed, as we shall presently
describe, there is, however, no danger to be apprehended.

To lieduce Old Jlathsand Xitrate of Silver Solutions.

Filter the solution of silver proposed to be operated upon
until it is clear, and place the filtiate into a clean white
bottle of suitable capacity. To each pint of the liquid add
•1 ounces or more of mercury, aud allow the mixture to
remain at perfect rest for a few days. In a very few hours a
beautiful sparkling coruscation will be found forming upon
the surface of the mercury. This shining deposit consists
of perfectly pure metallic silver, and li.as been called Arbor
Dianee, or “ tree of life.” It is formed upon the surface of
the mercury by what is known in chemistry as double
elective affinity, and for each atom of the silver so deposited,
a corresponding amount of mercury is acted upon by the
nitric acid of the silver, and passes into solution as nitrate
of mercury. The deposition continues until all the silver
has been thrown down, when we find over it a strong solu-
tion of the nitrate of mercury, which may be obtained in the

♦Condensed from The Philadelphia Photographer.

THE PHOTOGRAPHIC NEWS.

273

June 5, 1868.]

solid crystalline form by evaporation. In a few days the
deposition will be completed, which can be readily seen if
the tree cea.ses to grow; and when the experimenter has
become tired of the motto, “ A thing of beauty is a joy for
ever,” &c., and has sufficiently feasted his eyes upon the
magnificent sparkling foliage and mos.sy bark of his shining
tree, ho may proceed to draw out its material value. Shake
the bottle thoroughly, so that the branches and coruscations
of the tree are detached and broken, and brought in thorough
contact with the mercury, where the spangles of silver are
quickly dissolved. The watery part of the mixture can now
be drawn or decanted off from the mercury, and the latter
placed in a bag, or, better yet, a large piece of fine tough
buckskin, and pressed with force between tlic hands. When
no more mercury can be squeezed through, the bag may be
opened and the lump of brittle amalgam removed, and pre-
served in a well cleaned and stoppered bottle until more has
accumulated, or it may be immediately treated as I shall
presently direct. In case all the mercury should disappear
at the end of the process, a little more may be .added to the
watery solution to ascertain whether it still contains silver.

JIR. WARREN DE LA RUE’S PHOTOGRAPHS OF
THE MOON.

'IhiE Engineer devotes a long article to the de.scription of
ilr. Warren de la Rue’s observatory at Cranford, and the
photographic appliances employed in securing lunar photo-
graphs. After describing the apparatus, which consists of a
reflecting telescope with a mirror 13 inches in diameter, and
of 120 inches focus, and clock-work movement to follow the
moon carefully during the necessary exposure, the photo-
graphic arrangements are detailed. We annex some extracts
from those portions most interesting to our readers.

“ When the moon or a planet is to be photographed witli the
apparatus already described, the operations begin by selecting
a glass plate for the picture. Mr. Do la Hue uses tho Hatted
crown plate,* the best glass obtainable for photography, and
after receiving a parcel, ho rejects all those which contain
specks or air-bubbles, so that one-third of tho supply is usually
at once cast aside. Tho glass is cut into circular discs inches
in diameter, hecauso tho sh.ape of tho holder is round, in order
not to stop off more of the central part of the aperture than is
necessary. Shortly before use the edge of the glass is roughed
with a piece of s.andstono, such as is used by gardeners to
sharpen their scythes. After washing away the grit carefully,
tho surface of the plato has to bo made chemically clean — as
good a method as any being to rub it well with prepared
whiting and a strong solution of cyanide of potassium mixed
up to the consistence of cream, then rinsing it with clean water,
and drying and polishing it with a cloaii cloth.

“Tho cleaned plate is next coated with collodion, and tho
choico of a suitable collodion is a matter of somo importance.
Mr. Do la Rue uses good commercial samples of plain collodion,
iodized with iodide of cadmium only, and no bromide. The
sample of plain collodion chosen should be more limpid than
usual, for iodide of cadmium tends to make it gelatinous ; it
should also give an oven film upon tho glass, free from struc-
tural markings. Tho sample of pyroxylino from which it is
made should ho one which does not give a tough, strong film,
but a film readily permeated by liquids. An iodide of catlmium
collodion, when made from a pyroxyline which gives the
highest sensitiveness, is very liable to spots and markings ;
and pure chemicals, absence of dust, and cleanly manipula-
tions are necessary to get uniformly good results. Mr.
De la Rue is very careful to have no traces of sediment
in the collodion itself, for ho says : ‘ Collodion should not bo
sensitized until after it has stood for at least a week after it
has been purchased, and it must then bo carefully poured into
the mixing vessel without disturbing the sediment which is
always present. It must bo agitated occasionally for somo
hours after mixing with the sensitizer before it is set aside to
rest and deposit tho new sediment which forms. After standing

• Formerly he used the extra-white patent pla e, but this glass is so
hygroscopic that many pictures liave been lost by its absorbing moisture
and destroying the collodion film ; hence the use of this kind of glass has
been discontinued.

for a month or two it should be c.arofully decanted for use to tho
extent of three-fourths info a perfectly clean glass bottle. Tlio
plate, having been coated with collodion, is dipped into a bath
containing 30 grains of pure fused nitrate of silver to each
ounce of distilled water. This bath is perlectly neutral if tho
nitrate of silver has been carefully fused at the lowest tempe-
rature requisite for its fusion.

“ Tlie best way of effecting the fusion is to put about 00
grains of cr.stallized nitrate of silver into a small porcolaiu
dish, heated by an air-flame gas jet, and as soon as tho mass
has molted pour it into about a quart evaporating basin, pro-
vious'y heated a little over 212° Fah. (100° Cent.) By a r.apid
whirl of tho basin tho fused mass forms a thin ribbon easily
broken with a glass rod. When broken it is transformed into
a counterpoised stoppered bottle, and weighed at once for use.
In preparing tho baths tho nitrate of silver, 600 grains, is dis-
solved in 2 ounces of distilled water, and to this a solution of
5 giains of iodide of potassium in about a drachm of water is
added. The precipitate at first formed is soon redissolved.
Eighteen fluid ounces of distilled water are added, little by
little, and the whole agitated. A precipitate of iodide of silver
separates, and it is allowed to deposit in the dark for twenty-
four hours, 'riie clear liquid is then passed through a filter
previously washed with a little nitrate of silver solution. A
bath thus prepared is at once in working order. When
it becomes less sensitive, as it will do after a time by the
accumulation of alcohol and ether and their derivatives, it
cannot be restored by doctoring, so that when failures occur it
is best to discard tho old bath and to have recourse to a new one.
Mr. Do la Rue usually prepares about a gallon at one time, so
as always to have a store at hand, for it it may be kept for any
length of time.

“ The plate having been sensitized, is at once exposed.
When pictures of tho moon are to bo taken tho time of exposure
varies considerably. When it is full moon and the atmosphere
is clear, tho pictures may sometimes be taken instantaneously,
and in this phase an exposure of from one to two seconds is
usually the utmost that is necessary. Tho moon, as a crescent,
would require ten to twenty seconds’ exposure under similar
circumstances, in order to obtain a picture of the parts visible
near the dark limb, and in order to get these dimly-illuminated
portions in most perfection tho brighter limb of the moon must
be somewhat over-exposed. An almost imperceptible mist in
tho atmosphere will sometimes double the time of exposure.
During this operation a clock beating s-'conds distinctly should
bo iu the room, that the operator may be able to measure the
time of exposure with accuracy. The planet Jupiter, when in
opposition, is photographed iu about five seconds ; Saturn in
from twenty to thirty seconds. 'The plate-holder, for exposing
the plato to the luminous image, is made entirely of metal, and
tho circular plate, when placed in it, rests at portions of its edge
upon three silver supports. This is a much better plan than
letting the wot plate rest upon wood, because in tho latter case
impurities from tho wood often find their way across tho solu-
tion on tho plate, and in tho development stains and faults
result. Tho plate-holder is well dried with a cloth before the
next picture is placed in it. Above all things, in taking astro-
nomical photographs, it is necessary that tho sensitized plato
should be placed exactly in the focus of tho telescope. The focus-
sing is first done approximately upon ground glass, but finally
upon a silvered collodion film placed in tho plate holder itself.
Tho latter film is made by sensitizing a plate in the usual way,
briefly exposing it to difl’used light, then throwing down a light
deposit of silver with the developer, washing, fixing, and drying
A tew scratches are then made upon the film, which is placed in
the holder, the imago of the moon is allowed to fall upon it, ami
tho focussing is done from behind, the operator making tho
picture come to focus on the film, while ho makes tho adjust-
ments with the aid of a lens sliding in a tube, and in tho first
instance focussed on the scratches.

“ After the plate has been exposed in tho camera it has to be
developed. Iron developers are of little use when the collodion,
as in this case, contains no bromide salt, and Mr. De la Ruo
rejects them altogether, because ho finds that pictures produced
with them always show granulation, whilst negatives developed
with pyrogallic acid will bear examination under tho micro-
scope. To get rapidity it is necessary to employ a weak
retarding acid, and to use as little of it as possible. Mr. Do la
Rue makes his developer of pyrogallic acid 3 grains, glacial
acetic acid 1 fluid drachm, distilled water 3 fluid ounces. In
very cold weather the above quantity of acetic acid is reduced.

274

THE PHOTOGRAPHIC NEWS.

After the picture has been developed it is never iutonsitied, as
in ordinary photo”;raphic operations, because some loss of detail
in the image is always the result of such treatment, and thin
negatives are best to produce enlargements. Lastly, the pic-
ture is fixed with hyposulphite of soda, and very thoroughly
washed afterwards, for although a very faint trace of this salt
left in the film might be harmless for some years, it would
eventually cause the destruction of the picture. After the
washing, the finished picture is put aside to dry.

“ The picture of the moou thus obtained is only about 1 inch
or 1 ‘2-lC inch in diameter, according to the distance of the
satellite from the earth. The greater the focal length of the
telescope the larger would bo the direct pictures of the moon
obtained, so that with Lord Rosso’s telescope it would bo pos-
sible, by means of good clockwork and high class photogr.aphic
ability, to get magnificent pictures of the moon between C inches
and 7 inches in diameter. The great Melbourne telescope is
provided with photographic apparatus, and will give pictures of
between 3 inches to 4 inches diameter. Mr. Le Suen. who will
have the direction of this instrument in Melbourne, has worked
at Cranford, so as to familiarize himself with astronomical pho-
tography. Such pictures, if obtained, would be of scientific
value. Mr. Warren do la Rue finds that parts of the moon
which are equally bright to the eye do not rellect the chemical
rays equally, for there is considerable difference in the intensity
of these parts in the photograph. .Tupiter and Saturn, as taken
at Cranford, are small specks upon the photographic plate, and
require a magnifying glass to show details. Saturn’s rings,
and the belts of Jupiter, are then distinguishable in the
pictures.

“ When an astronomical picture has been obtained and
finished, it becomes necessary to render it permanent and safe
from liability to injury. This is done by cementing a second
sheet of gl.ass in optical contact with the picture by means of
Canada balsam, so that the film is protected like a fly in amber.
A brass plate, about 18 inches long by 9 inches wide, is sup-
ported upon four legs, each about 8 inches in length. Length-
ways, underneath the middle of the j^late, is a gas-pipo with a
row of holes along the top, giving a line of little jets heating
the plate above. Levelling screws on the legs, and a circular
spirit level laid for the purpose upon the plate, enable the latter
to bo adjusted in a truly horizontal position. The pl.ate of glass
is then laid picture side uppermost upon the brass plate, by
which it is heated. A small circle, 2 inches in diameter, of
plain, clean, patent plate glass, having also been warmed upon
the brass plate, is then laid over the centre of the picture, but
not so as to touch it, for a slip of thin paper has its end laid
under the edge of one side of the upper glass. A few drops of
Canada balsam are then .allowed to drop upon the lower glass
at the point where it is touched by the upper one. The balsam
is rendered more fluid by the heat, and slowly travels on ifs
way between the plates of glass, being drawn on by the forco
of capillary attraction. Slowly does it travel between the
plates, and when it has gone a little more than half its journey
across, the slip of paper is removed, and the balsam at last fills
up the infinitesim.al space between the upper and lower plate.
This operation requires patience, as it takes about a quarter of
an hour before it is complete, and when any feeding with balsam
is necessary it should be added to that side where the upper
glass touches the lower one. At the close more Canada balsam
is applied round the edge of the upper plate, and the cemented
pictu.o is left for a little time upon the brass plate that much
of the volatile essenti.al oil contained in the balsam may bo
driven off by heat.

“The very perfect little photographs of the moon, having
been taken as thus described, enlarged cojiies have been made
of them upon circles varying from 18 inches to 38 inches in
diameter, the latter being about the scale of Reer and Madler’s
largo map. The photographic picture is necessarily the more
accurate of the two, from the truthfulness of photography, and
from the fact that draughtsmen cannot draw the moon in a short
time, so that some portions of their pictures must be taken
when the moon has turned itself a little out of its former jiosi-
tion with regard to the earth. The copying camera, used to
obtain the enlarged pictures, is of the usual construction. It
is pointed to the north polo, a shutter opening in the roof of the
camera-house for that object, for the sake of the steady light
emanating from that part of the heavens, which light is alloweil
first to pass through a tube, that the rays may bo parallel when
they fall upon and illuminate the small, transparent photogra]>h
of the moon, lying at the bottom of the tube. lusido the

[June 5, 1868.

camera, a little below the illuminated negative, is the copying-
lens, which throws an enlarged image of the little photograph
upon a large sensitized plate at the bottom of the camera.
The lens and small neg.ative may bo very accurately adjusted
with respect to each other, a small microscope being brought
into play in the operation. Gener.ally, positives on the scale of
9 inches to the moon’s diameter are taken in this way, and the
pictures so obtained used for the secondary enlargements. In
this copying process, as might bo expected, there is some loss,
details being visible in the little negative which are not fully
rendered in the enlarged copy. Mr. Dallmeyer, the optician,
has recently made a lens, which he says he thinks will render
every detail without loss, and when it is received it will bo
rigidly tested.”

|)i:0i:ccbings of Sarictus.

American Institute.

At the May meeting of the Photographic Section of the
American Institutg, Mr. Joseph Dixon in the chair, after some
general proceedings,

Mr. E. G. Squiek detailed some experiences of photography
in Central and South America. He expressed his conviction
at the outset, that the traveller in the present d.ay could not do
his work properly without the assistance of photography.
Travellers’ tales became travellers’ truths when the camera and
lens were brought to their illustration and vindication.

He then proceeded to state that having accepted a mission to
the Government of Peru, he resolved to take with him a photo-
grapher and photographic outfit. Soon after he had arrived in
the country of his tr.avels his photographer died, and he says :

“ I found myself next day not only alone in the great
American Thibet, but encumbered with a bulky apparatus and
a largo amount of material. To utilize them, 1 found no in-
struction except such as is contained in that lively and lucid
book, ‘ Hard wich’s Manual of Photographic Chemistry,’ including
[and here is where the laugh comes in] the ‘ Practice of the
Collodion Process.’ If you discover any silver streak in my
beard, or other evidences of premature old age, you will now
know to what to ascribe them. The last syllable of Mr. Ilard-
wich’s name is a pleonasm. Now I do not doubt that
‘III-i-NO^=HO-l-I-pNO„’

is an exact formula, but it is not altogether a pleasing one to
encounter when one is all alone among the Andes, with these
mule loads of bottles and other things, which he must try to
utilize, or surrender the object of all his labour and outlay.

“ How I made baths and collodion in low thatched Indian
huts, staining my fingers and spoiling my clothes ; how my
ether went off with a bang, on the shallow pretext of being too
closely approached by the dimmest of all dim tallow dips ; how
my Arriern nearly died from taking a surreptitious swig of
Atwood’s 9-5® alcohol, and afterwards nearly murdered me by
bringing glacial acetic acid when I asked for vinegar ; how —
But, gentlemen, if you want to know how, forget all you ever
knew about photography, and go up among the Andes when
the thermometer is ‘ steady ’ at zero, with three mule loads of
chemicals and instruments, and ‘ Hardwich’s Manual and
Practice.’

“ But badinage apart : How photography m.ay be best

utilized for the purposes of the traveller, it seems to me, is a
problem worthy of engaging the attention of the practical pro-
fessors of the art. Unfortunately, however, there are few of
these professors who know all the difticulties which besot the
traveller, especially in remote savage or half-civilized countries,
where, perhaps, neither house nor hut is to bo encountered
for days and weeks, whore the weather is fervid or freezing,
the earth over-shadowed by lorosts or overflowed by water, or
else desolate and dry, and where, always, above all things else,
transportation is expensive, dirticult. or impossible to be had,
and where the baggage of tlio traveller requires to be reduced
to a minimum.

“ The traveller does not expect to take fine pictures, to bo
exhibited as among the highest achievements of photographic
art ; but ho wants to obtain fair results cheaply and rapidly ;
and to do this ho must have his apparatus compact, dispense
with tents, bo able to got along for a reasonable time at
least without water, and with the least possible amount of that
heavy and fragile material called glass. He must also bo
able to do his whole work without assistants, who are seldom
to be had, or, when had, are Bomotimea worse than none at all.

THE PIIOTOGKAPIIIG NEWS.

275

June 5, 1868.]

' “ But above all,” continued Mr. Squier, “ he wants a manua*
simple in lang^nage, clear in direction, brief as a primer, which
shall tell him what to do, and not why anything is to be done.
Many travellers have a' certain knowledge of chemistry, and
most a fair knowledge of things in general ; but they seldom
have the time or inclination to perfect themselves in photo-
graphic chemistry. They want the instruments and the mate-
rials, and plain instructions for their use."

Mr. Squier then proceeded to discuss tho varying forms of
equipment for tho traveller, finally giving tho preference to
something of the character of a manipulating camera like
that of Titus Albites, and promised, at an early date, to show
one he had contrived. At the conclusion of Mr. Squier’s com-
munication the proceedings terminated.

The Philadelphia Photogeaphic Society.

The monthly meeting ot the Photographic Society of Phila-
delphia was held Wednesday evening. May 6th, 1863, the
President, Mr. Fredekic Graff, in tho chair.

Tho minutes of the last meeting were read and approved.

Mr. Bkowne suggested that an appropriation bo made from
tho funds of tho Society, to aid tlio committee appointed at
the National Convention of Photographers, held in New York
April 7th and 8th, 1868, in their efforts to defeat tho o.xtension
of the Bromide Patent. The sum of $20 was appropriated for
that purpose.

A paper was read, describing tho work of the new Steinheil
lens for landscape purposes, hy Messrs. Davids and Browne,
and Mr. Davids made a few remarks about tho now wide-
angle Dallmeyer rectilinear lens.

Mr. Tilghman called tho attention of the Society to a new
process for intensifying negatives, advocated by Mr.G. Wharton
Simpson, by the use of a solution of permanganate of potash.
After fixing tho negative, wash and place tho plate in a
solution of permanganate of potash, ten grains to tho ounce
of water, and allow it to remain for about ten minutes. Mr.
Tilgbman e.xhibited a negative, one-half of which had been
strengthened in this manner, also a print from the same. Tho
colour of the negative which had been acted on by the potash
salt was changed to a yellowish red, almoct impenetrable to
actinic rays. Mr. Tilghman expressed himself as much
pleased with tho result, considering the idea of groat value to
photographers.

After tho exhibition of some apparatus the proceedings
terminated.

THE ACTION OF HYPOCHLOROUS ACID IN THE
NITRATE BATH.

Dear Sir, — My attention has been called to a passage in a
letter from Air. Carey Lea to a contemporary which runs as
follows : —

“ The suggestion made by Mr. Spiller, that the increased sensi-
bility may be due to the formation of hypochlorous acid, seems to be
quite incapable of support. For, firstly, it could not even continue
to be present. It is an unstable substiuice, and the solution, if left
for several months, as expres.sly directed by Mr. McLachlan, would
not contain an atom of it — it would all have pa.sscd into tho condition
of chloric acid. But even putting aside this chemical difficulty,
there is the photo-chemic;il objection, that neither chloric nor h\"po-
chlorous acid could aid in exalting tho .sensitiveness of the plates.
Thus this view can neither be sustained on chemical or photo-
chemical groimds.”

I am disposed to think that the discussion on Mr. AlcLachlan’s
communication is now nearly over, and that photographers
will scarcely need to revert to the general question ; but in the
passage in question Mr Lea so strangely misapprehends the
question at issue, and so completely misrepresents what I
have said, that I must ask you to insert a word or two of
correction.

. The question of increased sensitiveness is for tho first time
introduced by Mr. Lea. I have never said that the presence of
hypochlorous acid would induce increased sensitiveness. 1
said, on the contrary, that, being a powerful oxidizing agent, it
would, if present, prevent fog, and, as all photographers know,
bodies which would operate to prevent fog would tend to check
rather that increase sensitiveness. I never said that hypo-
chlorous acid was a stable body and would remain in tho solu-
tion. I suggested that in the decomposition of chloride of
silver, hypochlorous acid would be generated, and that its

oxidizing action would aid in removing impurities present in
the nitrate, and might so eflect in the end that Mr. McLachlan
said was produced by tlio action of light on an impure sample
of nitrate of silver, tho description of which suggested the
presence of chloride. Subsequent examination of a sample
handed to me by Mr. McLachlan has coufirnied my first con-
jecture as to the presence of a chloride. — Very truly 3’ours,
Woolteich, June 1«<, 1868. John Spiller.

REMOVING TIIR COLLODION FILAI USED IN
TRANSFERRING ENAMELS.

Dear Sir, — In last week’s News I notice that you refer to
the difficulty experienced in getting rid of tho film of collodion
which has been used as a support in transferring tho pictures
in Joubert’s and other enamel processes,'as such a film resists
the action of tho ordinary solvents of collodion.

This difficulty, however, may bo entirely obviated by sub-
mitting the plate of enamel or porcelain on which tho picture,
embedded in the collodion film, is mounted, to a gentle ho.at at
first, then slowly raising the temperature, and, when at tho
proper point, tho film, it will be observed, has been consumed.
The only care necessary fgr the success of the operation is that
the picture be carefully mounted, with no air-hubhles undor-
neatli it, and that the rise in tho temperature should be very
gradual. — I am, dear sir, yours truly, W. T. Watson.

Ealk in tb£ Stubia.

Permanganate for Rectifying the Nitrate Bath. —
The various reports which have reached us of continued ex-
perience witli nitrate baths treated with permanganate of
potash are decidedly favourable to its use, although in some
cases the plates are said to be less sensitive. Air. Bartholomew
writes : — “ I some few weeks ago made a bath with rain water
treated with Condy’s fluid ; it woiked pretty well, but certainly
slower than my usual ones, and on leaving a plate in all night
(inadvertently) I had a fine crop of acicular crystals on it. I
then made it alkaline, and sunned it for a day, and added
about 5 grains chloride barium, filtered, and it works much
quicker now, and perfectly free from fog, although I have put
no acid in. Next bath I make with distilled water I shall try
the chloride barium in place of nitric acid, after Air. Spider’s
experiment.”

Mag.n’esia Toning Bath. -Mr. Bartholomew also says: —
” Do you hear of many that adopt the toning bath made with
magnesia ? I find it far easier and more certain than any
other. I dissolve the gold in aqua regia, and neutralize with
common magnesia carb., and it seems always alike, and keeps
well.”

Stopping-out Skies, etc. — A correspondent says: — “ Some
time since a gentleman advocated smoking the backs of nega-
tives, to obviate imperfections, &c. I find it is the easiest way
of blocking-out a negative that I know of. One can follow tho
outline with a pointed and stiff brush to perfection.”

A Bankrupt Pirate. — At the Court of Bankruptcy, before
Air. Deputy Hazlitt, William Banks Prince, a printseller, carry-
ing on business at 307, High Holboru, made application for
release out of custody. Mr. G. Lewis, Jun., opposed on behalf
of Air. Graves, tho well-known printseller and publisher in
Pall Alall. He said that the debtor was convicted on the 16th
of Alay, and sentenced to pay nineteen penalties of £5 each
for infringing the copyrights of various photographs, engrav
ings, and prints, the property of Air. Graves, including the
copyright of tho engraving called the ‘‘Railway Station.” In
default of payment the magistrate directed tho debtor to be
imprisoned for tho period of fourteen days for each offence, and
a warrant for his commitment was accordingly issued. Im-
mediately upon judgment being given in the summons in tho
first case the debtor executed a deed providing for payment to
his creditors of 2s. in the pound by instalments. In opposi-
tion to the application Air. Lewis contended that the Court
ought not to interfere — certainly not until time had been given
for the examination of tho debtor, and the creditors said to
assent to tho deed, which, it was believed, had been concocted
for no other purpose than to defeat Air. Graves. His Honour
held that he ought not to delay the release for an indefinite
period, pending an inquiry into the deed, and he should grant
the application. Air. Lewis asked that the order might be
stayed forty-eight hours, to enable him to appeal, and tho
Court granted the application.

276

THE PHOTOGRAPHIC NEWS,

[June 5, 1868.

®0rr{s^0»&£nts.

Di N'SPAi.E AND Co. — We hivc receive 1 a letter from these corrc-
*if»Dndcnts in rejily to the recent note of Mr. Griirgs on the subject
of photo-lithopraphy ; but a.s it is exclusively devoted to the con-
sideration of matters of a pcr.sonal cliaractor, uninteresting to the
public, and is discourteous in tone, we cannot nive it insertion in
our columns. In .substance, the object of the letter is to deny the
truth of a statement, in Mr. Gria^is’ note, that he had tauf;ht Mr.
Dinsd.ale photo-litho^rajiby. Whether he did so or not is unim-
portant to the public. To this denial various allejrations of the
incompctency of Mr. Gric'gs are added, which allegations, from
the successful public exhibition of his powers, we are indisposed to
nccept a.s true, and should therefore act unfairly in ]mblishin;f the
statements. That our corrospondents offered to iindcrtake commer-
cially tile photo-lithojip'aphy upon which Mr. Grif?^ was cn-
iraged at the Indian Mu.seum, and that their olfcr was not accepted,
is scarcely a matter of public interest. The letter concludes as
follows : — “ We hope, Mr. Editor, you will permit us to he pre-
sent at the printing of the proposed ‘ silver surface stone,’ wlien
we shall be happy to snpjily your readers gratis with the results
so illustrated after the first liundrod jiulls.” Messrs. Dinsdalc and
Co., in a former letter, intimated that it was impos.sible to produce
a drawing in chalk upon a stone upon which a silver photographic
image had been pnxluccd. They now suggest that the thing is
possible, but that it will not yield more than 11)0 impressions.
This is a question which is more interesting than any pcr.sonal
discussion, and the practical decision of which we Iiojk; shortly to
bo able to announce.

Fhotoouai’HY. — Mr. England’s studio is in St. James’s Square,
Molting Hill. He does not, wo believe, print for the trade.

A Losdoxeu in IliELAXD. — You are f.iiiiiliar, doubt les.s, with the
various formulas for lime toning baths which we have given from
time to time, and lime is the oxide of calcium. The calcio-chloride
of gold is a double chloride of gold and calcium.

AV. J. A. G. — If you require one lens for all purposes the triple is
best, and it has really no fault; but if it be required for land-
scape only, in which straight linos are not imiiortant, a single com-
bination will give a more brilliant imago. We should prefer to
have both, but if we had to select a lens for universal use, it would
bo the triple. Exaggerated perspective does not necessarily belong
to wide-angle lenses, but is often incidental to their u.st!. It is
duo to the use of lenses of extremely short focus. If, for instance,
you use a wide-angle lens of 10 inches focus, aud an ordinary
landscape or portrait lens of 10 inches focus, and produce a
picture of the same size with each, the <|uality of the
perspective will be the same in both cases. We cannot give
absolute advice as to the most suitable lens to get, unless we know
what yo\ir friend has already, and the subjects to which his atten-
tion during his tour will be c.spocially devoted. 3. Of the tents
you mention we decidedly prefer Mo. 2, as combining the greatest
number of advantages.

J. R. — As to the keeping of ])lates by Mr. England’s process, much
depends on the details of ))rep.iration and on the temperature. In
hot weather Mr. England useil more dilute albumen ami more
dilute silver solution. Ho has kept the plates a month or more ;
hut, as a rule, they arc better prepare<i and developed within a
week if the weather be very hot. In cold weather they will keep
much longer. The general experience seems to be that if they are
long kept they require longer exposure.

Meo. — 'I'he method we have generally employed in stopping-out a
sky when necessary is as follows ; — After vai-nishing the negative,
the lower part of the sky to the horizon is stopped-out with w.atcr
colour, using lampblack generally : a band of about a quarter or
half an inch of this is suffleient. The remainder of the sky is then
stopped-out at the back, either by means of black vami.sh, or a
mask of blackened silver paper. Sometimes we find that the
whole stopping-out can bo best etfected by a mask of very thin
c.xcited albuminized paper, blackened by light. With skill the
outline can be sufficiently carefully followed (the image having
been first printed on the paper) to place this in contact with the
face of the negative.

A. Paury. — From the irregular shape of the dense spot in the
middle of your negative it is not iirobable that it is dare, unless
you were using an improidscd and irregularly-shaped stop. It is
probably the result oi a drop of nitrate of .silver having fallen on
the face of the negative after the developing solution hsis been
drained olf. This avould in many cases produce a dense spot. A
dirty jilato might cause a similar result. 2. Tho Araatuer
Photogr.iphic Association’s address is at 12, York Place, Portman
Square, Av. Mr. Mclhuish, the Scerctary, will give you all par-
ticulars if you write to him at that addrc.ss.

K. 15. — 'I’ho chief disadvantage of using only salts of cadmium in
collodion is, that they have a tendency to produce a glutinous con-
dition, which renders it difficult to obt.ain an oven film. 'I'o obviate
this a sample of cotton giving a thin limpid collodion should bo
emidoyed, or else the collodion should be kept for many months,
during which time it gradually becomes moi-e limpid. 2. The
quantity of cotton must depend upon its quality. AVith some
samples the collodion is quite thick enough with 3 or 4 grains per

ounce ; with others o or 6 gr.ains, or more, will bo required. AA^e,
as a rule, prefer a .sample in which o or 6 grains give sufficient
body. 3. The authority is not trustworth}’.

X. X. — The time allowed for cither the gallic acid or tho gum solu-
tion to remain upon tho plate before draining is not, we believe,
important ; about a minute or two in each ca.se. Mr. Gordon’s
experience is that the film bccpmes loosened from the plate during
tho various processes of developing, fixing, and Wiishing, remain-
ing attached by the varnished edge ; but not that it blisters. In
his experience the finished negative shows no trace of the effect of
the loosening, but that it dries evenly without cither marks or
wrinkles. 2. The extra amount of bromide is to be added directly
to the collodion. AVe will consult Mr. Gordon lus to the blistering,
and let you know his opinion in our next.

Fred A’orxo. — Sec answer above. Mr. Goiilon’s opinion will,
doubtless, help you, and we hope to give it in our next.

hi. U. — The cxce.s.sivc washing of prints before toning often increa.scs
toning difficulties. AVe prefer a slight washing, but neither tho
use of a chloride nor a prolonged washing in common water. 2.
Alw lys wash tho print between toning and fixing. It is a good
))lan to immerse the pruit in a .solution of carbonate of ammonia
before placing in the hypo bath. A long immersion in weak hypo
is not desirable. Use a strong hypo bath ; not less than one ounco
in four of water. AVa.sh tho prints well in several rapid changes
of water before placing them in the wa.shmg machine. 3. It is
very miu h a matter of taste. AA'e generiilly prefer a warm tone ; a
good black is suitable to some subjects; but a blue or inky black is,
to our taste, always unple;isant.

L). D. D. — Our own experience with the collodio-bromide process is
too limited to decide absolutely as to the cause of your difficulties.
AVe have used collodio-bromide made by ourselves, and used with-
in a few hours of mixing, and we have used it after having been
made some days by Mr. Sayce, and, in each case, with success.
Those who have had ex|)crience in the process lay some stress on
the bromized collodion having been prepared some time before
working. The u.se of hot water hiving proved useful in Mr.
Sayce’s practice, we should recommend you to adopt it, although it
is possible to succeeil without. 2. The tannin .should be allowed to
soak into the film for three or four minutes. 3. These plates may
be employed for enlarging upon, but the time of exposure can only
be Icarut by experiment. 4. If you make your own collodion,
dissolve the bromide first in the alcohol ; if you buy your plain coUo-
dion, add the bromide to the proportion of alcohol which would be usu-
ally employial as the iodizing solution with the collodion in question.

A'ignette. — A very light grey painted in distemper or oil-fiatting
will give a g<x)d background for vignettes. I nbleached calico,
without any paint, may' bo used, but the background must, in that
case, be kept some distance behind the sitter. F'or a curtain, either
damask, or moreen, or velvet, or repp, or tabarct, or any of the
materials commonly used for curtains in dwelling homses, may be
used. Maroon, or brown, or green, may be used with advantage.

Lyti.es Studio. — The discolour.ition in the jirint forwarded is due
to imperfect fixation. It has apparently been immer.si'd in a we.ik
or exhausted hypo bath. Use strong fresh hyjio solution, and never
use it a second day.

Mr. AVarner’s Mouxtino Board. — AVe have c.x.omined the
tinted mounting boaixl, with a sample of which Mr. AVamer
favoured us. It is found, on testing, to contain a very minute
trace of hypo; insufficient, probably, to cau.se any injurious action,
the more so that it is only obtained after long soaking, and is
])robably due to the while pnjicr which forms tho inner portion of
the boai-d.

J. 11. R. — It is probable that your s.amplc of Castile soap has not
been pure, but has contained .alkali in excess. The precipitate
you have obtained is not pure olciito of silver, but is probably a
mixture of oleate of silver and oxide of silver. AVe find it partially
soluble in alcohol, leaving a browm residue, which, on examination,
will jirobably be found to be oxide of silver. The late moment ai
which your letter arrived does not permit full e.xamination this
week. For use with the collodio-bromide of silver you will
pi-obably find it less trouble to add a little aleoholic solution of
soap to the collodion, or even to add a little pure soap in shaaongs.
AVe have found that method iinswer with collodio-chloride of
silver. 2. Probably the simplest .and most convenient actinometer
would consist tn a piece of paper prepared with collixlio-chlorido
of silver, and ob.serving the time required to colour to a certain
standanl light tint.

Fourth A'ol. — AA’e cannot tell you how far it is probable that you
will find a market for a series of stereo negatives, nor their
jirobablc value ; it is a iiuestion dependent upon so many circum-
stances. You can only' loam by enquiry of probable buyers. Try
the Stereoscopic Comiiiiny. 2. The jjatchy effect of red and blue
which you describe is due, of course, to irregular toning. This
may arise from some imperfection in the paja-r ; or from handling
the prints before toning with soiled fingers ; or from the prints
sticking together in tho toning bath. There is no remedy for such
defects after they are produced. 3. “Miti-ate of magnesium” is
simply an incorrect mode of phrasing nitrate of magnesia. AA’e
have not tried Newton’s printing bath.

Several correspondents in our next.

THE PHOTOGRAPHIC

NEWS.

Yol. XII. No. 510.— J-wne 12, 1868.

CONTEKTS.

PAGS

Simplified ManipuUticne in Carbon Printing 277

Small NegatiTee and Enlarged Prints 273

Foreign Miecellaaea 279

Photo-zmcographj in Practice. By J. Waterhouio, R.A 280

The Diamond By James Martin 281

Pictorial KQect in Photography. By II. P. Robinson 282

Inklings from the IVorkers in Photography. By John II. Ual-
lenback - 183

PA OB

Proceedings of Societies — London Photographic Society —
Oldham Photographic Society— North London Photographic

Association— Photographic Society of Marseilles 231

Correspondence— Practical K.Ypcrience with some Dry-Plate

Processes 28o

Talk in the Studio 287

To Correspondents 288

Registration of Photographs 288

SIMPLIFIED MANIPULATIONS IN CARBON
PRINTING.

The growing appreciation of the beauty of carbon pictures
as examples have become more familiar, and the inevitable
conviction of their permanence, which forces itself on candid
minds after the fullest examiuation of the subject, has had
a tendency to induce many experimentalists to strive after
some simplified method of manipulating, the double pro-
cess of transfer necessary in Swan’s process suggesting at
the outset a complication of troubles from which the novice
shrinks. That these transferring processes, or any other of
the operations, really involve any serious difficulty is, as
all .who have practised the process a little know, altogether
a mistake. When once everything is prepared, and the
manipulations understood, the operations are easy, system-
atic, and certain. Nevertheless, each step towards simpli-
city will popularize the process, and if simplified methods
are possible, it is important to give them the fullest considera-
tion, bearing in mind always that the simplicity which sacri-
fices one iota of excellence is not worthy of cultivation.

Mr. Arthur Taylor, of Marseilles, recently called our
attention to a method of working, which, although yield-
ing less delicate and sharp results than Mr. Swan’s, was, he
found, valuable for the purpose for which he specially re-
quired it — the rendering of architectural subjects. The
method he has employed is simply an adaptation of the old
method of printing through the ]paper coated with bichro-
mated gelatine and pigment. The chief difficulty in this
method, as those who have worked in this direction know,
is, that the paper, being yellow from contact with the
bichromate, is so uou-actinic that it is almost impossible to
print through it ; an exposure of some hours being fre-
quently necessary. Mr. Taylor has found that if, after
exciting the carbon tissue by immersion in a solution of
biebromato of potash, it be transferred to a dish of clean
water, the excess of bichromate which stains the paper
yellow is readily dissolved out, without removing that
which has been absorbed by the gelatine, and which it
would require prolonged washing to remove. A piece of
tissue treated in this way will print in sunlight, using a
calotype negative, in five minutes, yielding a good print.

The other difficulty of this mode of working consists in the
loss of a certain amount of sharpness and of delicacy, inevit-
able in printing through paper, the texture, of course, being
necessarily rendered in the print. Jlr. Taylor finds this diffi-
culty minimized, and, for architectural purposes, sufficiently
removed, by using for the basis of his carbon tissue a thin fine
Sare paper, which is comparatively free from structural
markings or inequalities. It will be seen that for some
pui-poses this mode of working can be made with scarcely
any trouble, and that all transferring is unnecessary. A
reversed negative will of course be required.

Regarding some other proposals for securing simplicity,
we may quote the suggestions on the subject from the
letter of our excellent friend and coUaborateur, Dr. Vogel,
in our Philadelphia contemporary. He says : —

A drawbaok to the carbon process, which new befpnners particu-
larly arc apt to mention, is the necessity of twotransferrinpproce.sse.s.
Firiit, the picture is transferred to caoutchouc paper to he developed,
and next, from the caoutchouc paper to white cardboard or paper.

The latter transfer is necessary, on account of the ugly yellow
colcur of the caoutchouc paper, and also becau.se right and left in
the picture would be reversed without it.

Tne revcr.sion could ho. overcome by reversed negatives, but the
yellow colour of the paper is very objectionable, and this has given
rise to the employment of other materials, as rosin, for instance, albu-
men, collodion, kc.

All tho.so exi)erimonts started with the belief that an adhesivo
medium was absolutely nccessai-y ; and I myself was of the same
opinion.

I demoiLstratcel, however, on a former occa-sion, that for tho trans-
fer of tho developid picture from thi^ ovoutchouc to tho white paper
no medium was nece.ssary. Swan went to the useless trouble of
covering tho paper with gchitine.

'I'his circumstance led me to suppo.se that for tho transfer of file
undeveloped pigment film, the adhesive substance might bo dispensed
with, and experiments in this direction have confirmed tho correct-
ness of my views.

Carbon tissue, of Beyrieh’s manufacture, was o.xposed under a
negative, pbicod at once in the rolling-press with moist paper, left to
dry for an houi', and then developed.

The picture showed perfect on being ti-ansferred to white paper,
and developed easy, giving all tho hiilf-tones. Only at the edges
tho film showed some tendency to peel olf, which, liowcver, could be
prevented by proper manipulation.

The whites were faultless. It was curious, however, tliat (lie
trouble with all beginners, bubbles, made their appearance. This
demonstrates, evidently, that tho c;aoutchouc paper is not the cause
of bublilos, as has often been stated, but that they are a peculiarity
of the gelatine film which forms the picture.

In transferring to cAoutchouc paper, they are avoided by long
soaking in cold water, previous to development. If, in tho new pro-
cess, they can be disposed of in the same manner or not, 1 will havo
to defern'iine by further experiments. The result you shall hear in
duo time.

The method of mounting the carbon tissue here desc-ibed,
without india-rubber, will, as Dr. Vogel states, require fully
verifying in practice before determining its practical value.
We have' not tried the plan of mounting without any adhe-
sive material, but in the early stages of the process wc tried
several substitutes for india-rubber, but without in any case
sufficient success to induce us to continue tho practice.
Starch paste, gelatine, albumen, collodion, and solution of
shellac were all tried in turn ; but none were comparable to
india-rubber. Wo believe that Mr. Swan went through a
similar series of experiments with a similar result.

The question of effecting the final transfer without the
use of gelatine, and without waiting until tho developed
print has dried, is interesting ; hut its success depends upon
certain conditions, which should he well understood. In
our earliest experiments we attempted this mode of transfer

278

THE PHOTOGRAPHIC NEWS.

[JuNB 1 , 1868.

with success. We found the material of which the deve-
loped image was formed, although insoluble, sufficiently
gelatinous to adhere to a wetted sheet of paper pressed into
gentle contact with it. On mentioning the matter to Mr.
iSwan he pointed out the difficulties and dangeis of this
mode of working. The first danger consisted in applying
pressure, which might readily destroy the sharpness of the
image in the soft and plastic state in which it remains whilst
wet after development. Another and more serious difficulty
consisted in the fact that a carbon print is really an imago
in relief, the whites and delicate half-tones forming hollows,
and the deepest blacks high ridges. Mr. Swan found that
in final mounting some material ^ould be used which would
fill up the fine interstices which frequently occurred between
two deep ridges of gelatine and pigment, otherwise the con-
tact in the final transfer would be imperfect. This diffi-
culty he subsequently found is, however, got rid of to a
great extent by using thin paper in the last transfer, which
readily adapts itsell to the inequalities of the image, and
permits perfect contact. Dr. Vogel has also found that this
mode of final transfer without gelatine is practicable and
successful.

A mode of transferring without the aid of a press, which Mr.
Swan has found successful, is described in his article in our
last Year-Book, from which we may make some extracts here.

Of the various methods of effecting the transfer without the use of
a press which I have tried, the following has given me the most satis-
factory results : —

After the complete development of the prints, I immersed them in
a warm solution of gelatine consisting of —

Gelatine 4 parts

Water 100 „

to which may be added (after the solution of gelatine has been
effected) one part of a 10 per cent, solution of sulphate of chromic
oxide.

In this solution I also immersed the sheets of paper to which the
prints are to be transferred. I find it most convenient to have only
two prints and two sheets of paper in the solution at once. I draw
the prints repeatedly through the gelatine solution, with the view of
displacing the water lying upon their surface, and I brush, with a
broad camel-hair brush, that side of the paper which will be brought
into contact with the print, so as to displace air, and cau.se the gela-
tine solution to penetrate the paper. 1 then draw the brushed sur-
face of one of the sheets of paper into juxtaposition with one of the
prints, and simiLarly the other print and other sheet. This is of
course done while the prints and sheets are immer.sed ; and in bring-
ing them together, I take ^rtieular care that no air-bubbles are in-
closed between. Before tneir removal from the solution I lay the
prints back to back, with the sheets of paper covering them on the
outside, and, thus arranged, I slowly raise the pack out of the solu-
tion, and suspend it to a line by means of Anierican clothes-pins,
and when the prints are partially dry I separate them. 'V\Tien the
drying is complete, the caoutchouc paper maj bo removed as usual,
or its removal may be deferred until the print has been mounted upon
card.

The paper that I have found best for this process is very thin,
similar to that u.sed for letter-copying books, but finer in texture and
stronger in fibre. It mu.st not be strongly sized. Owing to the ready
penetration of the gelatine solution into this kind of paper it w ill be
more or le.ss transparent when dry, and the print will not look well
until mounted upon white curd. It will not be necessary to treat
with alum if the solution of chi'omic sulphate has been added to the
gelatine solution.

One or two precautions must be observed in order to insure
success : —

1. In drawing the prints and attached paper out of the solution of
gelatine, it is necessary to avoid anything like wrinkling or bulging
of the thin paper ; this will be accomplished by drawing the prints
out of the solution slowly.

1. The prints must not be hung up to dry singly, hut in pairs, as
described, otherwi.se the caoutchouc paper will dry more quickly than
the thin pawr, and, as a consequence of this, will contract, and in
doing so will cau.se the thin paper to pucker.

3. The pairs of prints must be separated before they become so
nearly dry as to adhere strongly together.

It IS not imperative that the transferring by this method should be
done immediately after the prints are developed. The transferring
operation may. if more convenient, be deferred imtil after the prints
have become diy.

I would not have it understood that I prefer this method of trans-
ferring to that in which the press is used, but (at least, imtil I have
hud a longer experience of it) 1 should only re<-ommend this new
method where the means aro wanting of performing the old one
perfectly.

SOME HINTS ON BACKGROUNDS.

Ik describing the studio of M. Adam-Salomon, we pointed
out that much of the fine effect of space and distance in his
pictures was obtained by placing oue portion of his back-
ground screen in shadow, whilst another portion was well
lighted, and that a canopy over-head served to cut off top-
light from the head of the sitter, and to keep the upper
part of the background in shadow.

We recently saw an excellent arrangement for effecting
the latter purpose in the studio of Messrs. Robinson and
Cherrill at Tunbridge Wells. A canopy attached to the
background, and projecting three or four feet, was worked
with a cord and pulley with a counterpoise weight, so that
the canopy could be placed at any angle, and so regulate
the amount of light falling on the head of the sitter
and the background screen. If the canopy were allowed
to project from the screen at a right angle, it protected
the head from a considerable amount of light, and kept
the upper portion of the background in shadow. Jf
the string were pulled, the projecting end of the canopy was
raised, and more light was admitted, until, when necessary,
the whole of the screen became lighted, and a flood of light
reached the head of the sitter.

Mr. Robinson had just been using a capital material for
painting backgrounds, which, in producing scenic effects,
was very valuable, inasmuch as, although it dried perfectly
flat like ordinary distemper, it permitted the same kind of
working as oil paint, which, from its slow drying, allows the
artist to work into the wet colour, producing soft effects diffi-
cult to attain in distemper. The vehicle used instead of size
was thin flour paste, to one quart of which an oun e of
glycerine was added. Those of our readers who produce
their own backgrounds will find this vehicle valuable.

Dr. Vogel, speaking of backgrounds and accessories in our
Philadelphia contemporary, says: —

The pictiu-es of .\dam- Salomon are, with us as with you, the
photographic town-talk, and really every new picture of his teaches
something new. It is surprising with what sunple means the man
produces such marvellou.s results.

Many of our photographers believe that much helps much : pillars,
mantelpieces, pilasters, large bureaus, chairs, and tables, are c.arried
together, and one is soiiM'timos .surprised how the person managed to
find room between nil the.se articles. To leave nothing empty, a
.screen painttd with decorations and flourishes is placed ns a back-
ground, and, in order to complete the whole, a chandelier, the anas
of which look like two horns growing out of the head of the sitter,
i.s suspended from the ceiling.

Of all these gimcracks, Salomon has nothing : a table, a chair, a
pillar, perhaps — that is his whole stock of accessories ; and what
superb pictures he makes with these, ! I do not mean to condemn all
accessories ; on the contraiy, I acknowledge that there are back-
grounds which produce wonderful efl'ects. If we examine the por-
traits of Reutlingcr wc will find that particularly those with land-
scape backgrounds have a wonderful plastic effect.

The rather darkly-painted biickgrounds arc only superficially exe-
cuted— I might say, daubed .sketches — without any of the details of
a picture. .\t first sight we hardly know if trees or clouds aro
represented ; ihi.s .sounds paradoxical, but the main point is, the pic-
tures have u good effect.

The figure ha.s a fine plastic appearance, and the want of sharpness
in the background is, strictly speaking, an advantage, as it inerea.sca
the relief of the figure.

My friend, Grasshoff, who is a vciy skilful background painter,
tells me the best colours for backgrounds are Cassel’s brown, mixed
with more or less washed chalk. All other colours are superfluous.
Persons buying a background will often find that some parts take loo
well — I. e., bi>coine too light, others too dark. It is only nece.ssaiy to
rub over the places which become to.) light a little jwwdered gold
ochre or unilier, and to paint the dark spots with some precipitated
chalk. Main- faulty backgrounds have been doctored .n this manner.

SMALL NEGATIVES AND ENLARGED PRINTS.

On Tuesdav evenitig Dr Mann brought before the Photo-
tographic Society the mode of woiking tniployicl by l':o-
fessor I’iazzi Smyth in obtaining his phoiOg,iiipl2s o'" the
Pyramids. This, as some of our reudeis may know, chnsisted
in the production of negatives about an u.cb square, with
a view to subsequent enlargement. The canuru was made

JoNK 1^, 186».]

THK PHOTOGKAPHIG NEWS.

279

of tio, and waa about 8 inches long, upwards of 6 inches,
however, acting simpiv as a hood or screen from the sun. A
double combination lens of nearly 2 inches focns was worked
at diiferent tim’/s with an aperture of one-tifth, one-tenth,
and one-twentieth its focal length. As, under the circum-
stances under which Professor Smyth worked, focussing
with such a lens would have been difficult, if not impossible, ;
a measured scale, determined beforehand, was used for i
adjusting the focus.

The bath, which was the especial feature to which Dr. Mann |
called attention, was made of ebonite. It was 4 inches high. '
2 inches wide, and five-eighths deep, and was so arranged
that the plate should occupy a definite and fixed position, as
the exposure took place whilst the plate was in this bath, |
having been, however, previously sensitized in another bath ; i
the whole equipment, besides that already described — collo- |
diou, nitrate bath, developing bath, and fixing bath— all '
being contained in three or four pomade bottles. |

The especial reasons for adopting this mode of working i
in Professor Smyth’s case were several. He wished to secure I
the rapidity of the wet process without its usual impedi-
menta; and, working at a high temperature and amid clouds |
of dust, he felt it desirable to effect all the operations and I
produce a completed negative without exposing the sensitive
wet film to the hot and dusty atmosphere.

With the care and precision employed by Profes-sor I
Smythe, he obtained very good results. The photographs j
produced from the negatives are tran.sparent collodion posi-
tives on glass, enlarged about three diameters, and possessed ,
very respectable definition, confessedly less perfect, liowcver, I
than that of pictures of similar size obtained direct. The ques-
tion, how far negatives sufficiently defined to bear enlarging
without appreciable loss can be produced by the use of
apparatus sufficiently small and portable to be carried by
the tourist without inconvenience, is an interesting one,
especially to amateurs. With the professional landscape
photographer, the production of negatives is the end and
purpose of his journey, and to that end trouble is quite sub-
sidiary ; with the amateur, the production of negatives is
often merely an incident of the journey, and it is desirable
that it should not interfere with health or pleasure. The j
generally expressed opinion of practical photographers on
Tuesday night seemed to be that the apparatus was a pretty
plaything, and little more. This opinion has been fre-
quently expressed of the apparatus for completing all the
operations within the camera, introduced a few years ago in
I’aris. Nevertheless, we think it not impossible that such a
mode of working may be adopted with results sufficiently
satisfactory for most amateur purposes. The chief objection
we see to the results exhibited on Tuesday night is their
unnece-ssary smallness. Few photographers would be con-
tent that their largest finished pictures should not exceed
three inches square, and yet the negatives one inch in
diameter, and enlarged three diameters, had lost quite suffi-
cient to be appreciably worse than pictures of the same size
taken direct. In enlarging, every defect of structure in the
original negative is amplified in equal ratio with the image,
and this magnified structure gives a degree of coarseness to
a small picture which would not be observed in a largo
picture. A negative of three inches diameter, for instance,
enlarged three diameters, would give a fine picture, iu which
the physical defects of the negative, still being only three
times magnified, appear insignificant when compared with
the size of the picture. We strongly recommend photo-
graphers contemplating working iu this direction to bear
^ese facts in mind. Negatives of three inches diameter,
taken with care, will yield prints of 10 by 8 inches, in
which the loss of definition is no serious pictorial evil ; but
with negatives much less than this, all results we have seen are
far from satisfactory, especially if prints on paper are required.

By far the best apparatus for producing wet plate nega-
tives without a tent which has come under our notice is
that invented by Mr. Barrett, and described in our pages a
few years ago.

PHOTOGRAPHIC NOVELTIES.

Whilst the pressure of commercial inactivity has been much
felt by photographers, it becomes matter of some surprise
that so few novelties are attempted in this country, few
photographers giving attention to anything outside their
own groove. So far as we can learn, the occasional novel-
ties which are introduced from the Continent have a remu-
nerative sale. Surely the hint is worth the attention of
some of our readers. Dr. Vogel says : —

“ In Germany, photographers have made, of late, quite a
successful speculation in a series of original articles, which
have found quite a large and rapid sale. To this class
belong, particularly, the flower pictures. These are photo-
graphs taken from natural flowers coloured with Jacobsen's
aniline colours, and cither of card or cabinet size.

“ Similar are the bird pictures, taken from stuffed birds.
The Latin name is printed under these as well as under the
flowers, which makes them well adapted to instruction in
natural history.

“ Still another class are workshop scenes. These repre-
.sent workshops, with all the men in full activity. For this
purpose a whole workshop is built up in the gallery.
Stereoscopic pictures are generally taken from these groups.

“ Loeschcr and Petsch are preparing an edition of similar
stereoscopic pictures : the most of them represent pretty little
girls iu various occupations, as reading, gathering flowers,
&c., &c. It is curious that none of these speculations are
long-lived ; for two or three years the pictures will sell well,
until some poor photographer will flood the market with
miserable, trashy imitations, which are sold for a trifle ; for
a while the low price will attract purchasers, but when they
find that they have been cheated, their taste for the article
will be gone.”

Jorncju

The new sensitizing material known under the name of
the Sel Clement still occupies the attention of photographers
in Paris, and in the last number of the Moniteur dela Pho-
tographie appears a letter from M. J. Laurent, giving his
experiences of its employment in large quantities. That
gentleman states that in sensitizing 405 sheets of paper he
employed 1104 grammes of material, equal to 2’72 grammes
per sheet, the paper weighing 20 lb. per ream. The bath
used was of 18 per cent, strength, and, therefore, very rich ;
if a 15 per cent, solution was used, which is amply strong
enough, and the paper employed was that in general use by
photographers, weighing but 161b. to the ream, the Sel
Clement would be found to be an economical sensitizing
agent, as not more than 2 grammes or 2'30 grammes would
be expended per sheet. By having recourse to ammonia
vapour the tone of the prints gain very considerably in
brilliancy, and the printing is greatly accelerated. The
sensitized paper is put into a dark box and exposed to the
influence of alittle ammonia contained in a saucer for a period
of three or four minutes ; the time and trouble expended in
this operation are amply compensated by the rapidity with
which the prints are produced and the increased beauty of
the pictures.

At a recent meeting of the Marseilles Photographic Society,
held on the 1st April last, M. Taylor communicated the
results of a series of experiments he had made with a view
of obtaining carbon pictures by direct printing. He had
carefully studied the influence of a greater or less quantity
of colouring matter introduced into the gelatine, and he had
obtained the most surprising results by the addition of very
minute quantities. By immersing the sensitized paper into
a water bath for the period of about five minutes prior to its
being printed an improvement in the results was secured,
for it was found that the excess of bichromate of potash,
which imparted a yellowish tint to the picture and militated
against its softness and rapidity of production, was thus elimi-

280

THE PHOTOGRAPHIC NEWS.

[June 12, 1868.

By this umthod oi' pimieediug M. Taylor was able to
obtain prints poBse-ssed of great delicacy. This preliminary
soaking in water wa.s objected to at the meeting by M.
Vidal, who was of o]>inion that, although it might ))ossibly
be beneficial for thick papers, for a thinner material it was
unnecessary and even injurious. He had essayed with sensi-
tized tissue ))aper, and had found that the process of wa.sh-
ing had i-endered his material perfectly insensitive. In all
these experiments the pictures were produced by direct print
ing ; that is to say, by printing througli the paper material.

M. Obernetter communicated to the Beilin I’liotographic
Society an account of the succes.s which has attended
M. Beyer’s (of Warschau) efforts to obtain photographs in
colour by M. Niepce’s process. M. Beyer used a coating of
sulphate of qninine to endow his pictures with permanence,
and M. Obernetter was sanguine of being able to render his
own paper applicable to the production of these jiictures.
Dr. Zenker was of opinion that sulphate of quinine was in-
c^able of efficiently protecting the colours, as it had the
effect of stopping the ultra-violet rays only ; but believed
that the Obernetter paper might possibly be employed in
the process ; and Dr. Vogel reminded the Society that
Mr. Simpson had been able to secure colours by his collodio-
chloride process.

In the Mittlieilungen, M. Kleffel publishes a paper on the
recovery of silver and gold residues, in which he recom-
mends the covering of operating tables and shelves upon
which utensils containing silver solution rest, with filtering-
paper, to ab.sorb any spilled liquid, and the reduction of all
residues direct into metal instead of first converting them
into chloride.

PIIOTO-ZINGOGRABIIY IN PRACTICE.

BY J. WATERHOUSE, R.A.

Introductory Remarks.

Ever since the introduction of photography there has been
a desire to possess a ready means of superseding the draughts-
man and engraver in producing copies of views and works of
art, which may not only preserve the accuracy of the photo-
graph, but may be capable of being printed in either of the
usual modes, and thus posse.ss the permanence of ordinary
prints and engravings. Much has already been done, but
we are still searching for a .satisfactoi y method of producing
photo-lithographic copies of views, &c., in half-tone. My
own opinion is, that no satisfactory results can be obtained
in this direction except only for copies of inscriptions and
architectural subjects. As regards views, the standards of
pictorial beauty in photographs and engravings or litho-
graphs are perfectly different. The dark foregrounds, black
masses of trees, and the white patches of water and sky so
common in ordinary photographs, cannot be tolerated in the
plain black-and-white of a photo-lithograph, in which the
delicate half-tones which constitute the charm of the photo-
graph are more or less destroyed. At the same time a pho-
tographic image may be produced in half-tone on the stone
which can be touched-up by an artist, and satisfactory pic-
tures produced. There is now the less need of any further
steps in this direction, since by Mr. Woodbury’s beautiful
process prints possessing the most delicate half-tones, and
identical in appearance with photographs, can be produced
as fast as ordinary lithographs. In photo-lithography with
half-tones the best results have been produced by MM.
Marechal and Tessio du Moth ay. Their process, however,
can scarcely be called photo-lithography, and but few prints
can be pulled. Messrs. Asser and Simonau and Toovey
have also produced good results. Some prints I have seen
produced by M. Lemercier, of Paris, who was sometime pro-
prietor of Poitevin's patents, were full of delicacy and soft-
ness, but they were copies of plaster casta. In England
some excellent results in half-tone have been obtained by
photo-zincography at the Ordnance Survey Office, South-
ampton. There is no great difficulty in the process, but
success depends entirely on the quality of the negative and

the suitability of the subject. For those who are interested
in this application of photo zincography I shall give a short
description of the process as practised at Southampton.

It is now generally recognized that the most useful and
successful application of the photo-engraving, photo-typic,
photo-lithographic, and photo-zincographic processes is to
the reproduction to any required scale of hand-drawings or
engravings and other works of art in line. 'Fhe field for
their use is very large, but it is surprising that these pro.
ce.sses have not been more extensively practised in England
than has been the case.

Their use is almost restricted to a few Government estab-
lishments, where the saving of labour and expense has been
found to be very great. At Southampton photo-zincography
has been extensively used in the reproduction of the national
records of England and Scotland, and the Domesday Book.
At Woolwich great use is made of photo-lithography to re-
produce drawings of artillery material, &c. At the India
Museum photo-lithography has been most successfully ap-
plied to the reproduction in chromo-lithography of the
beautiful tissues and shawl fabrics of the looms of Delhi and
Cashmere, and akso in copying Sanscrit manuscripts, &c.
On the Continent these processes have been far more used
than in England, and are practised commercially with the
greatest success. Among tne photo-lithographers may be
mentioned JIM. Marie and Lemercier of Paris. Simonanand
'I’oovey of Brussels. Korn of Berlin ; while in France, Messrs.
Amand Durand, Placet, Gamier and Salmon, and Baldus
have carried the art of photo-engraving to high perfection.
Some fine specimens of maps in photo-lithography have been
published by the Belgian Government, and, I believe, the
same process is extensively used by most of the Continental
Governments.

Photo zincography has also been adopted by the Survey
department in India, and is now successfully used in the
reproduction of maps for district officers, engineers, &c.

I do not intend to enter into any account of the history of
photo-zincography, but simply to give the practical details
of the process, so as to render it capable of being worked by
amateurs. There is a general prejudice in favour of using a
lithographic stone in place of zinc, but I think that zinc
will be found most useful for amateurs. It is said that cor-
rections cannot be made on the zinc — that it has an unplea-
sant colour. In practice, however, I have not found any
difficulty that might not have occurred with stone. Zinc
has the following advantages over stone ; —

1. It is cheaper than stone.

2. It is harder and more compact in grain, and, conse-
quently, more readily worked, and resists the etching and
pressure better.

3. It is not broken by rough usage or heat, and is more
portable and less fatiguing for the workman.

4. Zinc plates can be stowed away in about one-sixth of
the space required for stones, and do not require so much care
in preserving the drawings from damp and weather.

I believe the cause of the dislike to zinc printing is that the
details of working it are not generally known, and I trust
these papers may contribute to further knowledge of the
subject. The process I shall describe is identical with that
practised at the Ordinance Survey Office, Southampton, and
of which an account was published some time ago by Sir
Henry James. I have lately worked the process practically
throughout, at Southampton, and have had some experience
of its difficulties in India, which has led me to adopt a few
modifications of the original process.

My object is to draw attention to a process which, to
judge from the numerous enquiries addressed to the Editor
of this journal, is regarded with some interest. I shall
endeavour to be as full and clear as possible in my explana-
tions, but if any of my readers require further information on
any point 1 shall be glad to furnish it. If any of my readers
have had experience of the process, and can suggest any im-
provements, I should be glad if they would communicate
them. 1 shall commence by a few general remarks on

June 12, 18G8.]

THE PHOTOGRAPHIC NEWS.

281

The Preparation op Drawings, etc., for Reproduction.

One of the most useful applications of pliolo-ziuco-
graphy is the reproduction of maps and civil and inilitaiy
engineering drawings ; but as the requirements of the pro-
cess are but little known, these drawings are seldom drawn
in a suitable manner for reproduction by photography, con-
sequently the results are unsatisfactory, and tlic proo'ss is
blamed undeservedly- If care is taken to select suitable
subjects, and to secure a good negative, results can be
obtained which may compare with engravings in sharpness
and delicacy. Success mainly depends upon the negative.

wa.s called, by some, anachitis. Its supposed occult qualities
and supei-stitious uses no doubt contributed greatly to the
high esteem in which this substance was held ns being the
most valuable and beautiful of gems. It was endowed with
these hidden virtues in the highest degree ; hence it was held
to be an infallible specific in many diseases, and, amongst
other absurdities a test of conjugal fidelity, a reconciler of
domestic strife, and an amulet of highest power against
poisons, insanity, witchcraft, incantations, goblins, and evil
spirits. The diamond is either colourless, or of a light yellow
or smoke-grey, passing into lihiish or pearl-grey or clear
wine colour, on the one hand deepening into clove-brown.

which must be perfectly sharp, free from distortion, and i yellowish-green. It also occurs of a

possess the greatest amount of contrast between the lines and black-brown, Prussian blue, or rose red ; and the

the ground the lines being as transparent as the bare glass, , varieties are the most esteemed, and, next to these,

the ground almost opaque. Attention to the following light-coloured the least. The

points will greatly lessen the labour of the operator, and , crystallized in the regular octoliedron,

conduce to success : ! primitive form, composed of two four-sided

1. Ihedrawing-paper 8houldbeaswhite,clcan,andsmoo h I opposed base to base, or in the cruciform octo-

as possible. If the originals are on rough paper they should Sometimes each triangular face of the primitive

be pas^d through a coppor-plate press, and, if necessary, o^t^ijedron is replaced by si.x secondary triangles, bounded
cleaned with rubber or bread.

2 The Indian ink with which the drawing is made should
be freshly rubbed down, quite black, free from grit and glaze.

3. The lines should bo firmly drawn, and pale ink must on
no account be used. The marginal lines must be well filled in.

4. Washes of any colour, except very light blue, are in-
admissible, but outlines may be put in with dark burnt
sienna, crimson lake, dark green, and similar coloui's, which
will reproduce black.

5. When the plans arc intended for reduction, care must
be taken to draw the lines of the proper thickness rela-
tively to the scale of reduction ; that is, supposing it is
required to reduce a drawing to one-fourth the size, it will
be necessary to draw every line of the original four times as
large as will be required in the copy. This rule is often
neglected, and the result is the loss of all the finer lines.

The best results ere obtained when the drawings are pre-
pared ou purpose for reduction, and without any regard to
clumsiness of appearance.

6. When practicable, the drawing should be left on the
drawing board, so that the paper may remain perfectly flat,
or should be mounted in such a manner as to secure flatness.

This cannot be done by pinning the drawing to a board ;
the alterations of temperature will affect the paper, and
cause it to expand unequally, and produce ridges. I think
it will be found better to fasten the drawing down with
tapes, fastened with drawing pins outside the margins of
the drawing, and pa.ssing tightly over it, so as not to check
any lateral expansion.

It is generally better to copy by strong diffused light, as
then there is less danger of reproducing the grain of the
paper, the removal of which necessitates considerable rcin-
tensification to the certain detriment of the negative. Old
discoloured manuscripts, &c., are better copied in sunlight
taking care that the sun shines directly on the subject.

(To be continued.)

by si.x secondary

by curvilinear lines, in which case the whole crystal has
forty-eight .faces, and is of a spheroidal figure. Other
spheroidal varieties of this mineral arc the duodecahedron, a
solid of twenty-four faces, and a compressed spheroid re-
sembling a vei-y short hexahedral prism terminated by very
short, curvilinear pyramids. The surface of the natural
crystal, especially of the spheroidal, is somewhat dull and
chatoyant ; this appearance, which is generally represented
as the effect of a thin crust, appears to be caused merely by
the salient edges of the lamimc of which the crystal consists.
When its surfaces are reduced to perfect smoothness by
grinding and polishing, the diamond is of extreme bril-
liancy, far surpa-ssing every other substance in lustre and
the lively play of prismatic colours which dart from it in
lines of light whenever its position with regard to the eye
undergoes the least variation. The fracture of the diamond
is straight foliated ; hence it may readily be cleft in the
direction of its lamin.x by a dexterous artist. Some of the
spheroidal varieties, however, are composed of curved plates ;
tliese are of intense hardness, and cannot be either split or
highlj' polished ; they are therefore used by the glaziers and
engravers on gems, or are ground into a powder and
employed in polishing other diamonds. The specific
gravity varies from 3 518 to 3 o50.

The diamond, even when rough, acquires by friction the
vitreous or positive electricity ; it becomes phosphorescent
when exposed either to the entire rays of the sun, or to the
blue rays alone when separated by the prism and concen-
trated on the diamond by means of a lens. The diamond
when heated to the temperature of melting copper, and
exposed to a current of air, is gradually but completely com-
bustible. It is surrounded by a luminous areola during the
process. It is wholly converted into carbonic acid, and,
therefore, consists of pure carbon. The art of cutting and
polishing the diamond was probably known to the artists of
Ilindostan, and at a very early date, but the only material
used in tli6 East for this purpose being wumduni, and the
apparatus being of extreme simplicity, the jewellers of those
countries are incapable of bringing out the peculiar beauty
of the diamond in a degree at all comparable to what is
I effected by European artists.

As the diamond is now one of the most useful accessories in Formerly diamonds were set in jewellery precisely in the
the photographer's catalogue of implements, it would, no state in which they arrived from India, and hence the octa-
doubt, be interesting to your readeis to learn soniewbat hedrons were much more esteemed than the rest, both on
of its history and application to the arts. The diamond ha.s, | account of the regularity of their figure and the superiority

THE DIAMOND.

BY JAMES MARTIN.

from the remoU'st antiquity, been prized a.s tbe most valuable
— or, more properly, the most costly — sub.«tance in nature.
The reason of the high esteem in which it was held by the
ancients was its rarity and its extreme hardness for the art
of cutting and polisning ; this gem not having been then
invented, its superior brilliancy and lustre would not have
been appi-eciated. They also considered it an antidote to
poison, and that it was able to cure insanity ; therefore it

of their polish.

Diamonds are cut and polished by jewellers into brilliaut.s
and rose diamonds ; the former being for tbe most part made
out of the octohedral crystals, and the latter from the sphe-
roidal varieties. In the formation of either brilliant or rose
diamond, so much is cut away that the weight of the
polished gem is not more than one half that of the rough
crystal out of which it is formed ; whence the value of a cut

2S2

THE PHOTO&KAPIilC NEWb,

[Junk 12, 1868.

diamond is (‘Steemtrd equal to that of a similar rough crystal
of twice the weight, exclusive of the cost of workmanship.

The weight, and consequently the value, of diamonds is
estimated in carats, one of which is equal to four grains ; and
the difference between the price of one diamond and anoth r,
ceteris paribus, is as the squares of the respective weiglits.
Thus the value of three diamonds of one, two, and three
carats’ weight is as one, four, nine. The average price u.
diamonds that are worth working is about two pounds siiriiiig
for the firet carat, and consequently in wrought diamonds,
exclusive of the cost of workmanship, the cost of the tiist
carat is eight pounds. 'I'he largest known diamond was iti
the possession of the (Jre it Mogul ; it weighs upwards of 279
carats, and is in size and shape equal to about half a hcu's
egg. Diamonds were more rare, and of course dearer, than
they have been since the discovery of the Brazilian mines.

The uses of the diamond are principally in ornamental
jewellery. It is also employed by glaziers for cutting glass ;
by lapidaries, for cutting and engraving upon the hardest
gems ; and in the finer kinds of clockwork. i

The mineralogical situation of the diamond is not very
well a.scertained. It occurs in India in detached crystals, in
a kind of indurated vitiuy gravel, not far from the surface of
the ground ; but whether or not this is its native bed is
unknown. The diamond minus of India extend throughout
the whole chain of the Ghauts, from Bengal to Cape Cor-
morine. Many of them are totally abandoned, the chief
that are now worked being situated between Golgonda and
M'jsulipatam.

COMBINATION NEGATIVES.

BY J. B. MIDDLETON.

I THi.NK all persons who are interested in the develop-
ment of photography as a line art will admit the vast
importance of the possibility of employing parts of two or
more negatives in the production of one picture, for it
.affords the artist more ample scope for the exercise of his
inventive faculties, and enables him to obtain results which
would be impossible by other means. Hitherto, I believe,
this has always been done in the printing process, whereby,
in spite of the greatest cate and skill, many proofs are spoiled
by the unequal printing or imperfect joining of the parts.
Thinking on this matter some time back, it occurred to me
that it might be possible to obviate much of this difficulty
by the production of what may be called a compound nega-
tive in the copying camera by means of converging lenses
thus : —

* The copying camera must be large, and have a front con-
structed to carry as many negatives as may be required
(perhaps four would be the largest number that could be
conveniently used), which should be placed as closely
together as possible : of course all parts of the negatives
which are not requited in the picture must be carefully stopped
ouC. The lenses inside the camera, of which there must be
one for each negative, should be mounted in such a manner
as to have free motion in all directions (similar to that of a
ball and socket joint), and should be provided with screw
or other mechanical adjustments, so that they could be
readily arranged in any position. Then, by causing the lenses
to converge in various degrees, the image of the required
part of one negative could be brought to fall exactly on the
part of the focussing screen occupied by the corresponding
“ blocked out ” part of another, and a transparent positive
could be taken (which, if required, could be improved by
hand “touching ’’), and from that any number of compound
negatives might be obtained in the ordinary way. By em-
ploying lenses of long focus the angle of convergence would
be diminished, and the risk of distortion from using the
lenses obliquely would be less.

I do not know whether this idea is new or not, but if
there should be any novelty or practical value in it, the
photographic world is perfectly at liberty to make the best
of it.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and CiTivaoscme for Photograph ees.

BY II. P. ROBINSON.

CllAPTEU XX.

■ T' US M(I b<-Fin8, snd worse remain' behind !"— Shikespibi.

" II there be no ro ,i.i. thrust .jwny tie' m-sner pa.'ts, and give praise that
tU'ju letaiueth tiie cliiefer portion ” — l.aiBEiss.

PoETKAirCBE — coni i nurd.

A GREAT deal of the effect of a portrait wilt depend on the
position the tigun; occupies in the picture. A glance at the
illustrations will show tin--.

As a general rule, if the herd be not equidistint from
the sides of the picture, there should be more space allowed
before the face than behind, as in Fig, 1. The awkward
effect of the reverse of this will be seen in Fig. 2.

AVy. 2.

A disregard of this rule has spoilt the effect of many
otherwise good jiictures. In some photographs we see the
figure walking almost out of the picture, for the sake nf
showing the last coils of the long caudal — almost prehensile
— appendages with which ladies sweep the dust, thus sacri-
ficing the head for the tail.

The apparent height of the person represented depends
almost entirely on the position of the figure on the plane of
the picture. The taller the person, the nearer to the top

i .IlTN]

Junk li2, 1868.]

THE PHOTOGRAPHIC NEWS.

2^'6

should the head be placed, and, if a full length, the les^
ground should be shown. A short person should be brough,^
lower in the picture. In Figs. 3 and 4 the contrast i
shown.

I

Fig. 3.

™”

ill

[ therefore advise that a little licence should he taken in tc.s
particular, and th.at when a child is to be photo .'r iphed all
consideration of how niurh of the picture would be lillet. by
a grown person, with the c.amrra at a certain distJvnce, be
forgotten, and that nothing bn*: the child, the oljeettheu
before the photographer, should eiigago iiis thoughts.

The same disregard <>f proportion exists amongst lanil-
scapn photographers ; imny wouh.l preter to sacritice efteet
rather than cut away a little of tiro foreground, and thus
depart from th -ir regulation size.

Fg. 1.

It too oftm happens that the figure i- made much too big
for the pictme. 1 have seen so ie cartes in whir h the h 'ud
neaily toiiclns the top of the piettne and (he toes the bot-
tom, so that when it was inserted in an albiiiu some part
must be covered, perhaps a foot cut off, or perhaps half the
head. This is done, I suppose, under a mistaken notion of
the photographer's that he is giving enough for the money,
a principle to which I have no objection, but let the
“ enough ” be in quality rather than in quantity, and he
will be right. A carte-de-visite displaying proportion,
taste, and a right feeling for art, is of much more value than
a life-size picture that does not possess these desirable
qual'ties, whether by painter or photographer.

There Las been a notion jireval nt that all figures must
be taken to scale: thus, if a s'x feet figure be represented in
a carte-de-vi.'ite as Ihric inches long (about the right pro
portion), therefore a child three feet high must be repre-
si-uted as half that height, or one iiodi and a half. If it be
nectsoary to make elevatioiis of (•’ay) a family, to send to
friends at a distance to comparo with others taken sometime
before, to demon-tiatc tiie fact that the chihlreu are growing,
then this merhu 1 must bo followed, but the photographer
should never forget that it is his business to make pictures,
and that a figure one and a half irx'hes high will not fill a
pictutu of the usual card size with anything like effect ;

INKLINGS FROM TlIS WOllKEES Ic: PUOTU-
GKAPHY.

BY JOHN II. lIALI^NB.tCK.

Uranian, Halt fur Positive Printing and Measuring the Aetiiiia
Force of Direct Sunlight.

Tiik above v/as a communication accompauled by print
from Prof. Joy to the Photographic Section of the Aineiicau
Institute. The positive print was obtained hy sonsiilziug
the paper with the oxyfluoride of uranium, and yiota.ssiuiu,
and formic acid. The print was made by Dr. H. Carririgton
Bolton, who was the inventor of this method ; the specimen
was the first and only one taken by this piocess. and wa-
very indistinct ; it was br-iught forward at this early stage
in order to fix the date of the invention.

The picture is compos-.d of (he green fluorides cf uranium
and potassium, and is permanent. Formic acid produces no
precipitate in a solution of oxyfluoride of uranium and potas-
sium ; but if the acidified solution he placed in the direct
rays of the sun, decomposition begins immediately, aud a
green precipitate of the fiuoride of uranium and potas.siuui
falls ; the precipitate is quite insoluble iu water and dilute
acids, and could be employed to measure the actinic force of
the direct sunlight.

The sensitizing bath is prepared by adding a few drops of
formic acid to a tolerably concentrated solution of oxyfluo-
ride of uranium and potassium. The papjr, while still wet,
is placed upon the negative and expo.seu to the ravs of the
sun ten or fifteen minutes. The subject will be further in-
vestigated and reported noon.

Mr. Newton gave mo liia process for making (he rival
Salomon prints which caused .such (v sensation. Mr. New-
ton’s pictures are pronounced the most beautiful ever made
in this country ; and as a great many inquiries have been
made as to the manner of making the priiit.s, I shall give it
for the benefit of all «lio wisii to advance in (he .rf.

The silver bath is the one fir.st introduced by Mr. Newton.

Silver Bath.

Nitrate of silver 25 grains

Nitiate of magnesium ... ... 25 ,,

Nitrate of potass... ... ... 25 „

Acetate of lead 5 „

Water ... ... ... ... 1 ounce.

After the bath is mixed and filtered he floated tlie paper
for only half a minute, then dried and fumed it for twenty
minutes with carbonate of ammonia.

Toning Bath.

He used several different carbonates, such as magnesium,
lime, and baryta ; but with his 25-grain hath it seems to
make no material difi'erence which is useil. Of cour.-u, he
used sufficient chloride of gold of his own inanufa'-turf. auil
fixed with hyposulphite of soda, to which he added a few
grains of chloride of ammonia ; but Mr. Newton thinks pho-
tographers do not take time to make tine prints, and tn >sc
all over-tone these by destroying the beautiful pu’-ples wbich
are so essential in albumen prints, and forwUich daloino.i’j
are noted.

I shall, in your next, endeavour to state other matters
which were brought out at the meeting, and will clo-'e for
the present with the hope that the new process with »ho
, oxyfluoride of uranium and potassium will call forth furtuer

284

THE PHOTOGRAPHIC NEWS,

[JoNE 12, 18()8.

experiments by photos, generally, and with Newton’s silver
bath, careful manipulations, and by using a good quality of
paper, the American photos, will still maintain the lead in
the beautiful art of photography. — IJumphrcy's Journal.

Urocfftiing.? of

London Photoguapiiic Societ?.

TnEelosing meeting of the session was lield in the Architec-
tural Gallery on the evening of Tuesday, .Tune 9th, Mr.
Sebastian Davis in the chair.

The minutes of a previous meeting were read and confirmed.
Mr. Dun.more exhibited .a commodious tent for field work,
which he designated the “ Truck Tent,” the dark room and
carriage being in combin;tlion,orca])able of being detached at
will. When packed up it consisted of an oblong box, and
square box of chemicals, upon an iron truck or frame with
wheels and handles. The tent, when opened and arranged for
work, consisted of a wooden tray opening like a chess-board,
and to which the sides of the tent, made of framework covered
with American cloth lined with brown paper hinged together,
were fastened by thumb-screws on the inside. The top, similarly
constructed, was then laid on and secured by hooks-and-eyes.

A tray of mackintosh material is placed on the table for the
sake of cleanliness, through which a bent and pointed funnel
is thrust to carry off waste solutions. A bag of material im-
pervious to light, open at both ends, was then hung over the
open end of the tent, to which it was fastened by tape, for the
ingress and egress of the operator. The window consisted of
several thicknesses of yellow calico saturated with lac varnish.

Mr. Dunmoee, in answer to various questions, stated that
the tent when open gave a working space inside of three feet
each way. The total weight of tent, box of chemicals, and con-
tents was about three-quarters of a hundredweight. It was
largo enough for working 16-inch plates with comfort. He
generally intensified and fl.xed, if necessary, at home. The
tent was intended for standing to work. He had an arrange-
ment of cords to which pegs were attached to place in the
ground to prevent the tent being blown over by tlie wind, but
ho had never had occasion to use it. He could not move this
tent about without repacking, an operation which could be per-
formed in five minutes. For large plates it could scarcely bo
expected that a tent could, when erected, be moved about
without packing.

Mr. Frank Goode said that Mr. Frith had an arrangement
for working large plates 20 by 12, in which the tent and camera
were one, all the manipulations being eflected inside the camera.
He thought that in using a tent standing was best, although
some good photographers preferred sitting, — Mr. Frith for
instance. He suggested that the chemical box might bo con-
verted into a cistern, and placed on the top of the tent with
water.

After some general conversation.

The Chairman, in proposing a vote of thanks, said that the
especial point of excellence about this tent seemed to consist
in the large working space it gave when opened compared
with the small space into which it packed.

After a vote of thanks to Mr. Dunmore,

Dr. Mann road a paper describing the mode of working
employed by Professor Piazzi Smyth in producing his photo-
graphs of the Pyramids, and exhibited the apparatus, as well
as some negatives and enlarged transparencies produced there-
from (see page 278).

Dr. Mann further stated that he, in conjunction with Mr.
Dallmeyer, had compared the enlarged pictures produced from
those negatives with some of the same size taken direct with
a triple, and he was bound to admit that the definition was
not so good in the enlargements as in the direct pictures ; but
still the results were exceedingly good. The especial necessity
for the mode of working adopted by Professor Smyth was
caused by the circumstances under which he had to work in
the Pyramids. With ordinary appliances ho would probably
have got nothing. The dust would have been a serious obstacle
if the plate had not been exposed in the the bath. The porta-
bility was a great convenience ; Professor Smyth was able to
carry the bath about hanging on his little finger. The nega-
tives were not quite free from stains.

Mr. Spilleb, relerring to the measuring rod which Dr, Mann

had pointed out as included in all the photographs, said that
the i)lan of photographing a rule to servo as a standard of
measure in each picture had long been employed in the military
photographs taken at Woolwich. In photographs ot target
practice they photographed a 2-foot rule to aid in estimating
the size of the perforation made.

Mr. Foster suggested that enlarged collodion positives
might be printed from the small negatives in the camera,
and transferred to paper in the manner adopted by Mr.
Disderi. He wondered that this method of enlargement was
not more extensively practised.

Dr. Mann said the same idea had struck him, and ho in-
tended to try it with these negatives. He remarked that he
had examined some faces in the negatives under an inch
power, and in cases where, so examined, nothing appeared
but transparent glass, detail and form appeared in the en-
larged j hotograph.

The Chairman, in proposing a vote of thanks to Dr. Mann,
referred to the enlargements as very satisfactory, and expressed
a conviction that for amateur purposes the plan in question
was worth more attention.

After a vote of thanks to Dr Mann,

The Chairman said that the meeting would now stand
adjourned until November, when the session would be opened
by an exhibition meeting, to which he urged all photographers,
members, and others to contribute, as it was only by the
excellence of such exhibitions that the public could be made
familiar with the real excellence and progress of the art, and
become acquainted with its real powers.

The proceedings then terminated.

Oldham Photographic Society.

The first out-door meeting of the above Society was held this
year at Lymm, on Thursday, June -fth.

The weather (with the exception of a slight breeze) being
fine, the party, numbering 35, were in great spirits. Arriving
at Lymm, and, after refreshing the inner man, a group was
taken, and then separated in search of the picturesque. The
dry-plate workers got on very well with their camera and
tripod ; but, alas ! for the wet-plate men, some of them quite
agreed with Mr. Beverley on the dry-plate process, that
" Britons never shall be slaves.”

At the next ordinary meeting the prints will be exhibitedi
when we shall have something more to say about the work-
We are happy to say that no accident of any kind happened,
the whole party arriving safe at Oldham about eleven o'clock,
highly satisfied with their trip to Lymm.

North London Photographic Association.

The concluding meeting, for the present session, of this Society,
was held on the 3rd inst., Mr. Cooper occupying the chair.

Mr. Fox (Stock Exchange) having been admitted a member,
the Society proceeded to dispose of business of a private nature,
after which the Chairman announced that the first meeting of
the next session would be held on the 7th of October.

Photographic Society of Marseilles.

The monthly meeting of this Society was held as usual, M’
Arthur Taylor in the chair.

M. Vidal, referring to a communication from M. Marion on
his new pellicle, slated that he had made one trial with an old
negative varnished with lac. The transparent pellicle, instead
of being made to float on a plate wet with alcohol, as indicated
by M. Marion, was placed on the negative, which had been
previously covered with alcohol and allowed to drain. The
adherence was perfect, and the water bath, after desiccation,
brought about a complete separation of the negative film from
the glass. No doubt with new negatives the operation could
be performed with the the utmost certainty, and there was great
advantage in having these transferred negatives, which could
be printed at pleasure from one side or the other, like nega-
tives on waxed paper.

The Chairman showed some good results obtained by carbon
printing direct through paper. He had studied the influence
of a greater or less quantity of colouring matter introduced
into the gelatine, and arrived at surprising results' with only
a very small amount of it. In these cases the parts impressed
wore very brilliant, whilst the imago was so much deepe

June 12, 1868.J

THli PHOTOGRAPHIC NEWS.

285

according to the greater proportion of colouring in the gela-
tine. He had obtained p:ood effects by washing the sonsUive
paper before printing. That washing (five minutes at most)
was for the purjmso of getting rid of an excess of hichroniato
of potash, which made the paper yellow, and was an obstacle
in the way of rapid printing. By proceeding in this manner
ho obtained proofs of great delicacy.

M. Vidal thought that tho preliminary washing would ho
useful with rather thick paper, but ho considered it not only
useless, but injurious, when applied to tissues. He had tried it,
and found that, in the latter case, tho sensitiveness was almost
completely destroyed ; but ho believed that in the case of thick
paper there remained, in spite of tho washing, suflicient
bichromate of potash to maintain tho sensitiveness of the layer
to be impressed.

The Chaikman said that on a sheet of paper of which one-
half only had been washed and the other not, he had observed
that tho part unwashed exhibited a granular image, while the
washed half was free from that imperfection.

M. V'iDAL showed some photometric bands obtained in the
Vogel photometer. He considered the different degrees of in-
tensity were not sufficiently marked, and that his own plan,
which consisted of a scries of ten tints only, f om white to
black, would be preferable. Ho also showed some fine specimens
obtained by the helio-engraving processes of MM. Placet and
Baldus ; of litho-photography by M. Lemercier ; enamel photo-
graphy by M. Lafon de Camarsac ; proofs, carbon (in different
tones), by Braun, of Dornach ; and coloured photographs by
M. Niepce do St. Victor. The engravings of M. Placet wore
considored the finest of the kind that had been snbmitted.
The very remarkable proofs by M. Baldus were previously un-
known. His fine copies of the engravings of Marc Antony
were particularly admired. The litho-photographic proofs sent
by M. Lemercier, though very fine, did not exhibit any new
practical progress in that art, as they were old specimens.
With regard to the splendid enamels of M. Lafon de Camarsac,
though they were well known, they were not tho less admired.
The magnificent reproductions of drawings of tho great masters,
by M. Braun, of Dornach, above all claimed tho attention of
the Society. His work is already monumental, as the number
of drawings reproduced amounts to 3,354. Amongst them are
the red lead, sepia, and the grey tones of old china ink, by
which tho colours of tho originals are admirably rendered ; and
now that we can affirm that all the fine drawings of Raphael,
Albert Durer, Leonardo da Vinci, Greuze, &c., are reproduced
by the carbon process of photography in a manner that is in-
delible, it is impossible not to be enraptured with such a result,
and not to pay to M. Braun a just tribute of eulogy and admira-
tion. These are tho works which elevate tho art of photo-
graphy, and prove that no art ever possessed a more sincere
and more powerful auxiliary. The heliochromatic proofs of
M. Niepce de St. Victor, whose first efforts in this direction
had already been communicated to the Society, showed fresh
progress.

Some votes of thanks terminated tho proceedings.

PRACTICAL EXPERIENCE WITH SOME DRY-
PLATE PROCESSES.

Sir, — Believing that landscape photographers in general
feel the same interest that I take myself in the perfecting of
the dry plate process, and having derived from almost every
experience narrated in the News some benefit, I desire to
return obligation, if possible, and throw thei'ay of my taper
on the subject, still so much in the dark, of the preparation
of that unattained desideratum, a perfect dry plate.

I have experimented for nearly four years on all the dry
processes I have heard of, except the coffee, which I judge
to be substantially the same as the tannin, the extract of
coffee producing in action on metals very nearly the same
effect as tannic acid.

I have made it a rule to stick to a process until 1 had
mastered all the causes of failure, and produced practically
normal results from it, and in so doing have many times
exhausted a patience not easily tried, i believe, therefore,

that the result of my hundreds of experiments — indeed, I
think I might safely say thousands — may be of use, at least
ill saving tunc and patience to some who, like myself, have
had to work out their system alone, and far from any prac-
tical a.ssistancc.

I take it that the ideal dry plate must be possessed of the
following qualities : —Einstly, it must develop so evenly
that an open blue sky will be rendered without a vestige of
clouding or unevenness. Secondly, that it should keep at
least three months without deterioration or getting un-
certain. Thirdly, that they should be equal in sensibility.
And, fourthly, that it should develop quickly, and without
any tend'-ncy to fog. Extreme sensitiveness does not seem
to me of great importance, and if a plate will take an im-
pression in less than ten minutes, with a tolerably certain
result, I should be satisfied with it on that score.

For the first qualification, I have found the collodio-
albumcn approach nearest perfection ; next to it, Gordon's
albumen process; and then the old-fa-shioned Fothergill.
For the second, I have found nothing equal the much-
abused taiinin. My experimental plates, prepared with
bromized collodion, and by Sayce’s proce.ss, have so invari-
ably fogged or peeled, that I have not gone far in that
direction. For the third, I find the tannin and Gordon’s
about equally reliable ; and for the fourth, Gordon’s and
(except under alkaline development) the tannin ; but, as
everybody knows, all the albumen proce.sses are free from
fog, except with bromized collodion, or when the alkaline
development is applied.

The Gordon (albumen) piocess, on the whole, has given me
the most satisfactory results, and, with tannin for certain
emergencies presently to be spoken of, will, I believe, satisfy
general demands better than any others of which I have
thorough knowledge. Nor am I willing to accept the com-
monly received estimate of either of those processes. I have
found the Gordon plates keep longer and resist high tempe-
rature better than they are represented to, having obtained
spotless and clear transparencies from plates that I have had
in my dark room three months ; and only a week ago, having
some plates that I had prepared over two weeks before and
brought back unused from an excursion at that time (since
which time they were left in the slides), I took them with
me on another, when I was using wet collodion, and ex-
posed them in a difficult ravine, where I could not get my
dark box even, and with one of the hottest days of the sea-
son (90°, judging from sensation, and for many days about
80° in average exposure). I exposed my four plates, and got
four negatives, of one of which I send a proof. Net a spot
or mark of decomposition was to be seen on either of them.

The only difference;between my manner of preparing the
plates and that prescribed in the Yeau-Book is, that after
taking the plate out of the distilled water, I flow over it a very
weak aqueous solutionof iodIne,justenoughaIcoholic solution
being dropped into the water to give it the colour of golden
sherry, pouring it over and throwing it off twice ; and this I
do for all processes which require entire ridding of the free
nitrate. After the iodine, I wash with a jet of some little
force, lest the particles of iodide should adhere. The weaker
the iodine solution the better, so long as it converts the
whole of the nitrate in the film, which will be shown to be
accomplished by the solution retaining its colour. I de-
velop with strong pyrogallic acid solution, 4 or even G
grains to the ounce, but never alkaline unless the picture
refuses to come out for pyrogallic, even of the strength of
8 or 10 grains per ounce, and then only add to the developer
half a grain of carbonate in preference to liquid ammonia.
It is so much easier to re.strain than force development, and
there is so much less tendency to stain with full exposure,
that the waiting of two or three minutes more or less seems
of no account. There are few cases in which exposure
ranging from four to eight times that of wet collodion may not
be perfectly met by the development without losing the value
of the highest light. I begin with a solution of pyrogal-
lic of the strength of about 2 grains, and if the picture

286

THE PHOTOaKATHlC NEWb.

comes out too rapidly with that, wash it ofif at once, and
add to the same 4 or 5 drops of acetic acid ; if not fast
enouffh, double the pyrogallic, and continue the action until
the details hegln t'> app-‘ar in the deep shadows, and then
strengthen with citro-nitrate of sil\for and a trace of
pyrogel He.

I woui I (.1 vtvs hare a few tannin plates by me for in-
teriors, glen sc.'nes, &o., when there is no great amount of
flat tint which it is necessary to keep free from spots
requiring letonching, or when the sky and distance are unim-
portant. T am of opinion that more of the failures in this
process result from want of cleanliness in the preparation of
the plates, auJ especially m the cleansing of them. The
preservative solution being at the same time a reducing
agent, the energy of the chemical action is so great that
it takes hold of the least provocation to commit irregulari-
ties. A glass that will produce a perfectly clean wet collo-
dion negative may cloud and show all sorts of markings
with tannin. I clean my plates with nitric acid and water,
followed by tripoli, allowed to dry on, and if the plates are
not absolutely free from clouding under the breath, follow
that with old collodion. I was at one time in the habit
of using papier Joseph to finish with, but it is unfit for
cleaning for dry plates. 1 flow with iodine as above, and
wash thoroughly, after the tannin, under a jet from a caout-
chouc tube and clip, finishing with distilled water; and, in
developing, never use ammoma if it can be avoided.

In the preparation of dry plates 1 never touch the plate
with my fingers from the time it goes into the nitrate bath
until it is dry. On taking it out of the bath I fold a bit of
filtering-paper three or four times double, and, taking the
corner of the plate in that, lay it on the atmospheric holder
(one of Murray and Heath’s, with a T handle), and. when
the washing is all done, leave it to drain on the holder in a
sloping position, collodion side undermost, until the water
has nearly or quite ceased to drip ; when, taking it in
another piece of filtering-paper, I put it on one corner on
blotting-paper (which should be carefully tested for sizing
or impurities), resting on slips of glass, as I have had plates
spoiled by impurities filtering from the boards under the
paper on being wetted by the water from the plate. The
draining completely done, and before drying, commence at
the upper corner, put it on another strip of clean blotting-
paper, and leave it till perfectly dry.

The drying should be done rapidly — as that increases the
sensibility — and evenly, otherwise bands andslriae will appear.
All apparatus which bring the heating instrument near the
plate should be avoided, as one part of the plate will neces-
sarily be hotter than another. 1 prefer drying on shelves in
the dark room, depending on the beat of the room Itself, in-
creased, if not sufficient, by a brazier of well lighted charcoal,
introduced before the drying has commenced.

In preparing the tannin solution I shake it up with about
a twentieth part of albumen before filtering, which clears it
as perfectly as standing months would.

When neither of these processes will meet my wants, I fall
back on the Fothergill pure and simple, with an old collo-
dion equal proportions of bromide and iodide, no preliminary
coating, short time in the silver bath, distilled water until
greasiness disappears, and then about a minute of washing
with a fine jet, and wa.shing well after the albumen.

Mr. England’s process I have not found so satisfactory as
regards cleanness and equality of development as Mr.
Gordon’s. Much greater precision must bo observed in the
duration and evenness of the final wash. 1 think it may be
admitted as a general rule that every additional operation
merely doubles the chance of defects, and when we can use
the nitrate and albumen in one application it seems pre-
ferable. For the same reason I have abandoned all prelimi-
nary coatings. They are unnecessary with a proper collo-
dion, and give rise to many defects.

Mr. Gordon’s gum process (rather, gallic acid process ?) 1
find exceedingly subject to blistering and dust.

The morphine does not seem to me either simpler or

(_JUNB 12, 1868.

c^uicker than the tannin, and in my experience is equally
liable to markings.

To those who h.ave the necessary convenience for pre-
paring collodio-albumeu plates, keeping out <<i dii«t, &c., it
is a process which c.iii hardly be over-eated, and the means
which I have employed successfully for dryin? the plates
may be of interest to those who have not employed som.)
similar experiment. I take one of the cast-iron blocks used
for making the waxed photographs, and, putting it over one
of the fire-places in the range, <>r on a common furnace (in
the latter case resting on tw.a iron rods across the furnace),
and put a spirit-lamp under it. In this w.iy I heat it until
it will almost burn paper pressed ou it, and then reduce the
flame to keep it at this point. As soon as the plates are
surface-dry I lay them on three or four folds of blotting-
paper on the iron, cover them with a paper bcreeu, which
goes over the iron and rests on the rods at each side, re-
moving each one as its place is needed for another. I
employ the same after the second sensitizing, and have
never found any bad effects from it.

The Norris dry plates I have used with fair success, and
find that I can get about eight good negatives from a dozen.
They will blister occasionally in spite of all precaution, and
are not free from clouding in the skies. I reoeutly exposed
the last half-dozen of a lot I received two years ago, aud,
e.xcept for a band of about one-half to one inch wide at
the edges, they were almost as good as when they wore new.
But when a photographer can only get two-thirds of the
pictures he goes out for, and may miss the one he wauls most,
it is not, satisfactory working, unless he can go back and
try the subject of failure over again, which all tourists
cannot do.

I am intending to order a lot of the Liverpool Company's
plater, and if you care to hear the result of my experiments,
will give it to you.

I have not discovered any new fact or material to con-
stitute the general stock for dry plate information, but hope
that luy experience may benefit some beginners, and save
them time for better things than experimental failures.

Perhaps a modified paper process, which 1 have found toler-
ably successful, may be new at least to some of your readers.
It consists in using a paper albuminized with a bromo-
iodized albumen, and sensitized by floating on an aceto-
nitrate bath. It is as quick as the Folthorgill process, and
gives much more delicate definition tlian the common paper
process, or even than the waxed paper in my hands. I have
obtained the best results from an arrowroot positive paper
for cleauliness of development, and for detail, with a batch
of albuminized paper which had spoiled on my hands, and
which I purposed for re-albuminizing for negatives by
floating it on a bath of hot (nearly boiling) water to coagu-
late the albumen, then washing with a soft sponge and
warm water, which effectually removes -any decompo.s-id
albumen or other surface impurity. The albumen is the
same as for the collodio-albumen plates, and the same bath.
After the aceto-nitrate bath the paper is floated on two
bath.s of distilled water, and hung up to dry. The keeping
quality may be improved almost ad libitum, by more wash-
ing, but the sensitiveness is decreased. The development is
with gallic acid, but I have used, successfully, the alkaline
pyrogallic solution.

I have looked iu vain in the Ybar-Book and News
recently for some details of the glycerine process. Cannot
some of the experimenters give us their experience? Will
some wet collodion worker give us a formula for instan-
taneous collodion ? I find doctors disagreeing on the pro-
portion of bromide.

Hoping that my communication has not been too long for
your patience, and may be of use, I remain, yours truly,

W. G. Stiluiam.

[The glycerine process was first published in our pages.
It was contributed by Mr. Blanchard, in December. 1862.
It will be found on page 578 of Vol. VHof the Photo-
OKATUic News, and in the Ybax*Book for 18fi3. It is

Junk 12, 1868.]

THE PHOTOGRAPHIC NEWS<

287

excellent aa a preaervatire process ; but the tendency of
practice has been to pursue dry instead of moist preservative
processes, on account of the risks from dust, &c., of the latter.
We shall be glad to receive our correspondent’s further
experiences. — Ed.]

itt t&£ ^tubicr.

Competition for Presentation Print. — With a view to
secure the greatest novelty and excellence in a presentation
print for distribution amongst their members, the Committee
of the North London Photographic Association Lave resolved
to advertise for suitable specimens. The detailed conditions
of competition will be found stated in our advertising colnmns
this week. From the excellence of the presentation prints
this Society has hitherto distributed, a considerable amount of
prestige will attach to the selection made in a case of competi
tiou. We hope that many very fine examples of the art will
be submitted to the Committee.

Biooraphicai. Photographic Albu.ms. — The Stationer
says:— “The photographic album makers may perhaps take a
iiint from a novelty about to be introduced to the American
trade. The article referred to is entitled the ‘ Biographic and
Photographic Family Record, arranged for recording in detail
the Personal Incidents of each Member of the Family.’ The
tfrst jmge contains tbe record of the names, birth, marriage,
Ac., of both husbaml and wife, and spaces for the photographs
of each, to be inserted at several different ages ; also space for
recording the name dale, place of birth, and death of the
parents and grandparents of each, including three generations,
and for other incidents in tbe life of each. The remainder of
the volume is appropriated to the records of the descendants of
the first-named parties, an entire page being devoted to each,
containing the name, date, and place of birth, with space for
live photographs at different ages ; also for the character and
period of whatever diseases they may have had, and the height
and weight at different ages, with tlie schools at which they
were educated, occupations, and other events of their lives.
An additional blank page for each child enables the parents to
record whatever other incidents may seem desirable to be
remembered. Now that the album trade is beginning to wane,
a new business might be created in an article such as is above
referred to.’’

The Case of Piracy — Graves v. Ashford. — In this case a
rule h.ad been obtained calling upon Alderman Sir It. Carden
and Mr. Graves to show cause why the former should not state
a case setting forth the facts and grounds of his judgment
or det -rmination upon the hearing and conviction ot Mr.
Ashford, upon thirty-seven separate complaints made by Mr.
Graves against Mr. Ashford, for unlawfully selling copies of
certain photographs, in which the former claimed to hiwe the
copyright. Upon the hearing it was contended that the photo-
graphs sold by the defendant were not copies of photogiaphs
that had been repstered by the plaintifi', but were original
photographs, not from the engravings, and further that the
particulars of the registration did not contain a sufficient
description. Alderman Sir R. Carden, upon being applied to
refused to state a case for the opinion cf this Court, on the
ground that he considered the objections raised by the defen-
dant were frivolous. Mr. Coleridge, Q.C., and Mr. Montagu
Williams appeared to show cause against the rule : Mr Poland
and Mr. Talford Salter in support of it. Rule absolute.

Nitrate of Nickel in Photography.— It is stated that
Herr Wothly, of Aix-la-Chapelle, whose experiments in
uranium printing are familiar to photographers, has been
recently engaged in working out a process in which nitrate
of nickel pl.iys an imporiant part. 'J'he details have not
been 1 ubiished.

Neutral Nitrate Baths. — We have received several
esaniphs of jdiotography, since our last article on Mr.
McLachlan’s cumiiiunication, to i.lusiiate ihe result of using
u perfectly neutral nilrato with bromo-iodized collodion,
t everal correrpoodcufs state that they have avoided free nitric
acid, working successfully with pertectly neutral conditions.

Ppfparation of Liimus Paper. — Mr. Vacher says, in the
Cutmtcal A'.tci “ I have h d much trouble in obtaining a
thoroughly »atjs;aclory litmus paper. When used with

blotting-paper it is not as delicate as could be wished, and on
one occasion, when attempting to make it with sized paper,
the blue tincture persistently turned red when it touched the
paper. The latter reaction seemed to bo duo to the sizing
material, and it occurred to mo that if I sized some paper my-
self with pure geUtine, my object would bo obtained. I can
recommend the following receipt : — Digest 20 grin, litmus with
100 c e. water for some time, shaking occasionally ; then filter.
To the filtrate add a slight excess of nitric acid, and boil ; then
neutralise exactly with potash. Now make a weak solution of
gelatine by boiling 1 part of isinglass with 60 parts of water ;
draw white blotting-paper through this, and hang it up to dry.
When dry paint o.ie side’with tlie above solution of litmus.’’
The Future of Photography. — An able article with this
title in Once a Week predicts that carbon printing must become
universal in the future of photography. After entering into
some detail, the writer concludes thus ; — “ Of the permanency of
pictures thus obtained there can be little doubt ; the material of
them is carbon, one of the most stable pigments known to exist,
and the constituent of all the black paints and inks in common
use. But it is not necessary that this material alone be used — any
colouring matter may be mixed with the gelatine io form the
shadows of the print. This constitutes a truly wonderful
element in the process, for it allows a drawing to be absolutely
reproduced in the very pigment used by the artist. I have seen
an Indian ink drawing copied in Indian ink, and a sepia one
in sepia; and, better still, a red-chalk sketch duplicated in the
chalk used to make it. Photography in its simplest garb is a
marvel ; but this multiplying of pictures, both in form and tn
material, by photogenic action, passes beyond the category ot
marvels, and becomes almost miraculous. As vet, not many
photographs of this class are in the market ; but they will soon
come. Mr. Swan, finding his baby outgrowing his powers of
attention, has sold his patent for England to a small company,
which is preparing to inaugurate the new system gracefully by
issuing copies of a few of the masterpieces of modern English
art. Mr. Ward’s ‘ Last Moments of Charles II.,’ Mr. Poyuter’s
‘ Israel in Egypt,’ and some works of Millais, Ansdell, Maddox
Brown, Linton, and others, are in progress of reproduction ;
and the impressions from these may bo looked for as the
poineers of an invading army that must ere long drive the
existing class of photographs off the field : copyright holders
will then have more serious grounds tor alarm at the pecula-
tions of Ihe pirates. The forthcoming prints will he called
autotypes. In the meanwhile the Continent has gone a little to
windward of us. Mr. Swan some time ago sold rights of work-
ing the process to M. Adolphe Braun, of Dornach, and went
over to give instructions and make arrangements for its
practice on a considerable scale. From M. Braun's establish-
ment five hundred prints have of late daily emanated, and
arrangements have probably by this time been completed for
trebling this number. This indefatigable artist has worked
his camera through the galleries of Italy, Germany. France,
and elsewhere, and secured thousands of negatives of treasured
old masters’ drawings. These he has multiplied in absolute
fac simile, and now, for a few shillings, we may buy a study by
Michael Angelo, a design by Albert Durer, or a sketch by
Raphael, so accurately counterfeited, that were original and
copy placed side by side the eye could scarcely detect a differ-
ence between them. Surely this is Ihe greatest triumph that
any reproductive art has yet achieved. 'I'lie British Museum
autliorities have signified their opinion upon the merits of the
new method by ordering the drawings under their charge to
he copied by it. M. Braun, too, lately, in bis way typified the
relative values of the old and new systems by burning every
silver print in his possession.”

Halo Printing. — A correspondent of the Philadelphia
Photographer — “ I select a thin piece of glass the size of

the negative printed from ; next I make a block, either oval
or whatever shape I wish it, bevel it on one side, and then
glue it on the glass plate, bevelled side down. Alter I have
made my vignette in tbe ordinary w ty, I lake off the vignette-
board and negative, and in tlieir place lay on my glass with the
block; this, of coiirs(“, reverses the order of things, covering
up the print where liefore* ii hail lieen exposed, and exposing
where it had l»cen coven d. The b!o k, o» ci uise, muti 'oe on
the centre of y ur glass, in order to cover uj> the image,
and should extend over the edges enough to leave u while
circle between the figure and the outside da, k edge. Print
to suit the taste, either dark or light. You will notice that
this requires no extra priutiug-irRuio, ao ihe same can hr.

288

THE PHOTOGRAPHIC NEWS.

used OQ which the print was made, the springs huUling down
the glass the same as they did the negative.”

Aqueous Vaknish. By C. Meinehth. — If we pour over
a wet negative, just after it has been fixed and washed, the
usual gum-arabic solution (1 ounce in 8 ounces water), it dries
without any gloss, and the rubbing with the finger will produce
a mark ; but if the negative is allowed to dry first, then flowed
with water and the gum solution quickly poured over it, it will
leave a hard, glossy surface atter spontaneous drying. The
reason probably is, that the gum does not enter into the film so
much in the latter instance as in the former, and remains a
surface-cover, as it should be.

“ Photography Cannot Lie.” — We have heard of a pro-
fligate son dressing himself in rags and being photographed in
order to send his father the portrait, and so produce an impres-
sion of deep poverty and distress. A recent story illustrates
how photography sometimes lends itself to false impressions
in another direction. A young man, who received but 1,800
francs (about seventy pounds) a year salary, recently wrote
from Paris to his unsophisticated country parent for assistance,
and sent his photograph. The father replied, indignantly.

Rascal of a son, you cannot be as poor as you state, mr
in your photograph you are surrounded by vases, rich curtains,
statues, and cascades in perspective. Not a sou from your
affectionate father.”

^0

OxoNiEXsis. — From the recorded experience of those who have
photographed Alpine scenerj’, the condition.? of succes-s appear to
be much the same as in this country. In Switzerland the light
is a little better than in this country. You will find it desirable to
use a very fully bromized collodion, e.spociallv for subjects contain-
ing great contrast, such as suow scenery and pine forests. Avoid
imder-exposure in all eases. With snow ;ind ice, give sufficient
exposure iind develop quickly. On page .582 of our Eighth
Volume you will find some interesting information on the subject.

Thomas Stothard. — The addition of chloride of barium referred
to was to form chloride of silver, which, by its decompo.sition in
the process of sunning, which was to follow, would generate
hypochlorous acid, which, being a powerful oxidizing body, woidd
assist in eliminating organic matter. Mr. Lea's propo.sed mixture
for cleaning glasses is 1 ounce of nitric acid and 1 ounce of bichro-
mate of potiish in 1 pint of water. It is efficacious in cle<ining
glasses ; out it is very corro.sive if it touch the skin. We have
not yet received the formula for using suli)hatc of zinc in deve-
lopment.

AV. J. A. G. — Our experience with the collodio-bromidc process is
not very extended ; but we have used it after it h.as been two or
three days mixetl without disadvantage. The film is generally
thin and blue when dry. As a rule, rw blotting-paper, if in per-
fect contact with the backs, will answer to check the abnormal
action of light; but painting is Ixjttcr. The metho<l to which you
refer reciuires verifying before it lan bo recommended. It is
doubtful whether it is as certain as the ordinary collodio-bromidc
prociess. Failure with England's process, or, indeed, most of the
collodio-albumcn processes, is scarcely possible.

AV. H. — That to which you refer is di'cidedly tlic best ; we cannot
recommend .any other.

T. B. — The only conclusion at which wc cjm arrive is that the glass
has changed colour by the action of light. The change from an
exposure of four scennds to one of twenty-five or thirty seconds in
a few 5’ears .seems enormous ; but we have heard of similar c;uses
in whieh the change in the colour of the gla.ss from the action of
light was the .sole cause. Arc you quite certain that the glass is
clean inside and out 'i Try removing a pane of the jrlass and
examining it, especially comparing the edge which has been pro-
tected by the .sash-bar with the otlier portion which has been ex-
posed. The cost of reglazing, if the glass Iks the causes, will be
repaid by the rapidity regained. AA^e iiru glad that you find the
.articles on Pictorial Effect valmvblc.

H. 11. — ThiUiks tor the photographs of the Observatory, which arc
verj’ good. AVe do not know of anything, but u'ill let you know
if wc hear of anything suit.able.

K. M. -L. — The rapid discolouration of vour printing bath and the
dullness in the surface of the {>aper indicate that the bath is getting
weak in silver, and is consequently dissolving the albumen. The
weakness and poverty of your prints is probably due to the same
cause ; but the print you enclose al.so suggests that the negative
lacks brilliancy, and is fogged in the shadows.

B. — In developing dry plates with iron, difl'erent treatment is neces-
sary to that permissible when employing pyrogallic acid. If a

[June 12, 1868.

solution of protosulphate of iron, without any addition of nitrate
of silver, be applied, it frequently injures or quite destroys the
imago. This is beuiusc it almost invariably contains some trace
of free acid, and all acids have a tendency to destroy the latent
image. Plain pjTogallic acid .solution has no such tendency,
because, although called an acid, it is not acid in its properties.
Hence it is desirable, in using an iron solution, to add a little of a
silver solution from the first. 2. AA'e have not tried iron with
collodio-albumen plates. AVe believe that Mr. England has found
it possible to develop his plates by me.ans of an iron solution.

C. M. — You mistake the purpose of adding alcohol to the printing
bath. It is not to coagulate the albumen, but to take the place of
water, and so reduce the tendency of the water to dissolve the albu-
men, which it undoubtedly effects. About 3 ounces in a pint of
solution are sufficient.

J. G. — The peculiar qualities of the print you enclose are rather duo
to the len-s than the pnoocss by which they are produced. The
softness, roundness, and depth of definition, and the absence of
sharp lines or crisp rendering of wrinkles .and textiu^ of skin, are
all due to the pre.sence of a certain amount of spherical aberration
in the lens. Thus (juiility is often useful in lenses for producing
large heads ; the di.sadvantage is that, not being under the control
of the photographer, it Cimnot in such a lens be modified at will.
The degree in which it is present in the lens with which the large
hc.od enclosed has been taken would unfit it for smaller Images
requiring fine definition. 2. The tone is too cold, according to our
taste, otherwise the picture is fine.

B. L. — If the base-line of the picture is the same length as the focu.s
of the lens, the amount ot angle included is a fraction over
53 degrees. 2. The triple will give very good effects in portraiture
if you have light enough.

X. Y. Z. — Thanks for your well-meant letter ; but the matter is
unworthy of notice 'rhe remarks to which you refer possess no
weight in themselves, and derive none from their source. It is
therefore waste of time to give them a second thought, and would
bo waste of space to enter into the question.

Lessons in Pictokial Ei-eect and in Silver Printing. — A
correspondent signing “ T. M. G.,” who wi.shes to thank ils and
our contributors for the lessons in Pictorial Effect by Mr. Robin-
son, and in Silver Printing by Mr. Bovey, .sends us some capital
card pictures to show that their instructions are not throvm away.
The groups are thoughtfully and well composed, and the printing
and toning arc excellent. Another correspondent writes to .say
that although lie had been associated with art for many years
before he bc«ame a photographer, he was deeply indebted to the
instructions of Mr. Robimton for a much fuller knowledge of the
applicability of art princijdes to photography than he had before
pos.sessed. AVe are obligcm to tlieso and other correspondents who
WTite to a similar effect, but they will readily sec that we cannot
publish letters in full which are simply devoted to kind expressions
of gratitude to our contributors and ourselves.

A'anity. — AA’'c have no practic;il experience with h.air dyes. If sal
ammoniac be employed before the nitrate of .silver it will form
chloride of silver, which is not required. A weak solution of nit-
rate of silver applied in the light, followed by a .solution of gallic
acid, will produce a good dye. Possibly wc can give you more
details in our next.

J. C. B. — See article in our next.

Several Correspondents in our next.

^tiotogriipfis KrgtBtcreb.

Mr. P. UiCHABDiox, Darfinirton,

Photograph of Group of tin First Railway Engine, *o.
Mr. Wi.vrsR, Uheltenham,

Photograph of Dr. Parry.

Mr. Wtatt, Faieham, H.ints,

Two Photographs of Wymering Church and Choristers.
One Photograph of Vicar of Wymering Church.

One of the Brotherhood of the Home, Wymering.

One of Vicar, May Queen, and the Home, Wymering.

Mr. Tzar, Clapham Road,

Photograph of Picture " George's Grave."

Mr. F. C. Kiri., Worcester,

Four Photograph of the Beredos in Worcester Cathedral.
Mr. 3. Eastham, Manchester,

Two Photographs of Dr. J. Dixon.

Mr. Wtatt, Fareliam, Hants,

Pr otograph of Vicar and Sisterhood, Wymering.
Photograph of Vicarage and Chapel, Wymering.
Photograph of Vicar and Brotherhood, Wymering.

Mr. AVillis, Scarboro,’

Photograph of 0. Farrell.

Mr. J. Rorsox, Birmingham,

Photograph of " Little Nell.”

NEWS.

THE

PHOT0i^PHIC

CONTENTS.

Tin*

Mr. Gordon’s Gum Process - 289

Penalties for Piracy not Debts 290

Pictures in a Cup of Tea 290

Photographic Printing in Silver, Theoretical and Practical.

By W. T. Bovey 291

Hints on Portrait Photography. By Charles E. Pearce 292

Photo-ancography in Practice. By J. Waterhouse, B.A 293

PAOR

Pictorial Kflcct in Photography. By H. P. Robinson 295

Professor Smyth’s “Great Pyramid ’’ Bath. By Dr. Mann ... 296

Notes on the Carbon Process 297

Proceedings of Societies — South London Photographic Society... 297
Correspondence— Intensifying Negatives— Neutral Toning Bath

— Approximate Natural Colours in Photography 299

Talk in the Studio 299 J

To Correspondents 300

MR. GORDON’S GUM PROCESS.

We have recently had an opportunity of witnessing some of
the exposures of some of Mr. Gordon’s gum plates, and ex-
amining the negatives produced. It would be simply im-
possible for anything to be more technically beautiful than
these negatives : they are so exquisitely delicate, clean, bril-
liant, and free from blemish of every kind. Mr. Gordon,
who is one of the most extensive and able dry-plate experi-
mentalists we know, after long trial, believes this take it
altogether, the most perfect dry process he has tried. In
recording this verdict, we ought to add that it possesses
much weight from the fact that Mr. Gordon is not only a
very extensive, skilful, and conscientious experimentalist, but
he is not a claimant for the honours of invention. He has
no foregone conclusions to vindicate, no pet bantling of his
own, the pre-eminence of >vhich he feels bound to maintain
at all hazards. This process, as many others he has worked
and improved, he has found in existence in some crude form.
He has worked with it, carefully modifying various features,
as extensive experience and a keen perception of diy-plate
necessities have suggested. This kind of modification is,
in many cases, inventing a process ; and although, as we
have said, Mr. Gordon repudiates for himself such claims,
we are compelled for distinction, as the process is distinct
from other's, to call it Mr. Gordon’s Gum Process.

The feature which has astonished us most is the extreme
sensitiveness of plates which will keep almost indefinitely.
Take a recent example : a portrait was tried on a wet plate
w'th iron development, everything working well : the expo-
sure was fifteen seconds. A gum dry plate was then tried
under all the same conditions as the wet plate, and an expo-
sure of twenty seconds was given. After development, both
es were found to be fully exposed, that on the dry plate
,ng no whit less soft and delicate than that on the wet
late. This, it will be seen, was only one-third longer than
the exposure of wet collodion. Mr. Gordon states as his
experience that twice the exposure of wet plates is the out-
side time required. The plates we examined had received
various exposures, from two seconds to two minutes ; that
which had received two seconds, we saw exposed on a group
of cattle, and gave a capital negative. As a rule, great sen-
sitiveness and good keeping qualities have been regarded as
incompatible ; but here are plates which will keep without j
deterioration during many months, possessing a degree of
sensitiveness very rarely found in dry plates. The keeping
ualities here, however, seem perfect. Mr. Gordon recently
eveloped a plate which had been kept a month before expo-
sure, and a fortnight after exposure before development.
The result was perfect, no shortcoming of an)’ kind indi-
cating that the plate had suffered by the length of time
elapsing before exposure and before development.

A recent modification which Mr. Gordon has made has ,

secured several advantages. Instead of using the alkaline
development he originally described, he now uses the
gelatino-iron developer. The use of the iron solution
makes no modification in the time of exposure, but it is
simpler, materially decreases blurring, rendering the use of
. red paint or blotting-paper at the back of the plate unneces-
sary, and yields a negative scarcely distinguishable from a
wet plate in colour, delicacy, and all characteristics.

The iron developer consists of from 20 to 30 grains of
protosulphate of iron, 15 minims of glacial acetic acid, and
1 grain of gelatine in an ounce of water. The gelatine is
dissolved in part of the water and the acetic acid, and then
added to the iron salt, which is dissolved in the other por-
tion of the water. A trace of silver solution is added —
about two drops for a cabinet plate — before commencing the
development, and a little more as may be required to bring
up the intensity. The negatives have small touches of bare
glass on the shadows, showing that where light has not
acted there is no reduction of silver. The gradations are
delicate and crisp up to the highest light ; excessive density
or hardness being quite absent.

The iron development has another special advantage : it
considerably removes the one failing of gum plates — a ten-
dency in the film to leave the glass. This, with the alka-
line development, is, in unskilled hands, at times trouble-
some, but with the iron is almost entirely absent. Some
of our correspondents have complained of the occurrence of
blisters during the progress of development, a defect which
Mr. Gordon had not experienced. We suspect that the
term blister is hero employed to indicate the gradual
loosening of the film from the plate, which occurs at times,
leaving it only attached at the edges by the line of varnish
rim round. However, we submitted the letters of two or
three correspondents to Mr. Gordon, that they might secure
the advantage of his experience as to the defects described.
Here is his answer ; —

“ Dear Mr. Simpso.v, — I cannot account for the blisteis
your correspondents meet with in the gum process, unless
they dry their plates artificially.

“ They should always be allowed to dry spontaneously.

“ An excess of nitric acid, or the use of acetic acid in the
bath, is against adhesion of the film.

“ I have never (as yet), I am happy to say; seen a blister
on a gum plate j the adhesion is, perhaps, worse with it
than with most other preservatives, but it does not with me
show this in blisters.”

In answer to a question as to the length of time neces-
sary for the preservative solution to soak into the film, he
adds, —

“It is quite sufficient just to swill the film for a few
seconds with the gallic acid, and then apply the gum, and
this latter to be worked about the plate (say) for a minute
or so. — Yours faithfully, R. M. Gordon.

290

THE PHOTOGRAPHIC NEWS.

[June 19, 1868.

For the convenience of readers, we repeat the manipulations
and formula as given by Mr. Gordon in our Year-Booit : —

“ Any good collodion will answer. Mawson’s and Thomas’s
1 have tried, and with 2 grains bromide of cadmium added
to each ounce they work well.

“ Bath 40 grains to the ounce (not less), slightly acid with
nitric acid : one drop of this acid to each pint is ample.

" The plates must be left in the bath not less than ten
minutes in summer, and probably longer in winter.

“ Wash in two baths of distilled water, alter which
thoroughly under the tap ; in fact, all free silver must be got
rid of mechanically. I do not like doing so chemically,
either by means of salt or bromide. With the former the
negative is never so bright, and, what is still more curious,
the plate does not keep so well ; while with the latter the
sensibility is much impaired.

“ Swill finally with distilled water, and flood the plate
with a 3-grain solution of gallic acid ; drain off slightly,
and at once apply the preservative solution, composed as
follows, and made up fresh : —

Gum arable (picked) ... ... 20 grains

Sugar-candy ... .. ... 5 ,,

Distilled water ... ... ... 1 ounce.

This solution should be filtered through a sponge.

“ If all the chemicals are in good order, as long again an
exposure as for wet collodion will be iimple in summer : in
winter I find the relative exposure is considerably increased,
and that three times will be nearer the mark.

“ Although these plates will develop by the alkaline
method, they do not do so quite to my liking.

“ I have modified it in the following way, when it is
everything that can be wished : —

“ Developing Solution.

“ These I believe will be found on every dry-plate worker’s

shelf.

No. 1. Pyrogallic acid... ... ... 90 grains

Absolute alcohol ... ... 1 ounce

No. 2. Carbonate of ammonia... ... 96 grains

Water ... ... ... ... I ounce

No. 3. Bromide of ammonia ... ... 8 grains

Water ... ... ... ... I ounce.

Previous to commencing the development, run a brush
round the edges of the plates charged with a solution of
india-rubber in benzole (thick), well wet the film with dis-
tilled water, and then take (say for an 8^ by Gi plate) : —
Distilled water ... ... ... 1 ounce

Solution No. 1 ... ... ... 10 minims

Solution No. 3 ... ... ... 5 ,,

Pour this over the plate ; allow it to remain on a few seconds
only, and then pour back again into the developing cup ;
now add to it —

Solution No. 2 ... ... ... 5 minims,

and again apply to the film. The development will now
commence, and, if necessary, 5 minims more of No. 2 may
be added after some time ; if from under-exposure, more of
the alkali is needed to bring out the details.

“The slight proportion of bromide added with the pyro-
gallic solution in the first instance quite checks any develop-
ing action that the pyro might, under certain circumstances,
possess without it, and on the subsequent addition of the
ammonia the image reveals itself slowly, evenly, and com-
pletely under command.

“ When iill the details are out, wash slightly, flush the
plate with a little of acid pyrogallic solution as follows, to
neutralize any alkali present: —

Pyrogallic acid ... 2 grains

Citric acid ... ... ... 2 ,,

Water ... ... ... ... I ounce ;

then continue with this and as much of a 30-grain solution
of nitrate of silver as may be found necessary to secure the
necessary intensitj*.

“ These plates keep perfectly well for months in summer
before exposure, and I have kept them as long as ten days
after exposure ; nevertheless, a golden rule is to develop as
soon as possible. All these things have been used before ;
indeed it would be difiicult to find something that has not
been recommended at some time or other as a final wash for
dry plates ; but some of your readers may perhaps not be
aware of the very excellent results to bo obtained by the use
of gum as above mentioned ; and to those I hope to have been
of some service in calling tbeir attention to the subject.

“NB. — The backs of these plates should always be
painted with some non-actinic colour (such as burnt sienna,
for instance), for the gum possesses in an eminent degree
the property of rendering the film of collodion transparent
on drying, causing what has been called ‘ blurring ’ to an
unmanageable extent in plates not so protected,”

PENALTIES FOR PIRACY NOT DEBTS.

An important decision has just been given which tends to
make still more stringent the laws against infringing copy-
rights in works of fine art, and prevents the pirate evading
the payment of penalties by becoming bankrupt. In case
of failing to pay the amount of penalty inflicted, the alter-
native amount of imprisonment will, it appears, be strictly
enforced. The case is reported as follows in the Times : —

COURT OF CII.VNCERY, Lincoln’s Inn, June 12.

(Before the Lords Justices of Ai>pe.\l.)

EX r.\KTE GRAVES, RE PRINCE.

'riiis was an appeal from a dicision of Mr. Registrar Hozlitt, act-
ting as Deputy-Comini.ssioner fur Mr. Commissioner Goulbimrn.
The appellant was Mr. Graves, of Pall Mall, the well-known
publisher of engravings ; the respondent was Mr. William Ranks
Prince, a seller of prints and photographs in Ilolbom. On the 16th
of May last, Prince was convicted by the magistrate at Lambeth upon
nineteen summon-ses, obtained at the instance of Mr. Graves, under
the Copyright Act of 1862, for having imlawfully sold copies of the
“Railway Station” and other engravings, of the copyright of which
Mr. Graves was the proprietor. Prince was adjudged to pay a
penalty of £.5 in each case, and was sentenced, under the provisions
of the Small Penalties Act of I860, to fourteen days’ imprisonment
in each case in default of payment. While the magistrate was
giving his judgment Prince executed a deed of composition with his
creditors, which contained a release by the creditors, and which was
duly assented to, and was registered. Having been arrested under
the magistrate’s warrant and imprisoned, he applied to the Deputy-
Commissioner for his discharge from custody on the ground that the
penalties were a debt, from the pajTuentof which he was relea.sed by
the composition deed. The Deputv-Commissioner held that ho
was entitled to his discharge, and from this decision Mr. Graves
appealed.

Mr. Sargood, in support of the appeal, contended that the penalties
recovered under the Copyright Act were of the nature of a punish-
ment for a criminal offence, and were not, therefore, released by the
deed.

Mr. Reed, for the respondent, argued that, inasmuch as under the
Act the penalties were payable to Mr. Graves, they amounted to
nothing more than a debt, which would have been provable under a
bankruptcy, and was, therefore, released by the deed.

Lord Justice AVood said that what Mr. Prince had done was,
throughout the CopvTight Act, treated as anoflfence — as a fraudulent
act for which a punishment was to be inflicted. The penalty pro-
vided by the Act was not meant to be the measure of the damage
sustained by the proprietor of the picture which had been pirated, as
he was permitted to recover damages in another way. 'rho object
of tho Small Penalties Act was merely to provide a simple method of
enforcing the payment of penalties not exceeding £5. The penalty
M'as, in his Lordship’s opinion, a puni.shment for what was in the
nature of a criminal offence, and tho debtor was therefore not entitled
to his discharge from custody.

Lord Justice SelwATi was of opinion that, whether the words or
tho spirit of the CopjTight Act were looked at, the Court was
nccess.arily brought to a conclusion differing from that of the Deputy-
Commissioner, whoso order must be di.scharged with costs.

PICTURES IN A CUP OF TEA.

Mr. G. Rockwood, of tho Broadway, New York, has
addressed a letter on photography to the New York Evening
Post, in which ho describes a tea dry process. The idea is
not new, a.s both tea and coft’ee were proposed as preservatives

June 19, 1868.]

TIIU PHOTOGRAPHIC NEWS.

291

some years ago, but never carried out to any great extent.
As Col. Baratti's coffee process has proved very successful,
some of our readers will bo interested in the precise formula
for a tea process. The letter is as follows : —

“ I believe you have a sufficient number of readers inte-
rested in and practising photography to warrant my sending
you a new formula for preparing ‘ drv plates ' for Held work
and making pictures of interiors. The necessary chemicals,
baths, dishes, and paraphernalia for making pictures by the
ordinary process are so extensive as to render moving about
from place to place quite irksome. To do away with this
disagreeable necessity, many processes have been invented
for preparing the plates in a laboratory or ‘ dark room ’ with
some preservative. So complicated have these processes
been that amateurs, and, in fact, the professional photo-
graphers, are beginning to look upon them as almost im-
practicable. You will be tempted to smile when I tell you
I found the great desideratum in a cup of English break fast
tea. Take eight ounces of tea of the ordinary table strength,
and dissolve in it about three drachms of crystallized or
lump sugar. (‘ No milk, if you please.') As soon as dis-
solved, filter, and let settle until clear and cold. Sensitize
the plate in the ordinary manner, and thoroughly wash with
clean water ; then flow it with the saccharine tea solution two
or three times, and set it away in a dark closet to dry spon-
taneously. When dry, expose the plate on the view, about
four times as long as in practising with the wet process
under similar circumstances. After exposure wash the plate
with water, and flow it with a fifteen degree solution of nit-
rate of silver. Drain for a moment, and develop with photo-
sulphate of iron solution of the usual strength, or with
pyrogallic acid. I much prefer the latter. The following
is a good formula : —

Pyrogallic acid ... ... ... 2 grains

Citric acid ... ... ... ... 1 grain

Ulacial acetic acid ... ... 10 minims

Water ... ... ... . . 1 ounce

Add no silver to the developer until it is found necessary
to force the development to obtain the proper density. Use
the plates within two or three days after preparing them.
Our grandmothei'S used to find their fortunes in the bottom
of a cup of tea ; it is not impossible that we may find some
new pastime and occupation there.”

o

PHOTOGRAPHIC PRINTING IN SILVER, ITIEO-
RETICAL AND PRACTICAL.

BV W. T. BOVEY.

Toning B.vtus and Toning Difficolties, etc.

To obtain an accurate knowledge of the principles by which
a given result is worked out in connection with chemical
phenomena requires an absolutely free exercise of thought;
and the chief reason why photographers have failed to com-
prehend the chemistry of their art arises from their prone-
ness to shape their ideas by those of some popular individual,
rather than to give free rein to their own perceptive powers,
by seeking and striving for themselves. They readily endorse
the axiom that nature is truth, but are not so willing to accept
those truths which an earnest study of nature’s laws alone
can impart. There is no royal road to science; she must be
sought vigorously and unceasingly, not by the “ short cut ”
usually taken by the majority of men, who borrow ready-
manufactured ideas, and consider themselves clever because
of their borrowed plumes, but, as before observed, by per-
sonal study and independent action of the mind, without
which it were vain to attempt one progressive step in the
direction of a more perfect knowledge.

Bringing the above remarks to bear on the subject we are
called on to discuss, I may here observe that the manifold
difficulties connected with toning baths are the fruits of that
lethargy or disinclination for the exercise of vigorous and
independent research which have caused photographers to
cling helplessly to those abominable and unscientifically
concocted messes known as alkaline toning solutions.

which, from the tenacity their services are adhered to,
seem to possess within them a syren charm to allure their
deluded votaries into the most temper-trying difliculties it
is possible for man to endure. Be it my business to break
through that influence, and to endeavour to persuade my
readers to follow me into straighter paths, and to facilitate
the accomplishment of my eainest desires ; and let me beg of
each and all my readers to put aside all prejudices, so that
they may follow up the array of arguments I have to offer.
I ask no one to believe me because of my word, but I ask
that truth may be permitted to prevail, if what I advance is
more consistent with science than the doctrines now almost
generally followed, and which are daily proved by bitter
experience to be based on the extremes of error ; and in
pointing out the nature of those errors, be it remembered,
I cast no reflections on individuals ; I thrust every base and
selfish consideration aside, and am content to abide by the
decisions of mine own conscience.

And now to my task, in the performance of which I
shall spare no pains to make the case I offer as comprehen-
sive as words can make it ; and by way of caution I ask my
readers to avoid running off with an idea that the principles
I lay down are erroneous because of their simplicity, or on
account of their clashing with the opinions held by their
most respected authorities. Allow me, in the outset, to assure
you thatthe theories I hold are based on laboured observa-
tion. My observation has found ample exercise in number-
less practical tests, and every test applied has been with an
object of attaining perfection and a knowledge of the truth.
He who would seek truth must dive deep ; for

“ Errors, like straws, upon the surface flow ;
lie who would search for pearls must dive helow.’’

We may now withdraw our print from the portfolio, and
proceed with the washing. I return to the print singular,
that the thread of my last article might be consistently con-
tinued. Hiving effected my object, we will sever the con-
nection, and adopt the plural number, and write of prints in
quantity.

Previous to toning operations, the prints must undergo a
slight washing — “until all the free nitrate is removed,”
suggests old notion. No, 1 reply ; I need a little free nitrate
to accompany the prints into the toning solution. “ But
every existing authority condemns such an idea; every atom
of free nitrate must be eradicated from the paper ere it is
immersed in the gold bath, or farewell toning action.” I
readily admit those authorities are in some degree right, yet
they are considerably in the wrong. Thus I offer a para-
doxical nut which I hope by-and-by to crack satisfactorilj’.

A batch of prints, consisting of fifteen up to thirty sheets
of paper, should be pas.scd rapidly"through three watem,
taking each print singly and passing it quickly into the first
water; then from first to second, and from thence to the
third and last. V/ith smaller batches of pictures two
watei-3 only need be used. The best guide, however, is the
appearance of tlie water u.sod for the washing : the last
should assume an appearance similar to milk-and-water
Bear in mind the small amount of nitrate of silver retained
by the print has a duty to perform, which will be described
anon. Having reached the threshhold of toning matters,
I purpose, in some measure, dealing with the subject in the
form of queries and replies, a mode of procedure which will,
I trust, bring the information and descriptions within reach
of the meanest capacity. A learned ciitic once observed
that to write down to a reader’s capacity is to offer a direct
insult. I therefore crave pardon if I err in the plan I have
elected to follow, the error I commit being on the safe side.

What is the meaning of the term “ toning ” as applied
in a photographic sense ? It is a modification or an entire
change of colour produced by gold precipitated on the silver
surface in an extremely minute state of division, which, in
addition to a change of colour, imparts to the picture a
richer appearance ; and the original colour of the print may,
at the will of the operator, be changed to a sepia, purple, or
black.

292

THE PHOTOGRAPHIC NEWS.

[JoNE 19, 1868.

Can every description of print be made to assume either or
all of the tints described ? Certainly not. The tone and
brilliancy of a print depend, first, on the quality of the nega-
tive ; second, on the working qualities of the toning bath.
Here I would endeavour to correct a popular error concerning
the part supposed to be performed by the gold. It is erro-
neously considered that the richness observable in a well-
toned and vigorous print is entirely due to the precious
metal deposited thereon. That the idea is incorrect may in a
few words be conclusively shown. When a painter is desirous
of adding additional richness of effect to any portion of his
picture, he first paints a ground-work in some colour obtru-
sively bright. To subdue, without entirely destroying, the
ground-work so produced, he has recourse to “glaz.ing,"
which consists of a semi-transparent layer of a suitably
sombre hue, which sobers down, but does not entirely destroy,
the colour beneath. Now it will at once be perceived that the
degree of concealment of the under-stratum of paint must
depend on the opacity of the glazing medium employed ;
the more transparent the medium the more l)rilliant
the result, and vice versa ; and sliould a strong body
pigment be employed, its opacity may be such as to obli-
terate all traces of the ground-work. Applying the argu-
ments supplied by this illustration to gold toning, I must
here observe that the toning bath must be regarded as a
glazing medium which shoubl subdue, but in no instance
should the gold be permitted to destroy entirelj', the red
colour beneath. It is a noticeable fact,- that the public, as a
rule, prefer purple browns and blacks, because of tlreir
superior richness. These tints can never be obtained except
a sufficient amount of vigour is found in the print when it is
taken from the printing-frame. And a print capable of
yielding a fine purple-black is capable also of receiving a
sufficient body of gold to produce a black free from all
warmth. A weak print, formed chiefly of middle tints, and
no tint at all for the high lights, may be toned to a sepia :
push for blacks, and slatiness results as the precipitate of
gold varies with the amount of reduced silver tliat forms the
picture. It is, of course, well understood that the precipi-
tate of gold in any degree of thickness depends on the
proper construction of the gold solutions. Some toning
baths are capable of destroying the most vigorous of prints,
and reducing it to the extremes of miserable slatiness, whilst
others cause no visible change : this la.st would be described
as inert, the first as over-active. Allow me to state that the
great fault of toning baths generally is over-activity, which
causes mealiness, and leads to diversified failures.

Stay ! What is that abomination called mcaline.ss ? It is
the removal of such portions of reduced silver as are situate
on the projecting fibre of the paper.

By what agency are such portions of reduced silver
destroyed ? Bleaching.

From whence arises this devouring power called bleaching?
It is introduced into the toning solution with the cliloride
of gold.

Its name? Chlorine.

Then we many simplify by stating tlie matter thus ; —

1st. Mealine.ss is the removal of portions of the prints by
the action of chlorine.

2nd. Chlorine accompanies the gold used by photo-
graphers.

3rd. Remove the cause, and the effect at once ceases.

(To be continued.)

♦

HINTS ON PORTRAIT PHOTOGRAPHY.

BY CHARLES E. PEARCE.*

Although for some time past we have had art photography
constantly held before our eyes, at the risk of being thought
wearisome I have ventured to bring this subject again before
you. I may at once state that it is not my intention to dis-

• Read at a meeting of the South London Photographic Society,
June U, 18C3.

CUSS the productions of men whose works have stamped them
as art photographers, and which are well known to you, but
rather confine myself to some of the shortcomings, as they
appear to me, in the everyday commercially-produced pho-
tographs.

The card mania, while it has been the cause of the
stagnation at the present time, has unquestionably raised
the quality of work — in a technical sense at least — to
a higher standard. At the height of the fever it would have
been unreasonable to expect the over-worked photographer
to pay a great deal of attention to the artistic qualities of
his photographs ; but now, as quality and not quantity is
the one thing looked for, it behoves us to see how far we
have improved since that time.

The most important requisites in a good portrait are the
pose, the lighting, and the background. While the posing
lias greatly improved, there being more variety and less
dependence on conventional attitudes, and while greater
attention has been paid to the lighting, and not without
success — for, however photographers may disagree about the
form of their studios, yet they are all of one opinion as to
the result to be obtained, and at the pre.sent time a well-
lighted face and figure is rather the rule than the exception
— the third requirement, the background, I cannot help
thinking has been too much overloooked.

Hitherto, with some exceptions, a perfectly even tint of
shade, extending from both sides of the figure to the edges
of the picture in one monotonous tone, has been the great
de.sideratum of the photographer, who would sum up all its
good qualities in the word “ clean but I think to this
cause is due the uninteresting flatness and want of life to be
seen in too many photographs. The lighting may be good,
the objects composing the picture may be well arranged ;
but unless the composition be assisted by the background,
there will be a feeling of incompleteness conveyed to the
mind very detrimental to the succe.ss of the picture, and is,
I believe, caused by the absence of the impression of space,
which it is impossible to produce with a plain unbroken
tint without gradation. As an instance of what a bald back-
ground can do, I would ask any one to imagine one of
Salomon’s pictures with a background of this kind ; instead
of the gradation of shade helping to concentrate the light
on the principal focus, the head, and increasing the contra.st,
the richness and vigour would be at once lessened, and that
completeness as a picture which is one of their characteristics
totally destroyed.

I admit that this is one of the most difficult branches of
art that the photographer h.os to encounter, far more than
posing and lighting, and is only to be overcome by study
of the great masters of portrait painting, of which, fortu-
nately, there arc no lack of examples both in the National
Gallery and at Kensington. Sir Joshua Reynolds’ opinion
is well known. To a person who had told him his son was
able to paint his own backgrounds, he said : “ good
friend, if he can do that he stands in no need of my instruc-
tion,” It is true that painters have the assistance of colour,
and, by the juxtaposition of warm and cold tints, are able
to increase contrast, where otherwise the effect would be flat;
but the photographer has to depend upon light and shade
pure and simple ; and, after the light of his studio has done
all it can, he must know how to assist nature by art, and be
able to place nias.ses of light or shade where needful to in-
crease the effect. It is this power of making these arrange-
ments at will which is so necessary for the photographer to
acquire.

In very light backgrounds, if the fonn be broken, it is
possible to obtain delicacy without any effect of tameness,
as may be seen in the charming productions of Edge,
Notman, and others. These subjects, of course, are not
suitable for every person, and, when interiore are represented,
I think more would be gained if the background were
darker — not heaviness, but more contrast. I think there is a
certain amount of truth in the complaint very often made
by the sitter to the photographer, that the face is not made

June 19, 1868.]

THE PHOTOGRAPHIC NEWS.

293

white enough, and in most cases the fault will be due to the
use of a background of an unsuitable tone ; and that it is
not whiteness which is desired by4he sitter so much as that
the face should be seen clearly and easily, which is quite
legitimate.

In these days of photographic depression, when the
support of the public seems to be on the wane, 1 believe that
something different should be attempted in order to keep
up the interest, and in this, as well as in other matters, we
should do well to remember that unless we advance we are
actually going back. The card picture will always keep its
place in popular estimation, on account of many qualities,
as size and portability, &c. ; and I venture to suggest that
the old conventional style of carte, with its blank background
and inevitable curtain, be discarded, and photographers set
to work to describe new effects which will act as a fresh
stimulus. We have seen that a great deal may be done in
the way of double printing. It would be well, therefore,
if photographers were to familiarise themselves with the
operation ; they would be less dependant upon properties
and the scene painter, and gradually new ideas would be
suggested. With regard to expression, I think more has to
be done in that direction, and it is a matter which lies
greatly under the control of the photographer. Men of
equal ability differ greiitly in the amount of influence they
are able to exert over the sitter, on which depends a great
deal of the success or non-success of the likeness.

I have noticed, on looking through albums, that most of
the unfortunate persons who are there placed for exhibition
either have the appearance of being in low spirits, or that
they were preparing for some agonizing operation ; and I am
sure that if any means could be adopted to give more ani-
mation it would be very desirable.

I do not quite agree with the dicta laid down by some
writers, that no friends should be admitted with the sitter
into the studio. On the contrary, I have found — especially
in those cases in which the face when in repose naturally
assumes an uninteresting expression, but which when ani-
mated changes as if by magic — that the presence of a third
per-son is very often of assistance, for the sitter naturally
converses with less restraint with an acquaintance, and the
operator is enabled to study the countenance of the sitter,
and to catch a happy expression before it has died away.
Of course, more than one or two persons would be very
objectionable, and especially with children the rule of exclu-
sion should be strictly enforced ; that Ls, if the photographer
values his nerves or peace of mind.

I believe, as a general rule — although I do not lay it down
as an axiom — that every face has a predominating expression
by which the likeness will be best known. It is this ex-
pression which we should endeavour to secure. Care must,
however, be taken not to overstep the modesty of nature, and
to pourtray some transient play of the features which, how-
ever suitable at the time, would be very undesirable to per-
petuate. Simplicity and unaffectedness, although the
countenance may be utterly commonplace, will be always
sure to please.

In conclusion, I would say that the discussion which
ensues after the reading of a paper is often of more value
than the paper itself ; I hiive no doubt it will be so in the
present instance ; and if we gain any instruction and infor-
mation, the object of this paper will be attained.

PHOTO-ZINCOGRAPHY IN PRACTICE.*

BY J. WATERHOUSE, E.A.

Apparatus.

I SHALL first consider the special apparatus required for
copying, and then enumerate the materials, &c., necessary for
the zincographic part of the process. The essential point

♦ Continued from p. 281.

to be observed in regard to the apparatus for copying by
photography is absolute rigidity. The least unsteadiness is
fatal to fine results.

The camera must be supported on a firm solid stand ; the
plan must be fastened to a wall, or carried on a strong stand
free from vibration. It is better to have the studio on the
ground, as there is always more or less vibration on an
upper floor, especially in a city.

Camera. — The camera should be square, of first-rate
quality, and is better rigid than of the bellows form. It
must be fitted with cones to increase the focal length at
least sufficiently to be able to copy a drawing to the same
scale, or twice the focal length of the lens.

The lens should be fitted accurately, so that its axis may
correspond with the centre of the focussing screen. It will
bo found convenient to have the screen marked with 1 inch
squares round the centre ; 4 inches, or 1C squares, will be
found sufficient. Their u.se is to test the squareness of the
copy, and also to furnish an aid to the reduction to any
given scale ; lines passing through the centre at right angles
to one another, and divided into inches, will also be found
useful.

Lens. — In order to produce perfect copies, a lens must be
used which will give a sharp, clear image, perfectly free from
distortion. Mr. Dallmeyer has constructed a new lens espe-
cially for copying. Sever.al of these have been made for
different Governments, and have, I believe, given great satis-
faction. The different forms of triplets, the rectilinear lens,
and Ross’s doublet, may all be used when an image is re-
quired perfectly. free from distortion. For ordinary work a
good portrait lens, or the orthoscopic and similar lenses, may
be used. It is generally necessary to use a stop about
5-8 inch, and the image should be focussed midway between
the centre and margin. A larger lens should be used than
the actual size of the subject requires. Thus, to reproduce
a subject 10 by 8 to the same scale, a 12 by 10 or 15 by 12
lens should be used.

Camera Stand. — A solidly made studio stand, with adjust-
ments for giving the camera motion in altitude and azimuth,
is required ; the base should be rectangular or square, and
may be furnished with castors or wheels to run on, or between
rails placed at right angles to the plane of the plan-board.

Apparatus for Carrying the Plan while being Copied. — If
the subjects to be copied are to be reduced on one plate, or
are not of large size, there is no necessity for any special
apparatus. A board may be fixed on a wall in a convenient
situation, and the drawing fastened to it with the tapes
before mentioned, or, if small, it may be pinned on. When,
however, it is required to reproduce large plans on the same
scale, several negatives must be taken, and an apparatus is
required which will enable the plan to be moved vertically
and laterally, so that the sections may be brought in front
of the lens without altering the position of the camera or
unfastening the plan. I devised an apparatus of this kind
for the Surveyor-General’s Office, Calcutta. It consists of
a rectangular iron frame travelling in two vertical grooves,
its height being regulated by parallel rackwork, with a
detent to stop it at any required height. The iron frame-
work has two horizontal narallel rods fixed in it ; on these
rods the part carrying tlie plan-board slides. The plan-
board is fixed on a pivot in the centre of two diagonal arms,
the ends of which terminate in four arcs, with circular slots
in them through which screws are attached to the plan-
board, and serve to clamp it in any position. Between these
arcs and the centre are fixed the tubular sliders, which run
upon the parallel rods. The accompanying diagram will
give abetter idea than any verbal description.

For use in England this apparatus might be constructed
partly in wood, which would be cheaper than iron.

When circumstances will permit, and it is only required to
copy small engravings, or to reduce subjects not exceeding
about 18 inches square, it is preferable to have camera, stand,
and plan-board combined in one solid piece of apparatus,

294

THE PHOTOGRAPHIC NEWS.

[Junk 19, 1868.

which may be done in several ways according to the size of
the camera.

A good form would consist of a strong table frame
supported on four or more legs, according to the length.
At one end of this the plan-board would be firmly fixed, so
as to be at right angles to metal grooves fixed in the sides
of the frame, in which the part carrying the camera would
travel by means of metal runners. If necessary, the other

end could be left open to admit the operator when focussing,
the sides of the frame being held together by iron bracings
at points between the part usually occupied by the camera
and the board, the legs being cemented together near the
bottom.

The plan-board should bo marked in oue-inch squares,
which, with the squares and lines marked on the focussing
gla.ss, will be a great aid in ascertaining that the image is
perfectly square and of the proper size. A set of Holt-
zappfel’s engine-divided scales, on cardboard, will be found
useful in measuring the reductions.

A spirit level will be required for adjusting the camera.
No other special apparatus will be required for the photo-
graphic part of the process.

The following zincographic apparatus will be necessary
for those who wish to lay down their own transfers : — A
lithographic press; inking table, constructed as a cupboard,
to hold the rollers, inks, &c. ; inking stones, one for transfer
ink, the other for printing ink ; lithographic rollers ; one or
two palette knives for mixing the inks; zinc plates, one
poli.shed, others'according to requirements ; graining sand ;
mullers for graining the plates ; a lump of snake stone
and some snake slips ; a scraper and eraser for correc-
tions; old linen cloths for damping, &c. ; litho printing
ink; retransfer ink; turpentine; gum arabic ; nutgalls ;
phosphoric, nitric, muriatic, and sulphuric acids ; strong
solution of potash ; stout demy paper, for offset sheets, &c. ;
plate paper and enamelled paper for printing ; thick bank
post paper for transfers ; all these may be obtained from
Messrs. Hughes and Kimber, of West Harding Street,
Fetter Lane, or other dealers in lithographic materials.

1 shall give a fuller description of such of these articles as
require it when treating of the zincographic part of the

process. Having now described the apparatus required, I
will proceed to the details of manipulation.

Pkeparation or the Neo.vtive.

As I have observed before, in this process success mainly
depends on the quality of the negative, and without perfect
negatives perfect results cannot be obtained. It will often
happen that copies are required of some subjects of which
perfect negatives cannot be obtained. In this case the only
thing to do is to obtain as good a result as the subject will
permit. The manipulations are the same as those of the
ordinary wet collodion process, with which I assume my
readers are familiar.

The firet point that needs attention is the/ocusin</. It is
better to do this before fastening the drawing on the board.
The first thing to do is to adjust the camera, so that the
image of the centre of the board may coincide with the
centre of the focusing screen, which, in a properly con-
structed camera, will occupy the position of the centre of
the sensitive plate. Now compare the images of the squares.
We will suppose it is required to produce a copy half the
size of the original : to do this, the position of the camera
must be altered till a square eight inches in the side exactly
occupies the square of four inches in the side marked on the
focusing screen. When this is the case, the surface of the
board and that of the sensitive plate will be perfectly
parallel. The drawing is now fastened on the board, ami
the sensitive plate got ready. The glass plate, being
thoroughly cleaned in the usual way, is coated with bromo-
iodized collodion containing very little bromide (only just
sufficient to secure cleanness in working is required ;
a good iodized collodion may sometimes be used with ad-
vantage when everything is in good order) ; it is then
sensitized in a 35-grain bath of nitrate of silver, faintly
acid with nitric acid. The exposure must not be pro-
longed, or there will be danger of deposit on the lines ;
it must be carried just far enough to produce a.s much
intensity as possible on the ground of the negative, while
the lines remain perfectly free from deposit. The developer

is as follows : —

Protosulphate of iron

1 ounce

Glacial acetic acid

1 „

Alcohol

Water ...

1 pint

I have found the addition of gelatine or glycerine, as
recommended by Mr. Nelson Cherrill, advantageous in
keeping the lines clear, and increasing the density. The
development must not be carried too far. The plate is fixed
in a 15-grain solution of cyanide of potassium, and examined
by daylight. If the lines are perfectly clear, the re-intensi-
fication may be proceeded with ; but if the lines are not quite
free from deposit, Mr. Osborne’s clearing process may be
used with great advantage. The cyanide having been well
washed oft', the following solution is applied to the plate : —
Iodide potassium ... ... ... 2 grains

Iodine ... ... ... ... ... 1 grain

Water 1 ounce

It is allowed to act about a minute, and washed off; the
plate is then covered with a weak solution of cyanide, the
effect of which will be to clear the lines very much. If this
treatment should not produce the desired effect, it will be
better to try another negative, giving less exposure, or not
carrying the development so far. The plate is washed, and
again covered with the iodine solution, which is wa.shcd oft
almost immediately ; and care must be taken to wash the
plate thoroughly before proceeding to the ro-intensilication.

Re-intensifying Solutions.

|1. — I’yrogallic acid -1 grains

Citric acid ... ... ... ... d

Acetic acid ... ... ... ... 15 minims

Water 1 ounce

1. — Nitrate of silver ...♦ 30 grains

Water 1 ounce

T wo or three applications of the re-intensifying solutions

THE PHOTOGKAPHIC NEWS.

2U5

June 19, 1863.]

will, in most cases, give sufficient density, but there is great
danger of clogging the lines. It is better only to apply the
pyro and silver once, and obtain the necessary density by
a chan; e in the colour of the deposit, rather than by any addi-
tional deposit. The pyro having been thoroughly washed
off, the plate is immersed in a saturated solution of bichlo-
ride of mercury, where it remains till it is quite white; if
there arc tine Hues, the action should not bo carried beyond
the dark grey stage. It is then well washed, and a diluted
solution of hydrosulphate of ammonia is poured over
it, which instantly changes the colour to a dense russet
black. The plate is again thoroughly washed, and, when
dry, varnished in the usual way.

In the course of my experience in India I found that if
citric acid was used in the re-intensifying solution the film
was extremely liable toj split when immersed in the bath of
bichloride of mercury. I therefore sought a means of re-
placing the bichloride of mercury, which is undesirable for
several reasons, using the following solution, recommended
by Mr. Carey Lea.

Cold sat. sol. bichromate pot. ... 3 11. drachms

Hydrochloric acid 1 drachm

Water ... ... ... ... 0 ounces

This solution is poured on after the plate has been rein-
tensified with pyro ; it quickly changes the colour of the
film to a bright lemon yellow, and appears to somewhat
clear the lines. It is washed off’, and the hydrosulphate of
ammonia is applied, which changes the colour to a dense
chocolate brown.

The only point to which attention need be drawn is the
necessity of thoroughly washing the plate after each stage
of the operation, for unless this be done the lines will be
stained or covered with deposit, and the negative rendered
useless.

Faults in the negative may be partly remedied by duffing
out transparent spots and stains with lampblack, &c. ; and
when the nature of the film will admit, broken and clo.sed
li.ies may be opened by the dexterous use of a sharp needle
or etching point.

(To he continued.)

riCTOlU-\.L EFFECT IM PlIOTOaR.lPIIV ;

Being Lessons i.n

Composition and CiiiAROscuav. for Photographers.

BY II. P. ROBINSON.

Chapter XXI.

**‘G$'oui}ing. — My advice to p’^olographers oa the subject is something
similar to Puno/«V celebrated advice to persona about to marry: * Don’t!’
K\cept in very sma!l pictures, it is almost impossible to secure a sa!i.>f<ic-
lory group of more than two persons at once by photography. It tasks the
skill and attention of the photographer (tuite enough to see that tlie arrange^
ment, lighting, and expression of one figure are perfect.” — J{>’iiauder.

Portraiture — continued.

The composition of a portrait group depends very much
upon the character of its constituents. Two or three cliild-
ren, if they arc not excessively stupid samples, are very
easy to group together, and, wlien well done, make the
most agreeable and natural pictures ; while two adults, espe-
cially of the male kind, although ca.sier to photograph,
seldom make an effective composition.

The great art in the composition of a group is in so
arranging the figures that they shall have some relation to
each other, as well as the ordinary elements of pictorial con-
struction. There should be some bond of union between
those who compose the group; some incident should be
represented in which they are mutually interested ; or some-
thing must be imagined out of the picture to attract the
attention of both, if only two are represented, or of many of
them, if there is a number. The figures should be massed
together, and not scattered over the picture so as to make it
necessaiy to examine each portrait in detail, until it has
been seen, and the effect agreeably felt, as a whole. Nothing
has a more disagreeable effect than two figures in one pic- ^

turc which may be cut in two without much injury to
either half. Two figures, like Enid and Geraint in the
wild land, —

“Apart by all the chamber’s width, and mute
As creatures voiceless, thro' the fault of birth.

Or two wild men supporters of a shield.

Painted, who stare at open space, nor glance
The one at other, parted by the shield."

It is not necessary in representing two persons in conver-
sation, that they should be looking at each other ; the effect
of listening can be rendered without that. It constantly
happens that in conversations even on the most important
subjects, the talker and the listener do not look at each
other, although, even if the soupds were not heard, it would
be obvious from their appearance that the persons were i n
conversation. One point which should command the atten-
tion of the student is, that there should be variety in the
heads, not only as regards profile, three-quarter, or full face,
but in their position on the paper. Thus, it is difficult
(although possible) to obtain much pictorial effect out of
two figures of exactly the same height standing together ; in
such a case variety must be got in the lines of the different
figures by varying the direction of the bodies, by the ar-
rangement of the arms and hands, and by the disposition of
the accessories and background.

As an example of the possibility of this, I give an illus-
tration taken from a photograph of two young ladies, alike
in height and general appearance. It will be noticed that
the subject is extremely uniform — two young ladies standing,
with an upright post and mass of foliage, very nearly alike,
forming the entrance to the arbour, on each side of them ;
yet a very slight alteration in the almost corresponding
sides of the picture has made it a pleasing and agreeable
composition.*

It is by the amount of perfection with which he succeeds
with groups that the photographer will discover the power
that is within him. If, after repeated attempts, he fail, or
do not succeed to his satisfaction, he will do well to confine
himself as much as possible to vignette or medallion heads,
a style demanding some taste and care, but taxing the artist
much less than more elaborate compositions. Many photo-
graphers have so studied the best methods of treating the

* Our engraver has given the oackground a more pronounced character
than it possesses in the photograph, which is not an improvement. — Ed.

296

THE PHOTOGRAPHIC NEWS,

[JoNK 19, 1868.

head, and the head alone, that they have succeeded to admi-
ration, and attained high reputation by this class of work.
They have preferred to succeed by doing a simple style well,
rather than a more comple-x style imperfectly.

Some artists prefer to have to make a group of three per-
sons rather than two; I confess that the more figures I have
to deal with in portrait photography, the more ditficult I find
my task. More than three or four figures should never be
attempted in one negative, if it is necessary that ever)' person
should be a good portrait. I leave out of consideration here,
large out-door groups taken on the hit-or-miss principle. It
is impossible to get more into an upright carte-de-visite with-
out crowding. I have seen a dozen or more figures in a card
portrait ; but we are speaking of composition here, not of
figures thrown together in a heap, with a head appearing
here and there just as it gets the opportunity. If more
than four figures must be included in the small dimensions
of a carte-de-visite, it would be much better to turn the
camera on its side, and make a horizontal picture of it. I
have seen some most delightful little gems of pictures of
this kind by Angerer, in which the interior of a large
drawing-room of people — full, without crowding — was
represented. I should much like to sec pictures of this kind
introduced into England, but the large size of the glass
room required would, I fear, prevent all but a few attempt-
ing them.

When the picture is larger than a carte-de-visite or
cabinet size, it is always better and much easier to produce
a group by combination printing. Photographers appear
to have been afraid of the difficulties of this method ; but I
am glad to see it is coming very much more into use, as
photographers obtain a more intimate knowledge of the
capabilities of their art. To accomplish this, a sketch
should be made of the composition, no matter how roughly
done, so that the artist knows what he intended by
it, when he looks at it a second time ; or the figures may be
placed in position, and a small photograph taken of the
arrangement. They should be so grouped that the joinings
should come in unimportant places. Although it is possible
to make a perfect join, even in such a difficult place ns down
the line of a delicate profile,* it is better, if possible, to
keep the mechanism of the art out of sight. When a sketch
or small photograph of the complete arrangement is ob-
tained, the groups or single figures should be photographed
in detail, by preference against a white or very light
screen, if a background is also to be put in. If the back-
grond is to be an interior, it will be found most convenient
to take it with the figures, the accessories being so arranged
that the lines of junction will not be seen.

A natural background may be introduced behind a single
figure with great effect, and Mr. Edge has lately shown that
it may be used with advantage for pictui'es so small even as
a carte-de-visite.

TROFESSOR SMYTH’S “ GREAT PYRAMID ” BATH.

BY DR. MANN.f

TnROUon the kindness of my friend. Professor Smyth, of the
Royal Observatory, Edinburgh, I had the opportunity and
pleasure of showing the members of the Society the bath
with which the Professor made the miniature photographic
pictures in Egypt when preparing his work on the “ Great
Pyramid ; ” and also to submit to the observation of the
Society a small series of the miniatures themselves, and of
the enlargements made from them.

In order to prevent any misapprehension, it may be
right that I should here state what has been distinctly
said elsewhere, that Professor Smyth does not claim
originality either for making very small photographs, or for
the exposure of the plate when in the nitrate of silver bath.

• In the presentation print I am now doing for the Photographic Sosiety,
I have purposely arranged a Join down the outline of a profile, to show that
it ia possible. The copies are being printed entirely by assistants, and not
five per cent, are discarded for defective JoininK*

^ t ^ead before the London Photographic ^iety, June 9th,

I believe the Professor himself frequently speaks of Mr
Skaife as having been before him in the suggestion and
making of very small pictures under brief exposure, and of
exposure while in the bath having been one of the ideas of
an early age of the photographic art. If there had been
time and opportunity, I would have made an endeavour to
bring Mr. Skaife’s proceedings into review in connection
with Professor Smyth’s mode of working upon this occa-
sion. I may possibly find some other occasion to do this.
My immediate purpose at this time is simply, as I
had recent occasion to allude to the Professor’s mode of
working, 1st, to show our London friends the bath which
the Professor used in his Egyptian campaign ; and, 2nd, to
afford Mr. Dallmeyer, and any others who may feel inter-
ested w-’th him in that bearing of the question, to examine
the optical character of the small pictures.

It may be necessary, before drawing attention to the bath
and the pictures, here briefly to recapitulate the peculiarities
of the process adopted on the occasion of this Egyptian ex-
cursion by Professor Smyth. The camera used was made
of tin, 8 inches long, of which 6J inches was composed of
a hood or sun-shade. The lens was a kind of locket-lens,
a double combination of 1'8 inch focal length, which was
worked with apertures one-tenth and one-twentieth of the
fociil length. The focus was adjusted, not by the eye, but
by the instrumentality of a graduated scale determined
beforehand. The light was cut oft' from the picture by
a screen of blackened tin, placed, not in front of the lens,
but just before the sensitive plate, and so contrived as to
qualify the exposure of different parts of the plate and
moderate the “ sky-action.”

The bath, which I here produce, is made of ebonite, and
is externally 4 inches high, 2-5 inches broad, and 1 inch
thick. Its internal capacity is 3 inches by I^ inch and |
inch. The bottom Is so inclined as by its form to keep the
plate in contact with two platinum pins provided for its
lower end. A third point is so placed above as to enable a
wedge inserted behind to bring the picture-plane into its
proper position and keep it there. In front of the plate
there is a little window I inch square, composed of a piece of
very carefully prepared glass, having exactly true and
parallel sides, and posse.ssing a brass shutter of its own,
which is closed when the bath is not in use. The bath has
a cover of ebonite, with a ring on the top, by means of
which it can be carried upon the little finger when the
operator is at work.

The Professor’s battery of apparatus consisted of half-a-
dozen broad-mouthed bottles, and a pair of steel and of ebonite
pliers. The glass upon which the picture was made was
simply the microscopic object-slip, measuring 1 inch by
3 inches. This was inserted into the bath and wedged into
position, one end downwards, so that the inch square picture
ranged transversely across its middle third. The operation
consisted mainly in a series of dippings. The plate was
fn-st dipped into one of the bottles containing the collodion,
then dipped into an ordinary nitrate of silver bath contained
in bottle No. 2. It was thence transferred to another por-
tion of the same solution contained in the exposing-bath,
next placed in the camera, and there exposed for a period
varying with the aperture from a fraetion of a second to
twenty seconds. After the exposure there was a third dip-
ping, in the iron-solution bottle ; a fourth dipping, in a
water-bottle: and a fifth dipping, in'eyanide-of-potassium
solution, followed by a final washing.

The difficulties which Professor Smyth turned the Hank
of, or avoided, by his mode of working were: — (1) the par-
tial drying of the plate at the edges in temperatures some-
times as high as 90°, with 25° of difference between the
readings of the wet-bulb and dry-bulb thermometers ;
(2) the dusting of the moist plats with clouds of dust and
fine sand otherwise unavoidable in the circumstances in
which the Professor worked ; and (3) the encumbrance of
the more complicated apparatus ^ordinarily employed in
excursion photography.

Jttnb 19, 1868.]

THE PHOTOGRAPHIC NEWS,

297

It was stated upon the authority of Mr. John Nicol, who
presented a detailed account of Professor Smyth’s apparatus
and mode of working to the Edinburgh Photographic
Society in the year 1866, that some of these inch-square
miniature negatives bore magnifying up to 15 feet very
much better than the best pictures of larger size ever before
shown to that Society.

Two of the miniature pictures shown — those, namely, of
the broken corner of the coffer in the king's chamber of the
Great Pyramid — were taken with the magnesium light, with
an aperture one-fifth of the focal length of the lens. Nine
others of the miniatures were taken with an aperture one-
tenth of an inch focal length, and five others with an aper-
ture one-twentieth of the focal length.

Professor Smyth has drawn my attention to a curious fact
in regard to these negatives. Some of them were intensified
with persulphate of uranium, and have been solarized and
become quite translucent, but are not at all solarized to
chemical rays, as they still give intense jiictures, with sharp
black-and-white detail.

•

NOTES ON THE C.VRBON PROCESS.

Mr. a. J. Drummond, writing to Humphrey s Journal, says : —

In the last number of your valuable Journal, a carbon printer
asked for information, “ to prevent Swan’s carbon tissue crack-
ing before and after sensitizing ; also, to prevent bubbles on
the tissue when developing ? ”

My experience with Swan’s carbon tissue has been the same
as that of your correspondent ; so much so that on sensitizing
in the evening, in the morning I found it curled and cracked so
badly that it was almost impossible to use it. I tried various
remedies: my first was to sensitize in the morning, and expose
when sufficiently dry, without adhering to the negative ; this
worked well for a few sheets ; but where a number were to be
done, the result would be as above, owing to the length of time
required in exposing. Then I resorted to another expedient,
steaming, and that I found to bo very dangerous, as it was apt
to adhere to the negative. At last, almost discouraged by my
numerous unsatisfactory experiments, 1 made a trial of rock
candy, which resulted in a highly satisfactory manner. Let
your correspondent try this formula, and report the result. To
every 12 ounces of bichromate of potash solution I added 4
ounces of rock candy. The weather was very cold ; but the
mercury in my room stood at 60° F., and the tissue, with the
addition of the rock candy, was quite pliable, and answered
every purpose. When sensitizing Swan’s carbon tissue — No. 3
grade, which as a heavier coating of gelatine — the proportion
of rock candy may be increased to 6 ounces to 12 ounces of
solution. The bubbles can only be prevented by a proper con-
sistency of rubber solution, and being careful to brush the solu-
tion with an even-flowing coat. Care should be taken not to
get any of the rubber solution on the back of the tissue.

I have also found a sample of paper which gives better satis-
faction in my hands than any I have hitherto used for the
first transfer. The paper alluded to is that known among
paper dealers as “ Law Point,” weighing 33 pounds to the
ream. The desirable qualities of this paper are its absorbent
properties, and the heaviness of texture, which makes it invalu-
able to the carbon printer for transferring the tissue.

I immerse the picture to be developed in a water bath about
80° F. After allowing it to soak for a few minutes, raise the
tempHjrature to 90° F. ; the tissue in all probability will bo
ready to transfer. I am greatly in favour of developing in as
low a temperature as possible, as it preserves the half tones ;
when the water is too hot it will invariably cause bubbles.

Insufficient pressure will cause bubbles ; this no doubt is the
cause of your correspondent's trouble.

I recently received from Mr. Swan some fine tissue, prepared
of various colours and of different degrees of strengtli, to suit
the several classes of negatives. The principal shades are
black, brown, and purple ; these are distinguished by the letters
A, B, and C, and the strength by nnmbers.

No. 1 is suitable for good negatives, but slightly inclining
to hardness in those which yield prints with a little too much
contrast of light and shade.

No. 2 is adapted for all good negatives having the following

ualitiet, viz. ; — The average degree of density, and delicate

gradation in the half tones; and also those which are very
clear in the deep shades.

No. 3 suits negatives which give prints with abundant half
tones, but somewhat deficient in vigor. The size of the sheets
is 18 by 23.

1 cannot but admire the highly creditable manner in which
Mr. Swan has put his tissue in the market ; and I would beg
leave to suggest to him, when preparing carbon tissue for tKis
climate, that he make it more pliable ; for it is so brittle before
sensitizing that it cannot bo handled unless slightly steamed
in order to soften the gelatine ; and great care must bo observed
in so doing, or the gelatine may soften, and discharge the pig-
ment into the bichromate solution.

e

IpnirctMnfls of

South London PnoTOORAPnic Society.

The annual meeting and last meeting of the present session
was held on the evening of Thursday, Juno 11th, at the City of
London College, Lcadenhall Street, the Rev. F. F. Statham,
M.A., F.G.S., in the chair.

The minutes of a previous meeting were read and confirmed.

Mr. Wharton Si.mp.son exhibited some fine cabinet portraits,
consisting of large, brilliant vignette heads by Reutlinger. Ho
also called attention to some paper pulp made from deal, and
suggested that it might bo worth while to ascertain whether it
possessed any value in the manufacture of pyroxiline.

The Secretary then read the report as follows : —

Annual Report of the South London Photographic
Society, 1808.

Your Committee, in submitting their Annual Report of the
proceedings of the Society for the session 1807-68, beg to con-
gratulate the members on the renewed vitality which the
record of the past session so fully evidences.

From circumstances which were under discussion towards
the close of the last session, it might have been inferred that
the interest hitherto felt by members of the S. L. P. Society
would possibly become lukewarm, and thereby endanger its
success. Actual events have, on the contrary, shown that the
same spirit which has always pervaded this Society is still
embodied in a “healthy pulsation;” and your Committee, look-
^ ing forward to a still higher degree of interest amongst the
members, now refer to the proceedings of the Society during
the p.ast year.

Your Committee have much pleasure in stating that in the
number of p.apers read there has been an increase compared
with the number read last year, and whilst expressing their
thanks to those gentlemen who have come forward to read
papers, your Committee would still wish to see some fresh
recruits to swell the ranks of those members who devote much
time and thought to such matters. The following are the
names of the gentlemen and the subjects of their papers : —

Mr. Meagher, on the Breaking of Negatives.

Mr. Blanchard, on the Preservation of Prints by means of
Collodion.

Mr. E. Cocking, a Suggestion for Raising the Position of
Photographers.

Mr. F. Howard, on the Introduction of Clouds in Landscape
Photography.

Mr. J. It. Johnson, on Natural Clouds in Landscape Photo -
graph y.

Mr. J. T. Taylor, on the Oxyh}'drogen Light, and means of
Avoiding Explosions.

Mr. S. Fry, Omnium Gatherum.

Mr. Pearce, a few Thoughts concerning Portrait Photo-
graphy.

Your Committee also have much satisfaction in alluding to a
novelty in the history of the Society, and which has met with
great success, viz., the introduction of a “ Question Box,” which,
on tbe occasion of using its contents, proved to be one of the
most interesting meetings of the session.

The experiment of an exhibition of photographs amongst
the members, with conversation thereon, also proved to be a
step in the right direction, and your Committee anticipate that
on the next similar occasion the result will bo still greater in
importance.

The Committee are indebted to the following gentlemen for
interesting specimens, photographs, and other matters ; viz : —
Mr. 6. Wharton Simpson, Mr. Kanchard, Mr. H. Cooper, Mr.

208

THE PHOTOGRAPHIC NEWS. [Junk 19, 1868.

Meagher, Mr. J. T. Taylor, Mr. Nash, Mr. Leake, Mr. T.
Sebastian Davis, Mr. J. ll. Johnson, Mr. Booty, Mr. Dallineyer,
Mr. Hunter, Mr. Werge, Mr. Henderson, Mr. Rejlander, Mr.
E. Cocking.

Your Committee have another source of satisfaction in having
obtained for the presentation prints for this session specimens
of such well known art photographers as Messrs. Rejlander and
H. P. Robinson : from the former, a photograph in silver,
entitled “ Homeless,” and from the latter a largo photograph
in carbon entitled “ Going to Market.”

Your Committee desire to thank Messrs. Elliott and Werge
for allowing the Committee to hold their meetings at their ware-
houses.

In conclusion, your Committee hope that, as hinted in last
year’s report, the possibility of shadows occurring having
passed away, the future of the Society may be all sunshine
and success.

The Treasurer’s account was then read, and showed a balance
in hand of £4 3s. 7d.

The Ofticers for the ensuing year were then elected as
follows : —

President : The Rev. F. F. Statham, AI.A., F.G.S.

Vice-Presidents-. Mr. T. Sebastian Davis, Mr. G. Wharton
Simpson, and Mr. V. Blanchard.

Committee : Messrs. Bedford, Bockett, Elliott, Hart, Johnson,
Pearce, Werge, and J. T. Taylor.

Treasurer : N. Edgar Fitch, Gwydyr V'illa, St. John’s Road,
Brixton.

Honorary Secretary : Edwin Cocking, Queen’s Road, Peck-
ham.

After votes of thanks to the President, Treasurer, and Secre-
tary, for their valuable survices during the year,

Mr. Charles E. Pearce read a paper on Portraiture,
(see p. 292).

The CiiAiRiiAH, in proposing a vote of thanks to Mr. Pearce
for his able and interesting paper, referred to a recent article
in Cassell's Magazine on photographic portrailnre, in which the
prevalence of a “ put on ” expression in photographic portraits
was regretted. He thought that, to avoid tliis dazed, solemn, and
unusual expression was well worthy of consideration. Sometimes
it was true that by skill or good fortune a photographic por-
trait was obtained without it, but the opposite was the rule.
Possibly if instantaneous effects could bo produced it would be
better. Ho thought it a jiity, too, that something more was not
attempted in backgrounds: such as the introduction of natural
objects as accessories instead of the common stock appliances of
curtain, column, balustrade, table, and chair.

Mr. Davis said that Mr. Wharton Simpson had, at a recent
meeting, exhibited some charming examples of iiortraituro
with natural backgrounds.

The Chairman also thought that it would bo possible for the
photographer to keep in his studio some articles of drapery by
which he might modify the dress of the sitter. Ho referred to
the portraits of Gainsborough and Reynolds, in which the
sitters wore often represented in character, so as to communicate
pictorial interest to the portrait, independent of its likeness.

Mr. Wharton Simpson exceedingly regretted that he had
not known that the subject would be brought before them,
otherwise ho would have brought with him various examples of
the class of work to which tlie Chairman had referred : por-
traits with natural backgrounds, and portraits which, without
being theatrical, or without attempting strained or unreal
characters, were so treated as to give them pictorial value apart
from mere portraiture. The cards by Mr. Edge were known to
many, and some of Mr. Robinson’s recent cabinet pictures
would have admirably illustrated what the Chairman had
described. It was, however, impossible to get natural eflects
to any extent without double printing; whilst, however, the
variety of effect which natural backgrounds gave was valuable,
it should be borne in mind that with few and simple accessories
very valuable background effects were possible. M. Salomon —
who had, perhaps, more than any other photographer shown
the efl’ect of the background in giving value to the head — con-
fined himself to a few of the simplest and most common-place
accessories. He showed that in the mode of using them, rather
than the objects themselves, all the importance of the subject
rested.

Mr. Blanchard asked Mr. I’earco if he had brought some of
his own fine examples with him, referring to some excellent
effects in backgrounds produced by using the gloom of a dark-

ened room, seen through an opened door, instead of a screen
for tho background.

Mr. Pearce had not brought tho examples with him.

Mr. Blanchard did not think that very great rapidity in
portraiture was desirable. If portraits could be taken quite
instantaneously it would bo very well ; but as that was impos-
sible, he preferred in portraiture an exposure of 15 or 20
seconds to ono of 5 seconds, as time was thus allowed for the
sitter to get over the twitching or rigidity of the first few
moments of sitting. He thought, loo, that a quiet sober, expres-
sion was better than a simper or a smile.

The Chairman complained of a want of intelligence or
interest in the expression of so many. He thought the practice
of asking tho sitter to look at a definite point like a nob was
injurious. What interest could a sitter have in his counten-
ance when told to look at a nob ?

Mr. Blanchard would not ask him to look at a nob ; nor
was that, ho thought, the practice of skilled portraitists. Ho
would prefer to engage the sitter in a conversation which
interested him, and then seize tho opportunity of exposing
when a satisfactory expression was on tho face.

Some desultory conversation on tho subject followed.

Mr. How'ard said, that in the earlier days of photography,
stiff expression and want of character wore common enough.
A photographer seeing his sitter for the first time, and taking
the portrait at once, could scarcely bo expected to do it much
justice : but now sitters as well as photographers were getting
more educated in regard to photographic portraiture, and he
thought that a largo class would willingly pay more for better
work. He thought that if the sitter had an interview with tho
photographer previous to the sitting, so that the latter might
have time to make up his mind as to the best mode of treat-
ment, superior results would often be secured. Of course,
higher charges would have to be made ; but tho result would
be worth the cost, and many would be glad to pay the higher
rate for the superior portrait. Of course, unless the sitter
aided the photographer by properly entering into the spirit of
the thing, very good results could scarcely bo expected. He
believed that by judicious double printing much bettor pictorial
effects in background could bo secured.

Mr. Blanchard said that his dark room window was
arranged so that he could, unseen, study the sitter ; and he
found a great advantage in the arrangement.

Mr. Davis said he tliought it was a groat mistake for high
class photographers ever to take sitters under any but tho most
favorable circumstances. If they would only do this, and
never send out any but really first-class work, the public would
learn that photography was something more than a merely
mechanical art. Unfortunately, tho ablest men would some-
times send out had work, and so people lost faith in them. Ho
believed that many of tho public would gladly pay high prices
if they could be certain of receiving first class work.

Some gcner.al conversation followed, iu which the Chairman
again referred to tho introduction of a variety of natural objects,
such, for instance, as were found in many Dutch paintings, those
of Gerard Dow, for instance.

Mr. Simpson said that there were two serious difficulties in
tho way of doing this. First, tho multiplicity of accessories
which would bo necessary to avoid uniformity of result, inas-
much as tho photographer could only introduce such objects
I as ho could place absolutely before his camera ; and secondly,
that by photography, the accessories placed in different planes
could not be produced in focus. The only mode of effecting
the object would bo to use double printing. A few well selected
background negatives might bo made to produce a variety of
effects by using different parts of tho plate with dilferont
figures.

Mr. Bla.nciiard deprecated the use of a multiplicity of
objects in portraiture, and quoted an apothegm by Mr. Chorrill
from tho Year-Book of Photography, to the effect that as
photographs are always elaborate in finish, tho subjects of
photography should always be simple iu design.

After some further conversation on tho subject,

Mr. Pearce agreed, at the suggestion of the President, to
provide a paper on the subject of double printing in portraiture
for next session. Mr. Blanchard also promised a paper for
next session.

After some discussion on the subject of out-door meetings, it
was agreed that a meeting should be held on the first Saturday
in September, at Hampton Court, the members meeting at
‘‘Tho Mitre ” Hotel, at 6 p.ra.

June 19, 1868,]

THE PHOTOGRAPHIC NEWS,

299

The President invited the members to spend an evening
with him at his residence on the first Saturday in July.

The proceedings then terminated.

Comsgaa&tncc.

INTENSIFYING NEGATIVES-NEUTRAL TONING
BATH.

Sir, — Seeing an account in a late number of your Journal
that forcibly drying negatives increases their density, I beg
to say 1 have long used the plan of drying the negative
before fixing, either by standing it up to dry by itself, or
otherwise. The density is most decidedly increased, which
is easily proved by letting one-half of the plate dry, and
then fix and dry as usual. It will be seen that the part
dried before removing the iodide is much darker than the
part fixed in the moist state. I use cyanide for fixing.

Mr. W. Bartholomew asks you whether magnesia is much
used in the toning bath ? 1 beg to say I have tried it, and

found it do very well, but not any different from the pre-
pared chalk bath I described in this Journal two or three
years since, and you repeated in the following Year-Book.
It suits any gold. If mixed in the morning, it is ready in
the evening. In frosty weather, it i.s better mixed the night
previous. It will keep for days at least, and can be used over
and over again, adding more gold, and perhaps, also, more
chalk, if there should be no excess of that substance re-
maining from the previous mixing. An excess is not of the
slightest consequence, and it is scarcely possible to have too
little, so small is the quantity required. No weighing is
necessary. 1 cannot see any difference in the tones obtain-
ing between chalk and the other formula, rnd believe it i.s
purely imaginary. My bath is always in order, and the
simplest possible. T. S. Reeves.

APPROXIMATE NATURAL COLOURS IN
PHOTOGRAPHY.

Sir, — As this desideratum is now receiving much atten-
tion, the following may be worthy of a place in your Journal.
I have many times, in my out-door practice, obtained land-
scapes in natural colours by the following manner : — Expose
a little longer than required for a negative ; develop with
the pyrogallic developer, and stop the developing when the
picture has arrived at the stage of a positive ; wash, and
fix with a strong solution of cyanide of potassium ; and
you will find the sky blue, the road-way a yellow tint, and
the trees of a green tinge. I have done some remaikable
pictures, but the colours being bad, I have not followed it
up with experiments, having so little time on my hands ; but
it is worthy of attention. — I am, yours, &c., C. KtENio.

450, Edgioart Road, June lOM, 1868.

S/alfe iu tbf ^tubia.

Photography made Cheap and Easy. — We were struck
on passing along a public thoroughfare in the City a few days
ago, by an announcement in a stationer’s shop window, “ Com-
plete photographic apparatus, with material for fifty pictures,
for sixpence.” We at once invested the sum in question, and,
on opening the packet supplied, found that we had received a
quarter-plate piece of glass and a piece of cardboard the same
size fthe two being held together by a couple of india-rubber
rings), and a paper containing something less than a drachm of
bichromate of potash in powder. A paper of instructions
directed the photographic tyro to make a solution of the salt,
float writing paper thereon, and then produce a negative by
placing the prepared paper in contact with an ordinary print,
pressing the print and sensitive paper together between the
glass and card, and duly exposing to light. From the negative
80 obtained any number of prints night bo produced on the
prepared paper, the only fixing necessary being soaking in
warm water. The picture produced was an image, of course,
of brown oxide of chromium.

Permanent Photographs. — A recent number of a very
ably conducted critical and satirical journal, entitled The Censor,
in the course of an interesting and kindly notice of Mr.
Wharton Simpson’s work on the carbon process, has the
following remarks ; — “ ‘ But will it wash ?’ was the question with
which Mrs. Siddons startled the draper. A modification of
this enquiry we have all addressed to the smiling photographer
as he has emerged from the little dark room with a serene self-
satisfaction in having achieved a beautiful negative. ‘ But will
it stand ?’ we have all demanded, and have all received the
comforting assurance, given with more or loss confidence, that
under favorable circumstances it would stand, though its
permanence could not bo guaranteed. With this assurance we
have perforce been content. And then we all know what has
happened. After a year or two, signs of distress have appeared
in the charming likeness. My lady has, to all appearances,
taken to patches, if indeed those black spots do not indicate
some cutaneous eruption. As for Sir John, he is dismayed to
find himself the centre of a new planetary system, beams of
light radiating from his head, as if he were another Phoibus,
while comets and uncertain indescribable nebulae, are develop-
ing all over and around him. This is not pleasant. Nobody
cares for a photographic apotheosis in this kind; and to go
down to posterity all blurs and scars, smudges and onption.s,
is something terrible to contemplate. Thank heaven, wo have
now changed all this! Swan’s process has reformed it all
together.”

Photographic Evidence. — In the course of the recent
action for libel by Risk Allah against the Daily Telegraph,
photographs of various documents were admitted as evidence, j

Poisoning with Bichromate of Potash.— Most photo-
graphers are aware that this substance is a dangerous poison,
but it may bo well to remind them, as accidental poisonings
have more than once recently occurred. On Monday an inquest
was held at Cheltenham on the body of Mr. T. B. Gilling, an
auctioneer, who had died from drinking a quantity of bichro-
mate of potash. Deceased had sent for a bottle of Bass’s pale
ale, which bore the usual label ; but, not wishing to drink it at
the moment, it was placed beside a number of other bottles in a
carpenter’s shop. Amongst those was one containing bichro-
mate of potash, which had been put into an empty ale bottle,
with the label carelessly left on. The similarity in the appear-
of the bottles led to the fatal mistake.

Mr. Woodbury’s Patent. — We noticed some weeks ago an
error in our able contemperary, the Art Journal, in relation to
the origin of the photo-relief printing process. The number
for this month has the following handsome amende : — “ Disderi’s
Patent. Under this title appeared, in our April number, a
notice of a photographic process which was stated to bo one
‘ based on the invention of Mr. Walter Woodbury.’ The
Photographic News states, and Mr. Woodbury himself has
also informed us, that the process is entirely his own invention,
and that ho somewhat recently sold the patent to a company,
of which Mr. Disderi is managing director. Mr. Woodbury has
long been known among photographers as one ot the most
skilful and scientific practitioners of the art, and we are glad
to render him the justice that is his due.”

Solar Heat as a Motor. — The Scientific American says : —
“ It has been proposed to employ solar heat in generating
steam. By using a lens of small diameter, the sun’s rays have
been concentrated in a vessel containing water to such a degree
that enough steam has been generated to drive a small engine.
Increasing the size of the lens will, he contends, have the
effect of still further intensifying the solar heat, and the power
that m.ay be obtained is only to be limited by the dimensions
of apparatus employed. Should the plan of this engineer be
generally adopted, the old proverbial injunction for prompt-
ness will take a mechanical turn — ‘ Make steam while the sun
shines,’ — instead of its original agricultural significance.”

The Solar Eclipse. — It is expected that many photo-
graphic records will be made of the eclipse of August 18th.
The phenomenon of a total obscuration is of rare occurrence,
and as it can bo observed to advantage in India, the astrono-
mers will not allow this opportunity for making several inte-
resting and valuable observations to pass disregarded. The
Indian Government has made great preparations for obtaining
a photographic record of the phenomena presented during the
eclipse, and the time of its duration — over six minutes — will bo
long enough to take a large number of negatives, so that much
information respecting the physical constitution of the sun
may be obtained.

300

THE PHOTOGRAPHIC NEWS,

[JuN* 19, 1868.

3^0 ©omsgoubints.

G. B. writes S,s follows: — “I address you on a subject which is to
rae of considerable importance; and without takin;? up room with
jprelinUhary remarks, I at once enter on it. 1 have for a number
ef years been engaged professionally in photography with con-
siderable success. I have had many visitors to my studio, and my
work has given general satisfaction. It has been said, however,

‘ that there is a skeleton in eVery house.’ I am not without one,
albeit the skeleton that troubles me takes the form of noxious
Vapours. Some months ago, a person in pos.session of the garden
next to mine (in wdiich I have my studio) eommenoasl the trade of
It butcher. '1 he olfal and bloixl from the slaughtered sheep (from
ten to fifteen Weekly) ho puts into his g:irden, covt'ring it slightly
With earth. For the last six weeks he has put it all on a nan-ow
strip of ground, running parallel to my studio, and Within six yards
of it. Since the hot weather commenced the smell is iutoler-
«blc. I find my chemiails have no! been working so well lately ;
this I attribute to these vapoilrs. Would you. Sir, obtige me by
stating in your next paper what effect this impure state of the
atmosphere Is likely to have on the chemicals we work with.”
Decomposing animal matter will produce ammoniacal and other
fumes, decidedly' injurious to perfect photographic action. Your
proper ceitrse is to apply to the officer of health or inspector of
Huisances, or other authority, according to the constitution of the
local government under which you live. Such a nuisance as you
•describe, if satisfactorily proved to exist, will doubtless be put
promptly down.

SiLEX. — The AVothlytype process was attended by more uncertainty
and difficulty than the albuminized paper process, and hence never
came into extensive use, although it had some undoubted advan-
tages. 2. We believe that the patent was suffered to lapse. 3. Wo
believe that our collodio-chloride process has all the advantages of
the Wothlytypc process without its uncertainties, i. We cannot
direct you where to purchase pyroxyline for any puqwse. It is a
difficult thing to purchase good. You can only' aejuire certainty'
by try'in» a sample, and then purchasing a quantity' if neccs.sarv.
Thanks tor y'our remarks on collodion varnishes and carbon. We
shall make use of them.

X. W. — In working the morphine process, and using iron develop-
ment, it is important to add a few drops of nitrate of silver solu-
tion to the iron developer before apidying it to the plate. If you
apply the iron .solution without silver the latent image is partially
dcstroy'ed by' the acid present ; but this does not occur if tlie silver
solution is .added to the iron solution before apply'ing it to the plate.
Try again, bearing this in mind, and let us know the result.

W. .1. A. G. — The sample of protosulphate of iron y'ou enclose is a
little oxidized, but it is not seriously injured. Make y'our deve-
loper as usual, and after adding the acetic acid and shaking for
some time, filter before using, to remove .any' turbidity' which may'
remain. You will find that the developer will give you a little
more intensity and cleanness in the shadows than one made from a
perfectly' pure and clean sample of the iron salt. The bliu;k ]iyro-
gallic acid is worthless; return it without attempting to use it.
The citric acid may possibly be all right. The carbonate of ammo-
nia without smell will scarcely' be good; that you can got fresh
of a local chemist. The only c.xpl luation we can offer is that you
have ordered them of some one having very little sale for such
things, who has supplied you with articles long in stock, and
spoiled by age and careless preservation.

O. Nicholson. — The only catalogue of stereoscopic pictures, besides
those you mention, which we remember, arc those of Mr. Blanchard,
of 12, Camden Cottages, N.W., and Mr. England, Notting Hill
Square.

M.vnton. — The defect in y'our print is nol measles, but mealiness.
The former is the result of imperfect fixation, and is manifested in
mottled yellow snots in the texture of the paper. Mealiness con-
sists of a somowliat irregular, granular effect in toning, duo to a
variety of causes. It is at times due to nitric acid in the printing
bath ; at times to the u.se of a now toning bath not sufficiently'
ripe ; at times to the u.se of carbonate of soda in the toning bath,
which we never recommend ; at times, and very commonly, to the
use of a weak negative, which does not permit sutficient reduction
of silver to form rich blacks before the lights arc over-printed.
Use your printing bath quite neutral ; avoid carbonate of soda in
your toning bath ; and do not use the bath too new or too strong.
Above all, use negatives sufficiently vigorous. We see no reason
to believe that the paper is in fault ; but we do not know the
maker. AVeare glail to learn that iirofcssional photography is im-
proving in a business sense in your neighbourhood.

IxauiiiER. — No apology was necessary for making tho enquiry,
although, as you remark, the matter is not of sufficiont interest for
public discussion. The leading fact in tho statement to which you
refer is true ; tho minor statements given in the way of comment
and explanation ai-e quite untrue. Discourtesy is a matter of taste
upon which every one can form his own opinion. Truth or un-
truth is a matter of fact, and remains unaffcclcd by assertion or

opinion. The attention of tho committee was called to the matter
by an outside member, who pointed out that if such untruthful
and discourteous reports were permitted, no matter how unimport-
ant the authority or how limited tho audience, it must tend to
check the freedom of discus.sion and social intercourse which had
distinguished tho proceedings of the society. The fact that a
meeting of the committee unanimously adopted such a resolution
under tho circumstances affords tolerably satisfactory assurance of
the propriety' of the step. The statement that the matter was due
to our action at all is, it is .scarcely' necessary to say, untrue. Tho
report y'ou have heard as to the cause of withdrawal is ijuitc true ;
but we do not agree with you as to tho propriety of publishing it.
We do not c ire to brand a maU publicly with his pnvatc faults or
misfortunes Unless he insist on the di.sclo.sure.

.1. C. L>. — Sec article in the present number.

Moui’HIXe. — The solution of acetate of morphine can be used over
and over again as a rule ; but of course it suffer.» grailual deteriora-
tion by dilution with the water on the plate. Your loss of sensi-
tiveness is doubtless due to the exhaustion of the strength of tho
morphine solution, which, y'ou must remember, is very weak, even
at tho out.sot. Bcaufoy’s acetic acid is intended. AVe are glad that
y'ou profit by the articles on Pictori.al Effect.

Z. — It is possible to estimate the amount of chloride of gold in a
solution, but not bv specific gravity with an iustrument like tho
argentometer. SucK a method would not be sufficiently delicate,
and Would not distinguish between the presence of pure chloride
and the double clilorides of gold and various alkaline metals. The
most delicate test is oxalic acid, precipitating the gold from a
measured quantity of solution by means of a standard solution of
oxalic acid. The process requires care and familiarity' with such
manipulations. AA’’e have not space to enter into details in this
column, but we shall probably take an early occasion of disclosing
the method in question. 2. You complicate tho oerations and
waste permanganate of potash if you add it to a bath containing
free nitric acid, which will at once decompose the permanganate.

A Constant IIeadeh. — Mr. Spiller found that the example of
nitrate of silver recommended by Mr. McLachlan was really pure
neutnil nitrate of silver discoloured on the outside, probably by
contact with tho vapours of chlorine. Any pure sample of nitrate
of .silver will serve.

F. M. P. wishes for information as to the manufacture of a portable
glass house, which can be p leked into comp.iratively small com-
pass, and which shall not be very costly. AVe fear that the data
are too indefinite to enable us to help him much. Can any of our
readers give any hints 'i

SunscRiHEii. — You could at any time obtain information by writing
to a member of tho committee ; but the matter is of too limited
interest to occupy our pages by frequent expl.an:itions. AA'o
announced some time ago that the balance would be returned to
tho subscribers pro rata ; no other intention has ever been enter-
tained. The delay in doing this has been owing to camses bcy'ond
tho control of the committee, but will probably be elfecled shortly.
The matter concerns the two or three nuudred subscribers, all, or
tlio majority', of whom trust the committee. It docs not concern
tlic meddlesome persons y'ou name.

G. Kohert Fitt. — Tho exposures y'ou describe aro undoubtedly
enormously 'ong, four or five times too long, at lea.st. The example
of the work which you forw.ird is very tine indeed, and shows
that the quality and cliaraefcr of the lighting ai'c good ; but it is
quite clear that, from some cause, the exposures arc much too long.
Ten .seconds for a card picture, with a good lens and aperture small
enough for covering, is the out.side exposure we should think neces-
sary. AVe do not see anything in tlie quality of the gla.ss, on a
cursory examination, which can justify the long exposure, but
will c.vamino further. So far as we can suggest at present, tho
cause may bo in having too much of the top-light obscured. As
the season has advanced the sun has become more vertical, and as
you obstruct almost all vertical light you havn gained nothing in
rapidity with tho advance of the sea.son. AVe will give the matter
attention, and add more another week if any'thiug strikes us.

Blackheath. — The dirty yellow colour produced by .adding per-
manganate of potash to'rain-wafer is caused by tho oxide of man-
ganese formed by the decomposition. It will gradually precipitate.
To be certain that all organic matter has been oxidized, add the
permanganate until a faint permanent pink tint is produced in tho
water, llain-water so treated will bo nt for making a silver bath.
2. Permanganate of silver added to water containing chlorides
ought to have thrown down a precipitate of chloride of silver. AA'o
cannot explain its failure to do so. It is not uece.ssary to the re-
action that tho water should have been rendered alkaline. The
safest mode of purifying tho water in iiuestion is to add a few
grains of nitrate of silver and exiw.se for a few days to sunlight.
’I'his will throw down both chlorides .and organic matter. 11. There
is an undoubted difference between the results in the tanmn and
coffee processes ; but a resemblance in the processes so far as the
activenrinciiile of coffee resembles tannin.

AV. T. B. — AV'e do not. unfortunately, remember tho address of the
society in question, but will try to ascertain.

tievcral Correspondents in our next.

THE

VcL. XII.

1868.

NEWS.

CONTEK TS.

PiOE

Dirty 301

Cellodio-Chloridc for Piinting on Ivory 302

Permanent Albuminized Prints 302

Keeping and Dating Collodion 302

Pictorial Eflect in Photography. By II, P. Kobinson 303

Photographic Printing in Silver, Theoretical and Practical.

By W. T. Bovey 304

Photo-zincography in Practice. By J. Waterhouse, R.A 306

PAOa

Remarks upon the Carbon Process. By Dr. n. Vogel 308

Modified Photographic Pictures 309

Printing by Development 309

Corre.spondence— Photographs of the Moon— The Transmission
of Actinism by Light— Permanganate in the Nitrate Bath
—The Coffee Preservative— Wet Photography in the Field

without a Tent— Modes of Toning 309

Talk in the Studio 311

To Correspondents 312

DIRTY PLATES.

Perhaps few troubles arc more mortifying to the photo-
grapher than those arising from dirty glasses, a mortification
which is much intensified if a few good new glasses to fall
back upon are not in stock, or readily procurable. We re-
cently spent some hours in the studio of a first-class photo-
grapher in the provinces, who had suffered seriously from
the trouble in question, and witnessed its operation under
more than usually irritating circumstances. A stock of patent
plate had been ordered and received from a reputable Lon-
don house. On trying the glass, however, it was found im-
possible by any mode of cleaning the plate to obtain a clean
negative. The defects were unusual in character, and bath
and collodion were at first in turn condemned. Unlike the
well-known defects produced by dirty glasses, these con-
sisted in fine, straight, transparent lines, varying from half
an inch to 2 inches in length, sometimes vertical, sometimes
horizontal. The most careful examination of the glass
before producing the negative showed no indication of a
defective or imperfectly cleaned surface ; but whilst the
chemicals were working very well in all other respects,
giving rich, vigorous negatives, it was impossible to get rid
of these markings.

As it became manifest that the glass was in fault, recourse
was had to a stock of old patent plate-glass from which
some negativeo bad been cleaned. This glass had under-
gone a careful treatment with the bichromate of potash and
sulphuric acid mixture recommended by Mr. Carey Lea.
But now a new series of troubles arose ; the ordinary markings
of dirty plates were plentiful. The powerful detergent action
of the above preparation was insufficient to remove the traces
of former use, and mottled stains of increased opacity were
apparent in every instance, chiefly noticeable in plain back-
grounds, where stains are fatal to the character of a picture.
Other modes of cleaning were tried, employing strong acids,
and strong alkalies, tripoli, &c. ; but in no case was perfect
immmunity from stainr secured on the old glasses.

In the meantime a new stock of patent plate had been
ordered from another house, and after a hasty cleaning a
plate was tried, and a perfectly stainless negative was the
result. We saw half-a-dozen negatives tried with plates
taken at random from each group of glasses. The first in
every instance gave the straight lines first described ; the old
glasses invariably gave mottled stains ; and the new lot of
patent plate invariably gave perfectly clean negatives.

The only conclusion to which we could come regarding the
first examples of the patent plate giving the fine lines was
that it was imperfectly polished in the manufacture, and that
little grooves existed in the surface loo fine for observation,
but in which lodged some trace of the cleaning or polishing
material, which, lurking there, was inimical to photographic
action, and so caused the transparent lines. Dealers and pho-

tographers alike should be on their guard against such a
sample of glass ; but not knowing its history we can only
offer a vague caution. It was a little cheaper than the sample
patent plate upon which perfectly cleaned negatives were
taken ; but the difference in price was not sufficient to
account for marked difference in quality.

Regarding the old glasses which had been cleaned, it is
to be observed that it is difficult to prescribe a plan of
cleaning which shall be certainly efficient in all cases, inas-
much as in some samples of glass the dirt is not merely on
the surface, but in combination with it, and can only be re-
moved by the removal of the outer surface of the glass.
We have at times had striking illustration of this in opal
glass, which, after having been used and carefully cleaned,
has, on standing in the light, gradually shown traces of the
image which had been in the collodion film long since
cleaned from its surface. The silver salts in some cases
clearly enter into combination with the glass ; the salts of iron
also have a special action on the surface, the effects of which
arc difficult to remove. The best detergent we have used in
such circumstances has been nitric acid and water in equal
parts, applied with a rubberof woollen cloth or drugget rolled
up and tied tight, so as to permit the end of the roller to be
used on the glass. This, followed by rotten stone and
alcohol, has rarely failed in our hands ; but it is possible
that it may not be efficient in all cases. Perhaps in the
most obstinate cases the use of dilute hydrofluoric acid
would be the most certain cure. By the careful application
of this dilute acid the first surface of the glass will be re-
moved, leaving another polished surface underneath. The
difficulty to be guarded against is the production of an un-
even though polished surface, not equal to the perfectly
plane surface secured by the mechanical grinding and
polishing which patent plate undergoes. In using hydro-
fluoric acid its exceedingly corrosive action on the skin
should always be borne in mind.

An excellent piece of advice in regard to old glasses has
at times been given, to the effect that the best treatment to
which they can be submitted is to place them under a
hammer and destroy them. The cure is certain, but costly.
Photographers who are in the habit of using patent plate
glass in sizes of 12 by 10 and upwards naturally hesitate
before deliberately destroying plates of glass, each of which
may have cost two shillings or more. A more economical
remedy is therefore desirable.

Happily, under the worst of circumstances, a cheap, simple,
and certain remedy is at hand. Dirt was defined by the
late Lord Palmerston as “ matter in the wrong place."
This definition admirably meets the case in point. The
matter which is on the dirty gla.ss is in the wrong place
emphatically, because it possesses chemical action, and either
increases or reduces the amount of silver reduced, and so
causes an opaque or transparent mark. If it were quite

302

THE PHOTOGRAPHIC NEWS.

[June 26, 1868.

m

inert it would do little harm. The remedy, then, consists of
covering over with an inert substance the surface from
■which we cannot remove the actinic substance. A little
pure bees’-wax dissolved in ether and rubbed over the plate
has the happy effect of coating the surface with an almost
imperceptible film, which is quite inert in itself to photogra-
phic action, and effectually interposes a barrier between the
collodion film and the chemicals it contains, and the glass
surface and the active dirt which rests unseen upon or in
combination with it. Whilst no photographer will wil-
lingly work with dirty glasses, he possesses in this coating of
wax a relief from the immediate annoyance of bad plates
when perfect ones are not immediately procurable.

COLLODIO-CHLORIDE FOR PRINTING ON IVORY.

The enquiries of several recent correspondents as to a simple
method of printing on ivory have induced us to repeat some
experiments with our collodio-chloride of silver process for
that purpose. Mr. Fry published in our pages, a few years
ago, a method of silver printing on ivory, excellent in result,
but somewhat troublesome in detail. We also published,
some years ago, a method of securing good results by
means of the Wothlytjpe process. But after some experi-
ment in this direction we arrived at the conviction that there
is no method of printing upon ivory by which such good
results can be obtained with so much ease and certainty as
by the collodio-chloride of silver process.

No modification of the formula is required : a sample of
collodio-chloride which works ■well on paper or opal glass
will give admirable pictures on ivory. One condition only
is of importance : to secure the best results the collodion
should not be made of a sample of pyroxyline giving a very
horny, repellent film. The sample we have used is such as
we should choose for a negative collodion, neither very
powdery nor veiy horny. It adheres perfectly to ivory, giving
a hard surface, less easily scratched or abraded than the same
film on glass, and the appearance of the image does not
difl'er perceptibly from one on the surface of the ivory itself
without collodion intervening.

The prepared ivory is coated with collodio-chloride, and
when dry is printed, toned, and fixed in the same manner
as a picture on opal glass. The film adheres with sufficient
tenacity to render any edging of va'^nish unnecessary. A
more perfect washing to remove the hyposulphite is neces-
sary than with opal glass, because of the more absorbent
character of the ivory.

A somewhat unexpected fact may be here noted, which
may prove of service to some of your readers who may have
in hand the materials for collodio-chloride of silver appa-
rently spoiled. About twelve months ago we received from
a correspondent two bottles containing the unmixed collodio-
chloride as supplied by a manufacturer, one bottle con-
taining collodion with nitrate of silver in solution, and the
other containing collodion with a chloride in solution ; the
labels instructing that the contents should be mixed in
equal parts to form the collodio-chloride. Unfortunately,
collodion containing nitrate of silver is subject to decompo-
sition, and that forwarded to us had, after a few mouths'
keeping, turned quite brown, and our correspondent wished
to know if it were tit to be used. At the time we condemned
it as useless; but, a few weeks ago, in the course of some
experiments, wc were induced to try the mixture of the con-
tents of two bottles. The result was, of couree, a discoloured
sample of collodio-chloride of silver ; but what was our sur-
prize on examining it again, after it had stood a few hours in
the dark, to find that the dark-coloured collodio-chloride had
become perfectly milk white ! The chlorine liberated in the
decomposition had acted on the decomposed, darkened salt of
silver, converting it into pure white chloride of silver. This
fact may prove as useful to those of our correspondents who
have a decomposed sample of the nitrated collodion on hand
as it is curious and interesting.*

In our next we shall detail the results of some experi-
ments with the paper prepared with collodio-chloride of
silver manufactured commercially by Herr Obernetter, which
is used considerably, we understand, in Germany.

PERMANENT ALBUMINIZED PRINTS.

OoR attention was called a few days ago to some examples
of unusual permanence in albuminized prints. Those in
question had been printed six years, a period not unusual,
of course, for photographs to remain without fading, but,
nevertheless, a period at the expiration of which most silver
prints have generally lost their first hloom, that especial
purity of the whites and rich velvet-like depth in the blacks
which are the glories of fine silver prints. The prints in
question were printed on a distinct sample of paper, and
could each be readily picked out from a number of others
printed at the same time on other samples of paper, the
distinction being found in the fact that whilst the other
prints, without being absolutely faded, had all lost their
first freshness and beauty, and were less brilliant in the
whites and less rich in the blacks than at first, these seemed
wholly unchanged. As all had received the same treatment
and were printed at the same time, it became worth while
to enquire to what the difference was due.

The only difference consisted in the fact that the per-
manent prints were printed on a sample of albuminized
paper prepared in Germany, which was popular a few years
ago, and the use of which at the time we were strongly
tempted to condemn as, d priori, likely to yield unstable
rint-s. It was manifestly prepared with albumen which
ad undergone decomposition, and the smell was most offen-
sive. Two questions arise as to this source of permanence :
Is it possible, however unlikely, that the use of the decom-
posed albumen could in any way conduce to increased per-
manency ? or is it more probable that the permanency is
due to the special quality of the sample of paper upon
which the decomposed albumen rested? The paper was
exceedingly thin ; so much so that until the prints were
mounted on a good white board they looked poor and want-
ing in brilliancy ; and if mounted on a tinted board the
whites were somewhat degraded by the tint showing through.
The thinner the paper the more easily it is permeated by
the fixing and other solutions, and the more easily perfect
wa.shing is eftected. Possibly, therefore, the extreme thin-
ness of the paper was an element in the stability of the
prints. The subject is certainly worth examination; and,
at Mr. Blanchard’s suggestion, we bring it before our readers,
to permit the compari.son of notes on the subject. Possibly
other photographers may be able to examine prints produced
on the same paper, which was at the time somewhat exten-
sively used. It will be interesting to learn if the experi-
ence of Mr. Blanchard in this matter is confirmed by that
of other photographers.

KEEPING AND DATING COLLODION.

The cadvantages of ripe collodion, and the troubles contin-
gent upon the use of samples newly mixed, are too well
known amongst photographers to require enforcing. It is
not a little singular, however, that it is at times difficult to
procure a sample sufficiently ripe to work with desirable
vigour and brilliancy. A correspondent recently called
our attention to this fact as a ground of complaint against
manufacturers of collodion, llaving just received a parcel
from a first-class manufacturer, whose collodion he had used
some time with advantage, he found in the new sample none
of the qualities of the old. It gave a thin image, which
did not readily intensify, had a tendency to fog, with other
concomitant defects of newly-mixed colIo<Iion. On com-
plaining to the manufacturer of these defects, he received
the somewhat facetious reply that it would work capitally
in the course of a couple of years.

June 26, 1868.]

THE PHOTOGRAPHIC NEWS.

303

We have often urged upon manufacturers the importance
of appending to the labels of all samples sent out ready
salted the date at which the collodiou was mixed. This
plan would often afford the photographer data for forming
an opinion, without a series of triahs, of the probable fitness
of each sample for different kinds of work for which it may
bo required. Failing to secure such advantages as this
system of dating would give them, photographers may
materially secure their own convenience by purchasing the
plain collodiou, and cither adding the iodizing solution sup-
plied by the manufacturer, or such iodides and bromides as
their experience may induce them to select from the various
formulae we have published. A quantity so mixed, dated,
and laid down to ripen, say once in six months, would
enable the photographer to have a constant supply in uni-
form condition, instead of being subject to the fluctuations
in the age and working qualities of his collodion which
must inevitably arise when he must use to-day that which
he purchased yesterday from the mantifactnrer.

PICTORIAL EFFECT IM PHOTOGRAPHY ;

Being Lessons in

Composition and Ciiiaroscura for Photographers.

BY H. P. ROBINSON.

Chapter XXll.

•■By the choice and scenery of a background we are frequently enabled
to Judge how far a painter entered Into his subject, whether he understood
its nature, to which class it belonged, what inipre.ssion it was capable of
making, what passion it was calculated to rouse. Sometimes it ought to he
negative, entirelysubordinate, receding, or shrinking into itself; sometimes,
more positive, it act.s, invigorates, assists the subject, and claims attention.”
— Fwteti.

Backgrounds and Accessories.

In portraiture the background, often neglected and considered
as but of little moment so that it be clean and smooth, should
hold a very important place when the composition and chiar-
o.scura of the picture is considered. The backgrounds of
his portraits was thought to be of so much consequence by
Sir .loshua Reynolds that he frequently declared that what-
ever preparatory assistance he might admit in his draperies
or other parts of the figure, he always made it a point to
keep the arrangement of the scenery, the disposition and ulti-
mate finish of the background, to himself. The most carefully
manipulated portrait, exhibiting the most delicate photo-
graphy, and the most refined light and shade and composi-
tion, may be destroyed, or its beauty much impaired, by an
ill-chosen background ; or it may be efficiently aided and
supported by a proper and suitable arrangement of form
and light and shade in this important portion of the picture.

The general practice with most photographei-s, until lately,
has been to employ a perfectly plain, even-tinted background,
or badly painted representations of interiors or landscapes ;
but last year the large collection of pictures by Adam-Salo-
mon in the Paris Exhibition convinced photographers of
the extreme value of light and shade, gradation and tone,
behind the figure, to relieve some parts and to hide others, to
give breadth and concentrate attention to the principal
feature, the head. Other photographers have known the
value of this effect, and have exhibited their results, but
never so large and convincing a collection as the one I have
mentioned.

In using a plain background, without any variation of
light and shade, the photographer throws away a great
advantage. Xothing could be more antagonistic to breadth,
atmosphere, and richness — nothing could so surely secure a
flat, inlaid effect of the figure — than a plain background. It
would be difficult to find a surface without gradation in nature.
Take the plain surface of the wall of a room as a background,
and you will not find it easy to discover a sufficient space for
a background on which a shadow modifying its even tint
does not fall. The cloudless sky is marvellously gradated
from the zenith to the horizon ; and so you may go through-
out all nature till you surprise yourself with the discovery
that the only plain, blank thing in this world is a photo-

grapher’s background, on which the equal light falls from a
broad expanse of glass. Ruskin, in his “ Elements of
Drawing,” has a fine jiassage on gradation of colour, which
is equally applicable to light and shade, and, therefore, to
our subject. It is so just that I need not make any apology
for introducing it here : — “ Whenever you lay on a mass of
colour, be sure that however large it may be, or however
small, it shall be gradated. No colour exists in nature,
under ordinary circumstances, without gradation. If you
do not see this it is the fault of your inexperience ; you will
sec it in due time if you practise enough. But in general
you may sec it at once. In the birch trunk, for instance,
the rosy-grey 7tiusf be gradated by the roundness of the stem
till it meets the shaded side ; similarly, the shaded side is
gradated by reflected light. Accordingly, you must, in
every tint you lay on, make it a little paler at one part than
another, and get an even gradation between the two depths.
This is very like laying down a formal law or receipt for
you ; but you will find it merely the assertion of a natural
fact. It is not, indeed, physically iinpo.ssible to meet with
an ungradated piece of colour, but it is so supremely impro-
bable that you had better get into the habit of asking your-
self invariably, wlien you are going to copy a tint, not ‘ Is
that gradated?’ but, ‘Which way is that gradated?’ and
at least, in ninety-nine out of a hundred instances, you
will be able to answer decisively after a careful glance,
though the gradation may have been so subtile that you did
not see it at first. And it does not matter how small the
touch of colour may be, though not larger than the smallest
pin’s head, if one part of it is not darker than the rest, it is
a bad touch ; for it is not merely because the natural fact is
so that your colour should be gradated ; the precious ness and
pleasantness of the colour itself depend more on this than on
any other of its qualities, for gradation is to coloui-s just
what curvature is to lines, both being felt to be beautiful by
the pure instinct of every human mind. ♦ * * What
the difference is in mere beauty between a gradated and
ungradated colour may be seen easily by laying an even
tint of rose-colour on jiaper, and putting a rose-leaf beside it.
The victorious beauty of the rose, as compared with other
flowers, depends wholly on the delicacy and quantity of its
colour gradations, all other flowers being either less rich in
gradations, not having so many folds of leaf, or less tender,
being patched and veined instead of flushed.” Further on
he says : — “ You will not, in Turner’s largest oil pictures, per-
haps G or 7 feet long by 4 or 5 high, find one spot of colour
as large as a grain of wheat ungradated ; and you will find
in practice that brilliancy of hue and vigour of light, and
even the aspect of transparency in shade, are essentially de-
pendent on this character alone : hardness, coldness, and
opacity resulting far more from equality of colour than from
nature of colour.”

It is thus with photographs and pictures in monochrome :
an isolated mass of dark is not rich, neither is a separated space
of light brilliant ; it is opposition and gradation of the one
with the other that produces richness and brilliancy. There-
fore a plain background is the most destructive to pictorial
effect that could be placed behind a figure. A glance at the
illustrations to a recent chapter will show that one of the
effects of a plain background is to represent the figure as cut
out and stuck down on a piece of plain grey paper.

Ilaydon called the background the most hazardous part
of the picture, and a subject that required as much consi-
deration as the figures, because, be the figures ever so good,
their effect may be seriously injured by ineffective support.
There is a story told of Rubens by which it will be seen that
he also considered that to the effect of the picture the back-
ground is of the greatest importance.

A young painter being anxious to enter Rubens’ studio as
a pupil, induced an influential friend to recommend him,
who did so by infoiming the great painter that he was
already somewhat advanced in art, and would be of imme-
diate assistance to him in his backgrounds. The great
painter, smiling at his friend’s simplicity, said, that if the

304

THE PHOTOGRAPHIC NEWS,

[Junk 26, 1868.

youth was capable of paiutiug his backgrounds, he stood in
no need of further instructions ; that the regulation and
management of them required the most coinprclieusivc
knowledge of art.

It would he impossible to give definite instructions for the
management of the background, but the treatment of difler-
ent artists may be alluded to. The system adopted in most
of his pictures by Adam-Salomon, following the plan of many
of the most famous portrait painters, appears to be that the
lightest side of the figure shall be relieved by dark, and the
darkest side by light. The upper corner of the picture, on
the side from which the light comes, is intensely dark, which
is gradated diagonally across the picture into middle tint
behind the head, which is again more abruptly opposed and
carried away into dark by the acce.s-sorie.s, or is again allowed
to die away into shade.* lie also appears to appreciate the
value of a vertical line in the background to give stability to
the composition, usually obtaining it by the straight lines of
a fluted column (an objectionable accessory, in my opinion,
for reasons which I shall give in the next chapter). There
can be no doubt that these pictures of M. Adam-Salomou
are the most efl'ective portraits, containing all valuable
qualities, that have yet appeared in photography, and afl'ord
a most valuable lesson to photographers.

The backgrounds to the portraits of Sir .loshua Reynolds
are always worthy of study, whenever they can bo seen.
Some of his finest and richest pictures have a dark ground,
on which the head shines like a jewel ; many are relieved in
the manner employed by Adam-Salomon ; and it is to be
noticed that in nearly every picture in which the background
is gradated, he has introduced one or two vertical lines to
aid the composition, generally a dark line and a light one,
a mere suggestion of a pilaster. His landscape backgrounds
were always singularly appropriate and natural, although
the horizon in many instances is lower than we should feel
justified in representing it in such a truthful art as photo-
graphy. Although his practice was to relieve the darlc side
of the figure with light, and the light with dark, in his
discourses he advocates an opposite treatment, one which is
to be found in the work of Coreggio and other painters of
his school. In commenting on the precept of Leonardo da
Vinci, that the shadowed side of the figure should be re-
lieved by light. Sir Joshua says : — “ If Leonardo had lived
to see the superior splendour and effect which has been since

f)roduced by the exactly contrary conduct — by joining
ight to light and shadow to shadow — though without doubt
he would have admired it, yet, as it ought not, so probably
it would not, be the first rule with which he would have
begun his instructions."

On whichever principle the photographer arranges his
background, he must remember that it should relieve the
figure, and not produce an inlaid effect, and that it should pre-
sent with the figure an agreeable breadth of light and shade.

When will background manufacturers supply gradated
screens? They all tell you that it is impossible to produce
them. This I know to be an error. They are difficult to
paint, but 1 know from actual experience that the thing
can be done. If photographers would insist upon having
what they wanted, they would get it. They should not be
content to use anything with which the manufacturers choose
to supply them.

PHOTOGRAPHIC PRINTING IN SILVER, PIIEO-
RETICAL AND PRACTICAL.

BY W. T. BOVET.

Tosino Baths asd Tosiso Difficulties, F.Tc.f
Then, by what means do the toning methods usually em-
ployed perform the desired work? Chlorine having an
affinity for the alkaline base known as sodium, such base, in
connection with some acid, is employed.

* Ao &dmir^le and lucid dMcriplion of the studio arrangemeoU bj
which this effect is obtained appeared in the account of M. Salomon’s
studio, bj the Editor, in the pHOTOOaieBio News, January 24.
t CoQtiaaed from p. 292.

First, carbonate of soda demands attention.

When chloride of gold was first introduced into photo-
graphy as a toning agent for silver prints, it was employed
in connection with hyposulphite of soda. Of that form of
touing bath I shall have mori to say anon ; at present I
need only remark that certain defects caused the hypo hath
to be almost generally discarded in favour of the alkaline
toning solution devised by Mr. Waterhouse. In the absence
of direct evidence, I must only surmise that the use ef carhoi-
ate of soda was suggested iu this wise. It was found that
a silver print immersed in a solution of chloride of gold
mixed with a moderate quantity of water was immediately
rendered unsightly by the over-active chlorine, and free acid
was suspected of evil doing. To curb the acid, carbonate of
soda was introduced, when it was perceived that the action
became more steady aud regular, and pleasing tones re-
sulted. Hence it was put down as a matter of certainty that
to secure good tones the solution must be in a decidedly
alkaline condition. Unlucky decision ! — false, yet not un-
reasonable— drawn iu days of inexperience. And bitter
have proved the fruits of that unfortunate concoction of gold
and alakalinity so imported.

To collect clear water from a mud-stained stream the taint
must needs be removed by some process of filtration. In like
manner, by the exercise of reasoning, I shall endeavour
to filter out the obscurity connected with the unsatisfactory
soda methods of toning, and lay bare the principles which
need only be clearly understood to make toning difficulties
a thing of the past. From the fact of a concentrated
chloride of gold solution (without an alkaline adjunct)
proving too powerful for toning purposes we learn that
the silver print exercises a disturbing influence which
decomposes the gold combination when the print is exposed
to its power; in other words, the prints, when immersed in a
gold bath, attract and separate chlorine. By observing
this fact we rid ourselves of the erroneous yet prevailing
notion that carbonate of soda has anything to do with
setting up touiug action. The part played by the alkaline
adjunct isclearly a retarding, not an initiating or accelerating,
influence. Accept this argument, aud I proceed to argue the
whole matter iu plainer detail.

The chloride of gold of commerce consists of gold in
combination with chlorine aud free acid. In that state it is
supposed to be quite nusuited for toning purposes ; recourse
is therefore had to (first) carbonate of soda. When this
alkaline substance is added to the gold, the free acid is
neutralised, and chloride of sodium is formed, whilst car-
bonic acid is set free. Now if the quantity of the carbonate
of soda added is so nicely adjusted as to destroy the free
acid and leave no excess of soda, we have a carbonate of
soda bath in its best form, so that on introducing the silver
prints into the solution they directly withdraw the chlorine
from the gold, aud the metal is deposited on the surface of
the paper.

But " prints so treated turn up bleached and fearfully
mealy,” suggests experieucc. Granted ; but the solutions
misguided experience has been from the first in the habit
of using are too concentrated — too strong by many de-
grees. Dilution would remedy the evil. " Then why
not do away with soda altogether, aud destroy the evil
tendencies of the acid as well, by drowning it with a
still greater supply of water?" Just what 1 am aiming
after. Wo shall succeed, doubtless, by-and-by ; at present I
have to show the result of decided alkalinity, produced by
an excessive quantity of carbonate of soda. W hen a quan-
tity of soda is added to a gold solution above that requisite
for neutralizing the free acid, a second force is introduced,
which battles for precedence with the attraction exerted by
the silver surfaces of the paper. Silver has a desire to
embrace the chlorine ; so has the soda, which, however, enjoys
a better chance by prior combination, as the soda must be
added to the touing bath before the prints can be admitted.
Between these opposing forces a kind of equilibrium is for
some time preservetl, until sotla finally gains the day, and

JuNB 26, 1868.]

THE PHOTOGRAPHIC NEWS.

•S05

the bottom of the dish enjoys the precipitate of gold in-
tended for the beautifying of the prints. Condensing these
arguments into their narrowest compass, we learn —

1st. That alkalinity is an error that should give place to
a more comprehensive and practical measure — which may be
understood as a neutral condition.

2nd. That as two samples of chloride of gold rarely con-
tain the same amount of free acid, any strict formula is
altogether an error on which no reliance should be placed.

3rd. Seeing that a strictly neutral bath is a difficult thing
to manufacture, any method that would enable the gold to
be employed without the uncertain aid of an alkaline ad-
junct would prove a boon to photographers generally. To
a feeble extent this want is provided by acetate of soda, to
which substance I now direct attention.

Acetate of soda, as is pretty generally known, possesses
the same kind of base as the carbonate of soda ; but instead
of the unstable carbonic aqid, it is combined with the
stronger acid from which it takes its name. That the
more stable acetic acid cannot be so easily dislodged as the
carbonic acid is made self-evident ; that such is a practical
fact is proved by the behaviour of an acetate toning bath.
All who have had occasion to use the acetate bath must
have observed that, when newly prepared, the action of the
chlorine is as violent as a gold solution without any res-
training adjunct. That goes to prove the argument I adopt ;
viz., that decomposition, which occurs in the acetate bath, does
not commence at once if the acetate of soda is pure, but
requires time to enable the chlorine to dislodge the acetic
acid, also for the free acid to be neutralized ; hence the
reason why it is recommended that an acetate bath be kept
a few days previous to its being employed for toning pur-
poses. The principles of the acetate bath, as far as theory
goes, are correct; but in practice, the elements of uncer-
tainty are found to prevail ; ofttimes, in lieuot the gold being
preserved in a fit state for toning, it is found precipitated at .
the bottom of the bottle. The premature decomposition |
referred to I have discovered is often occasioned by car-
bonate of soda being present in considerable quantity with
the acetate of soda, but under the most favourable circum-
stances, I am inclined to think that a toning bath of any
description, which needs the ripening process of keeping,
must prove more or less uncertain in its working qualities.
It is advised, that when the bath of which we are speaking
is found to be inert, a little fresh chloride of gold should be
added, which, by the catalytical action it possesses, causes
the gold rendered inactive to be restored to toning vitality.

I have directed much attention to this point, and am of the
opinion that the only gold precipitated on the print is the
quantity freshly added, as I have invariably found that the
toning action is stopped, after a brief interval, as suddenly
as it commenced. Once more indulging in a brief sum-
mary, we may reckon up the acetate bath as follows : —

1st. An acetate bath is unfit for use when freshly prepared.

2nd. The keeping requisite to rob the gold of its bleachipg
power, though theoretically correct, proves in practice un-
certain, and frequently the results obtained are unsatisfactory.

3rd. As the acetate of soda of commerce is found to vary
in purity, this of itself is reason sufficient that a toning
solution yielding precisely similar tones without any un-
certainty about it would be the summum boiium of a photo-
grapher’s aspirations in the direction of silver printing.

4th. Whether pure or impure, the acetate and gold com-
bination has proved the greatest enemy to the paper albu-
minizers, whose preparations are, as a rule, accredited with
all the defects which must attend the use ot toning solu-
tions whose constitution is, after all, of a decidedly empirical
character.

Much has been said and written concerning the admirable
tones produced by an acetate bath, and the virtue is sup-
posed in some way to arise from the acetate of soda. The
facts, however, are widely at variance with the supposition,
as we shall endeavour to show in another brief summary.
The tone of a picture depends,

1st. On the amount of reduced silver that forms the
ground work.

2nd. On the integrity of the ground work being pre-
served from the reducing influence of liberated chlorine.

3rd. The tone produced by the toning solution must
depend — 1st, on the colour of the basement ; 2nd, on the
amount of gold precipitated.

This last division points out the nature of the excellencies
attributed to the acetate bath, which makes it a popular and
fashionable photographic agent, adopted, as a rule, in pre-
ference to any other form of toning solution. It must have
been observed that a brilliant tone is only of occasional
attainment with any kind of toning bath now in use. A
brief study of the subject will expose the reason why. 1
have endeavoureil to show the results obtained from aii
acetate bath in the two extremes of conditions, viz., in the
unset, over-activity ; in a prolonged keeping stage, inertness.
Now it will be noticed that an acetate bath prepared with
suitable materials must be in the best working condition
when it approaches the intermediate stage ; neither too fast
nor too slow. When used in this state of happy medium
(difficult to attain and know the exact moment) the gold is
precipitated in a fine state of subdivision. The stratum of
silver is not reduced, and its warm colour gives life to the
tone produced by the deposit of gold.

Were it possible to concoct such a satisfactory acetate
bath at will, I had been saved the labour attending the
preparation of this article. Its not being so will perhaps
induce photographers to overlook the simplicity of the bath
I have devised, and now proceed to explain — first asking
I exemption from the task of examining the phosphate of
i soda, the tungstate of soda, magnesia, and other toning
I baths of the same nature, as the main points I have dwelt
] on are precisely similar to the principles I have traced in
I each of the solutions last referred to. The hypo and sulpho-
' cyanide toning solutions are, however, exceptions. First,
they waste any amount of gold ; second, they yield a tone
quite dift'erent from the ordinary tones derived from a pre-
cipitate of gold ; the modification I regard as no permanent
advantage, as I believe it to arise from sulphur deposit, not
from any change in the precipitate of gold. Let the case
rest as it may ; uncertainty is also the characleristic of the
solutions last named. Mix it as you may ; make it even
more empirical than the absurdly constructed formulas
which have of late been highly recommended, it will prove
a sorr}' servant ; so my advice is, do not try it. I will now to
my method, the excellence of the results of which, I can
assure the reader, is equal to the simplicity.

U.se the orange coloured sample of gold, which is a
double salt, consisting of chloride of gold and sodium ;
pay special attention to this, or do not blame me on account
of your failures.

Keep your gold in concentrated solution.

Chloride of gold I grain

Water I drachm

I have already shown that gold requires no acceleration ;
the adjuncts employed serve as retarders. Then, in lieu of
employing uncertain alkaline agents, we make use of the more
stable substance known as water. When a physician desires
to administer an active poison as a medicine to his patient,
he adopts an infinitesimal quantity of the poison, which he
rids of its destroying properties by diffusing it through a
comparatively large body of water ; I embrace a similar
principle in the construction of my toning bath, which I
prepare as follows : —

1st. Measure out 2 gallons of water (rain or river water
if at hand ; well water should be previously boiled).

2nd. Measure into a jug (porcelain) 12 grains of gold,
add about I grain of fine table salt, and pour over the whole
1^ pints of boiling water-, allow this to stand awhile, until
lukewarm ; then add to the 2 gallons of water previously
measured out. Your bath is made, and ready for use. Go
to work.

306

THE PHOTOHKAPHIC NEWS.

[JtJNK 26, 1868.

How ridiculously simple ! Never can work. Now if there
was only an addition ot some substance that costs a guinea
a grain, it might answer ; but as it stands — pshaw !

Stop, friend ; I have not e.\plaiued all the wonders con-
nected with this— in my hands — unerring toning solution.

1st. It improves with age. It must after each day’s work
be returned to a jar, and strengthened always before use by
adding gold and a minute trace of salt treated with boiling
water as at first. The quantity of gold required is, however,
widely dift'erent.

To keep at working strength, measure out I grains of
gold, add a minute trace of fine salt, pour over it about
half a pint of boiling water ; allow it to stand a bit, add the
gold mixture thus prepared to the toning bath, and if you
have a batch of ten, twenty, or thirty sheets, place the prints
quickly, one by one and face downwards, into the solution.
Tone all at one time, remember. Do not hurry yourself; the
toning will be regular, and the tones should turn out satis-
factorily.

To preserve the solution in good condition I add dally
about a pint of plain water, which renders ihe bath, like
Paddy’s nether garment, indestructible, although it is being
continually renewed after an imperceptible fashion.

The quantities above stated will, perhaps, prove too great
for amateurs and photographers with a small business ; they
may commence with I gallon, but, in strengthening after-
wards, the proportionate amount of reduction in the amount
of gold used must not be made. For 2 grains of gold ^ gallon
only of the stock solution must be employed.

In concluding this lengthened article 1 do not promise
success invariable to those who neglect principles ; nor can
I hold out hopes of a freedom from failure being secured
by the inexperienced. I have been closely engaged
in photographic printing for years ; to that branch of
photography I have applied my whole mental powers;
yet a week never parses over my head but I observe
and note something new. If my mountain seems to
some to have produced only a mouse, I would have them
remember that little things are only neglected by very
little minds. I have seen a cloud no bigger than a man’s
hand rise from beneath the horizon ; I have watched that
cloud, and have seen it extend and cover the heavens. A
brief instant, and the shrieking blast swept o’er the face of
the waters, whose placid surface was at once transformed
into crested ridges and threatening gulfs; yet all this wild
tumult commenced with a small cloud as described. I must
now conclude ; and my next I purpose devoting to a further
consideration of the principles connected with my toning
bath, a knowledge of which will tend to secure uniformity of
success, considerations which must be regarded as aids to
experience. Meantime I shall be glad to receive all en-
quiries and particulars of experience from those who desire
further information. The replies I propose embodying in a
special paper devoted to any correspondence I may receive.

PHOTO-ZINCOGRAPHY IN PRACTICE.*

BY J. WATERHOUSE, K.A.

The Preparatio:* op Transfers in Greasy Ink.

The object in this part of the process is to obtain a posi-
tive image in greasy ink on paper, which may be transferred
to a zinc plate or lithographic stone, and printed olV in the
ordinary way.

The rationale of carbon processes in general is now well
known, and depends on the property pos.sessed by the
alkaline bichromates of renderinggelatine, gum, albumen, &c.,
insoluble under the influence of light. If we coat a piece of
paper with a mixture of bichromate and gelatine to which
some pigment has been added, and expose it to light under
a negative, we shall find on washing it in water that the
parts acted on by light have remained insoluble, forming a

* Uontinued from p. 295,

positive image in pigment, while the unexposed parts, which
retained their solubility, have been washed away, leaving
the paper jierfeetly clear. The eft'ect is the same if the
paper be coated after exposure with a thin layer of greasy
ink, and then washed ; and this simple fact is the founda-
tion of all the photo-lithographic processes.

The first thing to consider is the paper, the quality of
which is of importance. The paper found to answer best
for this process is that known as bank post ; it is made from
linen, and, being hard and tough, stands the washing well.
A medium thickness should be chosen ; if it is too thin it is
liable to tear, and if too thick, too much of the solution is
absorbed. If bank post paper cannot be obtained, ordinary
Rive paper will answer.

Preparation op the Sensitive Paper.

There are two ways of preparing the sensitive paper :
either by floating it on a warm mixture of bichromate of
potash and gelatine, or by immersing paper previoasly
coated with gelatine in a cold solution of bichromate of
potash.

I prefer the latter plan, especially for amateurs. A quantity
of the paper may be prepared with gelatine at any time, and
one operation only is required for the sensitizing, which
may be doue in the eveuing, and the paper will be found
dry and tit for use in the morning.

The proportions of tlie bichromate and gelatine are influ-
enced by several considerations. The bichromate should
not be more than sufficient to render the gelatine wholly
insoluble under the influence of light ; excess of bichromate
produces crystallization on the surface of the paper, and
rapidly causes the spontaneous decomposition of the gelatine
without the aid of light. In India, so rapid was the decom-
position under the combined influence of great heat and
moisture, that the proportion of bichromate was sometimes
reduced so low as 3 drachms to 40 ounces of the gelatine
mixture, but with a corresponding loss of sensitiveness.

The coating of gelatine must not be too thick, or the finer
lines will not be impressed through the coating, and will be
washed away in the after operations, and when damping
the transfers before transferring to zinc, it will be found
that the gelatine under the lines will soften by absorbing
too much moisture, and will be liable to spread on the plate.
On the other hand, the coating must not be too thin ;
otherwise, when the paper is inked in the press, the ink will
be forced into the substance of the paper, and the ground
will be irremediably stained. I have obtained sharper
results by using a moderate thickness of gelatine than with
a thin coating. 'Ihe qualify of the gelatine is important.
The ordinary cooking gelatine is not suitable; Nelson’s
patent fine cut is the best, 'i'he French gelatine, sold in
thin transparent sheets, will answer, and so will the sub-
stance sold under the namj of Russian glue, at a much less
price than gelatine.

For the preparation of the paper, a metal hot water dish
will be found useful. It should be similar in form to the
trays used for waxing paper in the days of the waxed paper
process. The upper tray should be made of zinc or enam-
elled iron, and should fit into a metal box one inch larger
every w-ay, supported on iron legs, so that heat might be
applied by means of a spirit lamp or gas jet, &c., so as to
keep the temperature of the solution at about 100®.

I will now describe the details of both methods of sensi-
tizing. The proportions given below will be found to
answer well for general purposes.

The formula for the mi.xed sensitizing solution is, —
Bichromate potash ... ... ... 2 ounces

Nelson’s gelatine ... ... ... 3 ,,

Water 50 „

The bichromate is dissolved in 10 ounces of hot water and
added to the gelatine dissolved in 40 ounces of water ; the
mixture is then strained through flannel into a flat dish
placed in another containing warm water. The paper is care-

JoNE 2t), 1868.]

THE PHOTOGRAPHIC NEWS.

307

fully laid on the solution so as to avoid bubbles, and allowed
to remain about three minutes ; it is then hung up to dry
When dry it is floated again, taking care to hang it up by
the end which was lowest before ; this is necessary to secure
an even coating of the proper thickness.

The paper is then passed through a copper-plate press,
to make the surface perfectly smooth. All these operations
must be conducted in a dark room.

In the separate method the paper is coated in the same
manner witu two coats of

Gelatine 3 ounces

Water ... ... ... ... ... 50 ,,

passed through the press, and put away in a dry place. To
sensitize it, it is immersed for one minute in a cold solution
of 1 ounce bichromate of potash in 12 ounces of water; it is
again pressed, and is ready for use.

The paper prepared by either method will not keep good
very long. It is better not to use it quite fresh, but about
a day old ; in dry, cold weather, it will keep for a month,
but it can seldom be relied on after a week, and in very hot
damp weather must be used almost as soon as prepared.

The sensitizing must be carried on in a dark room, and
the paper must bo carefully kept from the influence of light,
as it is far more sensitive than the oriliuary silver paper.

E.\posuhk to Liout undeii the Neu.vtive.

This is an important part of the process, and one in which
experience alone can be a sure guide. With very sensitive
paper and a peifect negative, in strong sunshine, from
20 seconds to a minute will be found enough. In dull
weather, or with bad negatives, the time may be increased
to ten minutes or a quarter of an hour, or longer, but is in
all cases much less than could be required by a silver print.
The conditions affecting the exposure are, the amount of
bichromate in the paper (the sensitiveness being increased
by the addition of bichromate), the chemical intensity of
the light, and the quality of the negative. If a negative
is denser in some parts than otheis, the clear parts may be
covered over, while longer exposure is given to the rest.
The only rule I can give for exposure is to print till the
fine lines aie visible. The colour of the lines is the best
guide : they should appear of a dark reddish brown on
a bright yellow ground. During the exposure, care must
be taken not to expose the ground of the prints to light
when examining them. The next stage is the

Inking of the Print,

The prints have now to receive a coating of greasy ink.
The composition of the ink is important. It must not be
too soft, or it will clog the sponge when washing it off, and
it will be very difficult to obtain fine, clean lines. If the
ink is too tough, some difiiculty will be experienced in
clearing it off the ground, especially if the paper has been
kept for some days. I have found the ordinary retransfer
ink answer very well.

The following is the formula for the ink used at South-
ampton, and the mode of preparing it : —

Litho printing ink ... ... 8 ounces

Middle varnish
Burgundy pitch
Palm oil ...
Wax

Bitumen ...

i ounce

I ..

1 ..

To prepare it, grind the ink and varnish well together with
a muller on a stone slab. Melt the Burgundy pitch in an
iron pot over a clear fire till the water is driven oft’, then
add, by degrees, the wax, in small pieces ; when that is melted
add the palm oil, and stir well together with a spatula ;
when they are well melted, light a piece of paper and try if
the vapour will catch fire ; if it does, it shows that the heat is
sufficient to melt the asphaltum, which is then added in fine
powder. It is afterwards set fire to again. Now add the

ink, little hy little, and well mix it. The saucepan is then
taken off the fire, and, when cooled, pour out the contents, and
well mix them on the slab with a muller, taking small quan-
tities at a time. It should then be put away in tins. Ink
for half tones is heated more, so as to make it a little harder ;
the ingredients remain the same. If the ink should harden
in time, the addition of a little palm oil will be found to
improve it.

When about to ink the prints a quantity of the ink is
taken and melted with sufficient turpentine to give it the
consistency of honey. This is well worked on the inking
stone with the roller, and an even coat of it is spread on a
polished litho stone or polished zinc plate. The prints are
laid face downwards on the inked surface, a sheet of paper is
placed over them, and they are passed through the press
with a lighter pressure than is used for printing. After
being pas.sed through once the prints are examined, and if
the coating appears perfect they are removed ; if not, they are
taken off', turned end for end, and laid down again ; if
necessary the plate should be rolled in with ink again ; they
are then passed thiough the press, and when again examined
should have a perfect coat of ink through which the detail
of the subject is faintly visible. Care must bo taken not to
allow the ink to stain the back of the prints; the paper
covering them must be changed as often as necessary. This
mode of inking the prints is the most cleanly and con-
venient, but there are other modes which in some cases may
be preferable, especially if the work is fine and the coat of
gelatine thin. The best of these methods is to apply the
ink with a piece of sponge. A tolerably even coating can
be given in this way. The ink may also be applied with a
small hand-roller. The print is pinned down, face upwards,
on a board covered with paper, and the ink applied with the
roller till an even coating is obtained. By whatever mode
the print is inked the object is to get a thin, even coating of
ink, and it must be borne in mind that the thinner and
closer the lines the thinner the coat of ink should be.
The amount of ink on the print should not be in exce.ss, or
ekse there will bo a tendency for the lines to spread under
the press.

This operation must be carried on in a dark room.

Development of the Transfers.

The transfers, having been inked, are taken into a dark
room, and floated on the surface of water at about 90° ; it
should not be warmer. They are allowed to remain till the
unaltered gelatine is softened and the detail becomes clearly
visible in intaglio. They are then taken oft’ the water and
laid on a sloping plate of glass in another tray ; warm water
is poured over them, and the soluble gelatine is gently re-
moved by rubbing with a very soft sponge. There is no
necessity to clean the transfers entirely at this stage, but
when most of the ink has been removed they are placed in
a dish of warmer water and allowed to soak for an hour or
sc, and then washed again with the sponge very gently till
they are clear ; this may be done by daylight. If the paper
has been kept for some time, or has become decomposed from
any other cause, the ink will not leave the ground of the

Erint ; in this case the transfer may he left in soak for some
ours, or till the next morning, and then washed in hot
water, which will generally remove the ink ; but if it does not
do so it is better to throw the prints away and try again
with fresher paper. In washing the transfere, care must be
taken to keep the sponge full of water, so as to ensure a con-
stant flow of water over the surface of the print, to wash oft
the ink as it becomes disengaged ; if allowed to rest on the
paper after the gelatine has been removed it is liable to
stain. When the transfeis are perfectly clean they are
finally washed, front and back, in a dish of clean, cold water,
and hung up to dry.

They are now ready for transfer to stone or zinc, but it is
better to keep them twenty-four hours before they are trans-
ferred.

(Tb be cor\tinued.)

308

THE PHOTOGRAPHIC NEWS.

[Junk 26, 1868.

REMARKS UPON THE CARBON PROCESS
A» Practised in the Photoorapuic Laboratory of the
Royal Industrial College at Berlin.

BY DR. H. VOGEL.*

I. — Recent Experiments in Carbon Vrintimj.

Some time since I communicated the fact that I had been
enabled to dispense with the use of gelatine in transfen-ing
carbon prints.f At the time I made known this modifica-
tion of the process, I myself had some doubt of its practical
value, so incredible did the results appear ; but after eight
weeks of continued experiment, during which time several
hundreds of pictures have been produced and transferred
without the aid of gelatine, the importance of this innova-
tion in the method has been fully established. The dis-
agreeable operations of preparing, filtering, and applying
the gelatine solution, as likewise the delay involved by
allowing the same to dry, the risk of the formation of air-
bubbles in the solution, and the difficulty of re-dissolving,
are some of the time-taking operations which are thus
avoided. On two occasions only did I experience a difficulty
in removing the picture, after treatment with benzole some
ortionsof the prints remaining attached to the india-rubber,
n one of these instances I subsequently removed the picture
by means of rubbing both sides well with benzole; but in
the other I was not so successful, inasmuch as a portion of
the print became torn during the operation of dissolving off
the rubber. To obviate a recurrence of this difficulty, 1 dis-
continued the operation of dissolving, and placed a number
of the prints in a dish undiu- a piece of plate glass, pouring
over them a quantity of benzol, and allowing them to
become perfectly saturated with the same. The evaporation
of the benzole was prevented by placing the vessel contain-
ing it into another larger dish, in which a certain quantity
of water had been poured, and then covering over the prints
with an inverted shell which dipped down into the water.
After remaining immersed in the benzole for ten minutes, the
pictures were dissolved off with the greatest case. Recourse
to this mode of proceeding need, of course, only be made
when it is found impossible to dissolve away the india-rubber
in the ordinary manner ; but, in any case, very little benzole
is expended in the operation.

The reason of this occasional difficulty in removing the
pictures lies in the quality of the india-rubber sheet and
solution employed. It is not every description of rubber,
even if it dissolves entirely in benzole, that is suitable for use,
and it becomes therefore the duty of dealers in photo-
graphic requisites to obtain a material of requisite quality.
If the rubber sheet and solution employed is of the proper
kind, it is necessary merely to moisten the side of the
rubber sheet with benzol in order to bring about a perfect
separation.

Another great advantage of the non-employment of gela-
tine is the guarantee it affords of the security with which
the rolling-press may be used. When employing the method
of transferring with gelatine I frequently had misfortunes
with the roller, the pictures being crushed and thus rendered
blurred and even quite worthless, and it was for this reason
that I had recourse, like Mr. Cherrill, to the screw-press.
But without gelatine, manipulation with the rolling-press
answers admirably ; nor is there the slightest risk of accident
to be feared from its use ; it is necessary, however, that the
roller should bo well fitted and perfect in every respect.
The following will be found the most successful manner to
manipulate : — On the steel plate I place a smooth piece of
four-sheet cardboard, and upon this a square of cloth or
felt ; the white transfer paper, which has been immersed in
water for about a minute and then quickly dried upon
blotting-paper, is placed, together with the developed india-
lubber picture, between the cardboard and the felt, and run
through the machine. One single rolling operation is suf-
ficient, but the india-rubber picture should be pressed by

* Photoffraphitcht UHthtilungtn,

t See page 200,

hand evenly down upon the transfer paper before the piece
of felt is placed over it and the operation of rolling takes
place. For small pictures the screw-press is more convenient ;
the rolled pictures dry very rapidly, and may be treated with
the tanning solution (chrome alum 1 part to water 300 parts)
within half an hour of their being pressed. Instead of
coating the picture with the alum solution, it is better to
immerse it bodily into the liquid for a period of one minute,
and then to allow it to dry in a temperature of about 15°
Ri-aumur. In an hour the prints are ready for the application
of benzol.

One more advantage secured by the abandonment of gela-
tine in transferring yet remains to be mentioned. It is the
possibility of being able to preserve the India rubber dis-
solved from the prints, and to utilize it a second time.

II. — The Carbon Process without the use of India-rubber.

In the last number of the Mittheilungen I mentioned that
I had been enabled to produce carbon prints with only one
transferring operation, dispensing thereby with the employ-
ment of India rubber tissue. Expeiiments in this direction
have likewise been made by M. Marion, of Paris; but that
gentleman employs not ordinary paper upon which to trans-
fer his pictures, but albuminized paper, such as was suggested
some tour years ago by Henderaon for the same purpose.

M. Marion’s mode of proceeding is to lay the exposed
carbon print in cold water, changing the latter frequently
until the whole of the chromate has been discharged, and
thus to bring out the image in relief. A sheet of albumin-
ized paper is then floated upon water (face uppermost), the
' carbon print is placed upon it, and both removed from the
water at the same time, and pressed. A large number of
prints may be placed one upon the other in this fashion, and
the whole pressed in one operation. After being under
pressure for about two hours the pictures are hung up to drv,
and afterwards placed in a hermetically closed vessel, where
they are exposed to the action of steam. By this means the
albumen becomes coagulated, and there remains nothing
further to be done than to develop the prints more fully, and
to wash them in warm water, the picture, of course, remain-
ing firmly attached to the albuminized paper. The image
is, however, reversed.

Although the albumen is unncce-ssary as a cementing
material, 1 was of opinion that, on account of the homo-
geneous and brilliant surface which it presents, its employ-
ment presented many advantages over ordinary paper. For
this reason I instituted a trial of this transferring process
with albumen, although I went to work on a different plan
from that pursued by M. Marion. The albuminized sheets
were first coagulated and immersed in water, then blotted
upon filtering-paper, and passed through the roller, together
with a dry carbon print, in the same manner as when mani-
pulating with ordinary paper ; after drying for about an
hour, the pictures were placed in cold water for a like period
to develop, and sub.sequently in warm water. The pictures
developed well, and with fewer air-bubbles than when ordin-
ary paper was used. They possessed a certain amount of
brilliancy, and had somewhat the appearance of silver prints
upon albuminized paper, but they did not possess the
beautiful glossy black tones presented by carbon prints
produced in the ordinary way, and the whites were certainly
less pure than those of prints transferred upon ordinary
paper. At the same time, the pictures on albuminized paper
exhibited less tendency to tear than the others.

The transfer process is always best conducted (if either
albuminized or ordinary paper is used) by having the trans-
fer paper of somewhat smaller dimensions than the carbon
print, so that the latter may overlap on all sides to
the extent of a quarter of an inch. *I likewise essayed the
transfer of the exposed carbon tissue, after saturation m
water, to dry coagulated albuminized paper, but found it
difficult in this case to avoid creases in the picture, a diffi-
culty, however, which is overcome by previously moistening
the albuminized paper.

JcNE 26, 1868. J

THL' PHOTOGRAPHIC NEWS.

309

MAGNIFIED PHOTOGRAPHIC PICTURES*

If it were possible to take a photograph, say of the moon,
and then to take a second one of a portion of the first, and
of the same size as the first, and to repeat the process as
often as required, a picture might at last be obtained that
would show the minute details in the structure of that
body ; and in the same way the minutest details in the
structure of other bodies, now beyond the reach of the most
powerful microscopes, might be shown and examined at
leisure. In the present state of science it is not possible
to accomplish this, for several reasons.

First, the photographic picture is painted by the depositof
metallic silver, which, in a minute state of subdivision,
gives a general grey tone to the picture when it is not mag-
nified ; but when the entire picture, or a small portion of it,
is inspected by means of lenses, the white lustre of the
silver appears more and more plainly as lenses of higher
power are used, and the picture assumes a frosted and
crystalline appesrance, which obscures the finer details be-
yond a ceitain limit. The limit is reached by a lens of
quite low power, and photograpic pictures when viewed in
stereoscopes show more or less of the silvery frosted-looking
surface texture. To obviate this difficulty a substance
must be discovered as sensitive to light as the salts of silver
now in general use for photographic purposes, and that will
in its decomposition leave a perfectly amorphous coating
upon the paper, where the light acts, and in proportion to
the strength of its action, from the lightest grey tint to the
deepest black.

A second difficulty is the roughness of all surfaces upon
which pictures can at present be taken. If we attempt to
magnify a photograph, all the roughness of the paper or
collodion which is imperceptible to unaided vision becomes
apparent, and mingles its own images with that of the finer
details in such a way as to make complete confusion. The
remedy is the discovery of new materials capable of receiv-
ing a polish so fine as to show a perfectly smooth surface
under the highest magnifying powers.

The third and the greatest difficulty is the fact that in
enlarging small pictures the amount of light reflocted by
them is constantly diminished, each picture becoming more
indistinct than the one of which it is a copy, until finally
the original image is completely extinguished. Formid-
able as this difficulty appears, it is within the range of
possibility that it may be completely overcome. The re-
inforcement of the galvanic current obviates a similar diffi-
culty which at one time thieateued to interfere greatly with
telegraphic communication. The reinforcement of a sound
can make it audible through a large space where it ap-
parently had totally ceased to exist. It remains to discover
a means for the reinforcement of light. We believe that in
time to come all the obstacles we have mentioned will be
surmounted, and the photographic art will become the
means of revealing the yet hidden mysteries of nature’s
grand laboratory.

Another difficulty, that relating to the imperfection of
lenses, we will hereafter discuss.

PRINTING BY DEVELOPMENT.f

Ths paper is made to float upon the sensitizing bath for the
space of three minutes, and is then allowed to dry. While
yet damp it is exposed under a varnished negative, or upon
the screen of the solar camera, for a few seconds. No image
whatever should be visible, but in dull weather, with feeble
lighting, an exposure of half a minute is necessary. The
picture is developed by pouring over it, in the manner already
indicated, a saturated solution of gallic acid containing about
one-third of its volume of aceto-nitrate of silver. If the
development is of long duration, then the exposure has been
too limited ; or if, on the other hand, the picture appears

• Scitntific American.
t Continued from p. 115. _

very rapidly, the image has been over-exposed. When all
the details of the picture are distinctly visible, it is plunged
into water and carefully washed to eliminate all trace of
gallic acid, and it is then put into a solution of hyposulphite
of soda prepared as follows : —

H)'posulphite of soda CO grammes

Water 300 cub. cents.

Chloride of gold 0- 13 grammes.

If the exposure has been of sufficiently long duration, the
aspect of the print will not change materially when treated
in the hyposulphite bath ; but if the exposure has been in-
adequate, the dark portions of the picture will change to a
pale red colour. Sometimes it will happen that the tone
of the shadows does not darken sufficiently in the developing
bath, owing to the gallic acid not containing enough aceto-
nitrate of silver, and it is therefore best to add a small
quantity of the latter material, by degrees, during the pro-
cess of development, whenever it is found that there is an
absence of vigour in the print. The addition of chloride
of gold may be dispensed with in the fixing bath if the
pictures tone sufficiently black in the hyposulphite alone.

Method of Sensitizing Ig means of Nitrate of Uranium
(Niepce de St. Victor’s method).

The paper used in this process should be kept in the dark,
or, at any rate, well screened from light, some time previously
to its preparation. It is sensitized by floating upon a solu-
tion prepared as follows: —

Sensitizing Bath.

Nitrate of uranium 30 grammes

Distilled water 160 cub. cents.

After remaining in contact with this liquid tor three
minutes, the paper is removed, drained, and hung up to dry.
Thus prepared, it may be kept for a considerable period, if
carefully protected from the action of light, 'i'he time of
exposure under a negative varies, of course, with the intensity
of the light at the time being, but may be estimated at
between one to ten minutes in the sun, and a quarter of an
hour to an hour in weak diffused light. The image is
slightly visible after exposure, and is developed with the
following : —

Developer — Formula No. 1.

Nitrate of silver 4 grammes

Acetic acid 1 or 2 drops

Distilled w’ater 60 cub. cents.

The development is very rapid, the image coming out in all
its vigour very soon after its immersion in the bath. When
it has been sufficiently developed, it is immersed in cold
water, washed, and afterwards fixed.

Formula No. 2.

Chloride of gold 0'65 grammes

Hydrochloric acid 1 drop

Distilled water 365 cub. cents.

PHOTOGRAPHS OF THE MOON.

Sir, — detailed description, with illustrations, has recently
been published by the Engineer of Mr. Warren de la Rue’s
apparatus, machinery, and method of procedure in obtaining
photographs of the moon and other celestial bodies. This
description, with the diagrams, has been reproduced by some
photographic journalists ; and I take the liberty of begging to
be allowed to call attention to one part of the narrative which
affects myself, and, as I apprehend, does me rather scant justice.
It is known that in the }ear 1858 I produced a stereoscopic
transparency of the moon, published by Messrs. Horne and
Thornthwaite. I devoted nearly three years to the production
of lunar photography, and was, I believe, the only one besides
Mr. De la Rue who produced, either privately or on a commer-
cial scale, a stereoscopic transparent combination, enlarged
I from the original negatives (of -786 in diameter), and which
were truly and absolutely stereoscopic from the libratory angle
at which each picture was taken. I think, then, it scarcely does
justice to the time T devoted, or the success I am acknowledged

310

THE PHOTOGRAPHIC NEWS.

[Jdne 26, 1868.

to have achieved, to read that, “ after 1854 more or leas has
been done in astronomical photography by Messrs. Harinup,
J. A. Forrest, Mclmres. Crookes, Fry, Huggins, W. Allan
Millar, and Padre Secchi.” True, it may be thought to be suffi-
cient honour to bo classed at all with names of men several of
whom are of European celebrity ; but although there are large
numbers of your readers who would not fall into error on the
matter, still some might bo misled, and for that reason I beg
the use of your widely-extended columns on the matter.

There is, of course, a very wide difference between actual
stereoscopic coincidence and mere lenticular rotundity. If two
exactly identical pictures are placed in an adjusting stereoscope,
many persons really believe they are stereoscopic, and on this
principle a lunar combination on paper was issued. I had
means of knowing that the person who produced it only had
access to the Observatory a few consecutive days, and when
such was the position of the satellite that a true combination
would have been impossible. In the case of the picture I pub-
lished, the whole result was anticipated by careful astronomical
calculation : about thirteen months intervened between the
taking of the two pictures which coalesced, and 1 had prog-
nosticated the very hour when success would be achieved, if
only the atmosphere permitted. Every available spot in the
Observatory and adjoining apartments were filled at the ap-
pointed time by scientific men. many of whom came a long dis-
tance to be present ; and wlien at 3-25 in the morning a
picture was obtained, having in every detail the most complete
coalescence with the first taken, I was congratulated on all
sides.

Sir, every man has in the course of his life certain occur-
rences the reminiscences of which are pleasant, and over whose
details he warms up in after years, just as did the old soldier
vhen he “ shouldered his crutch and showed how fields were
won.” I am free to confess, then, that — justly or otherwise —
I look back with undiminished pleasure at what I did when ex-
perimenting on lunar photography ; it may have been “ more or
less,” but considering the great length of time I devoted to it,
and that all 1 had in view was accomplished most fully, I feel
a little jealous at what seems a rather depreciatory expression.

Samuel Fky.

[It is an unfortunate fact, that the long and arduous work
involved in securing reasonably good results in the more purely
scientific branches of photography rarely meet with adequate
recognition ; but it is, on the other hand, a fortunate fact, that
they are often labours of love, and prove to the earnest experi-
mentalist their own reward. Mr. Fry’s admirable stereoscopic
transparencies of the moon are, however, well known to and
appreciated by most persons practically familiar with the history
of astronomical photography. — Ed.]

THE TRANSMISSION OP ACTINISM BY LIGHT.

Dear Sir, — Being desirous to keep you informed on some
humble experiments of mine on the comparative power of
different kinds of glass to transmit the chemical rays, and it
not being convenient to take many sensitive paper impressions,
or to send so large a sheet to all of my correspondents, I sent
you some time ago a reduced photograph ; t.e., copy of one of
my most interesting prints. By an oversight of mine, I did
not inform you of the points of difference between the original
and the copies, which did not truly represent the former, and
led to the wrong and curious appearances to which you refer in
your New.s of April 3rd. In the first place, in all of my original
sheets, the ground glass cuts off a very large amount of the
actinic rays, leaving beneath it a much lighter impression on
the sensitive paper than under the iinground glass. In the
second place, the Belgian sheet in the copy showed so dark an
impression as to appear superior to all the other colourless
glasses ; while in the original, the French plate displayed an
equal or greater actinic power. In the copy, from refiected
light or some other causes, some portions appear much lighter,
and others comparatively darker, than they did in the sensitive
paper sheet.

The curious fact about the yellow showing some actinic
power is explained by my having used stained glass in making
the sheet sent to yon. In another sheet, in which I used pot-
metal, no impression was made under the yellow specimen. I
think that many mistakes may have been made in scientific
observations and in photographic studios from using stained
instead of pot-metal glass. In the latter the colour permeates
the whole body of the glass, while in the former it is only

burnt upon the surface, and frequently in a very thin layer.
Photographers, I think, should always use the pot-metal.

I have made one shoot with a row of pot-metal glasses of
various colours, and another row of stained or flushed glasses
of the same colours, and another sheet with especial reference
to the comparative actinic powers of ground and ungrouud
glass. 1 have also made other experiments of a similar
character, involving some time, thought, and labour, of which,
when completed, I shall bo most happy to write a full account.
I shall endeavour in future to send you original sensitive paper
sheets, or to note carefully the slightest variations or defects
which may occur in a photographic copy, and thus avoid any
wrong impressions which might otherwise be made.

I do not make any pretensions to scientific knowledge or
photographic skill, but I shall bo exceedingly gratified if my
humble investigations, pursued at intervals snatched from
business and private cares, shall give light or aid to any
class of my fellow-beings in their daily round of labour or of
thought. T. G.

Boston, June 6tJi, 18G8.

[Wo shall at all times have pleasure in receiving the in-
teresting communications of Mr. Gaffield on this important
subject, which has hitherto received but too little atten-
tion.— Ed.]

PEKMANGATE IN THE NITRATE BATH.— THE
COFFEE PRESERVATIVE.

Sir, — Permanganate of potash for rectifying the negative
bath turns out in my hands a complete failure.

I have during the past week tried it upon three baths in
succession with exactly the same results in each case. That
it clears the solution trom organic matter there is no doubt,
but at the same produces a condition of the bath that renders
it susceptible of derangement in an incredibly short time.

The following is ray mode of proceeding : — About a
drachm of a 10-grain solution of permanganate of potash was
added to the bath, 30 ounces, agitating between each addition,
and exposed to sunshine. In a short time the solution assumed
a coffee-coloured hue. After standing all night a lightish
brown sediment had fallen to the bottom, leaving the solution
clear and bright. This was filtered into the bath, and a plate
tried • the negative turned out all that could be desired — bright,
clear, and vigorous. Two or three other negatives were taken
during the afternoon, all of which were satisfactory.

But — could you believe it? — the first plate coming out of
this identical bath the following morning showed the most
wretched case of fogging I ever beheld. Two other baths (I
always use three) were treated in like manner, with the same
result in each case — all right for a few plates, and alter stand-
ing all night, worthless from fog. In all the three cases the
baths were slightly acid to litmus paper. Can 3’ou explain
this phenomenon?

I was somewhat alarmed on Saturday afternoon by a violent
explosion in my laboratory. On seeking to ascertain the cause, I
found it to have proceeded from a bottle containing a solution
of coffee which had been prepared tor the coffee dry process.
The bottle, a very strong one and tightly corked, was shivered
to fragments ; and had I been near at the time, I might have
suffered injury from pieces of the bottle which were driven
with groat violence in every direction. I did not know before
that there is anything in coffee so powerful as this. Fermenta-
tion, I suppose, would be the cause of the explosion. I had
noticed a tew days before mould floating on the surface of the
liquid. — With thanks for past favours, I am, yours, &c. R. M.

Preston, June 21it, 180k

[The probable cause of the failure of the permanganate is
the addition of excess ; and by the decomposition following, ace-
tate of silver has been formed, which is often a cause of fog. A
few drops of a 10-grain solution are generally suBicient. The
only probable cause of the explosion is the fermentation of the
liquid containing sugar. We see no reason for supposing that
the coffee played any part in producing the result. — Ed.]

WET PHOTOGRAPHY IN THE FIELD WITHOUT A
TENT.

Dear Sir, — You have often spoken in favourable terms of
my apparatus for photographing without a tent, but I am afraid
that either such an apparatus is not required, or that there is a
disinclination to attempt to make it from the description in the

June 26, 1868.]

THE PHOTOGRAPHIC NEWS.

311

first volume of the News. However complicated it may appear
from that description, the apparatus itself is perfectly simple,
and if any manufacturer should feel disposed to make it, I can
only say that both the single and stereoscopic apparatus are
quite at his service. Five minutes’ explanation would make
the working perfectly intelligible. Having given up the
“ camera ” for the “ brush” for some years, I have not used any
of the new developers, some of which I think would bo pecu-
liarly adapted to the working this process. Perhaps, however,
the developers I described would have some advantage over
the others, inasmuch as with that the negative does not fog by
exposure to light after the developing action is once set up.
Probably organic matter might cause it to fog if exposed to
light before fixing.

However, it is very desirable to get sufiiciont density in the
negative at once.

There has been much written lately upon enlarging from
small negatives, but nothing can be more simple and inex-
pensive than the camera for that purpose, which I described
also in the first volume of the News: the process being to
take a perfect positive in the camera from the small negative,
either the same size or a little larger, and from that, before
varnishing, to take a negative for printing up to the size re-
quired, if that size be not too large for sharpness on the ground
glass. — I remain, dear sir, yours truly, Tho.mas Barrett.

Red Hill, Reigate, \9th June, 1868.

MODES OF TONING.

Snt, — I have read with much interest the papers from the
pen of Mr. Bovey, but last week I was surprised, not so much
with his manner of toning, as with the sweeping assertions con-
veyed in that paper. He lays down his theory as the only cor-
r*ct one ; the proving of this rests with himself, but it does
seem strange that so many high authorities should for so long
a time have been altogether wrong.

Without classing myself amongst those authorities, nor yet
amongst those “ who borrow ready manufactured ideas, and
consider themselves clever because of their borrowed plumes.”
I ask leave to state my own experience, which is directly
opposed to that of Mr. Bovey.

I wash my prints well in six or eight waters, and then rub
each one with a bit of cotton wool till no trace of silver can be
observed in the last water. I then put them into one of “ those
abominable and unscientifically concocted messes known as
alkaline toning solutions,” which Mr. Bovej’ says “ will inevi-
tably produce mealiness, &c.”

I have not seen any of Mr. Bovey’s work, so cannot judge of
its superior merit ; but I take the liberty of enclosing three
prints from my last batch. Your opinion of them will oblige.

We have a proverb here, in the North country, that “ doctors
differ, and so do divines so also do photographers, and it
may happen that truth lies between the differing parties. —
I am sir, your obedient servant, G. B.

[In toning, as in many other branches of photographic opera-
tion, practice is considerably ahead of theory, and most of the
toning formula are empirical rather than scientific. Very little
has been written, and very little is commonly understood, about
the theory of toning. Not one photographer in a thousand,
perhaps, knows why he adds acetate of soda, chloride of lime,
carbonate of soda, &c., &c., to the solution of chloride of gold ;
whilst many thousands, by carefully following the various
formula which experience has proved to w’ork welt, succeed in
producing good results. The prints sent by our correspondent
are excellent. He does not state the formula employed : pos-
sibly the term “ alkaline ” ma)' be a misnomer in leference to
it, as it is to the bath with acetate of soda. We think that
Mr. Bovey's theory is open to discussion, but us a practical
printer of very great skill and much practice, and a thoughtful
observer, his opinion is entitled to careful consideration. His
practice, we know, produces admirable results. In any case it
will bo wise to read carefully the complete article, finished this
week, before discussing the question.— Ed.]

?DaIk in tbi StuMa.

Patent Artistic Printing Proce.ss.— An interesting ex*
h'bition^ of examples ot a process patented by Mr. Frederick
Piercy is now open at Mr. Graves’ Fine Art Gallery, No. 11,
Haymarket. The portraits consist chiefly of largo vignetted
heads in various proportions up to life size. The result is

obtained by a mode of applying lithographic printing to the
photograph, which, in conjunction with skilful artistic labour,
produces a singularly pleasing effect of modelling and finish. In
some respects the pictures have the appearance of a careful
and elaborately worked crayon picture on a tinted ground ;
but there is beyond this an effect aui generis which we have not
seen produced by any other means. We hope shortly to publish
the details of the process ; but although it consists in the appli-
cation of a mechanical method of printing, the results are
dependent on the employment of a high degree of artistic skill
which Mr. Piercy has brought to bear in the very admirable
examples now on exhibition, of which we recommend an
examination.

Cabinet Portraiture in America.— Wo have recently
had the pleasure of examining a selection of cabinet portraits
by Mr. Fassett, of Chicago, which are amongst the most charm-
ing examples of this style of portraiture we have met with.
Original, graceful, and spirited in pose, they illustrate how
admirably the cabinet size permits the rendering of pictorial
effect in portraiture. The lighting is very perfect indeed,
producing exceedingly brilliant and perfect effect of light and
shade, and, at the same time, great delicacy and fine modelling.
Some examples, with painted background, of an interior are
capital in effect, the design being quiet, natural, and unobtru-
sive, and in all cases preserving a correspondence with the
lighting on the figure. With such examples as those before us
we can readily understand that the cabinet portrait must
become a very decided favourite with the public, as we under-
stand that they have already done in the United States.

Leather Collodion. — Mr. Arthur Taylor recently called
our attention to the fact that M. Schonbein, when he visited
this country shortly after his discovery of gun-cotton, exhibited
some examples of what he termed “malleable glass,” which
resembled the pellicles recently introduced to photographers
under various names, such as “ leather collodion,” “ vitrified
india-rubber sheet,” &c., with the difference that whilst quite
colourless, transparent, and flexible, they were thicker than the
modern pellicles. These were supposed to bo products of his
new discovery, but their composition was not explained ; there
can be little doubt that they consisted really of thick collodion
films, but whether the collodion had received any addition —
such as castor oil — now common, or whether they were formed
from a simple ethereal solution of gun-cotton, we have no
means of judging.

The Progress oi’ Pictorial Art. — The J'ailg Telegraph
says : — “ Our whole social life has become, through the develop-
ment of art, much more pictorial than it was. Thirty years
ago none but rich men had family pictures ; now there is
hardly a servant girl that has not a portrait gallery packed up
in her box : her mother, her sister, her sweetheart, her cousin
at sea, her friend, her former mistress, or the baby she nursed,
are there, in photographs, to give her vivid memories and
brighten up exile or loneliness. Our illustrated contem-
poraries report events in pictures. Sketches in ‘ Punch ’ or
photographs make us familiar with every line of the faces of
our eminent men. Carlyle often laments that there are so few
good portraits of the great men of old ; but a similar complaint
cannot be made by the generation that will follow us to criticise
our doings and estimate our work. Is all this wrong V Wo do
not believe it.”

Permanency of Collodion Films. — A correspondent says :
“ About eight years ago I coloured some cards in powder colours
by Mansion’s method, and instead of varnish I poured over
them some plain collodion. They have been exposed to damp,
heat, and sun, and not a single film of collodion has ever been
affected in any way, so that I believe a collodion film as per-
manent a material as possible to be for photographs. The col-
lodion film in a spongy state, as it is as au unvarnished
negative, when it can easily be rubbed off with the finger, is
another matter altogether.”

Varnishing Albuminized Prints. — A correspondent says:
“ 1 find by ten years’ experience of varuisb, and also collodion,
upon albuminized prints, that neither the one nor the other
will prevent them from turning yellow.”

The Coming Solar Eclipse. — We learn from our friend
and collaborateur. Dr. Vogel, that he proceeds next month to
Arabia, as one of a commission sent out by the Prussian Govern-
ment to photograph the coming solar eclipse.

The Phenomena of liiGiiT. — A number of experiments, ns
illustrating the phenomena of light, are described in au
American contemporary, by Professor Henry Morton. The

312

THE PHOTOGRAPHIC NEWS.

[June 26, 1868.

following, among others, were especially interesting : — “ The
Professor placed himself and apparatus on a platform secured
to one of the stage traps, and then was raised to a great height
above the floor, at which elevation he burned in the compound
blowpipe a piece of thick steel wire rope. The fountain of
scintillating "sparks and drops of melted steel which, descend-
ing in a broad sheet some fifteen feet in height, poured upon
the stage and rolled in a torrent of fiery hail toward the foot-
lights, was a sight never to bo forgotten. A wheel five feet
in diameter, supporting electrical tubes, was rotated, while
flashes of electric fire from the largest induction coil in the
world, belonging to the University of Pennsylvania, were
passed through, producing a dazzling star of constantly chang-
ing coloured rays. The drop curtain, descending for a few
moments, rose again, displaying a beautiful palace scene,
illuminated by numerous lime lights, judiciously placed. There
then marched in a great number of masked figures, in costumes
representing the colours of the rainbow, and bearing banners
with brilliant devices. These, taking positions, formed a
tableau equal in brilliancy and beauty of general effect to any-
thing wo have ever seen upon the stage. At a signal the
white light was extinguished and its place supplied by pure
yellow light, equally bright, when every trace of colour
disappeared, and the entire phalanx became a ghastly com-
pany of spectres bearing banners of white and black. The
means for producing this yellow light is a device of Professor
Morton’s, entirely new and eminently efficient ; in fact, the
entire house was illuminated with it from the stage, so that the
same wonderful change was manifest in the faces and costumes
of the audience.

New Engraving Lathe. — The Scientific American describes
an ingenious and effective lathe for engraving upon copper,
steel, wood, and other substances now in operation in New
York, which is worthy the attention of all who are interested
in the reproduction of art. To engrave by means of this
machine the operator sits with a copy of the drawing, photo-
graph, or whatever design is to bo engraved, directly in front
of him. A small pointer rests upon the drawing, and the
whole operation consists in moving the pointer over the several
lines of the copy. The pointer is operated by two small cranks,
one of which produces a vertical and the other a lateral move-
ment ; the simultaneous operation of both cranks producing a
circular, inclined, or any desired irregular motion of the pointer,
which is thus made to “ follow copy.” All the movements of
the pointer are imparted by means of a very simple arrange-
ment of levers to a graver which cuts or engraves the design
upon the surface of a copper plate or block. Thus, in a rapid
manner, even an unskilled person, having a drawing before him ,
may engrave the same in superior style. The swelled lines as
well as hair lines of copper plate writing may be produced with
the utmost freedom, and there seems to be no limit to the
execution of the finest and most difficult as well as the simplest
kinds of work.

Antidote to Cyanide. — A daily contemporary says: “Photo-
graphers will bo glad to hear that the painful ulcers and other
bad symptoms produced by cyanide of potassium may be
effectually prevented by rubbing the hands, when soiled with
it, with a mixture of protosulphate of iron, reduced to a very
fine powder, and linseed oil.”

I-o ®0msgoaimtts.

A. C. — Brown paper of great width and in continuou.s lengths,
suitable for bacltground-s, is generally kept by dealers in paper
hangings.

Alex. Taylor. — It is a somowhat diflieult thing to .say which is the
best and simplest drv process, as there are so many which arc both
good and simple. The requirement of keeping well before and
after exposure limits the choice somewhat. I’crhaps the gum pro-
cess, described in our last, will meet your requirements best in this
respect. The coffee process is also a simple and good keeping pro-
cess. The morphine process is very simple, and gives excellent
results, but the plates do not keep well. Mr. England’s process
is simple, and gives fine results, and the plates will keep moderately
well. All those are tolerably rapid ; but the gum plates most so.

A. Z. II. — Unless there is some peculiarity or imperfection in your
materials, the acetate bath should not tone too slowly at thecxpir.i-
tion of twenty-four hours. AVe have frequently used one for weeks
with advantage. Possibly your example of acetate of soda is alka-

line, which would account for your bath rapidly becoming inert.
If it suit your convenience, however, and your bath work well a
few hours after mixing, there is no reason whatever why you should
not use it then.

J. Keene. — Thanks for the charming Eburncum portraits ; they are
very excellent, and, when compared with the albuminized prints
from the same negatives, admirably illustrate the superiority in
delicacy and detail which pictiues by this mode of printing possess
over albuminized paper prints.

AV. J. A. G. — The louses of a binocular camera are generally placed
from 2i inches to 3 inches apart, the rule being that they should
be at a similar distance as the human eyes, and when so placed
they will give images producing a similar amount of relief to that
seen by the human eyes. If they are placed at a greater dis-
tance they will give images which, in the stereoscope, have an
exaggerated effect of relief, greater than could be seen by the
human eyes ; but that exaggerated effect of relief tends to dwarf
the object, and make it look like a toy or model. If, for instance,
you stand in front of a large building like St. Paul’s, you can only
see one side at a time ; but if you stand at the same distance from
a model of the building, only a foot in diameter say, you then may
see all round it. So if you place your lenses in such a position
that one sees one side find the other the other side of a large build-
ing, the stereoscopic picture produced will suggest the effect of a
diminutive model. This is an old and much discus.sed question :
the advocates of truth maintaining tluit the lenses should bo in the
same position as the human eyes ; the advocates of startling effect
recommending an increase in their .separation for views and some
other effects. The single lens camera you have has, we presume, the
Latimer Clark’s sliding parallel bars. The bars should be arranged
for a ratio of convergence, so that thev move through the arc of a
circle of which the sitter or principal part of the subject is the
centre. AA’hen properly adjusted, the sitter is focussed in its
proper position on the gi-ound glass, with the camera at one
extremity ; and when the bars arc moved to the opposite extremity,
the image will still bo foimd to occupy the same place on the ground
glass. Commence the exposure with the laths m a position which
places the camera to the right-hand side, the slide carrying the
plate also being at the right-hand end of the groove. After ex-
posing, cover up the lens, move the laths to the left, and the slide
carrying the plate to the left, and expose again. This will give
you the the images in their right position, needing no transposition.

SiLEX. — AA'e have never met with anj'thing like fading in a carbon
print. Some examples we have seen with a greenish tint from im-
{)orfect washing ; but this has been the case ns much when first
produced as after long keeping. No doubt if an unframed carbon
print be submitteil to the heat of a hot sun it will cockle and curl,
Imt this is a kind of treatment to which no work of art should be
submitted. Destruction from an outward enuse is altogether dif-
ferent from fading from internal or inherent oiusc-s.

Y. Z. — AA''e saw the observations to which you refer, and we have
also seen the old blocks in question, which, as you remark,
appeared originally in an extinct journal ; but the matter is not one
of sufficient public interest for comment.

F. Power. — Both will give perfectly straight lines, and both
include a wide angle ; but No. 1 i.s, wo believe, the most r,apid, and
includes a little the widest angle.

L. M. D. — -V slight M'a.shing only is neces.sary before toning ; pro-
longed washing, or the use of salt and water, renders the toning
more difficult, and the result is often wanting in richness. Tho
chief disadvantage of toning without washing at all is that it
causes an unnecessary waste of gold. AA^ash well after toning and
before fixing. 'The grey tone and want of depth in the print en-
closed are due to over-toning a print from a weak negative. In
order to sccui'c a rich deep black it is imperative that the negative
be vigorous and the impression deeply printed.

B. — The chief reason of the simple albumen dry proccs.scs without
coUodion falling into disuse was not any lack of excellence in the
results, so much as the necessity of great care in the preparation
of the plates, the process being more troublesome than most of the
dry collodion processes. M. Fenner used albumen plates for his
transparencies, but collodio-albumen for his negatives.

R. F. — The tendency in the albumen to crack when perfectly de.ssi-
cated may be avoided by mounting the prints before they are
thoroughly dry. Thanks.

C. 1). — You cannot secure the copjTight if copies have been sold

before registration. 2. It is necessary to register a copy of each
portrait which is in the slightest degree different from the others.
3. You cannot sc<-ure a copyright in the photograph of an old non-
copyright engraving. Registration on yoiu- part will be no barrier
to any one else copying the same engraving and selling copies of it.

Several Correspondents in our next.

*,* AH photographs forwarded to the Publisher for registration receive
attention at once ; but the pressure on our space sometimes compels us
to defer the acknowledgment In this column. It should he home in
mind, therefore, that non-acknowledgment at once does not necessarily
imply non receipt or non-registration.

NEWS.

“f Ai<,r

THE rHOTOGWPniC

'V

Vo:,. XII. Nty^I

i'NJ

ith/ 3, 1868.

CONTENTS.

Expression in Portraiture 313

Critical Notices 314

Echoes of the Month. Ity an Old I’hotogrspher 314

Foreign Miscellanea 315

Pictorial ESect in Photography. By II. I*. Robinson 316

Photo-rincography in Practice. By J. Waterhouse, R.A 317

Mr. Piercy’s Patent Method of Artistic Printing 3]S

M. Carrier’s Sensitive Paper '. 319

The Coffee Pneess. By M. A. de Constant 320

Pi OK

On the Reproduction of Engravings and Line Drawings. By

F. Fink 320

Detection of Hyposulphite. By M. Carey Lea 321

Recent Patents 322

Experiments with Filtering Papers 323

Correspondence— Carbonate o( Lime in Toning 323

Talk in the Studio 323

To Correspondents 324

EXPRESSION IN PORTRAITURE.

I.N the discussion which followed Mr. Pearce's esccllciit paper
on Portraiture at a recent meeting of the South London
Society, the Chairman deprecated the practice common
amongst some photographers of requesting the sitter to fix
his eyes on “a knob,” rightly adding, that wliihst (here was
nothing interesting in the knob, there was nothing reassuring
in the adjuration to “ keep quite still,” which generally
heralded the commencement of exposure. Mr. Blanchard
suggested that a portraitist of judgment would, he thought,
avoid both courses; he would merely request the eyes to be
directed in a given direction, which seemed easy and natural
for them, and he would carefully avoid startling the sitter
by any stern injunction not to move. He would rather
endeavour, by conversation, to interest the sitter, and when
a pleasant expression was secured, would seize the oppor-
tunity of exposure, possibly requesting the sitter to main-
tain expression and position for a few moments.

The management of the sitter in securing ease and natural-
ness is a thing which can scarcely be taught, as it depends
more upon natural temperament and general culture than !
upon any rules which can be laid down ; nevertheless it is a !
subject well worthy of the most careful study by all por-
traitists. A true and pleasing expression is the last and
highest grace in any portrait, photographic or otherwise ;
most difficult to attain, and most prized when secured. Its
presence will condone many teclinical shortcomings ; its
absence will often make the highest technical excellence
valueless. In a painting, it is attributed to the skill of the
artist; in a photograph, it is supposed to be due only to the
sitter. In both cases it is, however, the result of combined
action ; the painter must see the expression before he can
paint it ; and, to see it, he must often, by interesting his
sitter, educe it. The photographer must also see the expres-
sion before he can photograph it, and he must also often
educe it before he can sec it. The painter possesses, how-
ever, two special advantages over the photographer in this re-
spect : he sees his sitter on several occasions, has opportunity
for conversation and for studying his sitter, and, having
once seen the face properly lit up with feeling — seen “the
mind, the music breathing in the face ” — he possesses
the facility of transferring the fleeting expression to his
canvas from memory. The photographer sees his sitter
generally but once, and that once often for a few minutes
only. Moreover, the camera has no memory, and can only
fix the expression worn by the face during the moments of
exposure. The desired expression must therefore be secured
just at the critical moment, or it cannot appear in the
photograph.

The hint thrown out by Mr. Howard, if practicable, might
assist in giving the photographer some of the advantages

of the painter. He suggested that as technical difficulties
had, to a great extent, been mastered by professional por-
traitists, and higher demands were made by the public than
in the infancy of the art, he thought a higher standard,
involving more time, greater ability, and more cost, might,

I without impropriety, be aimed at by first-class portraitists ;

that instead of taking each sitter just when he came to sit
' and with the hasty estimate of the best effect for each por-
trait which could be found in one often hurried sitting, the
photographer should have a previous interview with his
sitter, in which he could form a deliberate idea of the result
most desirable, and some degree of acquaintance or famili-
arity— or, at least, mutual confidence — between the artist and
his sitter be established. Of course, to render such oppor-
tunity for previous thought and arrangement of any avail,
the photographer must be, in some degree, master of the
difficult art of portraiture ; but with an understanding of
its requirements there can be little doubt that such a course
would conduce to the production of higher results ; and the
suggestion is worth the consideration of portraitists who aim
at the highest results, and can command the terms which
would be remunerative for the expenditure of the time and
consideration necessary for carrying out such a project.

The possibility of securing the portrait whilst the sitter
was unconscious of the ordeal has often been desiderated by
nervous persons, anebhas generally been regarded as an un-
practical thing, it is, however, not altogether impossible.
A lady recently sitting to Mr. Robinson expre.ssed consider-
able apprehension as to the possibility of preserving a natural
expr. ssion when the moment of exposure came. She had
been requested to rest herself without any concern on that
head until the preparations were made ; and when, a short
time afterwards, she exclaimed, “ If you could only take me
when I didn't know it, I am sure the result would be better,”
the answer returned was, “ Madam, I have obtained four
portraits of you already ! ” some of which were, to her great
delight, in every way satisfactory. She had been placed at
the outset, with little fuss and circumstance, in an easy, quiet
position, and, the light being good and chemicals working
well, the four portraits were secured whilst she imagined
that the photographer was merely arranging his camera.
We have seen Mons. Adam-Salomon effect a similar result.
Having duly arranged the sitter, who was requested to re-
main tranquil, and not speak for a few moments, he continued
the conversation, to which the sitter listened with a look of
interest, expecting to be informed in a few moments that
the exposure would commence, only to be informed that it
was over. To attain results of this kind it is scarcely neces-
sary to say that the photographer must study something
more than photographic processes, and that, whilst his
technical conditions should be perfect, his knowledge of
human nature, and of portraiture as an art, must be sedulously
cultivated.

314

THE PHOTOGRAPHIC NEWS,

[July 3, 1868.

Critiral

A MANUAL OF PHOTOGRAPHIC MANIPULATION;

Treating of the Practice of the Art, and its Various Appli-
cations to Nature. By Lake Price. Second Edition.

(London : John Churchill and Sons.)

The name of Mr. Lake Price is known to photographers
throughout the world as associated with some of the earliest
and most successful triumphs of photography in the domain 1
of fine art. His recognized position in the art world silenced |
cavil when he put forth the noble productions of his camera, |
and proved to doubters that photography was capable, in |
the hands of an artist, of rendering a wide range of pictorial
effects. His work also illustrated in a high degree the
happy combination of great practical and technical skill
with artistic culture ; hence, when he gave to the photo-
graphic public a manual of instructions, it was eagerly read,
and, in natural course, passed out of print. When a book
of interest is out of print, it is generally quickly reprinted ;
but a mere reprint of a work relating to a growing art like
photography is comparatively useless. Tlie constant change
and modification going forward must be noted, to give a
manual of instruction value. Unfortunately, the changes
in some phases of the art were not— or, at any rate, did not
seem to Mr. Price — improvements. The race for cheapness
rather than excellence set in, and he retired from the active
pursuit of the art with something like disgust.

It rarely happens, however, when a man has attained
the mattery over an art which Mr. Lake Price had attained
over photography, that he can entirely abandon it or lose
interest in it. Mr. Price has watched the course of events,
and has for some time past been renewing his intimate
acquaintance with the art, and has been induced, as a
result, to partly rewrite, revise, and issue a new edition of
his work, first published ten years ago, and the result is
now before us.

A glance over the pages of the new edition just issued
will satisfy the reader that although the author has ceased
for the last few }'ears to publish the productions of his
camera, photography must necessarily have secured a full
share of Lis attention, as all subjects both of current and
permanent interest belonging to the pages of a manual are
fully and freshly treated. All the important novelties in
the optical appliances are fully and practically considered,
the chapter on lenses being most valuable and exhaustive,
the result of careful examination and trial of the various
new instruments introduced during the last few years. The
series of chapters devoted to “ Subjects ; their Nature and
Treatment,” will perhaps be read by experienced photo-
graphers with the most profit and interest, and will be
found to abound with the suggestions of ripe culture and
art experience. The demands upon our time and space pre-
clude our giving a fuller notice of the work, or extracts
from its pages ; to which we shall, however, shortly recur.
_We conclude by adding, that in addition to all the subjects
included in the former edition, carbon printing, astronomical
photography, microscopic photography, are here fully
treated, the present work containing about fifty more pages
than are found in the first edition.

ECHOES OF THE MONTH.

BV AN OLD rilOTOORAI'IlER.

Progress of Carbon Printing— North London Presen-
tation Print Co.mpetition— I.mprisonment for Piracy
—Photography and Libel- Mr. Lake Price’s ” Pho-
tographic Manipulations ’’-Enlargements and Port-
able Field Apparatus— The Societies.

It is very gratifying to all who care for the progress of per-
manent photography to see the increasing interest which
prevails in the carbon process, both in the outside world and
in special photographic circles. Since the publication of

Mr. Wharton Simpson’s work on carbon printing, not many
months ago, three others have been issued, of which I have
seen copies: a translation into German, by Dr. Vogel,
with a capital carbon print as illustration ; another in
German, a small compilation, by Dr. Liesegang ; and an
American edition, by Mr. Wilson, which, as stated, is chiefly
based on Mr. Sirapison’s work (this also has a carbon print
illustration). The argument I derive from the publication
of these works is, that there is a demand for them, and that
the process they describe is exciting wide-spread interest.

In France I see that various papers are communicated
to the Society, chiefly on what are modifications of Swan’s
process ; but as a rule 1 have not been able to perceive in
what the modification consists. M. Jeanreuaud’s paper, for
instance, appeared to be simply a statement of Mr. Swan’s
method. M. Marion has been working lately with praise-
worthy energy in experimenting with carbon with his new
pellicle (now acknowledged to be collodion, and not caout-
chouc) ; but does not his method simply amount to the
same thing as Mr. Swan’s first method, when he prepared
his tissue upon collodion instead of paper? The suggestion
of Mr. Taylor, of ^Marseilles, for removing the yellow tint
from the back of paper tissue, and so rendering printing
through the tissue itself, appears to be a valuable suggestion
for purposes in which extreme delicacy is required. If I re-
member aright, Mr. Swan once made a still better sugges-
tion, which I have never heard of any one carrying out. I
refer to the mode of making a tissue upon paper made trans-
parent with oil or varnish, printing through the transparent
paper, and when the operation of exposure, development, &c.,
were all complete, floating the print on a solvent of the oil
or varnish to remove it, and so restore the paper upon
which the print is formed to its opacity and whiteness,
necessary to give it any value as a picture. Possibly,
however, the now recognized method of carbon printing
would give better results with less trouble.

The idea of the North London Society, of submitting the
production of the presentation print to competition, is, I
think, a very happy_ one. It gives an opportunity of
bringing forward something specially good to all interested
in securing honoui-s, for it is an honour to supply the pre-
sentation prints to any society, especially when the selection
must be made from the works of various competitors. And it
will in all probability secure the membei-s something more
original than they might otherwise have secured, although,
perhaps, it may be difficult to surpass, either in novelty or
excellence, some of the pictures distributed within the last
year or two to the members.

I am glad to see that a pirate cannot evade the payment
of his fine by becoming bankrupt. If that had been found
possible, the cla.ss of persons who systematically execute or
vend piracies would, whenever heavy fines were inflicted,
have found Basinghall Street a short cut from gaol. The
fine inflicted is, as Lord Justice Wood has ruled, a punish-
ment for criminal offence, and not an estimated amount of
damage to be regarded as a debt to the person whose copy-
right is infringed. This decision may perchance press
hardly upon the ignorant oft'endcr or the person led into the
commission of an oft’ence by the machinations of a spy or
informer ; but the fines can only be heavy where the trans-
actions are large, and this can rarely be the case without the
I persons engaged in the guilty traffic having some notion of
its illegality.

Photography of late years seems generally to take some
part in the progress of almost all causes celebres, and I notice
that photographs of documentary evidence were admitted in
Court in the course of the action of Risk Allah against the
Daily Telegraph. According to rumour, photography was to
have entered more intimately into a succeeding case, which
was, however, apparently withdrawn or compromised, as it did
not come to trial. The Stereoscopic Company, it appears,
exhibited during the trial, at Brussels, a portrait of Risk
Allah, with a description appended, stating that ho was

•foLY 8, 1868.]

THE PHOTOGRAPHIC NEWS,

315

charged with the murder. The intended action was on the
ground that the picture was exhibited with this description
appended for some days after a verdict of acquittal was ren-
dered. It is, perhaps, worth while for photographers to take
a hint from this, and shun the risk involved, which might be
so innocently and thoughtlessly incurred.

The issue of a new edition of Mr. Lake Price's “ Photo-
graphic Manipulations ” during the last few days is worth
noting. The return of Mr. Price to an early love, after a
long — not estrangement, but — pursuit of other interests, will
be hailed with pleasure by photographers, and the advent
of the new edition of his work, rewritten and enlarged, will
be greeted with welcome, and I, for one, shall look forward
to renewed triumphs in the phases of art-photography which
were years ago adorned by Mr. Price’s works.

The question of producing small negatives with a view to
the subsequent production of either an enlarged negative or
enlarged prints — a question full of interest to the amateur
photograpiier — has scarcely. I think, received sufiicient atten-
tion yet amongst photographers. There are very few indeed,
I fancy, who would not prefer to work the wet process to the
dry process, if it were not for the serious difficulty imposed
by carrying dark tents, manipulating boxes, &c. Now, if it
were once determined that really good results could be ob-
tained by the means of enlargement from small negatives,
more than half the troubles of impedimenta might be made
to vanish. Enlargements in portraiture in various manner’s
have, of course, been tried, and found successful, especially
when the work has been intended for retouching or colour-
ing : but, as yet, the question of enlarging without the
necessity of retouching, as applied to landscape photography,
has not been very thoroughly or very fairly tried. I do not
suppose that many of the schemes for producing negatives
the size of postage stamps will ever receive serious attention ;
but I think that if negatives of about inches by 2i inches
were carefully produced, fine 1‘2 by 10 pictures might be
obtained from them. For such a purpose, the little appa-
ratus referred to by Mr. Barrett in the 1’iiotograpiiic News
of last week, and described in a former volume, would be found
by far the best of any contrivance hitherto proposed. Some
years ago I had an opportunity, availing myself of Mr.
Barrett’s courtesy, of examining the equipment, and I was
much struck with its ingenuity and convenience. A plate
coated with collodion is immersed into the silver bath, and
at Oiice enveloped in a light-tight cover, from which it never
emerges until it is a finished negative of about the size I
have mentioned. The whole apparatus is scarcely larger
than a man’s hat ; it is apparently very easy to work, and
it certainly admits of the production of good results. How
is it, I wonder, that such a piece of apparatus has never
come into commerce?

The societies generally have brought their sittings to a
close. Dr. ^lann gave an interesting account of Professor
Piazzi Smyth’s operations in the Great Pyramid with an
apparatus of a similar kind to Mr. Barrett’s just mentioned ;
but in many respects not equal, I tliink, to the latter.
Mr. Dunmore exhibited a tent which was undoubtedly con-
venient to work in ; being intended for large plates, it was,
however, necessarily a somewhat cumbersome affair to move
abwUt and erect. At the North London very little was done,
except some society business. The South London Society
had a capital meeting, at which, besides the election of
officers, reading of a report, and transaction of the general
business of an annual meeting, a suggestive and well-written
paper was read by ilr. Pearce, and an interesting discussion
followed. The proceedings terminated by an arrangement
for an out-door meeting at Hampton Court, and an invita-
tion to the members from the genial and large-hearted Presi-
dent to spend an evening at his house.

At the Manchester Society Mr. Mabley read some obser-
vations on print-washing apparatus, which originated an
interesting discussion, in which short washing, with
specific treatment, such as pressing, rubbing, &c., to remove

the hypo, was generally regarded as much more conducive
to permanency than any mode in which merely prolonged
soaking was relied on. At Oldham a pleasant out-door
meeting was held, which gave general satisfaction to the
members.

J'orcrjjn

Following the example set by the Due de Luynes,
M. Frederich von Voigtliinder has recently placed at the
disposal of the Vienne.se Photographic Society the sum of
four thousand five hundred florins (about £450), to be em-
ployed in encouraging the working out of improvements in
the art of photography. According to the conditions drawn
up to regulate the manner in which this sum of money is to
be used, it is stated that the interest of the capital only will
be expended, the principal being invested in the Austrian
funds. A jury or prize committee is to be formed, com-
posed of members of the society, and these will adjudge
prizes, consisting either of medals or grants of money, to the
more deserving candidates at a competitive meeting to be
held annually. All works sent in to compete are not to
bear the name of the artist, but must be marked with a
symbol or device and accompanied by a sealed letter from
the sender bearing on the outside a similar design ; the
candidates must be members of the Photographic Society of
Vienna, but need not be resident in that city. In the case
of the society ceasing to exist the money will revert to the
donor or his successors.

In the Mittheilungen M. Grasshoff contributes a very
clever paper on photographic backgrounds. He complains
loudly of the manner in which some of the cabinet pictures
are overloaded with accessories, stating that it sometimes
appears quite wonderful how the sitter could have threaded
himself through the mass of furniture and nicknacs with
which he is surrounded, and which encumber and hem him
in on all sides; the majority of backgrounds are, likewise,
too highly coloured, and the perspective details generally too
distinctly marked to appear natural. Scenic effects which
give good results in one studio are sometimes found to be
quite unserviceable in others, owing to the different lighting
arrangements ; and JI. Grasshoff recommends, therefore, a
final touching up and modification of the background when
in position. To render portions of the background more
brilliant, and to light up any dull points, a little powdered
chalk will be found very efficacious ; and, on the contrary, a
glaring surface may be subdued by treating it with dry
powdered ochre or umber.

In reference to the photographic establishment of M. Braun,
of Dornach, the beauty of whose carbon printing is so well
known, the Photographisches Archiv states that as many as
seventy employes are engaged on the premises. The grind-
ing and mixing of the pigments, as, likewise, the sensitizing
and rolling of the carbon material, is performed by ma-
chinery, a six-horse po«er steam-engine being used for the
purpose, and the benzole vapour from the transferred prints
is dissipated by means of a windmill which makes twelve
himdred revolutions in a minute. As many as four hundred
20 by 15-inch pi;tures are turned out every day, and this
number will shortly be increased to five or six hundred.
The Archiv states that the quality of the work performed
is, on the whole, very good, but it is of opinion that the
pictures produced by Swan, at Newcastle, are more brilliant
and of a finer and better tone than those turned out at the
Braun establishment ; at the same time it should be remem-
bered that M. Braun has had less experience in the process,
and that he works on a very large scale.

A new process, says the Archiv, has been elaborated by
M. Wothly, consisting in the use of urano-nickel collodion.
The pictures produced by it are perfect as regards definition
and clearness, and their tone is excellent. The details of
the process have not yet been published by M. Wothly.

S16

THE PHOTOGRAPHIC NEWS.

[July 3, 1868.

M. Tessi6 du Motay, a gentleman well known as a photo-
grapher and photo-lithographer, has discovered an easy
and cheap method of obtaining oxygen, which is now being
employed for furnishing gas for some oxy-hydrogeu lime
lights now under trial at Paris. Four candelabra liave
been erected upon the square in front of the Hotel de Ville
for the purpose of thorouglily testing this mode of illumina-
tion. M. du Motay produces his oxygen at the rate of
sevenpence per cubic yard ; by passing a current of hot air
over manganate of potash he converts that material into
permanganate, from which the oxygen is readily generated
by treatment with super- heated steam.

M. Gcymet recently calls attention in the Moniteur de la
Photographic to the fact that ho is able to prepare for com-
mercial purposes the transparent sensitive film upon which,
as he some time ago stated, photographic impressions may
be printed, and afterwards transferred to a suitable support.
The mode employed appeared to be a modification of the
collodio-chloride process. The latter may consist of coloured
paper, or of a leaf of metal — as, for instance, of gold or silver ;
and inasmuch as the photograph itself is perfectly trans-
parent, even in the deepest shadows, a very pleasing result
may thus be obtained, provided the nature or colour of the
support is in keeping with the character of the picture.

M. A. do Constant writes to the Archiv in warm praise of
Steinheil’s new aplanatic lens for groups and landscape j>ic-
tures. Ho has been able by its means to secure good results
witli coffee dry plates, with an exposure of from 12 to 15
.seconds only, the plates being at the time a week or ten days
old ; the soft outlines of mountains twelve miles distant, as
likewise the details of the foreground, are equally well
rendered by the lens.

M. Dnbost, of Diis.seldorfY, has been very successful in the
production of excellent negatives by the coffee process ; they
are both brilliant and harmonious, and developed by means
of an acid solution, made up according to the following
formulm ; —

No. 1. — Water

Pyrogallic acid ...
Citric acid
No. 2. — Water

Nitrate of silver...
Citric acid

100 parts
I part

X

4 II

100 parts

6 „

0 „

The solutions arc mixed together for use.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and CiiiAROscoaA for Photographers.

BY II. P. ROBINSON.

Chapter XXIII.

" Fit it with such furniture as suits
The greatness of his person."

Shakespeare.

"It shall be so my care
To have you royally appointed, as if
The scene you play were mine.”

Sha'iespeare.

Backgrounds and Accessories.

Perhaps in no other one part of their art have photographers
80 outraged nature as in the choice of accessories and the
make-up of their pictures.

Let me turn over the leaves of an album, and describe one
or two of the pictures contained therein.

No. 1. A portrait of a lady in an evening dress, walking
on the sea-snore ; in consideration of her thin shoes, that
part of the sands on which she is standing is carpeted.

No. 2 represents a veteran photographer standing on a
terrace. The terrace is carpeted, and on it stand a pedestal
and column, round which is festooned a curtain elaborately
tied up in various places with cord and enormous tassels.
The distant landscape is delicately and well done, but adds
force to the absurdity of the curtain in the open air.

No. 3. A gentleman standing before a profile balustrade
and pillar, with landscape behind representing distant
mountains. Tlie light on the figure is from the right, that
on the balustrade from the left. The shadow of the column
falls on the distant mountains, which are much more clearly
defined than the head of the figure.

No. 4. A lady reading at a window, but the light comes
from the opposite direction. The shadow of the window-
curtain falls on the sky.

No. 5 represents a gentleman with a gas chandelier,
globes and all, sprouting out of the top of his head.

There are one hundred pictures in the book, many of them
from the most popular studios. There is a column or balus-
trade in seventy -eight of these cartes. And yet photographers
accurately represent nature !

A curtain is allowable because it is possible, but the use of
the column is open to very grave doubt, and the two together
are so exceedingly improbable as to be almost absurd. It is
true, the employment of these acce.ssories as a background is
to be found in the pictures of some great painters, but the
tricks of one art may not be applicable to another. The
column and curtain are conventional. Now conventionalities
may be right in an art like painting, where a good deal of
license has been allowed, and has become sanctioned by
custom, but jihotography is a new art, the results of which
are taken direct from nature, and is without precedents. It
is an art in which departure from truth becomes absurd.
We, the workers in the fir.st quarter century of its existence,
are the makers of precedents: let us be careful, then, that
they are not misleading and dangerous ones.

Photography is the most imitative of all the arts, and
photographers the greatest imitators, as they have shown by
the way they have followed and adopted much that is bad
in painters ; and perhaps the worst of these imitations has
been this column-and-curtain conventionality for most of
their sitter.s, when it is probable that few under the rank of
those who dwell in palaces ever naturally have the oppor-
tunity of being in the neighbourhood of such accessories.
In painted pictures the column is shown with some chance
of possibility, but the way it has been used in photography
has been ridiculous and absurd, it generally being placed on
a carpet. Now everybody must be open to the conviction
that marble or stone pillars are not built on carpets or oil-
cloth for a foundation. But there was a lower depth.
Wooden columns were not bad enough, nor cheap enough, so
rccoui-se was had to imitations of these sham pillars manu-
factured out of flat boards and canvas, and painted in per-
spective that looked every way for the point of sight
without being ever able to discover it ; if any of the lines
were right, it was on the principle that makes a clock
that does not go, right at one second of the day at least.
The violent light is often represented as coming from
the opposite direction to that which illuminated the
figure. Then, by a stroke of genius, somebody extended
the application of these profile slips to the representation of
other objects, such as chairs, on which, being flat, it was im-
possible to sit down, pianofortes, fireplaces. French windows,
and everything that was capable of being caricatured in
this manner. But the “crowning glory ” of this kind of
sham furniture was the multumin parvo, or “ universal,” that
Protean construction which was at one minute a pianoforte
and at another a bookcase — a sort of economical houseful
of furniture in one piece. This was certainly an im-
provement on the slips, and if manufacturers would only
add a little taste to their cabinet work, suppress the rococo
ornamentation, and make them much plainer, they may be
of use where the very best work is not necessary.

But if the photographer has any pride in his art, if he
desires to do the best that can be done, he must eschew imi-
tations, and have nothing in his studio but genuine furni-
ture of the best kind, and of good design and character.
When the photographer is furnishing, he would find it a good
plan to fit up, not only his studio, but his reception rooms
also, with chairs of different patterns — a “ Harlequin Set,”

Jtn.Y 3, 1868.]

TIIL' PHOTOGRAPHIC NEWS.

317

as collectors of old china would call it — so that he may be
able to make a constant variety in his pictures. lie would
do well to avoid the elaborately carved, high-backed chairs,
so constantly seen in photography and seldom anywhere
else, the high back often sticking out round the head like a
Gothic glory : if this chair is used at all, it should be so
arranged that the head of the sitter is quite clear of it.
Dining-room and library chaim arc always useful, so also is
that kind of chair to which the name of Prie-lDieu is given,
especially for standing figures. It is very difficult to meet
with a good arm-chair suitable for photographic pui poses.
The chairs of the present day are made more for comfort
than appearance, and are so low that the sitter is dwarfed
and foreshortened. It would pay manufacturers to employ
a good designer to supply them with patterns and make
them for the profession.

After chairs naturally follow tables. It is scarcely neces-
sary to say anything against the little round table, about
twelve or fourteen inches in diameter, to be seen in many
early photographic portraits, the use of which is now gone
out, except in the smallest and lowest glass sheds. The fur-
niture in a picture should give an idea that there is space
in the room ; this is not done when a small table is em-
ployed, obviously because there is no room for a larger one.
A long, oval table, about 3 feet G inches by 1 foot G inches,
is a very useful size and shape ; it sho.uld be made light and
upon large castors, that it may be easily moved. This should
be provided with one or two good covers of a quiet pattern.
In a table-cover, as in the covers of chairs and cushions, vio-
lent and “ noisy ” designs should be avoided. As a change
from the plain table, a more elaborate carved oak table
may be admitted for occasional use, and so may a ju-
diciously selected cabinet, but it must be always remembered,
in introducing these necessaries, that it is the portrait of
the sitter that is required, and which must be most pro-
minent, and not the magnificence of the fittings of the
studio, which may be “ richly suited, but unsuitable.”

Some photographers employ a table which can be raised
or lowered, to suit the stature of the sitter, by means of
rackwork. This, in the hands of a photographer of great
judgment, may be a very useful accessory, but it is a power
that should be employed very sparingly and within very
narrow limits. If it were rai.sed too high it would dwarf
the figure by comparison, or, in the reverse case, by screw-
ing it down too low, it would transform the sitter into a
giant, reminding us of the carte-de-visite of the short man
whom Punch represented as having his portrait taken sur-
rounded by toy furniture. The same principle has also
been applied to the pedestal and column.

The great idea of many photographers, in taking stand-
ing figures, seems to have been that they must have some-
thing to lean upon (could the idea have originated in the
supposition that some support was necessary after the toil-
some a.scent to their studios in the sky parlours?), and,
therefore, the want was supplied by a pedestal that outraged
nature, as I have already said, most abominably. It is not
necessary to an easy and graceful effect that the figure
should appear to be too tired to stand on its own feet.
Lounging is no more graceful than is a lisping and insipid
manner of speaking gracious, but tends more to what Sir
Joshua Reynolds called the most hateful of all hateful
qualities, affectation. If people look well in a standing
position at all (which some certainly do not, and should
never be taken so), they will be found to do so without the
aid of a prop ; but still, for the sake of variety, and because
some people have been so often taken with a support that
it has become a custom with them from which they do not
like to depart, it is as well to have something of the sort at
hand. The best piece of furniture of the kind is a cabinet.
A low bookcase is not objectionable, neither would be a well-
designed what-not, but the ugly, meaningless pedestal
should never be used. I should consider I was doing a
great service to the art progress of photography if I could
induce all photographers who have columns and pedestals

to burn them at once. Don’t send them to the broker ; ho
may sell them again to do further mischief.

A few low ottomans and footstools should always form
part of the furniture of the studio. They are especially use-
ful in grouping children. The carpet of the room should
be of a small, neat pattern, and contain no great contrasts of
dark and light.

A great deal can be done and very beautiful pictures
made by the mixture of the real and artificial in a picturo.
Although, for choice, I should prefer everything in a photo-
graph being from nature, 1 admit a picture to be right when
the “eftect” is natural, however obtained.* It is not the
truth of reality that is required, but the truth of imitation
that constitutes a veracious picture. Cultivated minds do
not require to believe that they are deceived and that they
look on actual nature when they behold a pictorial represen-
tation of it. An educated observer does not, like that Moor
to whom Bruce, the African traveller, gave the picture of a
fish, believe that the artist had made a reality, and say : “If
this fish at the last day should rise against you and say,

‘ Thou hast given me a body, but not a living soul,’ — what
should you reply ?” Art is not the science of deception,
but that of giving pleasure, the word pleasure being used in
its purest and loltiest sense. For this purpose — that is,
the mixture of the real with the artificial — the accessories
of the studio should receive the addition of picturesque or
ivy-covered logs of wood, ferns, tufts of grass, &c., either
growing in low pots or gathered fresh. It will be found
easy to make up picturesque foregrounds with these ma-
terials, behind which a painted view or sky may be placed.
If the background be well painted it will be found to unite
very naturally with the foreground. Care must be taken that
linear perspective be avoided, and that the light fall on
the figures in the same direction as it does on the painted
screen.

PHOTO-ZINCOGRAPHY IN PRACTICE.f

BY J. WATERHOUSE, R..A.

Prkpar.ytion of the Zi.vc Plates for Receivino Transfers.
The zinc used for this purpose comes from Silesia. It is
supplied in rolled sheets of different sizes and thicknesses ; the
price is about two shillings a square foot, varying slightly
according to the guage. The guages in general use for
photo-zincography are from 7 to 11 Birmingham wire guage,
or 3-tenths to 1-eighth of an inch. Plates of any size are
supplied by Messrs. Hughes and Kimber, at 2s. a square
foot, ready for graining, or grained at 2s. 9d. the square foot.
It will be most convenient for the amateur to purchase his
plates ready grained ; but as some may prefer buying them in
a rough state, 1 will describe the whole process of preparing
the plates. The zinc plates, when received from the makers,
are rough and full of hollows and other blemishes, which
render the plates unfit for use till one side has been made
perfectly smooth and has received an even graining with
fine sand, which covers the surface with sharp, fine, uniform
' grains or asperities, and thus increases its affinity for the
greasy ink or crayon, and renders the surface as capable of
retaining moisture as the lithographic stone.

I The first operation is to take off the sharp edges of the
plates. The plate is fixed down by weights or clamps to a
table, the edges are scraped down in succession with a tool
i resembling a spoke-shave ; when the sharpness has been
' taken off all round the plate on both sides, the edges are
smoothed with a rasp, and the corners of the plate are
rounded oft'. It should now bo examined on both sides, and
the best side marked ; it is then heated in the sun or before
a fire, to render the metal more pliable, and passed three or
I four times through the copper-plate press, under full pres-
sure. During this process the plate becomes bent, and care
must be taken to roll the plate the last time with the best

* For other reasons why, see chap. xii.

t Continued from p. 307.

1

318

THE PHOTOGRAPHIC NEWS.

[Jdly 3, 1868.

side downwards. The plate is then placed, face upwards, on
a table, and the surface is scraped with a razor-blade inserted
in a groove in one end of a flat wooden handle. To make
this tool, take an ordinary razor, break off the tang, and fi.\
the blade into the groove in the handle ; sharpen it by
grinding it vertically on an oil-stone ; by this means the
blade receives two scraping edges, both of which may be
used before re-sharpening. This tool is held with both
hands, thumbs in front, pointing up. The plate is scraped
evenlj' all over in parallel lines till all the inequalities have
been taken off' and the surface appears tolerably smooth and
bright all over. It is then examined for holes and other
serious flaws, which must be hammered out. The position
of the hole is marked on the back of the plate by means
of a pair of callipers, which may be made of a strip
of hoop-iron with a hole at each end, and doubled so
that the hole corresponds exactly one over the other. One
hole is placed over the flaw, and a mark made on the back
of the plate through the other hole. The plate is then laid,
face downwards, on a very smooth steel anvil, and the back
of the plate is hammered at the spot indicated by the pencil-
mark till the face is perfectly smooth and the flaw removed.
The hammer-head has a flat face at one end, and is round at
the other; the anvil is of steel, about 4 inches in
diameter, and is fixed into a strong wooden block. They
are to be obtained at the tool shops where engravers’
tools are sold.

The scraping is continued till the surface is uniform. The
plate is then removed to the graining-trough and rubbed
with pumice-stone lengthwise and crosswise in parallel
lines till it is perfectly smooth. The pumice should not
be too hard, or it will cut deep scratches in the plate,
which will be removed with difficulty. The softer it is the
better ; if it works gritty, which can easily be felt, the plate
should be washed and the pumice cleaned with water.
When the plate is quite smooth, and all furrows and
markings have disappeared, it is smoothed with Water-of-
Ayrstone, or, as it is commonly called, snake-stone. This is
worked in the same way as the pumice-stone, the plate being
occasionally washed with water. When the plate is quite
smooth, bright, and free from scratches, it is fit for graining,
which is done by sprinkling finegraining-sand upon theplate,
with enough water to moisten it, and working it with a zinc
muller round and round with a slow, consecutive, rotary
motion, in small circles, up and down and across the plate in
every direction, till the surface appears of an uniform dark
grey tint. The sand used for this purpose is the soft, yellow,
loamy sand called brassfounders’ moulding sand. Silver
sand is not suitable for this purpose ; it is too hard, and liable
to scratch the plate. Before use it should be carefully sifted
through brass-wiie sieves varying in fineness according to the
effect required : for common work sieves containing from 80
to 120 holes to the linear inch may be used ; for close, fine
work, 140 holes ; and for half-tones, where a very fine grain
is required, 160 holes. It can be bought ready sifted, of
different degrees ol fineness, and may be preserved in bottles
with a small hole in the cork. The mullers are of different
shapes, but it is essential that the sharp edges should be
rounded off with a file. There are three kinds of mullers in
use, as shown in the annexed diagrams. Fig. 1 is a solid,

Fiff. 1. Fiy. 2.

conical mass of zinc, with a base of about 4 inches diameter ;
fig. 2 is a disc of zinc 4 inches diameter, 2 inches thick,
fastened to a wooden or iron handle. To cast them, a mould
is made in sand, the iron handle is suspended over the centre
of the mould with a piece of string, the melted zinc is then
poured in, and, when cold, is faced and turned in a lathe.

No. 3 is a simple and cheap form ; it consists of a large bung,
on the base of which a square piece of sheet zinc is laid, the
sides turned over and pressed towards the circumference of
the bung. The corners are cut away and turned up.
Owing to slight inequalities there frequently remain strips
or patches on the plate which are not granulated ; these
should be worked with small mullers, as fig. 4. While
graining the greatest care must be taken to avoid getting
any grit on the plate. The mullers should be carefully
washed before use, and while in use should not be put down
on their faces or where any grit or dirt may attach itself to
them. When the sand first applied has become too fine,
and is of a dark slate colour, it should be washed off, and
fresh sand applied. In the course of from half an hour to
two hours the plate should appear of an uniform grey
colour, finely granulated, and may be considered ready for
use ; it is well washed with water and a soft flannel kept for
the purpose, till all traces of the sand are removed, and then
turned up on its edge to drain. Hot water is then poured
over the back of the plate, so that the face may dry as
quickly and evenly as possible. The plate is then carefully
stowed away in a dry place till required for use. The greatest
care must be taken not to touch grained plates with the
fingers, and to keep them from anything greasy. A plate
is in its best condition when first prepared ; by keeping it
gradually deteriorates, and should not be used after it has
been kept a fortnight.

Tueatmext of Zme Plates which have received
Transfers.

The zinc plates can be regrained, and used over and over
again, without any sensible diminution of thickness. The
regraining is a very simple operation, and not so trouble-
some as the first preparation of the plates. If the plate to
be regrained is “ gummed up ” — that is, covered with gum
to preserve it — wash off the gum, remove the ink with tur-
pentine, wash clean with water, and apply the

Alkaline Solution.

Potash ... ... ... ... ... 4 pounds

Quicklime ... ... ... ... 4 „

Water G gallons

A strong solution of common potash will answer. The
object of this is to destroy the grease in the ink. Wash
well with water, and with a flannel rubber apply an acid
solution : — ■

Water... ... ... ... ... 2 ounces

Sulphuric acid ... ... ... 2 drachms

Muriatic acid ... ... ... 2 ,,

Let this remain for a few minutes, and then wash well
with water. This should be done in the open air, as the
fumes arising are very unpleasant. The plate is then treated
and grained as before described.

{To be continued.)

MR. PIERCT’S PATENT METHOD OF ARTISTIC
PRINTING.

We recently noticed some very fine examples of artistic
printing by Air. Frederic Piercy, a gentleman well known in
art circles as a skilful painter. We subjoin the specification
of the method whereby the results are obtained. The appli-
cation of lithography to photographs, as our readers know,
is not new ; the novelty here consists in the mode of regu -
lating the tint, and giving it a certain amount of pictorial
gradation, by removing portions from the stone or plate
before printing ; in the mode of obtaining texture and
modelling by manipulating on the applied tint with bread
or india-rubber ; and of obtaining sharp lights by burnishing
at the back of the tracing or print placed on the inked stone
previous to printing the tint on the photograph to be
treated.

The effect obtained by working on and graduating the
delicate grey ink which is applied to the photograph gene-

Fig. 3. Fig. 4.

July 8, 1868.]

THE PHOTOGRAPHIC NEWS.

.819

rally is siagularly pleasing, producing a quality of textur
we have not seen produced by other means, and in large
pictures is exceedingly valuable. The specUication is as
follows : —

My invention relates to a process whereby new effects in
portrait, Ividscipe, and other subjects are attained which may
be used in connection with and as an aid to photography, litho-
graphy, plate and wood block printing, and in some cases alone,
or to give permanence to photographs.

The process by which those effects are obtained is as follows :
— An outline of the photograph, drawing, or print to be treated
is traced on the back thereof, or on a sheet of paper. The
picture and paper are placed together on a lithographic stone,
wood block, copper, or other plate having on its surface or in
the mezzotint, aquatint, machine tint, or other ground, the
colour the whole or portion of which it is desired to transfer to
the picture; said picture is placed with its face downwards,
having the sheetof paper intervening between it and the stone
or plate, then, by rubbing, pressure, and burnishing those parts
in the tracing corresponding to the parts required to be left
light in the picture, the colour on the stone, block, or plate will
be transferred to the sheet of paper intervening between the

icture and the stone or plate wherever the pressure or

urnishing isapplied. If the traced outline has been made on the
sheet of intervening paper the picture must be removed, and
registering points used or held so that it can be returned to the
exact position it first occupied, the rubbing and burnishing pro-
cess being applied to the tracing as before, but to the sheet of
paper instead of to the back of the picture : for example, if the
general colour of a face or sky is required lighter than the
rest of the picture, the surface occupied by the tracing of the
face or sky is rubbed or stumped so that a portion of the colour
on the stone or plate corresponding to the tracing may bo trans-
ferred to the sheet of paper. The high and secondary lights
are obtained by burnishing those parts of the tr.acing which
represent the proper position of the required lights, removing
the colour from the stone, plate, or block in those parts. By a
careful use of the burnisher or pencil used, lights may* bo
obtained of varied character, either graduated or sudden and
sharp. Sheets of paper, cloth, or other fabric to which the
colour is transferred, may be used of different textures for dif-
ferent parts of the same picture according to the effects required.
In certain cases I prefer to protect the photograph or other
subject by means of gum or chalk to serve as the intervening
material on those parts which I wish to be light, the protecting
substance or substances being removed by washing or friction
after the operation of printing. When as much of the colour is
removed from the stone as desired, the sheet of paper is taken
away, leaving the stone exposed, wdien the colour may bo still
further removed by means of bread or otherwise. The picture
is then laid, face downwards, in its proper position on the stone,
and passed through the press ; when the picture is removed from
the press, and while the ink is still wet and manageable, the effect
is heightened and refined by means of bread, or an effect may
be wholly obtained by the application of bread to wet or par-
tially dry printing ink. When the photograph is printed on
albuminized paper it will be found useful to use a knife or
mezzotint scraper to obtain sharp and other lights, and this
without disturbing the surface of the paper or albumen. This
process may be repeated as often as required, various colours
and shades of colour being added at will ; as, for instance, the
colour of the hair or face may be printed on the picture, for if
the stone or plate be charged with a flesh tint, and the colour
transferred to the intervening paper or cloth in those parts
where it is not required, the picture will consequently, when
printed, be left uncoloured in those parts. In colouring photo-
graphs I may also use a tint engraved on a plate or block, the
parts to be coloured being indicated by tracing on the plate,
when the appropriate colour is filled into those parts of the
engraved tint, which may then be printed on the photograph
with an engraved surface ; the effect on photographs may be
further modified by “ wiping close ” those parts required light
in;the photograph. In order to colour numerous copies of the
same picture without the repeated use of the sheet of trans-
ferring paper, the colour may be permanently removed by
scraping out or biting away by means of acid the light parts on
the stone, or by burnishing and scraping when a plate is
employed, which effects are then to be completed by the appli-
cation of bread to the wet or partially wet ink.

My invention further consists in the use of a glass plate, the

surface of which is finely ground to receive a tint similar to that
obtained in lithographic printing ; or the glass plate may be
machine-ruled to receive a tint, when, by placing the picture
behind the glass, the effects before described may be obtained
with increased facility, and printed on the picture from the glass
plate.

My invention also consists in transmitting rays through a
lens from the object to be coloured on to a lithographic or
engraved tint, or on to the paper covering that tint, by which I
am enabled to place in proper position on the stone or plate the
colours which are to bo printed on the picture, or to remove
colour in those parts required liglit when printed. In the
case of photographs the rays would be transmitted through the
lens from the negative. By the application of oil colour to pho-
tographic and other picturos their permanence is increased, the
coating of oil colour forming a protection against atmospheric
and other injurious influences. When applied to photographs
the soda used in fixing the prints is neutralized and fixed by the
coating of oil colour. A ground may also bo obtained with oil
oolour upon which to work with pencil, chalk, and crayons, or
to paint with oil or water colours, and this ground I print on
the paper either before or after printing the photograph. If the
ground is printed before the photograph the high lights and
gradations must bo obtained as before described, and the tint
used must bo one which will not bo injuriously affected by the
chemicals employed in photographic printing ; as, for instance,
the combination of black, Indian red. and ultramarine, will pro-
duce such a tint. Where a carbon printed photograph is to be
transferred to a ground work, and effect produced by my pro-
cess, this, of course, is not essential. Pencil and other sketches
may also be ret by my process, and have lights and skies readily
introduced. Pictures on porcelain may either bo wholly or
partially printed by my process, and then burnt in as usual. It
will also be found useful to charge albuminized or other paper
with printing ink, and to obtain effects by the means already
described, and then, by the use of a press, or by burnishing, to
transfer tbe colour to the photograph or other work of art, by
which means various colours may be applied, and a very delicate
effect produced. In photography a print the reverse of the one
to be treated may be used, when all the parts may be tinted in
this way at leisure and with the greatest precision, while tho
application of bread to the wet ink will be found to give effects
of the greatest value.

Having described the nature of ray invention, and tho man-
ner of performing the same, I declare that what I claim as my
invention to be protected by the horein-before in part recited
letters patent is, —

First. Tinting or colouring photographs, engravings, water
colour and other drawings, or porcelain, by the several means
and processes herein described.

Secondly. I claim the use in the above processes of an inter-
vening material or materials upon which is to be transferred, by
means of pressure, rubbing, and burnishing, portions of colour
not required in the finished work of art, as and for the purposes
herein-before described.

Thirdly. I also claim obtaining an entirely novel effect in
the process of tinting or colouring of my invention by the
employment of bread in the manner and for the purpose
described.

M. CARRIER’S SENSITIVE PAPER.

The Commission nominated by the Photographic Society of
Marseilles, and consisting of MM. Gobert, Jeanrenaud, Paul
Gaillard, and Civiale, have just made their report upon the
keeping qualities, &c., of a new sensitive paper prepared by
M. Carrier. The mode of preparing it is not stated, but it
is believed to be a modification of the collodio-chloride pro-
cess. The report i.s signed by M. Gobert on behalf of his
confrhes, and is as follows : —

“At a meeting of the Society held on the 7 th February
last, M. Carrier submitted to the inspection of the members
an unalterable sensitive paper, suitable for the production
of positive prints, of which he presented to the Society
several specimens. We have now to report the result of
experiments we have made with this paper.

“ The prepared paper has been preserved in a sealed
packet, in the chest of the Society, from the 11th February
until the 27th April (75 days), care being taken to keep

320

THE PHOTOGRAPHIC NEWS,

[July 3, 1868.

it protected from the light. On opening the packet the
paper was found perfectly intact, white, and presenting not
the least sign of alteration, as may be seen from the two
specimens annexed to this report.

“ M. Carrier went through the process of printing in our
resence, in the studio of ^I. Davanne, the negative.s selected
eing of different description.s, so as to offer a variety of sub-
jects of different intensity. The printing was mo.st success-
ful. Without entering into any details with regard to toning
and fixing, we may say that the manipulations with this
paper required about the same time as with ordinary albu-
minized paper. It is necessary, hewever, to mention that
M. Car rier employs a toning bath specially prepared for
the purpose, and composed of —

Water... ... ... ... 1,000 centini. cubes

Sulphocyanide of ammonium 100 grammes

Chlorideof goldand pot.assium 1 gramme
The toning is effected very promptly, the paper assuming
an agreeable tint and rich tone. The prints are subsequently
washed with some rapidity, and then plunged into a solu-
tion of hyposulphite of soda at a temperature of 20 degrees
Cent., to complete the fixing of the prints, which has par-
tially taken place in the toning bath. Finally', the prints
are well washed in water as in the usual manner.

“ We have the honour to submit to your inspection the
pictures obtained in our experiments, and we hope that the
Society will be of the same opinion as ourselves, that the ad-
vantages claimed by M. Carrier for his paper have been fully
established by our experiments.”

THE COFFEE PROCESS,

BY M. A. DE CONSTANT.*

Professou Towler has recently published in one of the
American journals an article upon the different dry plate
processes, and in it he makes some mention of the coffee
process, a method of which I have had tome considerable
experience. In making a statement of the comparative value
of the different processes, that gentleman states that,
although at first the coffee dry plates are found to give
superior results to those prepared by other methods, still,
after the first day of their preparation, their sensitiveness
becomes impaired, and the longer they are kept the greater
is the exposure required ; according to Professor Towler they
lo.se their sensitiveness altogether in a few days.

As this statement stands in direct contradiction to the
representations made by the discoverer of the process and
his many disciple.s, and is likewise quite the reveise of what
I have written, after experiments which have certainly been
more complete than those instituted by Professor Towler,
it is impossible for me to allow that gentleman's article to
go forth unchallenged. I still stand by every word that 1
have said in regard to the great keeping qualities possessed
by the coffee plates ; at the same time 1 admit that the
secret of their preservation is in a great measure due to the
care with which the plates are dried. Rapid dessication by
artificial heat and preservation in a dry locality are the
conditions laid down by M. Raratti. This mode of pro-
ceeding is to employ a metal ca.se with a false bottom in
which water is placed and brought up to the boiling point
by means of a spirit flame, and the plates are laid upon
this water bath until they become so hot that it is im-
possible to touch them. Plates prepared in this manner will,
after twelve months, or even two years, yield excellent
negatives, and need not be exposed longer than four times
the period that would be required if the plates had been
freshly prepared. I have used coflee plates six months
old which were over-exposed after a period of four minutes;
during the first month of their preparation, when using a
good apparatus, I never exceed an exposure of two minutes.

If Professor Towler had carefully studied the instructions
given by M. Baratti for the preparation and preservation of

• PhotograpMiches Srehiv.

coffee plates he would not have come to the conclusion that
their valuable properties are due merely to the moisture they
contain, for it is precisely the damp that causes them the
greatest injury. The plates owe their superior qualities to
the special properties of the coffee, and in no way to their
hj'groscopic condition, as Professor Towler believes. This,
in fact, explains the ill-success attending that gentleman’s
experiments, for coffee plates which have been imperfectly
dried, or preserved in a damp locality, would, under no con-
ditions, be equal to plates prepared and stored in a proper
manner. 1 la)' particular stress on the proper storage of the
plates, as, in like manner with other dry plates, they become
covered with a light deposit of moisture whenever they are
exposed to a damp atmosphere or any change of tempera-
ture : if this moisture is not dissipated before the plate is
put into the dark frame, it is almost certain that the film
will be found to have become insensitive and useless. In
winter there is a difference of three or four degrees between
the locality in which I preserve my dry plates and the inside
of my camera, and the manner in which the deposit of
moisture takes place upon the plate is perfectly visible ; it
is only by the application of warmth that the plate again
assumes its glossy appearance, and recovers its precious
qu.alitie.s.

It has been my intention for some time past to call the
attention of photographers to this point, for it is a matter of
some difficulty to maintain the dark-room, the plate-box,
and the camera at an equal temperature. M. Baratti pre-
serves his coffee plates in a box with fused chloride of
calcium, but the great liability of this substance to become
changed by moisture is a great drawback to ics use.

If the bromide of silver collodion process of M. Carey
Lea fulfils all that it promises, many of our present
manipulations will be simplified, and failures from the
effects of moisture will be avoided; for the dry plates of
Jlr. Lea, prepared without any preservative film, are so
hard that it is almost impossible to moisten them, and a
damp atmosphere would therefore probably have no effect
upon them. During the last mouth I have been experi-
menting with this process, and the results obtained lead
me to hope for excellent things from it. By the aid of
certain preparations which I have been using, I have been
enabled to work faster with plates two days old than with
moist plates, and the pictures thus produced left nothing
to be desired, either as regards beauty, softness, or detail.
At the same time the uniform preparation of the bromide
of silver collodion appears to be not unattended by diffi-
culty. Mr. Lea at first advised that it should be allowed to
stand for the period of a week, but now he prefers to leave
it for a month.

ON THE REPRODUCTION OF ENGRAVINGS AND
LINE DRAWINGS.*

BY F. FINK.

The publication of the following remarks on the copying
of engravings by means of photography has been decided
upon by my.self, les,s in the hope of making known new
data in connection with such a proceeding, as for the pur-
pose of pointing out certain reliable facts which may be
serviceable to photographers engaged upon this description
of work. Those who have experimented at all in this direc-
tion know that a collodion which gives excellent results in
portraiture will yield but a poor, weak negative when used
for the reproduction of an engraving or a line drawing.
The reason of this is very simple : the iodizing of the col-
lodion has been insufficient to produce the necessary vigour
required in a picture made up solely of fine lines. To pro-
duce a good negative of this description it is necessary that
a somewhat strongly iodized material be used, as, for in-
stance, a collodion containing one-third more of the iodizer
than would be required for portraiture work ; such a col-

• Read before the Photographic Society of Vienna.

July 3, 1868.]

THE PHOTOGRAPHIC NEWS.

321

lodion that is coiulemned hy the portrait photograper
because it is over iodized and gives hard pictures is most
suited to the purpose.

A negative of an engraving taken with collodion of this
description, if sensitized in a slightly acid bath and exposed
for a suitable period, should exliihit perfectly clear, trans-
parent Hues on an opaque, inky black groiuid. The exposure
should be, if anything, rather too short than too long, for a
full exposure, so necessary to the production of an artistic
portrait, is fatal to the existence of fine lines in a negative
of this kind. Over intensification of the negative must like-
wise be avoided, as the more delicate lines are easily destroyed
by carrying this part of the process too far.

The intensifying solution I would recommend is a de-
veloper prepared according to either of the following
formulae : —

No. 1. — Water

Sulphate of iron
N it rate of potash
Alcohol ...
Sulphuric acid ...

No. 2.— Water

Citric acid
Sulphate of iron
Alcohol ...

20 ounces

1 ounce

i ..

2 ounces.

^ ounce.

10 lbs.
oj- ounces
2 ..

C „

After the picture has been completely developed, the
image is intensified by adding a few drops of a 20 per cent,
solution of nitrate of silver, the treatment being carried on
as long as the fine lines remain visible. After fixing, the
plate should be well washed, and then again intensified with a
concentrated solution of bichloride of mercury, the treatment
with the latter material being repeated as often as may be
thought necessary — say from one to four times. With No. 2
solution the subsequeut intensifying with bichloride of
mercury may sometimes be dispensed with.

The picture to be copied should, if possible, be lighted
from the front, direct sun rays falling at an angle of from 50
to 80 degrees, yielding the best illumination ; if the sun is
higher and the rays fall at an angle of 10 to 30 degrees,
shadows are cast by the texture of the paper, and the nega-
tive produced presents a rough, mealy appearance, which
will be found to be in the highest degree objectionable when
an enlargement of the original is prepared.

l)ElT<:CTION OF IIYFOSULPIIITE.

BY JI. C.\I!EY LE.\.*

The subject of the examination of liquids for tr.aces of hyjro-
sulphite of soda has assumed so much interest of late years,
that, although the subject has been already well handled,
a few more remarks may not be unacceptable.

1 Laving recently had occasion to make some delicate
testing in this direction, I tried all the methods usually
recommended, submitting each to a rigorous examination
upon solutions of hyposulphite made expressly, and of a
known strength, and came to the following conclu-
sions : —

Nitrate of Silver has been unduly condemned, for want
of using it in the right way. I find it a very useful test
when it is boiled with the suspected solution. T'he liquid
to be tested is placed in a test-tube, a small crystal of nit-
rate of silver is dropped into it, and the solution is boiled.
If any hyposulphite be present, the liquid presently turns
brown.

It is to be observed that certain organic substances have
the same tendency to turn brown a solution of nitrate of
silver when boiled with it. To discriminate, drop in a
single drop of nitric acid, and boil again. The liquid pre-
sently clears up and becomes colourless. Not that the
sulphate of silver has dissolved, but has separated. It
will be found at the bottom of the test-tube in the form of

minute black shining scales. By this test I have been able
to detect the presence of one hundred-thousandth of hypo-
sulphite ; beyond this the indications cannot be relied on.
T’hi.s test, though delicate, is therefore surpassed by the
following (it should be remarked, that when the hypo-
sulphite is present in so small a proportion as one hundred-
thousandth, the black scales just mentioned arc not
visible).

Iodide of Starch. — I'liis reaction is more delicate than
the preceding. The best course is that recommended by
Dr. Vogel : to use two tubes, and place a piece of white
paper behind them, the better to judge of the colour. The
following is the method which I employ for preparing and
using the iodide of starch ; — Place about a quarter of an
ounce of water in a test-tube, take up a bit of fine starch,
grind it between the finger and thumb, letting the powder
fall into the water (half a grain is sulficient) ; boil till the
liquid is clear, and let fall in a single drop of tincture of
iodine, agitate well, ami let cool. Of this dark blue solu-
tion, allow a drop or two to fall into each of two test-tubes,
an exactly equal quantity in each, then fill the test-tubes
half full, one with distilled water, the other with the liquid
to be tested. T’he colour of the blue should be just per-
ceptible in the tube with common water; if, then, the
blue disappears in the other, it is an indication of the pre-
sence of hyposulphite. This test is more delicate than the
preceding. I obtain indications with one-millionth of
hyposulphite, in this result agreeing with Dr. Vogel.

It is to be observed that the great difficulty in removing
hyposuli)hite lies in the fact that photographic paper is
sized, and, consequently, very difficult of penetration by
rtuids. I called attention, some years ago, to the fact that
as most photographic paper contains a starch sizing, this
affords a ready basis for testing. It is only necessary to
draw a brush containing a very we.ak solution of iodine
over a white portion of the paper. If the print is clear of
hyposulphite, a blue mark will be produced ; if traces of
hypo are present, no dark result will follow. It is to be
remembered that in using this method it is necessary to
have ascertained beforehand, once for all, that the photo-
graphic paper in use contains starch, which, of course, is
done by applying a little weak iodine solution to the paper
before sensitizing. This should be done on the back, not
the albuminized side. A blue mark indicates starch, and
such paper is then known to be suitable for the application
of this test. So far as I remember, this suggestion of mine
was the first application of iodide of starch for detecting
hyposulphite in photograiiliy, though such application
was too obvious to be overlooked. Of course, the solution
of iodine must be very weak, otherwise one portion of the
iodine may destroy the trace of hyposulphite, and the
remainder may bring out the blue reaction. This should
never be forgotten in employing this test in all its shapes.

This mode of testing is decidedly suipassed by the fol-
lowing : —

Zijic and Sulphuric Acid. — It has been ingeniously pro-
posed to convert the sulphur in the hyposulphite into
sulphuric acid, and detect the latter by lead.

Much as has been said of this test, it has scarcely been
done justice to. It has every advantage : ease, certainty,
and wonderful delicacy. It has the gieat advantage that,
if pure materials be used, there is no possible ambiguity in
the result. Other substances, in the first method spoken
of, may be browned by silver nitrate ; and in the second,
other reducing agents may decolourize iodide of starch.
But. in the method here under consideration, nothing but
a sulphur compound can produce the characteristic reaction
with lead.

The liquid to be tested is to be placed in a narrow, deep
beaker ; a fragment broken off from a stick of pure distilled
zinc, which, with a few drops of pure sulphuric acid, is to
be dropped into the beaker. It is immediately covered
with a piece of Swedish filtering-paper, twisted under the
lip of the beaker. The wet stopper of an acetate of lead

Philadelphia Photographer.

22

THE PHOTOGRAPHIC NEWS.

[July 3, 1868.

solution bottle is then to be touched in several places upon
the paper cover. This last, being twisted under the lip of
the beaker as just directed, confines the gases generated,
to some extent, and gives them opportunity to act upon
the solution with which the paper is imbued. The whole
is then set in a warm place. If much hyposulphite be pre-
sent the lead solution turns black ; with less the effect
diminishes. With such quantities a brown stain is pro-
duced.

By operating in the above manner, 1 have been able to
obtain distinct indications from one two-millionth of hypo-
sulphite, a faint but distinct stain appearing. I enclose
the paper for inspection ; on the undei-side a light brown
colouration will be observed.

That this stain came from the infinitesimal quantity of
hypo just spoken of does not admit of doubt, for in
another beaker inside it were placed the same materials,
but with water only — the same water that had been used
for the hypo solution. The two, therefore, differed only
in the presence of the one two-millionth of hypo : in the
one the stain appeared, whilst the other remained white.

Whilst this is the best of all tests for hyposulphite of
soda in solution, it must be remembered that any saline
substance is but gradually removed from the interior of sized
paper, so that, consequently, testing w.ash-water may lead
to serious mistakes, unless the prints have remained in it
sufficiently long for it to adequately represent their con-
dition— some hours, 1 should say. I therefore think that,
for practical purposes, in ordinary photographic operations,
I should prefer tlie use of solution of iodine applied with a
brush in the manner I indicated in 1864. 'J'he precautions
which I then mentioned were, not to use the iodine solution
too strong, but to prepare it by .adding a few drops of tinc-
ture of iodine to several ounces of water ; to assure one’s self
that the paper be one sized, in whole or in part, with starch ;
by observing that the iodine solution will strike a blue
colour with it before it has sensitized ; and finally, if the
iodine solution gave the blue colour on the printing, to
consider it as a proof that, with a little more washing, the
print would be safe.

But, if the highest accuracy is desired, crush up one of
the prints into a beaker with water enough to cover it,
place a capsule or watch-glass over, and set it aside till
next day. Then, touching the paper only with a spatula
or glass-rod, squeeze out the water, and subject it to trial
with zinc and sulphuric acid.

I am in the habit of using paper exclusively for drying
glass-plates after cleaning them ; and I believe it to be
a needful precaution to ascertain that no trace of either
hyposulphite or of chlorine is present. 1 find the best
plan to be, to take out a trial sheet or two and test them.
1 test for hyposulphite with the zinc used ; and the absence
of chlorine and of hypochlorites is ascertained by observ-
ing whether a strip of litmus paper left in the be.aker with
the paper previous to applying the zinc test is bleached
or not. In this way litmus paper is very useful, affording
a treble indication, being turned red by acids, blue by
alkalies, .and bleached by chlorine and hypochlorites. (.V
strip of litmus paper should always be blue at one end and
red at the other, to afford the double indication.) Ordi-
nary cheap blotting-p.apcr is apt to be faintly alkaline,
perhaps from the presence of lime added with the hypo-
chlorite of lime used for bleaching, w'hich is always largely
mixed with it, and of which some may be left behind when
the hypochlorite is removed. Even if the lime h.as become
carbonated by exposure to the atmosphere, this would not
prevent its acting upon test-paper, as carbonate of lime
has a slightly alkaline reaction upon test carbon.ates.
Lime, of course, could not act very seriously ; indeed, it is
largely employed in the shape of whiting for cleaning
plates. The object of using paper instead of a cloth is
that it gives a brighter surface and is less apt to leave a
pluff behind it. If a glass, just before collodionizing, be
breathed upon and then be rubbed dry with clean bibulous

paper, it has a better chance than if brushed over with
camel’s-hair brush, for the latter, in certain states of the
atmosphere, may leave marks behind it ; but paper to be
used for photographic glass must not be left about ex-
posed to fumes of a laboratory.

I inclose a piece of Swedish paper, with a brownish
stain obtained from a two-millionth solution of hyposulphite.

PORTABLE PHOTOGRAPHIC LABORATORY.

BY HIPPOLTTK ROCHAT.

The following plan for a portable laboratory was only pro-
visionally opecified : —

This apparatus is composed of a rectangular wooden case
hermetically joined, the dimensions of which are regulated by
those of the basins and frame intended for the operations.
The normal or ordinary plate requires interiorly from about 20
to 22 inches in length by about 14 inches in breadth, and an
equal height. The top or lid opens from the front backwards
to a width of about 10 inches, and from the b.ack forwards in a
breadth of a little over 2 inches. The middle part remains
fixed. These two openings are provided with yello v glasses
lighting the interior. A moveable covering intended to pre-
vent the reflection of the light on the surface of the glasses
when it is raised, and to preserve these from contact with
exterior objects when it is lowered, is joined by means of
hinges to the fixed part of the lid ; the sides or overlaps of this
shade slide on the exterior of the sides of the case, covering the
openings of these sides, and are fixed by the operator at
the desired lieight by means of an adjusting screw. The
two sides and the front ot the apparatus are pierced about
1) to li| inches above their centres with a round opening of
from 5 to 6 inches in diameter, to which is fitted a sleeve of a
thick black fabric about 8 inches long, and terminating in an
elastic wristband. A groove intended to receive the frame,
hollow or projecting, according to the construction of this latter,
is placed at the bottom of the case at the end, and at the height
of the basins ; it serves to give to this frame the necessary slope
or inclination for preventing the fall of the glass plates into the
interior of the apparatus. A small spiral spring presses against
the frame when the opening by which it has been introduced is
closed, it keeps it in its position, and adds to the facility of
seizing the glass plate, as both hands may bo employed. Lastly,
four sliding feet placed at the angles permit the raising of the
laboratory and placing it horizontally on any ground. The
dimensions of this apparatus, according to the sizes to be
obtained, may be determined in the following manner ; —

Length. — The breadth of the two basins sufiices, as the blot-
ting-paper may be placed even more commodiously on the side
of the covering of the basins which presents itself when the
basin with the silver bath is uncovered.

Breadth. — The length of the basins, plus the distance from
the groove intended to receive the frame to the back of the
case, calculated according to the inclination which it is desired
to give to this frame.

Height. — That of the frame starting from this groove.

Method of Operating. — The photographer changes nothing in
his ordinary manipulations. Arrived on the spot for his opera-
tions, the case is set horizontally, two basins of equal dimen-
sions are placed in the interior one beside the other, the sensi-
tizing bath is poured into the one and the developing bath into
the other, at the choice of the operator. A small flap fixed to
this latter by hinges permits their being alternately covered to
prevent splashes from one bath into the other. The glass
plate, collodionized in the full light, is placed in the frame ;
this latter is introduced into the dark chamber by the back
opening, which is leclosed ; the hands, passed into the sleeves,
take the glass plate in this frame (which must not open from
the bottom upward) ; it is immersed in the silver bath, drained
on the blotting-paper, replaced in the frame, brought back in
the apparatus after the pose, and the development made in the
second basin. It is afterwards withdrawn by the large opening
in front, washed, fixed, and even strengthened, if necessary, in
the usual manner. It is very useful, in order to prevent the
chafing of the edges of photographs enclosed damp or un-
varnished in the special boxes, that the grooves of these latter

July 3, 1868.]

THE PHOTOGRAPHIC NEWS.

323

should not be square and about the tbicknoss of the glass pfate*
but triangular, so that the edges of the plate have no point of
contact with them but by their extreme angles. The operations
ended, the object glass, the dart chamber, the basins, flasks,
and so on, are placed in the apparatus, which thus serves as a
packing case, and is no encumbrance.

o

EXPERIMENTS WITH FILTERING PAPERS.

The American Journal of Pharmacy contains an interesting
account of a series of experiments by Mr. C. E. Avery,
undertaken to test the relative value of various forms of
paper-filters. Some condensed extracts from the article
may be useful to many of our readers.

“ The filter most commonly employed in analytical labo-
ratories is a circular piece of paper folded twice upon itself
into the form of a quadrant, and supported on a glass funnel
with straight sides. This filter, though commendable in so
far as it is capable of supporting the weight of a consider-
able column of liquid without breaking, is objectionable, in-
asmuch as liquids cannot pass through it so rapidly as is
desirable. Since at almost every point the paper is in close
contact with the glass, but little of the liquid can flow off
between the filter and the sides of the funnel.

“ Several schemes have at various times been proposed for
opening water-ways between the glass and the paper ; the
interposition of straws, glass rods, and splinter's of wood be-
tween filter and funnel, as well as fluted funnels and plated
filters, are all devices looking to this end.

“ The advantages of the plaited filter are so great that
some chemists prefer to use it, even in quantitative analysis,
instead of the common form, in spite of its greater liability
to break, and the difficulty of washing the precipitate.

“ Another excellent method of increasing the speed of fil-
tration, suggested by the German chemist, Fleitmann, con-
sists in placing one plain filter within another of coarser
fibre ; for instance, a fine, plain filter of Swedish paper may
be placed within another plain filter of coarse German paper,
supported, as usual, on a funnel.

“ In experimenting upon these various forms of filters, it
occurred to me to fold the plain qualitative filter in two
operations instead of one. In place of folding the filter
doubled upon itself down the middle in the usual way, 1
proposed to turn down on each side of the paper a fold
equal to one-quarter of the semi-circle, and then to fold the
sectors of 45® arc thus formed back upon themselves.

“ The filter is then opened without disturbing the folded
portions, and placed upon the funnel. In this form the
triple side of the plain filter is broken up, and the folded
portions keep open passages, instead of hindering filtration.

This filter, as tried against the plain form, gave, 1st,
133 : 100 ; 2nd, 111 : 100 ; 3rd, 205 + : 100.

“Two plain filters ran equally in several trials; each was
changed into the other's funnel, and No. 1 ran 33 per cent,
less than No. 2. No. 1 was dried and folded into my form ;
remaining in the same funnel, it ran 32 per cent, faster than
the other. Both filters were then opened, and showed no
tear or weakness when held against the light.

“ As these filters gave different results in different funnels,
1 thought I would ascertain the cause. The water seemed to
be retarded in its passage by the attraction of the glass ;
therefore, those funnels having the greater portion of the
papwr free from the glass would be the best ; that is, a
broad -throated funnel, other things being equal, will filter
faster than a narrow-throated funnel.

“ To test this point 1 selected two large funnels ; No. 1
had three times as broad a throat as No. 2. With the first
filters they ran : —

117 : 100 123 : 100 133 : 100 118 : 100

“ The reason for this low difference was found in a thin
spot near the point of No. 2.

“ I understood the idea of the Fleitmann filter to be this :
that, likening a plain filter to a peat bed resting upon an
impermeable sub-soil, it might be compared to a porous

substratum interpolated between the swamp and the clay
bottom.

“ To test this idea a Fleitmann filter was made and
wetted, carefully patting down and smoothing out any irre-
gularities. It was tried against a plain filter which was
placed in a funnel with but two-thirds as wide a throat as
that of the Fleitmann. It ran 1 14 ; 100 ; that is, the pas-
sages kept open by the elasticity of the paper, the creases
and abutting edges liken this filter to tile drainage.

“ To increase the size and number of passages I tried put-
ting the inner filter into a plaited filter of coarse paper.
Changing the filters after each trial, I found this form gave
the following results as compared with the plain filter,
calling the latter one hundred : —

1st trial 184 : 100 4th trial 166 : 100

2nd „ 201 : 100 5th „ 170 : 100

3rd „ 250 : 100

“ I afterwards foun 1 a thin spot in the plain filter of the
fourth trial.

“ I thought, since the adhesion of the water to the glass is
the cause of slow filtration, 1 might increase the flow by
coating the funnels on the inside with paraffin, to which
water does not adhere. No. 1 being coated. No. 2 left clean,
I got—

1st trial 200 : 100 3rd trial 100 : 100

2nd „ 184 ; 100 4th „ 137 : 100

“ The filters in the third and fourth trials were the same,
but the funnels were changed about.”

®0rrcspan&tiut.

CARBON.\TE OF LIME IN TONING.

Sir, — .Mr. Bovey, in the last of his interesting papers upon
Printing and Toning, has kindly promised to answer the ques-
tions of bis readers.

As far as I can see, his objection to the use of carbonate or
acetate of soda in the toning bath would not apply to the pure
carbonate of lime, which, while it would neutralize any excess
of hydrochloric or nitric acid which might be present in the
chloride of gold, being itself insoluble in water except with the
assistance of carbonic acid, would probably bo unable to act
upon the neutral chloride of gold.

I have been in the habit of using precipitated chalk and
chloride of lime in preparing a tuning bath, and have been very
successful with it, and have seen first-rate tones produced by
it in the hands of my friends. Probably Mr. Bovey would
object to the use of chloride of lime, on account of the free
chlorine; but as the prints are immersed in the toning bath
without any preliminary washing, it is neutralized at once by
the free nitrate of silver in them.

If Mr. Bovey will give his opinion upon these points, I shall
be much obliged. — Your obedient servant. Amateur.

Brighton, June 30, 1868.

S-alk in the Stubia.

Royal Photographers.— The Censor is somewhat hard upon
photographers, or else upon their royal sitters. In a column of
things “ Wanted,” and “ Not Wanted,” it has the following : —
“ Not Wanted — any more of those dull, ordinary, common-
looking photographs of the royal family. N.B.— Photographers
have done more to destroy the ideal of royalty than all the re-
publicans in the world ; the Briton, as he passes a shop, or
stumbles over II. M. Q. V. in an album, involuntarily quoting
Peter Pindar— IVhat’s that, the Queen? what, that thing
there ?”

Memorial Card Mounts.— Mr. S. B. Beal has submitted
to our notice a very neat form of card mount intended for the
portraits of deceased friends. A good design in black is
printed on a delicate grey or lavender tint. Interwoven in
the design are various scrolls to be filled in with any inscrip-
tions chosen, the centre being an oval for reception of the
portrait.

324

TIIS PHOTOGRAPHIC NEWS.

[July 3, 1868.

Intense Negatives. — A correspondent of Humphrey's
Journal says : — “ No doubt some of your readers, as well as my-
self, are sometimes annoyed with negatives getting too intense
after a number of prints have been made from them. Several
remedies have been suggested. Some recommended floating
the paper (after sensitizing) on pure water, in order to have
less free nitrate on the surface ; but I think it is alw.ays best
to have the negative of the proper printing qualities. My
mode is as follows : Take equal parts of liquid ammonia and
alcohol ; then wet the varnished surface of the negative with
water ; then flow the solution over one plate, and allow it to
remain on only long enongh to soften the varnish, not to remove
it; rinse well with water. If the negative has been strengthened
with mercury, flow first with cyanide solution ; should you still
wish moie reduction, rinse well, and flow with bichloride of
mercury, and then again with the cyanide solution. This can
be repeated as often as necessary, and the strongest negative
can be so modified as to give beautiful prints. The above
operation will only reduce the intense parts of the negative,
leaving all the half tones undisturbed ; and it does not take as
long as it does to write the above. If there are any who doubt
it, let them make a trial with some old discarded negative that
has become too intense ; and if they like it as well as I do,
they will adopt it until some brother photographer introduces
something better.”

The Spectrum Reconstructed. — Prof. Listing, of Gottin-
gen, considers the solar spectrum as made up of nine colours,
in the following order : brown, red, orange, yellow, green, blue,
indigo, violet, and lavender. He has also calculated the number
of vibrations of each, and has found that their numbers con-
stitute an arithmetical progression; the interval between one
colour and the next always being 4<S,.524 billions of vibrations
per second. The number of vibrations constituting the two
extreme colours are represented by 364 trillions for the brown,
and 801 trillions for the lavender. — Scientific American.

To Make Plaster ok Paris Harder. — With one excep-
tion, all admixtures impair the hardness of the plaster. I'he
exception is iron filings. When these are mixed with plaster
they rapidly oxidize, and the coherent mass of oxide of iron
formed adds its own strength to that of the plaster, making a
very firm mass, which has also the advantage of strongly
uniting itself to surfaces of iron. I have not observed what
proportion of the filings is best, but suppose they should form
about one-fifth the whole weight. — Ibid.

5^0 Corrcsyoubfiits.

M. D. L. — It is probable that your collodion will be improved by the
addition of more pyroxyline. We find the sample you have for-
warded gives a thin limpid collodion with 6 grams to the ounce of
solvents ; if, therefore, you li.ivc used only 4 grains the collodion
will bo too thin. You may also, without imirropricty, add 1 grain
more per ounec of iodide and i grain of bromide. The formula
you (prote is doubtless a very old one. The newness of the collo-
dion has also, you must remember, tendency gener.dly to cause it
to yield thin image.s. 2. The addition of a little gelatine or sugar
to the developer will doubtless aid j'ou in .securing more intensity.

J. F. B. — In attempting an operation like making- your own
chloride of gold you should, unle.ss tolerably well versed in
chemistry, take some carefully stated formula and follow it accu-
rately. After dissolving )'our gold in aqua regia you should, if
you wished to employ the chloride of gold formed with certain
specific formula', have got rid of the ac'ds by evaporation. Neu-
tralizing the acids by adding chalk docs not remove them. You
form nitrate of lime, chloride of calcium, and when idiosphatc of
soda is added to the solution pho.sphate of lime will be formed,
which, being insoluble, is precipitated as you de.scribe. Gold is
not soluble in sulphuric acid, but after forming the precipitate from
such a solution as you describe nitric acid would be present, and
gold in a fine state of subdivision is, in some degree, soluble in a
mixture of sulphuric and nitric acids. 2. Dilute sulphuric acid
will dissolve the zinc and leave the silver intact.

C. E. F. — AVe find that toning solutions prepared by different for-
mula' give distinctly different results ; some tending to black tones,
others to warm tones ; some bleaching a little and increasing bril-
liancy, and others toning without altering the character and depth
of the print. Wo cannot verj’ well tell you which we recommend,
therefore, without knowing the kind of result you require. AVe
sometimes use the acetate, sometimes the lime formula ; but th.if
we most commonly employ — because it is simple, effective, and
readily prepared — consists in the addition of a few grains of chalk
to the standard solution of chloride of gold (1 grain of the salt in

1 drachm of alcohol), and pouring sufficient hot water upon it to
make the desired strength, generally .5 or 6 ounces to the grain.
By the time this solution is cold it is fit for u.se, and gives good
results. 2. The object of adding spirits of wine to the paper
sensitizing bath is to re<lucc its tendency to dissolve the albumen
and get discoloured. This it does very efficiently. The chief ob-
ject of adiling sugar to the bath is to enable the pape to be kept
longer u ithout issuing in discoloured prints. . A’cry little will serve ;
about f. drachm of sugar to a (juart of solution. Read Mr. Bovey’s
article in our la.st Ykak-Book, and his article on toning in last
two numbersof the News. Also secour A'e.vu-Book for various
toning formula'.

James .Stoddard. — The conditions of success in producing g(sal
copies of a i»cn-iuid-ink dr.iwing arc somewhat different to those
re(iuired in iurtraiture. In the latter you want softness and grada-
tion, with no approach to i)ure \vhitc or deep black except in minute
points ; in the copy of the iK’ii-and-ink daniwing, like that enclo.sed,
you re(juirc a large space of pure white, and such blacks as there
are very intense. Presuming that the drawing is on pure white
paper, you need have no difficulty. Use an old ripe collodion of
good body, and develop with a gelatino-iron developer, and take
care not to dash the developer over the plate, so as to drive all the
free silver off the film. If, after fixation, the white portions are
not quite opafpie, wash the film well, and intensify with pyro and
silver, first treating the film with a dilute solution of iodine, wash-
ing it again, of course, before applying the intensifying solution ;
or you may, if you are familiar with the re.sults, employ any of the
mercury intensifying processes, or the solution of Schlippe’s salt,
or of permangiinate of potash. Any of these will increase the
intensity of the finished print. Try again, and let us know the
result.

AV. J. A. G. — AVe arc not familiar ivith the exact form of stereo
camera of which you send us caixlboai-d model ; but the working of
it seems tolerably clear to us. The operations will be verv similar to
those of the Latimer Clark camera, which we described last week.
If you focus with the pointer plaeeil opposi'e o, and then move the
bar with the pointer opposite t)io 2 at cither side, the image should
still occupy the same i>laee on the ground glass and be quite sharp,
in one cjise a little more of the right side of the subject being hikcn,
and in the other a little more of the left. To work the camera
after focussing with the pointer at o, and seeing that the images
come right when it is moved to cither sile, move the point to the
right-hand 2, and proceed as we last week described. By moving
the camera nearer to or further from the pointer end of the bar,
you increase or decrease the dishmee between the points at which
each picture is taken. 2. The design on the buck of your card is
very good, and the hint to exacting friends neatly conveyed.
3. The tone .and general quality of the print are good ; but the
negative is just a little under-exposed.

J. Stuart. — It seems probable, from a general examination, that
the spots are due to imirorfect fixing and wa-shing, the result having
been finally brought about by the damp ; but wo will examine the
matter more carefully, testing both prints and cants, and then
report.

Gahnieu. — Thanks for the interesting photographs of Victor Hugo.
Ale.ssrs. Marion and Co., Soho St|Uare, or the London Stereoscopic
Company, Che-rpside, may probably find customers for such
pictures.

Only .\x Amateur. — The instructions given in the printed paper
were not definite. The portion of bichromate supplied rvas to lio
dis.solvcd in some water. If you wish to try such a mode of print-
ing you may dis.solve an ounce in a pint of water. A'arious for-
mula! for bichromate printing 2>rocc.s.scs have appeared in our
jiages. 2. .-V good intensifying solution of pyrogallic acid may be
made ns follou-s : 3 grains pyrogallic acid, 2 grains citric acid,
1 ounce water, with a fcM' drops of a fi-esh 20-graiu solution of
nitrate of silver added just before use. After developing with your
iron solution, wash thoroughly and intensify with the above; or
you may intensify after fixing with the above, if you wish.

Maonesu'm. — The time required for fixing depends somewhat upon
the (juality of the jiaper used. Thick paper requires a longer time
than thin jiaper. If your enlargements are produced upon draw-
ing Jiaper thirty minutes will not be too long ; for a stout photo-
graiihic jiaper about twenty minutes will suffice. AV'ash the print
very thoroughly after development before immer-sion in the fixing
bath. The object of the acetic acid in the nitrate bath for the
printing by development process is to restrain reduction and prevent
discolouration of the ivhitcs.

E. Gregson. — The jier.son whom you mention has made a conijiosi-
tion with his creditors, anil is, we believe, retiring from photo-
gr.ijihic business. Possibly your letter has been accidentally over-
looked.

Errata. — In Mr. AVaterhou.se’s article on Photo-zincography, p. 294,
para. 3, lined, for “cemented” road “connected.” In correspond-
ing lino of next column, for “ glycerine ” read “glycocine.” In
last week’s i.ssuc, p. 310, in the heading of Mr. Gafficld’s letter on
the Transmission of Actinism, for “light” read “glass.”

Several CorrcsjKmdcnts in our next.

THE PHOTOGRAPHIC NEWS

Vc:,. XII. No. bU.—Jnhj 10, 1868.

CONTENTS.

Pi OK

Portraits with Landscape Backgrounds : Double Negatives

lAke Price on Portraiture

Critical Notices

Pictorial Meet in Photography. By II. P. Uobinson....

On the Principles of Lighting and of Constructing Studios. By

Dr. H. Vogel

Toning and Fixing in One Bath

Collodion without Bromides ••

On a New and Simple Method of Recovering Metallic Gold and
Silver from Residues. By Victor G. Bloede, Chemist

32o

326

327
32 f

329

331

331

331

PACK

Piracy and Informers 332

Mixture for Retouching Negatives. By William Bell 333

More Piraey of Engravings 333

Separating Gold from Silver 334

Correspondence— Carriage of Photographic Goods Abroad —

Panoramic Camera... 334

Talk in the Studio 336

To Correspondents 335

Registration of Photographs 336

PORTRAITS WITH L.A.NDSCAPK BACKGROUNDS
—DOUBLE NEGATIVES.

Since we called attention some months ago to the charm-
ing card pictures of Mr. Edge, in which a landscape taken
from nature is introduced as a background to the portrait,
many ingenious suggestions for modes of double printing*
and for the production of double negatives have been com-
municated to our pages. Wc. have now to introduce to
our readers a mode of producing a double negative by
which the figure and landscape background can be printed
successfully at one operation. 'I'lie methorl we are about
to describe is due to Mr. Burgess, of Norwich, and is, we
venture to think, so simple and etficient as to leave nothing
further to desire in this direction. By the use of ordinary j
skill, care, and ta.ste, double negatives with various effects ,
can be produced, and the printing is conducted in the ordi-
nary manner without extra care or trouble. The examples
which Mr. Burgess bi'ought under our attention some
weeks ago, when he favoured us with a visit, were de-
scribed a.s merely experimental essays, but their excellence
.afforded sufficient warranty of the capability of the process,
and we apprehend that the beauty of the results, so far as
the background can influence it, need only be limited by
the art skill of the photographer.

The plan devised by ilr. Burgess consists in a new use
of our collodio-ehloride proce.ss. A negative is taken, as
usual, in the studio, with such foreground effects as may
be suited to the finished result; the background screen
must, however, be a dark one, either black or as nearly so
as the darkest part of the landscape. AVhen the negative
is completed it requires a protective coating, which pre-
vents the film from being dissolved or injured by the next
coating, which consists of collodio-ehloride. Mr. Burgess
at first used india rubber-solution, but has since found that
albumen answered better, and the latter will doubtless aid
in securing vigour in the image. When the protective
varnish of india-rubber or albumen is dry, it receives a
coat of collodio-ehloride of silver, and when this is dry the
figure and foreground are carefully painted out upon it
with indian ink applied with a camefs-hair pencil. This
done, the sensitive collodio-ehloride film is exposed under a
transparent positive obtained from any suitable landscape
or other negative which may be chosen, and a negative
image so produced. It is then fixed and washed in the
usuM manner. Toning, it will be observed, is unnecessary,
as the brown tint of hypo fixing is most suitable for print-
ing purposes. The indian ink which masked the figure is
washed off in the eourse of the fixing and washing, and

* We may here remark that Mr. Robinson has recently reduced double
printing to a system of great simplicity, arranging the negatives for combi-
nation in a picture so that they may be worked by his ordinary printers by
a system of registration, in which care to follow instructions alone is neces-
sary to Bucccse. We shall have something to say on this subject shortly.

the figure and foreground remain as in the original nega-
tive.

We subjoin Mr. Burgess’s communication, received since
we saw him, in its integrity : —

“ My dear sir, — I have pleasure in sending you my pro-
mised communication on ‘ double printing,’ or rather double
negatives, but my time has been too much occupied to per-
mit me to experiment with it so far as I should have liked.
However, the specimens I send herewith are sufficient to
show th.at it can be done satisfactorily. When used with
taste and skill, I think the method will give great power to
the photographer, as it is possible to make the background
harmonise and blend with the figure ; and this being done
on the negative, of course the printing proceeds with no
more than the usual trouble. I quite appreciate good
printing, but, I think, as a rule, we do not spend sufficient
time and care in producing negatives of a superior quality.

“ The admirable little pictures by Mr. Edge first induced
me to give my attention to double printing more closely
than 1 had hitherto done, although I had frequently printed
in skies and made use of the dodge in other ways without
any scruple as to its legitimacy. I did not until then
fully realise the additional jiower which is thus gained
by the photographer. At first I took the figure and fore-
ground with a light background, graduated to dark grey at
the bottom. A print having been taken from this, I painted
out the figure and foreground with indian -ink (this is easily
done by any one who can draw moderately well, even with
a profile), and laid the print upon the background nega-
tive. When the print is washed, prior to toning, the indian
ink is carefully removed, a little friction with a brush being
sometimes neeessary. The advantage in this plan lies in
the fact of its being possible to follow very intrieate out-
line without any fear of the m.ask slipping. Another plan
is to p.aint a mask on ‘ vitrified ’ sheet india-rubber,’ or
t.alc. This is laid over the print and gummed in its plaee.
I have made the ‘ sheet india-rubber ’ by coating a glass
alternately with collodion and india-rubber until of sufli-
cient thickness.

“ But it is the plan of making a double negative which
I think is most useful, and 1 will proceed to describe
my method of doing this. I take the negative of figure
and foreground with quite a dark, plain baekground, and,
whilst still wet, after fixing, flow over albumen and water
mixed in equal parts. When dry, I coat the plate with
collodio-ehloride of silver, and when this is again dry paint
out with indian-ink all the figure and foreground. I then
proceed to print from a transparent positive of the back-
ground on the collodio-ehloride of silver, which will, of
course, produce a negative of the background at the back
of the figure.

“ I have also tried coating the negative of figure, &c.,
with india-rubber, and preparing as a dry plate, but found

326

THE PHOTOGRAPHIC NEWS,

[July 10, 1868.

it more unmanageable than the plan described above. —
I am sir, yours very truly, J. M. Burgess.

Norieich, Juhj drd, 1868.”

The method referred to in the last paragraph of Mr.
Burgess’s communication had also been proposed to us by
Mr. Cherrill as a means of securing a double negative.
The chief objection to it is the risk to the first negative
involved in its re-immersion in the nitrate bath, and the
prolonged operations involved. Probably the dry collodion
tissue, as prepared by IMr. Woodbury on a basis of leather
collodion, might be found useful in some cases, with tlie
advantage of being detached from the negative at will ; but
none of these plans seem so simple and ellicient as that pro-
posed and carried out by Mr. Burgess.

There is another facility presented by this mode of
securing double negatives which should not be overlooked.
Whilst it is proposed as a means of introducing landscape
backgrounds to figures, it is obvious that this is not tlie
only purpose for which it is available ; the ])roductioii of
groups from various negatives taken at different times, or
the introduction of objects or accessories — in short, any
combination difficult or impossible to be gained on one
plate with one exposure — may, by the exercise of .skill, be
brought together in one negative, and printed at one
operation.

LAKE PRICE ON PORTRAITURE.

Tuere i.« no department of photography upon which Mr.
Lake Price will be heard with more profit to the student than
that which treats of portraiture and the rendering of figures
generally: and, as we have before stated, his new work con-
tains very much on this subject which will be read with
eager interest by the professional portraitist. We propose
here to lay before our readers, in extracts or epitome, some
of his instructions in this department of the art.

Whilst dimension is stated to be an element of great im-
portance in photographic portraiture, Jlr. Price points out
the great difficulties necessarily involved in attempting large
direct exposure. A lady whose huge photographic portraits
have been much praised in delettaiitc art circles, claims it as
a merit that they are taken direct, and admits that very
long expo.sures arc required — so long, in fact, that we heard
it once facetiously remarked that it was quite admi.ssible for
the sitter, wearied with the long exposure, to stretch his
legs by a turn round the studio during the exposure. Jlr.
Price, deprecating especially protracted sittings, says : “ The
sitter’s countenance, which, had it been t.aken rapidly, would
have been life-like, sparkling, and intelligent — no matter
what his good looks or otherwise — becomes leaden, vapid,
and, indeed, loses its resemblance to the original ; for the
soft and mobile parts of the face, j-ound the mouth — which
is the chief seat of expression — have so drooped that their
very form is altered during the sitting.” “Thus,” he con-
tinues, “ photographs which have been attempted, aj)proach-
ing life size, have been most abortive and disagreeable, and
heads of three and four inches have not yet been obtaine l,
with the figure and hands in the picture in fair focus and
drawing, and when the head alone has been given, the
operator has been obliged, in order to obtain any degree of
rapidity, to use too large an aperture, and the line of correct
focus traversing the face is, on both sides, in ifumediate con-
tact with distorted forms. When it is desired to take heads
ofc this size it is useless to attempt the hands and figures ;
the face must occupy the central portion of the lens, and,
thus treated, heads of study, &c., can be obtained up to four
inches or so. It is at these dimensions especially and those
approximating to them, either larger or smaller, that the new
portrait lens of Dallmeyer shows its superior capabilities,
and becomes mo.st valuable to the photographer; giving a
general fleshy softness to the features in lieu of the metallic
hard appearance, and by increasing the depth of perfect
focus.”

The largest size at which he considers a portrait can be

undertaken to include the person and hands, giving a three-
quarter length, may have the head about 2 inches in length.
Suitable lenses for such work may vary from 4J inches to
6 inches in diameter, and from 15 to 24 inches in focal length.
Groups in which the figures must be smaller may be on
20-inch plates ; but for single figures he recommends
12 by 10. llis remarks on card portraits we give at length,
lie says : —

The “cartc-de-visite ” is the .smalle.st size it will be necessary to
notice. The ;^reut popularity it for so long a period enjoyed shows
that the tjualities it possessed must have largely satisfied the taste of
the public. The time of expo.surc, depth of focus, completion, deli-
cacy, and rotundity of the image it possesses, are qualities which are
only obtained with the greatest difliculty and under the most favour-
able circumstances in larger works. The damaging condition wa.s
this — that from the extreme facility of their execution they became
extremely commonplace, and that when the photographer had the
talent of an-angemont necessary to compose a picture, the time so
occupied would not be repaid by the small charge customary, whilst
the public, entirely ignorant — as a mass — of art principles, was
equally delighted to find it.self depicted as abiding in Cockney Gothic
interiors of a cathedral character ! bought by the square foot of some
dauber, with vulgar and absurd accessories — as it would have been
with a higher grade of representation. Many very charming works
may be selected from the mass — “rari nantes” — in the ocean of
mediocrity, wliich show that “ small sizes” are, as a rule, the thing
to attempt photographically. The carte-de-visite may be divided
into four distinct classes — the head only, of about one and a quarter
inch in size ; the half-length ; three quarters; and full. The first,
unless executed by a very first-rate operator, is apt to look distorted,
coar.se, and e.xaggerated, but has the advantage of giving details of
tlie countenance — sometimes too much .so, indeed — of interesting indi-
viduals. The instrument proper to take such pictures is a 3J double
lens, 10-inch focus ; they are often taken with less diameter, but
suffer in consetjuence, as the lens has to bo approached too near the
sitter and is “ strained.” The next size appears to the writer to offer
the greatest adv.antagcs ; the head is as large as in the so-CiiUed
“cabinet” size, the hands can be included without distortion, and
sufficient of the body to give interest — for six and eight inch fiicus
lenses are the proper ones to employ, and of the best makers — con-
sid(u-able rapidity is g.aincd over the ten inch focal length.

The full-length size is executed with lenses of two-inch to three
and a quarter-inch short focus in diameter ; according to the space
at the Command of the operator to withdraw his camera further and
further from the sitter. It is in all cases better to do so, to the extent
the lens will allow ; to properly fill up the dimension, rather than
attempt to take sizes above the power of the instrument by approach-
ing too near the model. Generally speaking, an extreme definition,
approaching the steely, has apparently been more valued and
attempted than artistic qualities, and the hacknied positions and
commonplace accessoriei have done much to wear out the subject.
Tlic dimension being .so small, the utmost finesse and delicacy — not
wiryncss of execution — is necessary in these works. Development
by iron should alone be practised, and the whole scale of light and
shade, from bare glass lu velvets, ,&c., to opatjue white, in small
iiH inlilies, be utilised in the subject, thereby giving relief, sparkling
brilliancy, and effect.

The cabinet portrait Mr. Price admires, but considers that
they will require more skill in the photographer. Possibly
that is the reason for their tardy progress in popularity in
this country. He sa}’s : —

The “ cabinet ” size portrait is the last form which appears as a
candidate for public suffrage. Ithiis many advauitiigcs ; its increased
dimension permits a “closer ai'quaintance with the original,” with-
out his being absolutely put to the microscopical examination of in-
judiciously treated larger sizes; the enlarged scale showing them
better, renders it more worth while to pay additional attention to the
accessories and chiaroscuro, but at the same time, as it shows their
excellencies better — when they exist — it most certainly equally em-
phasises defects ; and full-langths, male sitters esiiecially, cannot be
rattled oft' with the indiscriminating facility of the “carte,” if ab-
surd want of aplomb or other damaging shortcomings are not to
obtrude themselves on the beholder. In fact, the “ cabinet” wilt be
found much more difficult to bring to an equally satisfactoiy result.

Although himself a skilful artist, and not opposed to the
occasional retouching or doctoring of either negative or print
if required, Mr. Price docs not believe that any skill in re-
touching can produce pictures equalling the best results of
pure photography, and would never dream, when he met
with prints of unusual excellence, that they must necessarily
be retouched. He says : —

Xo "skilfully retouched” (r) picture could for one moment com-
pote with the qualities displayed in the large vignette heads of T. R.
Williams, or other successful photographs. Modifications of the

July 10, 1868.]

THU PHOTOGRAPHIC NEWS.

327

above manipulation are applicable to larger portions of the pictiire ;
namely, weakening by cyanide the too dense deposit on portions of
background, accessories, ifcc., thereby “keeping them down,” or by
a general “tint,” of greater or less opacity, lightening portions or
masses, thus giving “breadth of effect.” These latter treatments,
equally applicable to landscapes, interiors, &c., &c., as they do not
interfere with the drawing or definition given hg the lens, arc, if skil-
fully managed, unobjectionable ; in many cases, even desirable, im-
proving light and shade, massing too minute detail, giving “ breadth
of cflFcct,” and artistic qualities.

A pregnant hint on the study of art is conveyed in the
following paragraph : —

In portraiture the student .should refer to prints from the works of
Velazquez, Titian, Vandyke, Rembrandt, Rubens, our own (iains-
borough, and Sir Joshua Reynolds, eschewing the affectations of
the periwig .school of Mignard and Lely. If he really can do any-
thing, this study will surely bear fruit and make itself felt in his
works. It has lately been matter of observation how much the
study of art principles has enabled M. Adam-Salomon to prove the
fallacy of the idea that the photographic reprc.sentation is a more
mechanism, dependent upon the lens and the box it is mounted in,
whereas in this department of it, and in all that is arranged and
composed from the human figure, the will, intention, and idiosyn-
cracy of the producer makes itself felt as completely as though ho
were at work with palette and brushes.

But whilst Mr. Price bolds that there is no result which is
given by perfectly successful untouched photography, he is
not opposed to the employmentof any aid which may compen-
sate for the occasional shortcomings of photography. If we
remember rightly, he was the earliest authority who recom-
mended securing a control over the development of certain

f I arts of the negative by using a glass syringe to displace a
ittle developer in some small part of the negative where
diminished intensity might be desired ; or to acid a drop of
nitrate of silver on some portion of the image where aiig-
meuted vigour would be useful. On retouching the nega-
tive, he says ; —

In a variety of ways, however, the necessity will arise for touching
upon the negative ; the following are the most general causes : light
grey or blue eyes. Besides pro_fite treatment, which is the most judi-
cious for such subjects, the pupil of the eye should bo most carefnllg
and skilfully touched with a small sable brash just dipped in a solu-
tion of cyanide. This must of course be done before the negative is
varnished, and it must be carefnllg washed afterwards ; no scraping
can equal this treatment. The high light may now be added in black
varnish or vermilion, zinc wliite, &c. Under-exposed negatives, or
harsh lines on the sitter’s countenance, may be worked over very
extensively, using a magnifging glass, with either of the following :
Take a pieee of glass with a eoarscly-ground surface, rub it on a
“h'abcr’s” black-lead pencil, add spirits of turpentine, thoroughly
mix, better yn'wef under a gla.ss “muller,” stipple, and soften the
asperities. Another method ; remove old films from glasses in water,
as dirceted, page 91 ; recover them by percolition through linen ;
when drg, treat them ns above in every particular. A successful
portraitist at Vienna is said to be veiy clever at this “ touching up ; ”
but, however skilfully all this sort of thing may bo done, the result
shows the means employed, and, to tho.se competent to judge, is, as
before stated, merely an expedient which, whenever possible, should,
by proper treatment, be rendered quite unnecessarj’.

We must for the present conclude our extracts, promising
to recur to the subject again on an early occasion.

Critiral

THE PRINCIPLES AND PRACTICE OF PHOTO-
GRAPHY FAMILIARLY EXPLAINED; Being a
Manual for Beginners and Reference Book for Expert
Photographers. By Jabez Hughes. Eighth Edition.
(London : 379, Oxford Street.)

It is an opinion which has been entertained by many that the
depression which ha.s for some time prevailed in professional
photography has been chiefly due to the large number of
persons who have acquired and practised the art. If the
dictum Were accepted as true, we know of no one who would
be so largely responsible for that depression as Mr. .Jabez
Hughes, who has, we believe, contributed by the Manual
before us to make more photographers than any contem-
porary instructor. If, however, on the other hand, it be

held, as wo contend it ought to bo, that the cause of the
depression has been more due to the number of bad photo-
graphers entering the profession and initiating a race for
cheapness instead of a struggle for excellence, then Mr.
Hughes must be entirely exculpated, for no one has more
contributed to make good photographers than he.

Every edition of the manual, of which the eighth lies
before us, contains some addition and improvement, the re-
sult of a most intimate practical acquaintance with every im-
portant branch of the art, and of a rarely conscientious
desire to omit nothing which either student or advanced
practitioner of the art ought to know. As the work is so
well known, it would be superfluous to enter into a detailed
description of the plan upon which it is written, combining
rigid .accuracy of instruction with a singularly pleasant
familiarity, simplicity, and lucidity of style ; but the point
which will interest our readers most to know is, that .all the
regularly worked processes of photography as described
here are given with the latest modifications which trust-
worthy authorities have accepted as improvements, and that
the work may be safely accepted as a vade mecum by skilled
photographers as well as studied as a primer by those who
have only just approached the threshhold of the art. Our
space does not permit us to give any extracts at present, but we
shall seek early occasion to quote some important matter from
the pages of the new edition.

THE PHOTOGRAPHER’S REFERENCE TABLE, for
Studio and Field Work. By L. G. Bexsa. (London ;
Carter and Piper, Gough Square.)

Tub object of this Reference Table is to enable the photo-
grapher to a.scertain without troublesome calculation four
specific things, the necessity for a knowledge of which is
constantly arising : first, the distance between camera and
object with a given size of subject to be taken and image
required, and a lens of a certain focus ; second, what the
equivalent focus of the lens should be when size of subject
and image aud distance of the camera are already deter-
mined ; third, what size the image on the focussing screen
will be at a given distance from the subject of a certain size
and with a certain lens; and fourth, the amount of angle
included when the image is of a given size with a lens of
given equivalent focus. The photographer is here presented
with the means of obtaining this information by certain
simple rules and reference to a table provided. An “ Angle
Tape ” is provided, by which and a two-foot rule the photo-
grapher may ascertain the amount of angle included in any
given view by a very simple process of measurement. The
Photographer’s Reference Table will doubtless find its way
into the studios of all photographers, who will thankfully
avail themselves of the facilities Mr. Bensa has placed before
them for ascertaining accurately and easily facts which
many of them have only guessed at or groped after.

■

PICTORIAL EFFECT IN PHOTOGRAPHY;

Beixo Lessons in

Composition and Chiaroscora for Photographers.

BY II. P. ROBINSON.

Chapter XXIV.

“ The satirical rogue.” — Shakespeare.

Some Old Notions Touching Portraiture.

Having concluded my task as far as relates to the composi-
tion of lines, and having touched upon photographic por-
traiture and .all concerning it, before I commence what I
have to say on chiaroscuro I feel tempted to interpolate a
chapter culled from a rare old quarto, a translation of which
was published in the last century, and which, from the quaiut-
ness of its manner, will be interesting and readable, as well
as for the down-right good sense and sound teaching it con-
tains. Much of what I have extracted will be found of great
value to the portrait photographer.

328

THE PHOTOGRAPHIC NEWS.

[July 10, 1868

The title of the book is “ The Art of Painting in all its
Branches, Methodically Demonstrated by Discourses and
Plates, and Exemplified by Remarks on the Paintings of the
Best Masters, and their Perfections andOversightsLaid Open.
By Gerald de Lairesse. Translated by John Frederick
Fritsch, Painter." This book was written long before Rey-
nolds, Gainsborongh, and those famous paintei-s who revived
the art of portraiture became known to the world. This is
what the tran.slator says of his author and his book ; he
might have been talking satirically of photographic art
teaching in ourownday : — "The author’s known abilities and j
great reputation in Holland have justly recommended him !
to the esteem of the most knowing there, I thought it very
proper to make him speak English ; and the rather (to use j
his own reason) for that, though many excellent authoi-s [
have written on painting, yet, in bulk, they seem rather to j
cry up the art and the artist than lay down solid rules for !
attainment. To which I may add, that those authors are |
mostly useless to an Englishman, and few or none copious i
enough to answer general pjrpose; nor at best arc ofj
general service in England, where fresh and fair nature is
preferred before the brown and warm colouring of some other
countries, especially Italy, where the best books have been
written on the subject. But principally for that I think
nothing has been published here so learned, full, and com-
plete, and so well explained by plates and examples as the
author will be found to be ; nor, perhaps, wherein por-
traiture (a branch which England mightily affects, sur-
passing in this particular their mural decorations, which, in
the judgment of the judicious, would better have been left
blank walls) is so copiously handled.”

Passing by some hundreds of pages on pencilling, beauty,
ordonnance or composition, colouring, landscapes, &c., let
us extract some sentences from Book vii. “ Of Portraiture.”
the subject we have in hand.

Since we meet with no prcsidenco in the art, nor pretend to in.sist
on ceremonies, we shall treat of things as they occur to us, and as
clearly and profitably as possibly.

As in music and singing, a good ear is reipiisitc, so in jxirtraiture
it is impo.ssible to excel without a good eye ; such an one, I mean, as
is governed by sedate and sober sensation, and not by self-love and
passion. Next, we mast he thoroughly judicious in the graceful
choice of light, and the place where the person is to sit, that the face
may appear to the best advantage ; and then the body is to he dis-
posed to the most natural and becoming posture. As for the choice
of light, in order to apply it most advantageously for the benefit of
either sex, it is certainly a matter of great moment, since the fair
sex commonly partake of more delicacy and grace than men, so they
must have a light as beautiful and agreeable as their persons.

But our author is heterodox here. He says : “ 1 think
those masters have made the best pieces who have chosen a
frout-liglit.” He should have been painter to Gueen Eliza-
beth. lu continuation of the subject of light and shade he
mentions some things that should be avoided by tlio.se who
imitate M. Adam-Salomon.

We see that many, without difference, be the figure in full propor-
tion or in little, give the touches under the no.se so black and dark that
it seems as if a black beetle were proceeding thence ; whereas it is
certain, and nature teaches it, that when the light falls strong on the
nose, the nostrils and their ground-shades can never appear so black ;
and yet some think they have done great feats in using force and
strength, and will do it even in a fair and lender face, and no bigger
than the palm of the hand, although the deepest black should not have
force enough to shade the other objects of a darker colour, such as hair,
a cloak, or other garment : by which sort of management the face seems
to jump out of the frame, and to desert the wig, hair, and garment.
AVe must not so understand when we teach that the face must have
the main light ; we mean only that all ought to keep due order, that
it may look natural.

On arcss, accessories, ami the manageraant of the sitter,
we have the following capital remarks, which are ns applic-
able to photography as to painting. There will be noticed
a curious vein of satire throughout. He is rather hard on
the ladies.

Self-conceit and self-love seem natural to all, hut especially to the
female sex, who, whetlnw their pictures are drawn on their own
accounts or through the desire of others, imagine they deserve much
homage ; nor stops it here, for although they may possess a tolerable

sh.are of beauty, yet that is not .satisfactory enough, they must be
flattered, and their pictures painted in the most beautiful light ; and
unhappy is the painter who abates but half a drachm of such a
beauty.

For these roa.soas the master is obliged to have a principal regard
to light and shade ; but to the light chiefly, since it is well known
that nothing gives greater offence to ignorant people than shades,
and still more when they are strong and broad ; they believe they
speak to the purisise in objecting ; ‘ Well, how can it be possible that
my neck and cheek should have such large shade.s, when I daily con-
sult my glass and find my skin all of a colour and white ? ’ and then
the painter is blamed. Hut are not such reasons weak and absurd ?

It is evident that backgrounds contribute very much to the charm-
ing grace of objects ; nay, I dare say, that the decorum mostly de-
pends thereon; and though many imagine that a black or dark
ground always becomes a portrait, yet it is no rule, since, as before
has been said, each individual object reejuires a particular background ;
besides, if such things were to he taken for rules, the art would smell
too much of an handicraft.

It may not be foreign to our main design to put the artist in mind
of the application and right asc of such materials us may enrich a
portrait and make it look the more noble. This is so great a point
in portraiture that when well known we need never be at a stand
through the mi.sshape or defects we often meet with in the disposition
of a portrait, and which sometimes mast not be hid, sinee we have
often me.ins enough for obviating them with seeming reason, and
without forcing nature ; as a long and narrow face may be helped
by a hood or other head-dress ; a thick and too round a face by the
contrary ; a figure too lonesome may be embellished by such things
as are jirojier to it, which serve not only for ornament and grandeur,
but also to exprc.ss the sitter’s lustre and Grtue ; but care must be
taken that the figure of the sitter, as the principal object of the
liicec, fill up the major part of it, either by a spreading sway of the
])osture, or by the addition of .some proper by-work, by which means
it will have a good effect.

Some persons may be too long and sharp-nosed, or too hollow-eyed ;
for such, a low light is most proper ; but when it is otherwise, an nigh
light. In this manner a judicious master ought to help the defects of
nature, without adding to or taking anything from them ; yet, to the
sorrow of impartial masters, the contrary is too often seen, for with
many portrait painters their work is better known by their particular
manner than the sitter by his picture.

1 think, also, that the common and aseful dress of a person is a
great addition to likeness ; for no sooner is the dress altered but the
look does the same, and shows itself either more or less pleasing and
agreeable. Some painters keep in their room for the use of all their
sitters, be it he or she, without discrimination, certain pieces of cloth
and velvet, by which they imitate the Roman manner ; but thereby
the persons represented become more or Ic.ss unknown.

The following is capital advice : —

The painter should likewi.se discover and know, as much as pos -
sible, the nature and temper of the jierson sitting, and in what cir-
cumstance lies his favourite pleasui'e ; that he may, when sitting, be
entertained with talk pleasing to him, and his air thereby kept
steady and serene, and his posture natural and easy ; avoiding every-
thing tending towards sorrow or frightful relations ; for these are
apt to ruffle the mind and so to dccomposo the face that it eannot
I ea.sily he got right again ; but if the sitter himself do, by his talk,

I discover his own bent, the painter ought to humour him to the last,
whether it be joco.se or moderate, without exaggeration or diminu-
tion, yet with such a variety as not to prove tiresome and make the
face alter.

But to return to the original matter: I must warn the artists not
to give in too much to what is common, or humour ignorant people
so much ns not to reserve to themselves some liberty of doing what
they think proper for the sake of reputation. Surely this cannot be
strange advice ; for a master who prefers money before art has no
more d.angerous rock to split on, since the ignorant multitude usually
insist to be drawn according to their own whims. One says to a good
I ma.ster: ‘ Draw me thus, or thus; let me have one hand on my
breast, and the other on a table ; ’ another must have a flower in his
hand, or a flower pot must be by him ; another must have a do^, or
other creature, in his lap; another will have his face turned this or
that way ; and some who would be drawn in the Roman manner must
be set off by a globe or cloak on the table, whether such ornaments
i bo proper or not. On mentioning the Roman manner, I find that it
i signifies a loose airy undress, somewhat savouring of the mode, but
in nowise agreeing with the ancient Roman habit.

This isailuiirable and true. The fine gird at the “ Roman”
manner is capital. In the author’s day it was the custom
I to have portraits and statues habited in classical costume,
j with, perhaps, the addition of the immense “ Duvilliers ”

I wigs of the period, an absurdity that West, greatly daring
i and against tne advice of his brother artists, broke through
I for the first time in his " Death of Wolfe.” This manner of
I trying to make the sitter look a much finer fellow than he

JoLY 10, 1868.]

THE PHOTOGKAPIIIC NEWS.

329

really is has its coanterpart at the present time, even in on>^
own art, and is followed by photographers who %vill defy
nature and stick to precedent. As our author says : —

Some painters will keep to the old road, because it is difficult to
correct a rooted evil ; they do as the old woman did, who, bcin;r ex-
horted in her last sickness to embrace the true faith, answered, ‘ She
would follow the steps of her forefathers, were they all gone to the
devil.’

There is a pernicious custom among some inferior photo-
graphers of collecting together a set of poses and fitting
their sitters to them, or of allowing their customers to select
their own, no matter how incongruous tlic thing may be, so
that it is paid for. This is a detestable practice. Photo-
graphers should learn the principles of their art, and then
invent poses for themselves, instead of crowing in borrowed
plumes. The effect is peculiarly ridiculous when the
feathers are too fine for the bird, and he endeavours to make
a maid-servant look like a duchess. Here would be a time
to introduce your column and curtain, if you like ! Laiivsse,
with the instinct of a true artist, is very severe on a similar
practice.

I have discovered a great oversight in some artists, which is, that
when the face is finished, they had no furtlier regard to the life, but
chose a posture at pleasure out of dniwings and prints, without con-
sidering whether it suited the pei-son, and whether the figure was
proper to the eondition and countenance of the sitter ; nay, whether
the tread matched the body ; certainly a great heedlossne.ss. Ifthings
be done without making distinction of persons and their conditions,
the artist will work to his dishonour. lie who steals thus may not
indeed call the work his own -without reproach. Some will object, as
Michael Angelo did once to a painter who practised it with success :

‘ What Kill become of your pictures at Doomsday, when the parts
shall return to their own wholes, seeing your works are made up of
stolen pieces ? ’

In auothcr place the writer complains of those wlio take
the designs of others, and, by transforming them, make them
their own.

What one artist uses in the distance (he says) the other, that
it may not be known, brings forward ; and what he has repre.sented
in the open air, the other contrives in a dark room. A poor method
of concealment, but it is such men’s misfortune to be, in this par-
ticular, most out of the way when they think they do best ; for,
wanting the great master’s wit, judgment, and apprehension, they
have no true notion of his conduct, and therefore arc easily misled,
and, like Alsop’s raven, exposed to censure.

I have only given a slight skimming of the contents of
this rare old book, but I am overrunning iny space, and
shall conclude with a bit that might have been written
anent the doings of some who write on photography and
art at the present time.

We find many artists never pleased with other men’s works, but,
being full of themselves, despise everything they sec, and this,
perhaps, on no better bottom than a pique against the artist’s con-
versation, talk, dress, or money, or else because of his greater fame ;
and yet if ten persons happen to applaud a fine picture of this eye-
sore master, they will at that juncture chime in with them, to screen
their prejudice. And, on the contrary, if but ii single person after-
wards find fault, they immediately turn the tables against ten others.
Again, if a piece of their friend be brought on the carpet, though
never so faulty, they will applaud and justify it at any rate, though
against their own convictions of conscience, if they have any. But
this partial and prejudiced humour is most prevalent in those who
know least.

ON THE PRINCIPLES OF LIGHTING AND OF
CONSTRUCTING STUDIOS.

BY DR. U. VOQEL.

There is nothing of more importance for the professional
portraitist than a judicious arrangement of his studio and
lighting arrangements. Innumerable faults have already
been committed in this matter ; enormous sums have been
dissipated in curious constructions, which have proved to
be impractical in working, and which were found impossible
to alter without great loss of money, if possible at all ; and
notwithstanding these experiences, difiereut opinionsstill pre-
vail as to the best construction and arrangement of the glass
room. “ What is the best form, a high skylight ora low one?”
is still constantly asked. Art photographers of great influ-

ence utter opinions which are quite opposite to one another
“ What kind of light has it? ” is the first question asked
regarding a glass house ; and this stereotyped phrase indi-
cates the chief point to be considered in constructing sky-
lights. I shall try to explain the principles of illumination
in studios according to physical rules, and, at the same
time, I shall review the actual construction of studios gene-
rally.

Suppose a room which is enclosed on all sides hy walls,
and which receives its light through one single window,

; illuminated only by the light of the clear blue sky.
I Experience teaches that the brightness of light is different
on different spots of such a chamber : the further a point
is removed from the illuminating window the darker it will
appear ; and the nearer it is situated to that window the
brighter it will appear. But not only the distance of a point
from the window, but also its situation in reference to the
window, is of importance. A spot near the wall in which
the window is placed will be much darker than a point situ-
ated at the same distance from, but quite opposite to, the
window.

First of all we must endeavour to explain this. Direct
sunlight .being kept out, it is the blue sky alone which
affords light to the chamber. A certain point in this room
will therefore be the brighter in proportion to the greater
portion of the skylight sending its rays upon it. Suppose, for
instance, a certain point a (fig. 1), opposite to a round window,

it will be the top of a bundle of rays, the diameter of which
will be appropriate to the aperture of the window. Suppose
a second point, a', at a greater distance from the window :
this is illuminated only by the cone of rays b a' c, which is
much more narrow than the first. The cone of rays which
illuminate the point e, situated at the side of the window, is
still smaller, whence it follows that a must be brighter than
o', and this brighter than e. In consequence of this, the
aperture of the cone of rays — that is to say, the angle —
formed by the lines which we may draw from the illumin-
ated point to the edges of the window, affords a criterion of
the intensity of light for the point referred to. I beg to
tenn this angle the angle of light. If the supposed point
be situated within the wall the window is in, that angle of
light would only form a straight line, and therefore such a
oint would be quite dark if it did not receive some light
y reflection from the light walls. But it is obvious that
not only the dark wall of the window, but also every other
point of the chamber, receives such light reflected from the
walls, ceiling, and floor. Therefore, every point within the
ch amber, except the wall with the window in it, will receive

330

THE PHOTOGRAPHIC NEWS.

[July 10, 1868.

its light from two different sources. It will be illuminated
(1) by the direct light of the blue sky, the amount of which
is the greater the greater part of the skylight sends light
upon the point ; (2) by the light reflected from walls, &c.,
which is of a very complicated nature. Let us for a moment
leave out the reflected light, in order to examine the effect of
direct light alone. The brightness which this latter affords
to a point may be briefly termed direct brightness.*

The direct brightness of a point within a room depends,
as already stated above, first of all, upon its position in refer-
ence to the window, and consequently on the extent of the
latter. In order to examine these points more exactly, we
shall start from the most simple hypothesis, and treat at
first on the brightness of a point situated directly opposite
to a narrow round window. The greater the aperture of the
window the greater is the angle of light. If the angle of
light be only small, the brightness of a point will be pro-
portionate to the superficial extent of the aperture.

Now, the superficial contents of analogous figures are to
one another as the squares of homologous lines ; therefore,
the intensity of light will be in the proportion of the squares
of the window diameters. We mathematically may prove
this as follows : —

Suppose that the quantity of lightaftbrded by a certain piece of
tlic blue skylight be proportionate to its area, then the bright-

ness of the points a a' a" (fig. 2), situated directly opposite to
a round window, is fixed by the area of the spherical part of

the calotte, enclosed by the cone of light which is formed by
the rays. The area of a calotte is the radius of the basis of
the segment, being = a, the height = A, equal to n (a" -j- A’)
(fig. 2). The angle of light being 2a, it follows —

A = r (1 — cos a).

For very small angles we can set —

1 — cos a = 0,

whence follows J" = ir a* ;

that is to say, the area of a calotte are equal to the basis, while
the radius = a, if the angle of light is small. Therefore, the

brightness of different points, a a' a'' are in the proportion of—
7T : ir a' * : ir a"-,

a- being = sin “a (fig. 2) the amounts of light of the points
a a' a" are to one another in the proportion
sin -a ; sin V : sin “a" ;

or, since for small angles the sinus are to one another in the
same proportion as the tangents ; as

7T tg *a : IT tg : t tg V'.

The tangents are found by dividing F, the radius of the aper-
ture by E, the distance of one of the points a a' a" ; therefore,
the amount of light at a a' a" aro in the proportion —

F- F-_ F-

that is to say, tho intensity of light decreases as the squares of
the distances increase ; and increase in the same proportion as
the squares of the radius of the apertures do.

A round or square window of the double extents will
therefore afford four times as much light to the same point,
and thrice as great window nine times as much light. With
larger windows the amount of light increases not so rapidly
if the aperture is enlarged. Suppose, for instance, a point a
(fig 4), opposite to the aperture c A, in a glass house entirely

Fit;. 4.

veiled with curtains. Half the angle of light is here, a ;
the aperture being successively made twice, thrice, and four
time as great {cb' cl" cb'"') ; the angle of light is only en-
larged by the pieces a' a" a'"', which, as may be seen in our
diagram, do not increase so rapidly as the aperture. We

* I confess that this is a very bad name, but I do not know another at
(his moment, and I think it is reasonaole.— Da. V,

instantly may apply this to practice (fig. 5). In a studio of 32'
of length, place a person, a, at a distance of 5' from the
glass wall and 4' from the background, the curtains being
closed between g and A. By constructing the angle of light,
A a p, we receive a criterion of the amount of light at a.
The piece cut out from the skylight by the angle hag
. determines the intensity of light at a. If our studio had a

July 10, 1868.]

THE PHOTOGKAPIIIO NEWS.

331

length of only 24' instead of 32', would therefore i be the
end, the intensity of light would be determined by the angle
t a g, all other circumstances being the same. Already, in
the diagram, we see that the two angles i a g and hag are

not very different from each other, whence follows that, in
this case, it would not be of great use to add a piece of eight
leet (i h) to the glazed wall, especially as a great deal of the
rays, falling upon the glazed wall under very great angles,
are reflected by the glass.

{To be continued.)

- ■ -o

TONING AND FIXING IN ONE B.VTII.

In a recent interview we had with Dr. Liesegang, referring
to Dr. Towler’s suggestion to give the mixed toning and
fixing bath another trial, he mentioned a formula which he
had recently been trying which yielded fine rich, warm, black
tones, with somewhat rosy half. He had, he informed us,
produced a large number of prints which were now under-
going tests for permanency, the result of which he will duly
communicate to us. The formula stands thus : —

Water 2 ounces

Sulphocyanide of ammonium 50 grains

Hyposulphite of soda 2 10 „

Acetate of soda 15 „

Chloride of gold ... ... ... 1 grain.

Dissolve the gold in a small quantity of water, and add
it to the other solution.

The bath may be used immediately after preparing. The
prints are not washed before putting them Into the bath.
They become yellow at first, but afterwards recover their
force. The toning and fixing takes about ten or fifteen
minutes, but can be continued for some hours.

The acetate may be substituted by the benzoate, the phos-
phate, borate, citrate, or any other such salt, for the purpose
of modifying the tint desired.

COLLODION WITHOUT BROMIDES.

Me. R. Waitz, of Boston, sends the following formula to the
Philadelphia Photographer, as giving results equal to collo-
dion containing bromide : —

Iodide of ammonium

... 4 grains

Iodide of cadmium

... 3 „

Chloride of calcium

... 1 grain

Collodion (plain)

... 1 ounce.

40 to 50 grains nitrate bath.

DEVELOPER.

Protosulphate of iron

... 1 ounce

Water

... 12 ounces

Alcohol

... n ..

Acetic acid...

... n „

Mr. Waitz is now using this process in his daily practice.
He finds it to work very quickly, as he is able to secure ex-
cellent negatives of children in two seconds, requiring no
re-developing. We have inspected several of Mr. Waltz’s
negatives, the editor of our contemporary remarks, and find
them to excel those made by him with bromized collodion.

Mr. J. W. Black is also using the same formula, entirely
di.scarding the use of bromized collodion in his dark room.
We saw him make a number of exquisite negatives as large
as 11 by 14, full of charming gradation and softness, and
fully equal to anything we have ever seen.

It is so simple and so cheap that it will come into general
use, doubtles-s, bromide patent extended or not.

ON A NEW AND SIMPLE METHOD OF RE-
COVERING METALLIC GOLD AND SILVER
FROM RESIDUES.

BY VICTOR G. BLOEDE, CHEMIST.*

To Treat Developer Residues. — The black, muddy ma.ss
remaining in the developing sink, or obtained by precipi-
tating with common salt (the precipitate obtained by
sulphide of potash will not answer), may be treated by
amalgamation, with even better results than can be obtained
by the smelting process. To treat this somewhat trouble-
some compound, proceed as follows : Thoroughly dry the
muddy black mass, whether it be from pyro or iron devel-
opment, and when all moisture is driven off, place it in an
iron mortar, and thoroughly pulverize and triturate it ; then
pass it through a brass-cloth sieve (having meshes about
half as large as a fine flour sieve) and place the resulting
black powder into a narrow-neck glass-stoppered bottle,
adding to each pound of the powder at least half a pound
of mercury. Then pour on a sufficient amount of boiling
water to make the whole of the consistency of thin cream,
and shake the bottle and contents for several minutes. Let
the mass remain in the bottle for an hour or two, shaking
briskly occasionally, so as to bring the black powder in
immediate contact with the mercury. Finally, empty the
whole contents of the bottle into a pint evaporating dish,
allowing the black solution, which is of no value, to flow off,
but taking care not to spill over or lose any of the mercury.
To clean the mercury of all the adhering black precipitate,
place the dish under a tap of flowing water, and, by careful
management, the entire impurities can be quickly washed
away. When the mercury has been perfectly cleaned in
this manner, filter off the remaining water, place the quick-
silver in a piece of buckskin, and proceed precisely as
directed in the last.

Another method, which is very much simpler and easier
than this, is to place the wet muddy mass, just as it comes
from the tank, into a coarse damp cloth, and to subject it to
pressure between the hands. By these means all impurities
may be removed as readily as by drying and sieving, thus
economizing much time and labour. The cleaned black
mass may then be treated precisely like the former.

Amalgamation of Paper Ashes, Sfc. — Paper and filter, as
well as cloth ashes may be very successfully treated by
amalgamation, providing that they are very thoroughly
burnt and reduced. The paper, in saving, should be kept
free of all impurities, especially pins and other metallic

* Continued from p. 307.

332

THE PHOTOGRAPHIC NEWS. [July 10, 1868.

substances. Place the paper clippings, &c., into a clean
wooden box, and thoroughly sprinkle and impregnate them
with the following solution : — •

Protosulphate of iron ... ... 2 ounces

Nitrate of potash (saltpetre) ... 2 „

Water ... ... ... ... 2 quarts

When the paper has been well moistened all through,
spread it out, let it dry thoroughly, and finally bum it in a
stove having a good draft.

The paper should be added very slowly by the handful,
so that the reduction may be complete, which will not be if
the dame is at all smothered.

By using the sulphate of iron, any undecomposed nitrate
that may exist in the paper, as well as portions of chloride
of silver, are reduced to the metallic state.

The ashes should be removed from the stove and spread
out upon an iron plate, so that the air has free access to
them, and that they can glimmer out. When cold, throw
them upon a fine flour-sieve, and sei)arate the fine dust.
Any impurities may then be picked out. It is advisable to
grind the ashes in a mortar before sifting. When the ashes
are very rich, large spangles of silver arc frequently found
upon the sieve ; these should be picked out and added to the
fine powder. Place the fine ashes in a bottle and dilute to
■ the consistency of cream with boiling water. Four ounces
of mercury should now be added for each half pound of
ashes, and the mixture then thoroughly shaken at intervals
for about an hour. Finally, empty the contents of the bottle
into a small evaporating dish, and wash off the powder as
directed in the last case. The clean mercury receives the
same treatment as in the two preceding processes. The
yield of silver by this process is very large, if the paper has
been properly burnt, but any large lumps of chloride of
silver in the filters should be removed, as such do not get
enough heat to be reduced to the metallic state, and are,
consequently, not taken up by the mercury. A large quan-
tity, as ashes, may bo readily reduced by this method with
but very little trouble and expense.

Reduction of Chloride of Silver. — To properly treat the
chloride of silver in the manner I am about to describe it is
essential that it be freshly precipitated, or at least, it must
not have been dried. Place the pasty mass in an evapor-
ating dish of proper capacity, and add to each half pound
about 2 ounces ol tacks or other small bits of iron, then
dilute until the chloride is of the consistency of thick cream,
and add sulphuric acid (oil of vitriol) until a lively etl'er-
vescence ensues. Allow the mixture to remain at rest for
two or three days, after which time the white chloride will
have changed to a dark grey mass, consisting of metallic
silver and iron. Should all the iron have disappeared at
the lapse of this time it is advisable to add a little more,
and repeat the process, otherwise dilute or wash the grey
powder carefully with water t ) remove the superfluous acid,
and, finally, thoroughly dry the powder and sift it. If any
impurities were contained in the chloride they will be upon
the sieve, and may be removed. To further purify the silver
obtained, place the fine powder in a clean bottle, and pour
on enough mercury to dissolve it. The mercury is squee/.cd
through the buckskin as in former cases, and a solid amal-
gam remains behind.

Another Method. — Another method, which is somewhat
simpler than the foregoing, is the following ; — Place the
rrewly-precipitated chloride in an evaporating dish, and
pour upon each ounce of the chloride from 2 to 4 ounces of
ordinary developer, minus the acetic acid, and perhaps a
little stronger in iron, and place the dish upon a stove and
let’it simmer gently, with continual stirring. A very marked
change rapidly takes place in the precipitate, from white to
black. The dish and contents may then be placed in a light
place, and alloweil to remain at rest for several days. The
.superfluous solution should then be poured off, the grain
silver washed with water, and the resulting grey powder,
after the addition of some hot water, treated with 1 ounce of

mercury to each 2 ounces of silver, well shaken, and finally
finished as before directed.

Treatment of Toning Precipitate. — The black precipitate
obtained from old toning baths by means of protosulphate
of iron solution, and consisting of metallic gold with a large
amount of iron, while still wet, must be placed in a coarse
cloth previously damped and pressed, to separate any impu-
rities ; it is then put in a clean white glass bottle and
diluted with boiling water to the consistency of cream, and
to each pint of this solution 2 to 4 ounces of mercury added.
The mixture should be shaken occasionally, and allowed to
remain in the bottle for several hour.s. After this time the
contents of the bottle may bo poured into an evaporating
dish, and all the black powder (which is now of no use)
washed away bj' a stream of water under the tap. A small
amount of amalgam onl}' will remain in the buckskin after
pressing, but this is equal to at least ten times the quantity
of silver amalgam. It should be carefully preserved and
tre.ated in the manner I shall presently describe,

I have thus given in detail a process which, in my hands,
has always been an eminently successful one, and which I
commend for trial to the profession. With a little expe-
rience, the ashes, developer, and toning residue especially,
may be reduced with but very little expense, and incom-
parably less labour than by the furnace and smelting
method. Having treated the various residues as I have
directed, the next and last step is to drive off the mercury,
and thus obtain the precious metals in their pure state.

How to Treat the Amalgam. — Place the buttons of brittle
amalgam upon a shallow dish of sheet iron, or upon an ordi-
nary coal shovel, and expose them to a low red heat on a
lively coal fire. Great care should be exercised that the
cover of the stove fits tightly, and that the dampers are all
open, otherwise the very deleterious mercurial vapour will
pass oft' into the room. When the dish containing the
amalgam has been at a dull rod heat for about five or ten
minutes, it may be removed. A button of pure gold or
silver, as the case may be, is the result. The high heat in a
few minutes volatilises the entire mercury. When the
button of amalgam is large it should be heated for about
fifteen minutes, merely for the sake of certainty, as at a full
red heat the process is completed in a much less time.
When a considerable amount of amalgam is worked up, an
iron retort must be made use of to volatilize the mercury, as
it is both safer and more economical. It consists of a sort
of iron cup or pot, having a closely-fitting cover, from which
extends a small piece of bent iron tube. When in opera-
tion, the tube is dipped to the depth of about one-eighth of
an inch in a basin of cold water, and the iron body, in which
the amalgam has been previously placed, is pot into a lively
coal fire. The mercury is volatilized, and its vapour, coming
in contact with the cold water, is re-condensed, and gathers
ill drops on the bottom of the dish.

riU.VCY AND INFOHMEUS.

.SoMK time ago we pointed out the dangers which attended
a system in which hireil spies wore engtiged to entrap the
unwary into acts of piracy ; and, whilst strongly con-
demning photographic piracy, we deprecated the sys-
tematic employment of informers whose only object is
to secure a conviction and jienalties by fair means or
foul. A case has just been tried in Dublin in which the
unscrupulous conduct of these informers called for the
condemnation of the judge, and issued in a verdict for the
defendants. A correspondent sends the following cutting
from a l^ublin paper : —

COURT OF QUEEN’S BENCH, July 4.

(Before Mr. Justice Fitzgerald and a Special Jurj’.)

Graves v. Mercer.

This wa.s an action by an eminent London publisher of cn^vings
against a photographer resident at Belgrave Square, Rathminea, for
damages, for having, as alleged, infringed of the law of Copyright, by
selling a copy of an engraving called “ Broken 'Vows,” of which the

July 10, 18C8.]

THE PIIOTOGEAPHIC NEWS,

33B

plaintifT possessed the copyright. It appeared that, in consequence
of numerous piracies, the plaintiff employed persons to detect for-
bidden sales of his eng-ravinfrs throuphout the empire, for the
purpose of prosecution. Some time apo a i)erson of pentlemanly
appearanco, named King, an agent employed by the i>laintilf for this
pui-posc. called upon the defendant, and pretended to be a hawker of
pictures, and to want to buy some from him, to sell again. He gave
a reference to some jici'son in the trad<', and the defendant desire<l
him to call again, and in the mean time waited upon his “ reference ”
to make inquiries, it being the custom, accoiding to the defendant's
statement, tor persons in that line of business not to deal at once
with strangers, la’cause there were persons who were in the habit of
endeavouring to gain access to print-selling establishments for the
purpose of prosecuting the owners. When King called again, the
defendant told him that hisrcfereiice was satisfactory, and he accoid-
ingly entered into negotiations with him. Severed interviews took
place. King handed him ;i list of cnpi-avings which he wanted to
purchase. These were all copyright. The defendant said, “ Do you
think any m.an in his senses would sell you these?” King said ho
could pet them very easily in England. At length ho consented to
take others, and the defendant gave him a large collection to select
from, which ho assorh'd contained no copyrights. While King was
selecting, he was csillcd out of the room, and was absent for .some
time — for five minutes, according to King’s evidence ; according to
the defendant’s, for twenty minutes or half an hour. When he
returned King pointed to a lot, which ho said he had selected from
the general collection he was desired to choo.se from. The defendant,
in his eWdence, stated that on counting those which King had
selected, ho di.scovered that there were several pictures amongst them
which he had always considercsl copyright of late, and which he took
to be dangerous to sell. “ How is this?” .said ho ; “ I find several
copyright pictures here.” “ They were,” said King, “ in the list
that you told me to select from.” “ 1 doubt it very much,” said
the aefendarit, and asked him whether ho h.ad not been looking over
some of the others lying in other parts of the room. King said he
had not. The defendant .said, “ Well, in any ease, wherever you
got them, you cannot have them and he accordingly removed
them from the lot. Defendant said he sold King four dozen photo-
graphs of non-copjTight pictures at 18s. per dozen, but denied that
at any time ho sold him a copy of “ Broken Vows.” In reply to
his counsel, he state<l that any “Broken Vows” he had were
smaller in size than the one produced on the part of the plaintiff,
and alleged to have been purchased from him. He also stated that
he had ceased the business of photogrjiphing engravings, and now
confined himself exclusively to portraiture and landscape work.

The defendant, in rtmly to further questions, said that on the first
occasion when King showed him the list of pictures ho wanted, he
.said, “ By the way, there are some of;the.se that I have not got, and
others that I have discontinued to sell since the difficulty about copy-
right arose.” He added that he hud not sold any copjTight pic-
tures during the last year and a-half or two years.

King stated in the most positive manner that he purchased several
copies of “ Broken Vows,” one of which was that produced, from
the defendant himself ; that he did not steal any of them ; that the
defendant was present when he selected them that the defendant
saw what they were ; that on the occasion when the defendant was
absent he was only absent five minutes ; and when he returned ho
only counted the photographs by the comers ; and that no such
scene took place as that deposed to by the defendant about finding
copjTight pictures in the lot selected Cy him, and refusing to let him
have them.

A witness named Cattermole deposed that he went with King on
one of those occasions, and remained for him outside, and when he
came out he saw with him in the bundle he had purchased copies of
“Broken Vows,” and that when King was going in he (Cattermole)
saw that he had none with him, in order that he might swear to that
fact.

Mr. Ju.stice Fitzgerald, in the course of his charge to the jury,
said he could not commend the stratagem emploj’ed by the plaintitrs
agent. It was one which no just mind could approve, and he was
sure that Mr. Graves himself, now he liad heard the facts, dis-
approved of it. The .sole question for the juiy, which altogether
depended on the credit thej’ gave to the witness, was whether or
not Mercer sold to King a copj- of “ Broken A'ows.”

The jury returned a verdict’for the defendant.

MIXTURE FOR RETOUCHING NEGATIVES.

BY WILLIAM BELL.*

The exquisite effects of softness and half-tone portrayed in
many of the French and German photographs recently im-
ported into this country are secured by skilfully retouching
the negatives. One or two processes have been described in
your journal, but after considerable experiment I find the

* Philaitelphia Photographer,

following an excellent and practical method of preparing
the material or pigment for use in retouching the negatives.

As alcohol and oil of lavender are both solvents of most
negative varnishes, permit me to caution the experimenter
that a rough, hard, or continuous stroke will cut though the
negative, unless protected by a coating of albumen before
varnishing. I proceed, therefore, as follows; —

After the negative is fi.xed and washed, flow with a mix-
fure of —

Albumen ... ... ... ... 3 ounces

Watjr 3 „

Liquor ammonia... ... ... 1 drachm.

Dry, varnish, and retouch wi'h the following described pig-
ment. All shades can be produced with it so strong that no
light can penetrate it ; so fine that it will offer but little
obstruction to light ; and, after drying, cannot be removed
except by strong alcohol and oil of lavender mixed. In
fact, it becomes incorporated with the negative.

To make the pigment, —

No. 1. — Pyrogallic acid 20 grains

Water ... ... ... ... 30 ounces.

No. 2. — Nitrate of silver ... ... 240 grains

Water ... ... ... ... 20 ounces.

Add No. 1 to No. 2. Let it rest for two hours. Collect
the reduced silver on a filter; wash and dry. When dry,
take very thick negative varnish, and make a paste with it
and the dried reduced silver. Again dry.

To use the above, take of —

Alcohol ^ ounce

Oil of lavender ... ... ... jounce,

and mix them together. Dip the brush in the mixed oil of
lavender and alcohol, and moisten the dried pigment.
When the touches are put on with artistic judgment, the
print from the negative will look like a retouched photo-
graph that has been finely stippled with india-ink.

MORE PIRACY OF ENGRAVINGS,

Mr. John Hall, a hawker of photographs, who has before
been convicted of piracy, was last week charged before Mr.
Tyrwhitt, at Marlborough Street, with selling a photographic
copy of “ My First Sermon,” and some other pictures, the
copyrights of which were the property of Mr. Graves.

Mr. George Lewis, Jun., appeared for the prosecution, and
said that Mr. Graves’s object was not so much to punish the
prisoner as to discover the originators of this fraudulent system.
One person who had infringed the Copyright Act had been
sent to prison for nine months by Mr. Woolrych, and the judges
had upheld the decision. He had to ask that the prisoner be
kept in custody until Monday, as Mr. Graves wished, if possible,
to find out with wliom the prisoner was acting, the fraud
having been carried on on a largo scale. He had been for some
time looking after the prisoner, and had advertised for him in
the Yimr* and PnoTOORAPnic News.

Mr. Tyrwhitt said it appeared to him there must be a large
profit made out of this business.

Mr. Lewis stated that Mr. Graves had already spent £1,000
in tracing out this aflair.

Mr. Graves having identified the prisoner, and said that he
had been twice convicted at Bow Street, and each time fined
£50, the prisoner was remanded until yesteeday (Monday).

Mr. George Lewis, Jun., appeared for the prosecution ; and
Mr. Pullen for the prisoner.

Mr. Sutton, of Harrow, said, on the 27th of December last ho
was at Portsmouth, and saw the prisoner at North’s Hotel,
High Street. Ho had some conversation with the prisoner, in
the course of which the prisoner offered him some photographs
for sale, recommending them as cheap and good. He purchased
one copy of “ Morning Before' the Battle,” and a second of
“ Evening after the Battle.” *The prisoner told him ho did
not mind selling them to him, as he was a gentleman. On
the 29th he purchased a copy of “ Finding the Text,” and of
the “ Good Shepherd.” Afterwards he purchased a copy of
“ Waiting for the Verdict ” and “ The Acquittal,” also “ My
First Sermon,” “ My Second Sermon,” “ Ordered on Foreign

834

THE PHOTOGHAPHIC NEWS.

[July 10, 1868.

Service,” and “ The Lost Piece of Money.” The purchases
he now produced ; they were photographs of engravings and
works the property of Messrs. Graves aud Co. The prisoner
travelled through the country selling these kind of photo-
graphs.

John Cattermole, in the employ of Mr. Henry Graves, said
he was at Portsmouth on the 2oth November, when the prisoner
told him that he was the Mr. Hall who had lately been fined
£75. Ho asked the prisoner to sell him some photographs,
and the prisoner told him ho could have them through Mr.
Sutton.

Mr. Boydell Graves produced the certificates of the registra-
tion of tlie pictures above-named, and stated that, either directly
or indirectly, the photographs produced were copies of the
originals. The prisoner sold the photographs at about one-
third the price of a genuine copy.

In reply to Mr. Pullen, Mr. Graves said ho could not produce
the assignments from the artists, in consequence of their
destruction by the fire in the Hayraarket.

Mr. Pullen took a legal objection on this point, but it was
overruled.

Mr. Trywhitt could have no hesitation in ordering the
prisoner to pay the penalty of £5 for each spurious copy sold by
iiim, or a month in each case if default occurred. The trade of
pirating copies appeared to bo a very profitable one to some
persons, and he had no doubt the prisoner would not bo incon-
venienced by the penalties ho was now called upon to pay.

The penalties and costs, amounting to £51 2s., not being
j)aid, the prisoner was locked up.

o

SEPARATING GOLD FROJI SILVER.

The Scientific American gives the following description
of the method employed in separating gold from silver in the
United States Assay Office: —

The mixture of gold and silver is melted, and poured
into water, by which it is granulated. The granules
are placed in porcelain jars containing nitric acid. Heat
is then applied, and as the acid boils, the yellow
fumes, which our readers Lave doubtle.’s so often seen
proceeding from the chimney of the Assay Office, are given
off. This process goes on for about twenty-four hours, when
the jars are emptied, and in the bottom is found a brown
substance resembling mud or anything else upon earth
rather than “ gold — glittering gold.” It i.s, in fact, however,
pure gold, or, at least, very nearly so. The silver has been
dissolved by the nitric acid, and is in solution. It is care-
fully put aside for future treatment, for in the Assay Office
nothing must be lost or wasted. The brown substance
found at the bottom of the jars is placed in large wooden
tubs and washed by percolation in warm water until all
traces of acid have disappeared, and it is said to be
“sweet.”

The gold is then of ’940 fineness. Formerly it was sub-
jected to a second boiling in nitric acid, which left it about
•993 fineness, but by the process at present in vogue it is
treated with sulphuric acid, by which a fineness of ‘998
is attained. This is termed pure gold, although it is not
actually so; but to deprive it of the two parts of alloy it now
contains would involve an expenditure of time, money, and
trouble altogether useless. After its treatment with sul-
phuric acid, the gold, which still looks more like red mud
than a precious metal, is again washed until “ sweet.” It has
now a reddish yellow hue. After being dried, it i.s taken to
a hydraulic press, where it is made into “ cheeses,” so called
from the colour and shape. The cheese made in the Assay
Office is richer far than the most fertile vales of Gloster
ever produced. Each ‘•cheese” is about thirteen inches in
diameter, but it is worth about 20,000 dollars. These
cheeses are baked in an oven heated by steam until all re-
maining moisture is expelled, when they are rcmelted, cast
into bars or bricks, assayed, and stamped with the weight,
fineness, and value. And now they look like gold
indeed.

The reader will remember that the nitric acid poured

over the gold and silver granules, in the porcelain jars, and
now containing a large quantity of silver in solution, has
yet to be disposed of. A solution of chloride of sodium —
common salt — is fiist added to the solution, and a deposit
of white powder is the result. This powder is chloride of
silver. The next process is to free the chlorine from the
silver, and this is done by placing it in vats with granules
of zinc. The chlorine and zinc readily combine, and the
silver is set free in the form of a light grey powder. This,
like the gold, is washed, pressed, and formed into “cheeses”
worth 800 dollars each. These are melted, weighed,
stamped, and ready to be disposed of as occasion may
require. The silver obtained by the above process contains
but one part of alloy in 1,000. Some silver is so pure that
it requires no “ parting,” and, after being assayed, is sent at
once to the Mint.

The Assay Office was established in this city in October,
1854. and since that time over 160,000,000 dollars have
passed through the hands of its officers.

CARRIAGE OF PHOTOGRAPHIC GOODS ABROAD.

Dear Sir,— Finding it irapo.ssible to forward collodion or
any liquid, however innocent, by the Overland Routes to India
and the Australian Colonies, through the false fear as to its
liability to explosion, &c., existent in the minds of the directors
of the companies who work these routes, and it being a great
inconvenience to my customers to have their goods forwarded
by sailing vessel round the Cape, 1 think it quite time some
steps were adopted to abate the nuis.tnce. Knowing thoroughly
well the properties of collodion, you will, I think, agree with
me, that when packed securely in tins, and, in addition to this,
enclosed in a tin-lined case, no possible harm to other goods
could ensue from contact on board ship. May I therefore ask
the benefit of your valuable assistance in this matter, as it not
only concerns mo and other dealers in photographic requisites,
but is of great moment to those who practise photography
abroad?— I am, sir, your obediant servant, J. Solomon.

London, June 2G/A, 1868.

[The inconvenience involved bv this determination on the
part of the overland carriers is undoubted. With careful pack-
ing no serious risk need be involved ; but the only remedy wo
can suggest is combination between the manufacturers and
dealers to make such representations and place such pressure
on P. and 0. Company as shall induce them to relax the strin-
gent rules in question. — Ed.]

PANOR.\MIG CAMERA.

Dear Sir, — Will you allow me, through the medium of the
News, to give a description of a panoramic camera which any-
one with a little ingenuity can construct for himself.

It consists in using a dark slide belonging to a Latimer
Clarke’s stereo camera, fitted on to the end of a quarter plate
camera, and focussing the right-hand side of the intended view,
and taking it on the left-hand end of a stereo plate ; then
turning round the camera to embrace the left-hand of the view,
and taking this on the right-hand end of the same plate. You
have a panoramic view about 6 by 3, only it has the disadvan-
tage of showing a slight lino down the centre of the view : but
I am in hopes this can be remedied, and if I should succeed in
doing it, I will send you full particulars and a print or two.

By blocking out the sky the join is very little seen, and
altogether it is better than taking a view on two negatives ar.d
joining the prints. — Yours truly, Thomas Gulliver.

18, Union Street, Sioansea, July 7th, 1868,

[The plan suggested by our correspondent, to whom photo-
graphers are indebted for many ingenious suggestions, has
betore been applied. Mr. Penny, of Cheltenham, some years
ago sent us an example in which no traces of the junction of
the two halves of the imago is perceptible Mr. Woodbury
also, some years ago, sent an example from Java to the Man
Chester Society.

July 10, 1868.]

THE PHOTOGRAPHIC NEWS.

335

SDalk in tbi

Poisoning BY Nitkateof Silver. — The Union de la Sarthe
relates the following : — “ The Abb6 Salvy, vicar of Senonches,
had been appointed to the Church of Saint-Denis-des-Puits, in
the Canton of La Loupe. Three inhabitants at the latter place
arrived at Senonches to remove his furniture. The Abbe placed
some bottles of cider in a corner of one of the waggons to re-
fresh the men on the journey, and with them he brought a
smaller bottle, well covered and tied up, wliicli ho told them
they must not touch or permit any one to touch. The day
being very hot, one of the men said, • That must be right good
stuff which the cure told us not to touch.’ ‘ No doubt,’ replied
another, ‘ it must bo far better than the cider.’ ‘ Let us try it,’
said all throe. The bottle was produced. The man who took
a good sup said it was not good. ‘ See’, said he, handing it to
one of his companions. The second tried, and pronounced a
still more unfavourable opinion. ‘ As it is so bad,’ said the
third, ‘ I shall not have any ; let us put back the bottle.’
Scarcely was this done than the two who partook of the liquid
fell on the ground writhing in dreadful agony. In a short time
both were dead. They drank a solution of nitrate of silver,
which the abbe used for photographic purposes.” In case of
the accidental swallowing of nitrate of silver solution it should
be remembered that a strong solution of common salt is the
immediate remedy. The nitrate is by its aid converted into
insoluble chloride, and is generally in this state got rid of by
vomiting.

Monument to Faraday. — The Royal Society has memorial-
ised her Majesty’s Government in favour of the erection of a
monument in Westminster Abbey to the memory of Faraday,
at the public expense.

Moulds for the Galvanoplastic Process. — When the
objects to bo gilt, silvered, or coppered are of large dimensions,
gutta-percha cannot be employed for moulds without much
difficulty. Herr Kness recemmends in this case the use of an
artificial mixture which is obtained by molting together 6
parts of white wax, 2 parts of asphalte, 2 parte of stearine, and
1 part of suet. When the mixture has become perfectly homo-
geneous, lampblack is added, until the mass takes a fine black
colour : finally, to give more body to the compound, and to
prevent it adhering to the object, a small quantity of finely-
pulverised plaster of Paris is added. The models must be
previously covered with a thin layer of oil. The above mixture
is then run on to them at a moderate temperature. If the
latter is too high, the mixture adheres to the model. When
cold, the composition is easily detached from the original. —
Scientific Review.

Crystalline Paper. — Puacher’s process for ornamenting
paper with silky crystals is to mix the gum made by heating
commercial starch to 320“ Fahrenheit, known as British gum,
■with equal parts of Epsom salts and of water, to which is added
a small quantity of glycerine. After being brought to the
boiling state the mixture is immediately strained. While yet
coated with a thin solution of glue or gelatine. The paper, on
warm it is spread with a camel's hair brush upon paper previously
being dried, presents a beautiful crystalline surface. The size
of the crystals may be varied by altering the strength of the
solution, and by drying the paper more or less rapidly.
Crystals of different tints may be made by mixing aniline
colours with the solution, and preparing the paper with the
white of eggs instead of gelatine. — Ibid.

A New Optical Toy. — A new optical toy, called the kine-
scope, is being made in Paris. It is a microscopic reproduction
of the zoetrope. so well known with us. Its most remarkable
feature is, that the objects in motion appear solid. This is
obtained by making use of microscopic photographs encased in
a little apparatus something 1,'ke a Stanhope lens, and destined
to be worn attached to the watch chain as an ornament. The
effect of motion is produced by the rapid change of position of
two images only. The little instrument, or ornament, forms
an elliptical medallion, and the two photo-microscopic cylinders
occupy the centre, being perpendicular to the thickness of the
medallion. They represent the same object in two positions.
The effect is produced by a very simple mechanism. The two
photo-microscopic cylinders are encased in a guide surrounded
by a caoutchouc membrane, on which is placed a vertical rod
terminating in a button, which is outside the medallion. On

looking through the central aperture of the medallion one of
the images only is seen ; but in pressing the button with the
finger, which pressure is communicated to the caoutchouc
membrane, the relative position of the two cylinders is changed,
and the second imago succeeds the first before the latter has
ceased to aflect the retina. — Ibid.

Cryolite Glass. — By melting 1 part of the mineral cryolite
with 2 to t parts of pure silica, a beautiful kind of glass is
formed ; wo believe it is the same to which the Americans have
applied the term cast porcelain. The product is susceptible of
being cast in a mould, it will take a fine polish, and can be
manufactured into a great variety of useful aud ornamental
articles. — Ibid.

Handsome Studio. — The Liverpool Daily Courier gives
a long aud interesting account of a new photographic studio re-
cently opened by Messrs. Vandyke and Brown, in Liverpool.
An extract from the description will interest many of our
readers. The general stylo of the arrangement and decorations
is dosc.ibed in “ form and colouring as Pompeian, but there is
an intermixture of Egyptian ideas in the lotus symbol on
the staircase walls; of ancient Greek decoration in the key
pattern of the borders and some of the stained glass designs .
and of modern Greek ecclesiastical ornament in the very
effective gas standard at the foot of the stairs. No violent
anomaly, however, is apparent : the whole harmonizes and the
general ellect of the ‘ grand Pompeian entrance-hall,’ as it is
termed, is decidedly agreeable. Of the luxurious appearance of
the general reception-room, and of the ladies’ boudoir attached,
we can only speak superlatively, and say that, in the latter
apartment especially, there is an air of magnificence which is
only not regal because of the evidences of ‘ business ’ which lie
scattered about, in the shape of exquisitely finished portraits in
every style, from tho tiny medallion to the enlarged cabinet
picture for display after tho manner of the old orthodox family
portrait in oil. The operating-room, or studio, is said to bo the
largest in England ; it is fitted with every known improvement
in tho various matters already indicated, and tho numerous
other workrooms for finishing aud mounting are on tho same
complete scale.”

3^0 €)orrc.^jjou&£uts.

Hedcar. — .V great variety of materials may be u.scd for a curtain in
a photogniphie studio, each of which will yield a good result, so
that it is <[uitc impossible to say which is be.s't It depends entirely
upon circumstances, upon the effect you want, upon the character
of tho other accessories, aud upon the kind of light in the studio.
Tabarot is a good material, so is repp ; perhaps nothing is better
than velvet ; cotton velvet answers well, and is cheap. The colom-
may be green, dark blue, maroon, or a sober tint which does not
come out too light. You will doubtless be able to get tho proper
article from a local draper.

Enamel. — From a hasty examination of the cards we do not think
that they contain anything injurious to the photograph. More
time and careful examination would be necessary for a decided
statement.

A. B. — Some .samidcs of paper are undoubtedly more prone to meali-
ness than others ; but the actual cause is generally the state of the
toning bath. If j'our acetate bath tones slowly, it is probably duo
to the use of an impure sample of acetate of soda. You will at
least be free from the mealiness when the toning is slow. Try the
addition of a few drops of a fresh solution of gold if you wish to
accelerate the toning. The brown precipitate you describe is the
result of something having been introduced into the bath which
should not, either by want of clcanlLnes or in some other way.
Are you ([uite certain that your fingers had not touched hyposul-
phite and then touched the toning solution P or that the dishes had
not been used for washing prints P Hard water is not pure water,
and when water is very hard it usually contains a variety of lime
salts ; what, it is impossible for us to say. Use for your toning
bath distilled water. By chalk wc moan carbonate of lime. You
had better procure it of a chemist. A bath made with it will
usually keep, if placed in the dark. Strengthen by adding fresh
concentrated gold solution and a little hot M'atcr. Read Mr.
Bovey’s recent article ou toning.

Youngster. — An orange or deep yellow is bo.st. If the light bo
quite non-actinic you may have plenty of it without danger. The
use of liffht yellow calico or glass gives an admixture of white
light which is 'dangerous. 2. Do not paint, but varnish, the wooden
trough. 3. It is the practice of photographic colourists of the

336

THE PHOTOGKAPHIC NEWS,

present day to use albuminized prints for colouring ; but, to a per-
son more familiar with ordinary water-t:olour drawing than photo-
graphic colouring, plain salted paper will present the least number
of difficulties.

John’ Hilley. — There will bo an agent, wc believe, for M. Carrier’s
paper in this country, which will doubtless be duly announced. AVe
cannot -say at present whether any greater permanence is promi.'cd
by his proce.ss. 2. AVe do not know of any pmcticable carbon pro-
ce.ss besides Swan’ 8. The method proposed by M . Marion woulc be,
wc believe, an infringement of Mr. Swan’s patent. Mr. lllair has
worked with praiseworthy persever.ance at carbon printing, but we
do not know of any practicable process he has proposed which
might be used as a substitute for Swan’s. 3. The patent rests
chiefly, we should say, on the use of a di if inct tissue which jicrmifs
printing on one side and washing away on the other, and on the
modes of transfer employed. AA’c do not know of any one who
teaches carbon printing.

E. Moroan'. — You will find the formul;e you require in any good
manual of photography or in any of our Y eau-Uooks. The cause
of the discolouration of your toning bath is probably contact with
dirty fingers, especially with fingers which have touched hypo ; or
possibly the use for the toning hath of a dish in avhich prints have
been wa.shod, to which some trace of hypo may cling. Our engage-
ments do not permit us to answer questions of this kind privately.

T. P. (or some similar initials very careles.sly written). — The prints
enclosed are pretty good, and the negatives arc not bad, but a
little under-exposed. AA'e cannot give you any idea of what salary
you might obtain or be worth.

An Enquirer. — The construction of your studio will doubtless have
to be subject to the control, in certain respects, of the local autho-
rities. Diflercnt towns are under dilferent forms of Iwal govern-
ment, and all public buildings must conform to certain conditions
laid doavn by such government. In your case it is probable the
Board of Health will possc.ss such |)owcr. As a rule, wooden
buildings are not permitted, because ol their liability to fire.

B. N. P. — The strength of the ethereal solution of wax is not im-
portant, the chief object being to obtain on tlie plate an almost
imperceptible film of wax, which, being a neutral substance, pre-
vents chemical action from any dirt on the glass. The use of wax
for such a purpose is an old idea, but how old we c.innot with ccr-
taint)’ say. About four years ago it was proposed by Mr. AA'ende-
roth to be applied to the glass to aid in transfeiTing operations.
Mr. llenrj’ Cooper at that time called especial attention to its
value in giving immunity from the influence of dirt. Its subse-
quent recommendation for use on dry plates of course was not
original. The remarks and the ignor.mcc to which you refer were
alike characteristic, but arc not worth comment.

Veritas. — The lighting of the figures is pretty good ; in Nos.
1 and 3 the negatives have been over-intensified. Tn all, the tone
is good of its kind, but is bl-ickcr than we like. AVe e:inuot give
you much information as to the chances of obtaining a situation,
such questions being somewhat out of our province.

Thomas Stothard. — The deposit of silver on the sides of the bottle
holding the printing solution is duo to the presence of organic
matter, such as albumen, which has a tendency to reduce silver,
especially if white light has reached the bottle.

Dr. Stainthorpe. — It is important to remember that the only light
which is of any real value in illuminating the sitter is that which
falls directly upon him from the sky. To ascertain how much of
this reaches the model in your studio place yourself in his jiosi-
tion and note the amount of the sky which you can sec. AA’e fear,
from the diagram, that much of the light which enters your studio
does not reach the sitter directly. The top-light is not sulficiently
in advance of the sitter, but is directly over-head ; and the still
more important side-light will scarcely reach him at all, being cut
off by tlie projecting portions of wall belonging to the folding doors.
If these could be removed, and the side windows extended laterally
on the north side, and also taken quite to the eaves, you would
gain much additional light of great value in illuminating the
figure; or, failing that, if you could extend the north window at
E an advantage would be gained.

J. C. — Pinholes may proceed from a variety of causes, of which the
most common is the excess of iodide of silver prc.scnt. AVe can-
not from any genciul description of results indicate the precise
cause. The only mode in which a defect can be traced home to
its cause consists in a scries of exhaustive experiments, beginning
M'ith the most simple and probable sources of error. Read the
chapter devoted to the subject in our Year-Book. E.specially
try the plan of keeping the bath cool by placing it in cold water,
or tying a wot cloth round it.

Fourth \olume. — The ta.sk of copying coloured drawings on old
discoloured parchment is rather a" difficult one, and probably
several essays will have to be made before succa'eding. Use a collo-
dion containing a full proiairtion of bromide, eijiose well in as
good a light as possible, and develop with a weak iron solution.

C. A. S.— The affinity between gold and chlorine is very slight, and

[July 10, 1868.

the slightest excess of heat will drive oflf the chlorine and leave
metallic gold. From your de.scription it appears that a portion of
the gold is converted into protochloride of gold, which is insoluble
in water, and is often decomposed by its throwing down metallic
gold. Take care in evaporating to preserve a low temperature,
and before the ev.aporation is complete be content with a slightly
acid solution, and neutralize with carbonate of lime. 2. Mr.
McLachlan resides at Manchester. The sample of nitrate of silver
he prefers was found on examination to be pure nitrate of silver.
3. You c.m obtain nitrate of magnesia of your Ixmdon dealer; or
you may make it by neutralizing nitric acid with carbonate of mag-
ncs-'a. 4. AA'c cannot decipher your ijuestion as to citric acid.

AA'. J. A. G. — Matt silver stains arc of various kinds, and spring
from various causes. The chaiacter and form of the stain afford
some clue to the cause ; but you do not descrilie the exact character.
If they run from the edge of the plate it is probable that they
arise from contact between the nitrate of silver and the inner fiame
of the dark slide, and that is a more common cau.se than is sus-
pected. AA'c can only ooun.sel you to read the various articles
which have appeared on the subject in our last two or three
volumes. Be careful to wash the inner fr.amc very thoroughly ;
let the plate rest on blotting-paper ; use a somewhat weak bath ;
and avoid the use of a homy, repellent collodion. AA’’e shall havo
Something more to say on the subject in an article next week. AVe
prefer 2, 4, or 5 of the collodions named.

Sll.EX. — AVe are obliged by the sample of carbon printing vou have
forwarded, and we shall ex.imine the matter carefully. So far as
we have had time to give to the matter at pre.sent, we find your
de.scription quite correct ; but it also appears to us that the edge of
the while c.;ird on which the discoloured portion is mounted has
become somewhat yellow, indicating that the same cause has acted
on the c.ard which has tarnished the purity of the print. 2. The
damage.! collodio-chloridc print is a charming picture. The cause
of the film splitting and leaving the p-ipcr is portly due to the use
of unprepared paper, but still more to the u.se of an unsuitable
sample of collodion. It gives a film of the homy contractile kind,
which readily .splits. A more powdery, adherent sample should
be us(>d. The high glaze of this .sample at once indicates the
homy character of the film. X more powdery sample would give
a surface with more of fhc matt character. AA’e have mot with
splitting films, but it is a difficulty wc have removed at once by
Using a suitable collodion. AA’e shall have pleasure in seeing a
perfect print from the same negative. Thanks for the paragraph,
which wc shall havo plc.asure in using.

J. II. Burke. — Thanks.'

The Defendant. — A report of the matter was in type when your
communication reached us. It shall have our attention.

The continuation of Lieut. AA’atcrhouse’s Articles on “ Photozinco-
gmphy,” and several other articles in type, are compelled, from
the pressure on our spice, to stand over.

Several CoiTcspondcnts in our next.

|)^otograp^9 jUegtstcrcIi.

Mr. S. OI.KX PiTNK, Aylesbury,

Photographic Group of Dr. Newham’s Winslow Band.
Photographic Group of Mr. anil .Mrs. Willis's Bridal Parly.
Photographic Group of Mr. and Mrs Willis’s Wedding Party.
Photographic Interior of .Monks’ Risboro’ Church.

Mr. Nind, Birmingham,

Photo.-raphof Mr.and Mrs. Joshua Poole and .Air. Poole's PoMier.
.Mr. G. Teigck, Swansea,

Photograph of Prisoners working the Swansea Treadwheel.

Mr. II. Berlok, Bradford,

Photograph of Bradford Old Dungeon.

Mr. D. B. Evans, Newport,

Photogoaph of Dsk Lighthouse.

Mr. II. Rosins, Land|mrt, Hants,

Photograph of King Theodore’s Horse.

Mr. J. II. JsweLL, Westerham,

Three Photographs of Col. George Ward, Lin Ion R. Volmteers
Air. J. PiNPaa, Waterford,

Pour Photographs of Rev. J. Johnson.

Mr. J. Stcaet, Glasgow,

Three Photographs of Rev. A. Bruce.

Mr. G. AV. Unwin, AYalkley.

Photograph "The Pet Lamb.’’

Mr. C. Mole. Birmingham,

Two Photographs of Murphy, the Lecturer.

Mr. A. OiRNiEE, Quemsey,

Twelve Photographs of Victor Hugo.

All Communications for the Editor to bo addressed to 15,
Gough Square, Fleet Street, London, E.C.

All photographs forwarded to the Publisher for registration rcceire
attention at once ; but the pressure on our space sometimes compels ns
to defer the acknowledgment in this column. It should be home in
mind, therefore, that non-acknowledgment at once does not necessarily
imply non receipt or non registration.

THE PHOTOGRAPHIC NEWS

Vci. XII. No. 515.— Jh/// 17, 1858.

CONTENTS.

Pi'll

Prevention o( Stains on Negatives in Hot Weat'ier 337

Sensitive AibuminizcJ Paper Preserved Ready for Use 337

Recovery from Oyaoide Poisoning 338

TUe Code* Dry Process 338

Pictorial KOect in Photography. By II. P. Robinson 339

Photo-iincography in Practice. By J. Waterhouse, R. A 340

On the Principies of Lighting and of Constructing Studio.s. By

Dr. H. Vogel 343

On the Action of Bromine upon certain Ethers. By MM. A.

Ladenberg and II. Wichelhaus 343

PAGE

An Easy Mode of Obt lining the Position and Pocus tor Fieid

Views. By W. Campbeli

New Red Colouring Matter

Scientific Gleanings

Correspondence— Informers and Piracy— Mr. Bovey’s Mode of

Toning — Landscape Backgrounds to Portraits

Talk in the Studio

To Correspondents

Registration of Photographs

344

344

343

34.3

348

347

348

PREVENTION OF ST.UNS ON NEGATIVES IN
HOT WEATHER.

Tin; recent hot weather has brought into operation the
train of summer dithculties 3vith which photographers
are familiar, ^latt silver stains and other markings — the
result of the silver solution drying or coneentrating on
the film if the plate be kept more than a few minutes before
developing — pinholes, and similar troubles, have been pre-
valent, as we learn from the letters of many correspon-
dents. We do not intend here to enter i’.ito a re-discus-
sion of the various remedies which have been proposed and
tried with more or less of success. For information on
almost every form of the defects in cpiestion, and for details
of the various remedies, we must refer our readers to many
articles published in our previous volumes.

We wish no3V to call attention to the jiriictical working
of one of the remedies for matt silver and other stains,
which we recently saw in very cllicient operation in the
establishment of Mr. Hughes, at Ryde. The remedy in
(question consisted in washing the excited plate in distilled
water iis soon as it was removed from the nitrate bath. 'I'his,
it will be said, is not new ; and the observation 3vill be
uncpiestionably true. The novelty and the especial effi-
ciency consist in a very small item in the operations.
When a plate has been wiished in this way it is nece.ssary
to restore the free nitrate which has been removed to aid
in the operation of developing. Two or three modes of
effecting this have been tried. One method consisted in
adding a little free nitrate to the developer. The disadvan-
tage of this method was a-tendency to irregular and patchy
ilevelopment ; and unless the plate had received consider-
ably longer exposure than it would have required when
unwashed, a hard, under-exposed negative has been the re-
sult. A more even development has been secured when
the plate has been covered with a little of the nitrate solu-
ion previous to applying the devclojier, and a better result
still when the plate has received a m^entary redip in the
nitrate bath prior to development. Fut still it has been
found that an unusually prolonged exposura was necessary
to secure a good negative, and an impression has prevailed
that a Avashed plate was less sensitive than a wet plate in
its normal condition. That this impression is erroneous
we have recently had opportunity of proving satisfactorily.
The whole secret of success depends on the time the plate is
permitted to remain in the bath on redipping : sufficient
time is necessary to permit the film to become thoroughly
permeated again by the nitrate solution. It seems that each
atom of impressed bromo-iotlideof silver requires the contact
of free nitrate of silver in order that the proper reduction
may be completed by the developer. The plate which, re-
ceiving only a momentary redip sufficient to cover its sur-
face with the silver solution, would yield a thin, hard, under-

exposed image, will, when left sufficient time in the bath
in redipping, yield a fully-exposed, detailed, and vigorous
negative, always exquisitely clean, uniform, and free from
defect. The time Avhich the plate should be left in the bath
in redipping in order to secure these results is from forty
to sixty seconds. The first plate so treated in our pre-
sence was of large size (14 inches by 10 inches), and was
kept upwards of an hour on an excessively hot day ; but it
developed satisfactorily, giving a clean, detailed, and
vigorous negative. Any tendency to drying of the film is,
of course, unimportant, as the whole becomes uniformly
saturated again with the nitrate solution.

Many photographers will not care to undertake this extra
labour, e.xcept in cases where, from any cause, long keeping
of the plate between e.xciting and developing is necessary ;
but it may be used, nevertheless, without much trouble, by
all who suffer from matt silver and other stains in hot
weather. I'he operation is simple ; it consists in the use of
a dipping bath of distilled water, into Avhich the plate is
plunged as soon as it has acquired a creamy film in the
nitrate bath. Immersion for a minute or two in the dis-
tilled water, Avith agitation of the plate, gives the film suffi-
cient washing, and the same bath of distilled water may be
without disadvantage kept in use all day, and, if necessary,
used for two or three dozen plates.

I’ractically, it would follow that the plates immersed in
the bath 3vhich had already washed a few dozen plates are
in reality placed in a dilute nitrate bath, another mode of
securingimmuuityfrom many of the troubles of hotAveather.
Some years ago we recommended the use of a second new
uniodized nitrate bath as a means of getting rid of pinholes
and stains. 4Ve found, in the course of the experiments
made at that time, that after exciting the plate in the
usual way, immei-sing it in an uniodized 10-grain nitrate
bath secured immunity from many difficulties, and yielded
on development a perfectly good negative, without redip-
ping, the Aveak silver solution serving every purpose neces-
sarily in the operation of development, having, perhaps, a
tendency to give more detail and less density than when a
stronger solution was present. During the prevalence of
the extremely hot weather we recommend the attention
of these suggestions to any of our readers who are troubled
with stains and other defects which are brought about by
high temperature.

SENSITIVE ALBUMINIZED PAPER PRESERVED
READY FOR USE.

We were favoured a few days ago by a visit from ^I-
Romain Talbot, 3vho introduced to our attention some
samples of M. Carrier's preserved sensitive albuminized
paper, which is stated to keep indefinitely without dete-
rioration, and without requiring any especial care in its

338

THE PHOTOGRAPHIC NEWS.

[Jdly 17, 1868.

storage beyond the matter-of-course necessity of dark-
ness. It is stated to be unalterable at all temperatures,
and to be quite unaffected by humidity in the atmo-
sphere.

Time will be a necessary clement in presenting our
readers with the results of our own experience with the
sample of paper left in our hands, but we may briefly
mention such facts as are before us. The paper is appa-
rently Saxe, and possesses a good albuminized sui-face. We
are informed that it has been sensitized some months, and
it is perfectly purely white without the .slightest indication
of discolouration, or tint of any kind. Some prints which
have been printed some months, but not toned or fixed, are
equally unsullied and pure in the Avhites. 'The colour of
the image is of a mauve or lavender tint, and on proceeding
to print upon the paper we obtained an image of similar
tint. The time of exposure was, as nearly as we could
estimate, about the same as for ordinary albuminized
paper. A special toning bath is recommended, which as
yet we have not tried. It consists of —

Common water ... ... ... ... 1 litre

Chloride of gold, or, better still, the

double chloride of gold and potassium 1 gramme
Chloride of cadmium ... ... 1 to 10 grammes

Sulphocyanide of ammonium ... ... 100 ,,

This, in round numbers, gives 1 grain of chloride of gold,
10 grains of chloride of cadmium, and 100 granmies of
sulphocyanide of ammonium in a little more than 2 ounces
of water. The prints are to be fixed and washed as usual.
The prints we tried in an old toning bath we had ready
gave a variety of good tones, the whites of which remained
very pure and brilliant in all cases. So far as we can
judge from the hasty experiments already made, the paper
is better suited to vigorous negatives than soft ones, ren-
dering, with much delicacy, all the gradations in negatives
usually yielding hard pictures: with a soft negative the
prints Ave have tried lacked vigour. There is clearly no
free nitrate present ; but Avhether any other .salt, except
chloride and albuminate of silver, we have not yet ascer-
tained. We shall test the paper from time to time, and
report on its continued keeping properties.

The convenience, especially for amateurs, of possessing
sensitive paper which will keep good indefinitely, and is
always ready for use, is doubtless very great. The price
is a little more than double that of ordinary albuminized
paper. A preserved sensitive matt paper at a still higher
price is mentioned, but we have not seen it nor any pic-
tures produced upon it.

RECOVERY FROM CYANIDE POISONING.

A CASE of violent poisoning by cyanide of potassium or
prussic acid was treated with great success on a recent occa-
sion at King’s College Hospital. A little boy about six
years of age, the son of Mr. Spooner, a hatter in Holborn,
was brought to the hospital in a comatose state, with rigid
spasms of the muscles of the jaw, so that the mouth was
closed and the teeth firmly clenched. It appeared that he
had been drinking from a bottle containing a fluid labelled
“ Warranted not poisonous," Avhich, on analysis, however,
was found to contain a large quantity of the poison in ques-
tion. The child was admitted to the hospital within ten
minutes of its having swallowed the liquid, and its mouth
was at once forced open, by means of a spatula, sufficiently
wide to allow of an emetic of mustard and water being
administered ; the patient’s throat was likewise tickled with
a feather, but neither treatment was sulBcient to produce
vomiting. The house-physician then reluctantly had re-
course to the stomach-pump, forcing the mouth wide open
by means of an instrument, in order to introduce the appa-
ratus. The stomach was Avell washed out, and all the poison
contained therein removed, so that the object yet to be
attained was to keep the patient alive until such of the

poison as had already been imbibed by the system was
eliminated by the lungs, &c. As the child was evidently
sinking, the limbs becoming quite rigid and blue, it was
quickly undressed and placed alternately in a hot and cold
bath, which had the desired effect of partially rousing the
patient. After treatment in this manner for about twenty
minutes, the child again began to succumb, and artificial
respiration was then tried, in conjunction with constant fric-
tion of the body towards the heart, to keep up the circula-
tion. This was continued for some time, and afterwards a
galvanic battery was placed in connection with the limbs,
and a current of some intensity administered. this

means the patient was just kept alive, and while still in a
very precarious state it was put to bed with mustard poul-
tices applied to the feet. After a period of five hours from
the time of its being taken ill, the child began to show
signs of consciousness, crying out from the pain caused by
the poultices ; and in a lew hours more all effects of the
poison had totally disappeared.

THE COFFEE DRY PROCESS.

We printed a short time ago an account of some comparative
experiments with dry processes by Dr. Towler, in which he
found, contrary to the experience of many others, that coffee
plates did not keep well. Col. Baratti, the originator of the
process, points out, however, in our Philadelphia contem-
porary, tliat the coffee process described by Dr. Towler essen-
tially differs from the process of the inventor. He says : —
‘‘ l)r. Towler takes —

Water ... ... ... ... 8 ounces

Coffee, roasted and ground ... 6 drachms

Loaf sugar ... ... ... 3 ,,

Boil the mixture for five minutes, then allow to settle, &c. ;
coat the plates, and finally let them dry. That is all.

“ My process is much more complex : —

“ Collodion — Silver Bath — Developer. — Eveiything is
combined together, and all should be carried on with the
greatest precision to obtain the result which I infallibly
arrive at. Even the preservative of Dr. Towler is not accord-
ing to my formula, for we read in the Camera Oscura : —

“ Preservative Solution.

Water ... ... ... ... 300 grammes

Ground coffee ... ... ... 30 „

Refined sugar ... ... ... lo ,,

Put the ground coffee and sugar into a bottle, then pour in
boiling water, and cork up. When cool, filter.

“ Why did the Professor boil the coffee five minutes '! And
the developer ? He u.«es —

Double sulphate of iron and
ammonia
Water ...

Nitro-gelatine . .

Alcohol...

3 drachms

4 ounces
40 minims
10

“ 1, on the contrary, have directed —
Distilled water...

Double sulphate of iron and
ammonia
Crystallized sugar
Sulphate of copper
Citric acid

300 grammes

7o0 „
7'.')0 „
7'50 „

1-j

" Is it not probable that all these changes enter for some-
thing in the final result V But even more than this, I
recommend, as a condition, sine qua non, to dry the plates
over the fire after having treated them with the preserving
liquid. For this purpose 1 use a tin box filled with very
hot sand or boiling water, kept at the highest possible tem-
perature by means of a spirit-lamp ; and after that 1 put
them in a box with chloride of calcium on thj bottom, so
that the collodionized surface takes the appearance of a very
brillian^ varnish, contrary to the conclusion of the learned

July 17, 1868,]

THK PHOTOGKAPHKJ NEWS.

33y

Professor. The least trace cf dampness, which at times is
condensed on the plate in passing from one ambient to
another, is an infallible cause of non-success ; and it has
sometimes happened that I could not produce the least
shadow of an image, even after an exposure of ten minutes,
whilst, with my ordinary method, plates prepared twenty-
two months back gave me excellent negatives after ten
seconds of exposure; and after twenty-four hours I
guarantee the instantaneity, provided that there are no
deviations made from my prescriptions.

“Besides, my process is much used in Italy and else-
where, and every one is satisfied. It would not be so if, as
Dr. Towler aBirms, the sensitiveness of the plates lasted only
one or two days. Many professional photographers make
use of it for portraits; and the Signor Chevalier Marini, of
(lenoa, wrote to me a yc\arago: ‘ .Since I tried your process
I always prepare my plates at night, and the next day I
make use of them for portraits, as the customers arrive.
What an economy of time for me, and a saving of annoy-
ance for them ! ’

“ Now I have introduced radical modifications in my pro-
cess; it is even more simple, more sure. On one hundred
plates exposed, if the sitting is good, not one will fail. I
have proposed to the French Photographic Society to send
one dozen plates, so that they could be tried at different
times. I will give them the time of sitting for each differ-
ence, and I am sure that the result that I have indicated
beforehand will be reached. I have so much conflilence in
the coffee preserver, and I have always obtained such fine
results, that I should like to see it tried by .all landscape
photographers ; but exactly according to my formuhe, other-
wise 1 can promise nothing, and new experiments would have
to be made.”

Mr. Jex Bardwell, in the same journal, states that his
experiments with coffee plates has been much more satis-
factory than that of Dr. Towler. Speaking of the first
batch of plates he tried, he says : —

“I found them everything I could wish, they being much
less trouble to prepare than by any drj' process that I have
found at all satisfactory ; very clean, free from streaks or fog,
full of detail, and very sensitive, and, I must say, a good keep-
ing plate, for the last one I tried, being within a few days of
four months old, gave me a good result with thirty seconds’
exposure. The plate was every way good, clean, free from
fog, and intensified as free as a new plate. The coffee plates
are eminently free from that hardness .so often seen in a dry
plate. I have had considerable experience as a dry-plate
worker, and have none to suit me so well. I even use dry
plates for solar landscape negatives. I cannot say too much
in favour of the coffee process, and can assure the dry-plate
worker that it is one every way worthy of his confidence. 1
look on pyrogallic acid as the proper developer for a dry
plate, and if the Profe.ssor will but try the coffee plates on
their own merits, and not in te.sting an iron developer, he
will come to different conclusions.”

In our friend Dr. Towler's experiments, aiming at the
uniform treatment in development, and estimating results
under such treatment, is, perhaps, scaip<dy a fair mode of
judging the value of a process, since JUmost every kind of
dry plate requires its own special development to secure the
best results.

PICTORIAL EFFECT IN PHOTOGRAPHY;

Beixq Lessoxs i.v

Composition and Chiaroscuro for Photoqraphers.

BY H. P. ROBINSON.

Chapter XXV.

"The exclusive power of chiaroscuro is to give substance to form, place
to figure, and to create space. It may be considered as legitimate or spurious ;
it is legitimate when, as the immediate offspring of the subject, its disposi-
tion, extent, strength, and sweetness are subservient to form expression and
invigorate or illustrate character, by heightening the primary actor or actors

and subordinating the secondary ; it is spurious when, from an assistant
aspiring to the rights of a principal, it becomes a substitute for indispen-
sable or more essential demands.” — Fuseli.

Chiaroscuro.

The natural and simple effect of light, with its attendant
shadow on objects, is given with greater truth by good photo-
graphy than by any other method of delineation, although
in ignorant hands it may degenerate into weakness, or, as
is more often the case, take the form of patches of black and
white uneonuected by gradation. However, in these chapters
I assume that the student is a good manipulator, and has a suf-
ficient technical knowledge to render it unnecessary for me to
say anything on that part of the subject; I shall therefore con-
fine myself to a consideration of how best light and shade may
be arranged so as to produce the most beautiful and striking
pictorial effect. A knowledge of how to mass light and
shade, with its intermediate gradations, connecting one with
another, to which the name of chiaro.scuro has been given,
is most necessary for the student to attain, and can only bo
thoroughly learnt by careful observation of nature and the
study of the works of those masters who have excelled in
this important branch of the art ; there are a few simple
rules, however, a knowledge of which will assist the student
in his further studies in this direction. It is to these rules
that I now propose to call his attention.

Chiaro.scuro not only lends a “ something more exquisite
still ” to the most perfect outline, but clothes an inferior
design with a beauty it would not otherwise pos.sess. This
is notably the case in the pictures of Rembrandt, often ill-
drawn, always vulgar in choice of form, but of priceless value
for their marvellous chiaroscuro, the alchemy of his art
transforming dross into pure gold.

That which, as a mere sketch, was flat and monotonous,
when clothed in cleverly managed light and shade stands
forth as a reality. It gives depth androundness and space;
it also couiributes infinitely to expression and sentiment ;
likeness even can be altered by the way in which this great
power is managed. If it be remembered that by the minute
modifications in the place, form, and depth of shadows, the
whole of the infinite range of expression of the human face
is determined, the importance of judicious lighting and skil-
ful disposal of shadows will be pretty well appreciated.
Many of my reailem will remember the marvellous exhibi-
tion of Herr Schultz, at the Egyptian Hall, who exhibited
every ethnological type on his own face, principally by the
aid of lights and shadows skilfully cast from different direc-
tions. The magic of light and shade has become a proverb.

The word chiaroscuro, derived from the Italian, and lite-
rally meaning light-dark, by no means clearly conveys the
idea of what it is intended to express. Usage has, however,
reconciled us to the use of the t-rm to express, not only the
means of representing light and shadow, but the arrange-
ment and distribution of lights and darks of every gradation
in masses in a picture so as to produce pictorial effect — just
as the word composition is useil to express the arrangement
of lines.

The objects of chiaro.scuro are, first, to give a pleasing
general effect to the whole picture, by dividing the space
into ma.sses of light and shade, giving breadth of effect, and
preventing that confusion and perplexity incident to the
eye being attracted by numerons parts of equal importance
at the same time. Secondly, to place before the spectator at
once the principal object represented, so that the eye may
first see it, and be gradually and in.sensibly led to examine
the whole picture ; to keep parts in obscurity, and to relieve
others according to their pictorial value. And, thirdly, to aid
the sentiment and expression of the picture.

It will be seen that I have omitted relief as one of the
objects of chiaroscuro. There is no doubt that a certain
amount of relief is of advantage to a picture, but to strive too
much for this quality would be sacrificing a much greater
advantage — breadth — for the sake of an effect which could
not, in a picture, be made to compete with the perfect
manner in which it is given in a toy — the stereoscope.
Relief is not the object of the picture. If it were, the artist

340

THE PHOTOGRAPHIC NEWS.

[July 17, 1868

would have to first see the place wliere it was to be hung,
that he maj see the direction in which the light would fall
upon it, and his chief consideration would be that the objects
in the picture should be lighted by the window of the room,
his chief aim to produce an illusion, perhaps the most vulgar
thing in art. Twining, in his “ Philosophy of Painting,”
says on this subject, “ Although relief may be considered as an
additional advantage, and deserves attetition as long as other
points are not sacrificed to it, the artist would decidedly
take a false view of the calling of art who would set it up as
a goal, directing towards it all his exertions; and, fortu-
nately, to strive, as some have done, for this ki.id of emi-
nence, generally involves the neglect of other attainments
which ought to have stood foremost. We cannot expect to
see those powers which, like projection and relief, may be
termed practical, imitated in perfection, with those which,
like expression and beauty, are fruits of the imagination and
sentiment ; our physical nature is ojiposed to it. Put in the
picture, chiaroscuro, cr light and shade, has other purposes
to fulfil than those which in nature serve to maik the
rotundity and projection of form. A happy distribution of
the lights and shades beeomes of itself a source of pleasing
effect and beauty ; at times, bj’ concentrating the effect, and
consequently the impressions of the observer, towards a given
point; at times by extending the interest, with the dis-
persing of the lights, over a wider scene. It is towards the
attainment of efi’ect that the varied resources of light and
shade are thus chiefly directed. Without this enlivening
principle the eye of the observer, satisfied with a first glance
at a picture, would immediately seek for recreation and
amusement elsewhere, so necessary it is that favour and
attention should be won in the first place by the external
appearance, in order that those more hidden perfections
which are the result of profound thought and assiduous
study may in turn receive their due consideration.”

1 may quote a much greater authority to the same effect.
Sir Joshua Iteynolds says: — “This favouiite quality of
giving objects relief, and '*>'iich De Piles and all the critics
have considered as a requisite of the greatest importance,
was not one of those objects wdiich much engaged the atten-
tion of Titian. Painters of inferior rank have far exceeded
him in producing this effect. This was a great object of
attention when art was in its infant state, as it is at present
with the vulgar and ignorant, who feel the highest satisfac-
tion in seeing a figure which, as they say, looks as if they
could walk round it. But howev'er low I may rate this
pleasure of deception, 1 should not oppose it did it not
oppose itself to a quality of a much higher kind, by counter-
acting entirely that fulness of manner which is so difficult
to express in words, but which is found in perfection in the
beat works of Correggio, and, we may add, of Rembrandt.”
It is admitted by all writers on the subject that mere na-
tural light and shade, however separately and individually
true, is not always legitimate chiaroscuro in art. In
nature generally light is shed indiscriminately on all objects,
subordinate objects may be brought prominently forward,
and important features may be cast into the shade. It is
not so with art. Art must select and arrange, or it is no
longer art. But although separate truth may not be true
art, true art requires that there should be no absence of
tnith ; but the truth must be represented as a whole. Hence
arises the indispensable necessity of judicious selection in
the subject and treatment of a picture, so that art mav be
observed and truth preserved. In no j>art of art is judicious
selection of more consequence than in the choice of light
and shade, because light and shade so governs and contracts
the effect of a picture that a subject may be either beautiful
or the reverse, according to the way in which it is clothed
in light and shade. Photograph a landscape with the sun
shining at the back of the camera, and the effect will be flat,
tame, and uninteresting; take the same view with the light
coming at the side, and the difference will be evident; the
magic of chiaroscuro will be at once felt. Barry, speaking
of the scenes about Hyde Park, Riclimond, Windsor, &c.,

says: “The difference between a meridian and evening light,
the reposes of extensive shadow, the half lights and catching
splendours that those scenes sometimes exhibit, compared
with their ordinary .appearance, do abundantly show how
much is gained by seizing upon those transitory moments
of fascination when nature appears with such accumulated
advantage. If this selection be so necessary respecting
objects iutrinsicall}'' beautiful, how much more studiously
ought it to be endeavoured at when we are obliged to take
up ma'.ters of less consequence. How many of the desen-edl)’
esteemed productions of the Flemish and Dutch schools
would bo thrown aside, as intolerable and di.sgusting, were
it not for the be.autiful effects of their judicious distribution
of lights and shades. Art is selection; it is perfect when
this selection is pursued throughout the whole, and it is
even so valuable, when extended to a part only, as to become
a passport lor the rest.”

It is interesting to note here, inciicntally, that Bairy does
not say that art consists in the manner of holding a pencil,
or la_\ ing on colour, or handling a modelling tool ; he does
not even say that it consists in the embodiment of the ima-
gination by means of these implements, but he distinctly
states what has been denied by some modern critics when
dealing with photography, that art is selection, and is most
perfect when the selection is the most judicious.

It is the same with portraiture as with landscape photo-
graphy : beauty will depend in a great measure on treat-
ment. Take a beautiful face, place it fronting the light,
and photograph it ; the result will be flat and even, in
some ca.ses ugly. The most amiable face may be made to
look cro.ss, and even savage, b}’ excess of top light. It is
strange that the effect of light on the face is not more
studied on the stage, where faci.al expression is seriously
interfered with by the unnatural efi’ect of the light coming
Irom below.

Light and shade are alw.ays at our command, in por-
traiture at least, and in some degree in landsc.ape, to
compensate for our inability to regulate the drawing to any
great extent. 1 do not say we can, tike the enauicller.s,
■lake an ugly face “ beautiful for ever,” but we can make a
be.autiful picture out of ugly objects if we can throw over
them the glamour and witchery of perfect chiaroscuro.

PHOTO-ZINCOGRAPHY IN PRACTICE.*

ISY .T. W.\TERIIOUSE, R.\.

Tbansferrinq TO ZlKC.

The transfers are trimmed with a pair of scissors, and all
parts not required to transfer are cut away or stopped out
with a composition of flour pa.ste coloured with vermilion.
Any faulty parts or corrections may be put in with a fine
pen and the ordinary autographic ink used by lithographers.
(Several sheets of waste paper (spoiled prints, &c.) sliould
be damj)ed, and kept on a table under a board ; a few damp
sheets of clean demy paper will also be required.

The transfer is then placed between the sheets of damp
paper, and allowed to remain for a short time, during which
the zinc plate is placed on the press, wiped with a dry muslin
rag, taking care not to touch the grained surface with the
lingers; lay on it two or three sheets of clean paper, and
pass it through ihe press once or twice till the pressure is
regulated. Examine the transfer, which should not be very
damp (experience is the only guide) ; if damp enough, take it
out, lay it down carefully in the place it should occupy on
the plate, over it lay a sheet of clean damp paper, and over
this a sheet or two of dry paper. If the transfer is new,
once p.a.ssing through the press is sufficient. The eftcct
may be examined by gently lifting one comer ; if all the
ink has not left the paper, turn the plate and pa.ss it
through the press again, slightly increasing the pressure.
The transfers will be found closely adherent to the plate.
Damp the back of it with sponge and water, and after a few

* CoQtinued from p. 31S.

July 17, 1868.]

THE PHOTOGRAPHIC NEWS.

.841

minutes, or as soon as the white parts appear loosened,
gently remove the paper. If the operations have been
properly carried out, the ink should have been almost
entirely removed from the paper. The plate is now washed
with water and a soft sponge, to remove all traces of paper
and gelatine, and is fanned dry with a fan made of a stiff
piece of cardboard inserted in a wooden handle. Should
any corrections be required, they may be made with pen
and transfer ink or with an etching point, as will be after-
wards explained under the head of “ Corrections.” It is
sometimes advisable, especially if the work is delicate, to let
the plate remain a little time before etching, and also to
warm it slightly, which causes the plate to absorb the
grea-sy ink more perfectly, and strengthen the fine lines.
The plate is now ready for etching ; but before describing
that operation I will give an account of the plan to be
pursued in joining together several transfers on the same
plate. If the work has been copied in sections, and it
is desired to join all the transfers together, attention to the
following directions will secure good results : —

1. A liberal margin must be allowed all round the
sections.

2. All the sections must be copied under precisely the
same conditions, so as to correspond exactly in size. The
least shifting of the camera or plan-board will be sufficient
to throw them out.

3. The transfer must be of the same age, otherwise some
may transfer and some may not. To join the transfers, have
ready a drawing-board, and two or three sheets of clean

paper, some pins, and some thick gelatine solution. Cut
the black edges off the transfers, lay them down face
upwards on the paper in their proper position, and .select
the best lines for cutting them, which should run as far as
possible in blank spaces, crossing the work as little as
possible.

Only one transfer is cut as a rule, but parts of the other
one may be made available if desired. Now, with a pin,
fasten down any two corresponding points on both transfers,
and do so in as many points as may be required. When
the work has been all fitted together, take some of the
gelatine on a fine brush, and put a little between the trans-
fer here and there, but not close to the edge of the join, or
there is a danger of its spreading over the lines and spoiling
the transfer; when this is dry take out the pins, gently turn
the sheet over, cut away the paper of ^re under transfer to
within half an inch or so of the joins, and pass the gelatine
under the joins, and let it dry. The sheet may now be re-
moved to the damping-book and treated as before. If the
joins are too apparent on the zinc plate, any blank spaces
may be filled in with a pen and transfer ink, or scratched in
with a point, and any thickening of the lines may be
reduced with the point of an eraser.

The plate must now be etched in order to fix the design
on it and render the surface of the plate more capable
of retaining moisture; this is done with a mixture of weak
acid, tannin, and gum water. The theory of its action is not
thoroughly understood, but it is supposed that the acid
dissolves the oxide from the surface of the plate, and, by
slightly corroding it, forms innumerable little hollows which
retain moisture ; the acid also decomposes the alkali con-

tained in the ink, and renders it insoluble. It is supposed
that the gum and tannin combine with the surface zinc,
and form an insoluble la3'er which preserves the zinc from
the immediate contact of the water, and renders it more
susceptible of receiving, without alteration, water and
gummy liquids. The etching, also, draws off all dust and
grea,sy stains, and increases the sharpness and vigour of the
lines. The etching licpiid is prepared as follows: — 1 quart
decoction of galls ; 3 (juarts gum water, about as thick as
cream ; 3 ounces phosphoric acid. The decoction of galls
is prepared by soaking 4 ounces of bruised Aleppo galls
in 3 quarts of cold water for twenty-four lioni'S ; the water
and galls are then boiled up together, and afterwards
strained.

The phosphoric acid is prep.ared by placing sticks of
])hosphorus in a bottle of water, the ends of the phosphorus
being uncovered. Air is admitted by making a hole
through the cork. This causes the phosphoras to become
oxidized, forming a mixture of phosphorus and phosphoric
acids, which dissolve in the water as they are formed. The
solution will be strong enough to use in a few days. Phos-
phoric acid can bo purchased ready prepared at the
druggists’, and is, I think, preferable, phosphorus being a
dangerous material in inexperienced hands.

Before the etching liquid is used, its strength should be
tested in the following manner : — Apply a drop of the
etching liquid to a piece of clean, polished zinc plate, and
wipe it off after twenty or thirty seconds; the stain should be
distinctly visible, though slight, and of a light grey
colour. If the stain be deeper, add water ; if lighter,
strengthen with some phosphoric acid. Some other etching
liquids have been recommended, but they contain sulphate
of copper, and have the disadvantage of darkening the sur-
face to such an extent that the detail is not sufficiently
distinct. The etching liquid is brushed all over the plate
with a broad brush, and allowed to remain a few seconds ;
the excess is then wiped off with a cloth, and the plate
is fanned dry ; as soon as it is dry, the preparation is
thoroughly washed off with water. It may be allowed to rer
main without any harm if it is inconvenient to wash it off at
once, as its action ceases as soon as it is dry. The strength
of the etching liquid varies according to the nature of the
subject : for fine work it should be used weak, but for
vigorous subjects, or if the ink contains a great deal of
soap, it may be used stronger. If the etching is not
sufficient, the work is apt to run smutty ; and if etched
too strong, the delicate lines are destroyed.

The etching having been thoroughly washed off, the plate
is sprinkled with turpentine and a few drops of water, and
gently rubbed with a cloth till all the ink is taken off (for
photo-carbon transfers in half tone a mixture of one-quarter
glycerine and three-quarters turps is used instead of plain
turpentine) ; it is then damped, and rolled in with the
ordinary lithographic printing-ink, rather stiff’. The ink is
prepared by taking equal parts of middle and thin litho-
varnish, and adding a little to a lump of best chalk litho
ink, about the size of a hazel nut, or larger if required.
This is well mixed with the palette knife, and then worked
quite smooth with the roller. The ink should not be too
thin, and must be harder for fine work. It is better to have
stiff ink. A proof is pulled on thin paper, and any correc-
tions found necessary may be made. Several prints must
be pulled on the thin paper before the plate is in good
working order ; when that is the case the plate paper can be
used and the required number of copies printed off. When
copies of very fine work arc required it is better to print on
enamelled paper, which may be prepared as follows : —
Quarter of a pound of Russian glue is soaked in 3 quarts of
water till quite soft, and then dissolved with heat ; 1 J pounds
of zinc white are ground with water on a slab, and then
mixed gradually with the solution of glue, and passed
through a hair sieve. The paper is coated twice with this pre-
paration ; the streaks are obliterated by going lightly over
the surface with a soft camel’s-hair brush. This paper must

342

THP] PHOTOGRAPHIC NEWS.

[July 17, 1868.

be used dry, aud the plate must be thoroughly dried after
rolling in with ink ; if the plate or paper are at all damp
there is a liability for the prepartion to stick to the plate aud
damage the drawing.

When printing fine, close work, or in hot weather, it will
he found very advantageous to use the following solution
instead of water for damping the plate while printing; care
must be taken, however, to keep it neutral, otherwise it will act
as an etching solution, and the fine details will be gradually
obliterated. Take 24 ounces of mucilage of gum arable, add
lime-water till it is neutral to test-paper, then add 2 ounces of
glycerine, and mix well. To 2 ounces of the above liquid
add 10 ounces of wafer, mix it w(dl, and use this for damping
the plates while printing. Only a small quantity of the first
.solution should be prepared, as it is liable to get sour ; it
should be tested before use, and if .sour more lime-water must
be added. By using this solution the finest work may be
printed without clogging up. Further details on the subject
of printing will be found in any treatise on lithography.
Though very simple in theory it requires a great amount of
practice and manual skill to become a good printer. When
the plates arc put away they must always be protected by a
coat of gum, which should be laid on evenly, and quickly
dried. If it is intended to keep the plates a long time before
printing again they should be rolled up with the transfer
ink already described, or with the following : —

Wax ... ... ... ... 100 parts

Asphaltum 100 •„

Tallow . . ... ... ... 40 ,,

Lampblack ... ... ... 20 ,,

The above are divided into small piece.s, and digested in

turpentine, and stirred up occasionally. After some days
they will form a viscous mixture, which should be kept for
u.se in well covered pots.

[To be continued.)

ON THE PRINCIPLES OF LIGHTING AND OF
CONSTRUCTING STUDIOS.

BY I)R. H. VOOEL.*

Now, suppose two point."-, a aud o' (fig. G), situated at

difi'erent distances from that narrow window. The farther
we remove the object from the illuminating aperture the
smaller is the angle of light. By the very simple mathe-

* Continued from p. 331.

matical contemplation above mentioned, we find that the
amounts of light of two points opposite to a window decrease
in the same measure as the squares of their distances from
the window iucrca.se.

If we place an object in a glass house twice as far from
the window, it will be necessary to draw as much of the
curtain as would make the area of the opening four times as
groat, if we wish to have the same intensity of light ; or we
might as well leave the opening in the curtains as it is, and
increase the time of exposure four times. If the aperture of
the window is great, the amount of light do not decrease
with the same rapidity. At twice the first distance the
strength woidil be a little greater than a quarter, and at
three times that distance a little greater than one-ninth.

We may draw another practical conclusion from these
considerations : an answer to a question which has often
been a.sked of late ; vis.. What is most practical, a high
studio or a low one? First of all we must answer a ques-
tion. What purpose does a ;:tudio serve ? A studio can be
good for taking single portraits, but not for taking groups or
reproductions, and vice versd. Such studios as, for instance,
those of M. Reutlinger and M. Salomon at Paris, are excellent
for taking single portraits, but whole groups can never be
taken there. The cause is very easily to be recognized. When
taking large pictures, drawings, &c., an equal illumination
of the whole object is requested ; with single portraits, how-
ever, the artist demands a rather unequal illumination. The
head, being of first importance, must be lighter than the
parts of less importance, for the facts to which only half-
light is bestowed. These artistic properties are especially
perceived in the portraits of Adam-Salomon, of Paris, and
Carl .Tagemann, of Vienna, If we should like to illuminate
in the same way a whole group, all persons but one would
only receive half-light, and scarcely become visible.
Answering to the above question, I therefore must look to
the intended purpose, and I first treat the most simple ca.se,
the construction of a studio for taking single portraits,

Suppo.se a skylight of about 25 feet height, and therein
an object, a.s, for instance, a man, a' V (fig 7) of 5' high ;

above this object we make a certain opening, b c, in the
curtains, which is at a distance of 20' from the head and of
25‘ from the feet ; therefore, the amounts of light will be
as 400 : G25 = IG : 25, which is almost as 2 : 3. Now sup-
pose a skylight of 10' high, all other circumstances being
the same, the distance of the head from the aperture will
be 5', that of the feet 10', and therefore the amounts of light
will be as I : 4.

It is obvious how great the differences are. In the first

THii PHOTOGKAPHIC NEWS.

343

.JcLY 17, 1868.J

case, with a high studio, the head is one and a half times as
bright as the feet ; in the second case, the head Is four times
as bright. Hence follows that, in the first case, we have only
a small contrast of light ; in the second case, however, a
very great one.

In a portrait the importance of the head is pre-eminent ; it
must receive more of the light. A contrast of ilumination
between head and feet, as 2 : 3, is too small for giving bril-
liancy. A proportion of 1 ; 4 gives a much better result.
From this point of view it is now clear that for single por
traits a low studio is the best.

As instances of such low-roofed skylights, which afford so
.surprisingly good results, I have already mentioned those
of aI. Adam-Salomon and of M. Reutlinger.

Till now we have always treafi^d on a spot situated directly
opposite to the illuminating aperture. Let ns now contem-
plate the direct brightness of a point situated at the side
of the window (fig. 8). We have .already stated that the
intensity of light is, for this point, smaller than for one
opposite to the window. The intensity of light is here
decreasing with the inclination of the rays to the wall of
the window. We may in this case suppose, inste.ad of our
original window, another one perpendicularly struck by the
sun rays ; its size will be determined by the projection of
the original window in the direction of the rays.

Fii). 8.

The angle formed by the rays and the wall being a, the
size of the window F, the projection c d, la P sin «, and
the amount of light at a, according to our formula,

F -sin *a _

. ’

we therefore are able to determine the amount of direct light
at any spot of the room if we know the size of the window,
the angle formed by the rays and the wall, and the distance
of the point from the wind.ow.

From these principles we draw another practical conclusion :

the production of the efl’ects of backgrounds in the photo-
grapns of M. Salomon. This gentleman produces those

good effects by placing his backgrounds into an oblique
position. I have, however, reached to the same end by simply
drawing a narrow curtain at the side of the background, so
that I received the aperture o o. The diagram — a rough
ground plan — shows the arrangement. 11 is the background,
F the person, and A the apparatus. Naturally, with such
an arrangement, the different points of the background will
appear very differently illuminated. The point 6, with a
much smaller angle of light, is brighter than a, and there-
fore the background will appear dark at the right-hand side
of the person which is brightest, and bright at the person’s
dark left side.

(To bn continued.)

ON THE ACTION OF BROMINE UPON CERTAIN
ETHERS.

BY MM. A. I.ADESBEBO AND II. WICUELHAUS.*

The known reactions of bromine upon organic bodies may
be divided into two kinds : the first, in wliich the bromine
takes the place of the hydrogen (or chlorine) ; and the second,
in which the bromine is simply added to the organic mole-
cule. The reaction, of which this memorandum forms the
subject, belongs to neither of these two classes ; it betrays
the presence of a new property of bromine towards certain
organic bodies, which consists in liberating the alcoholic
radic.al in ethereal substances containing oxethyle (OC- H“).f

We are far from pretending that the reaction in question
is quite general, for, on the contrary, we have in several
cases found that the same did not take place ; without being
able to state positively the conditions under which the
change docs occur, we believe, nevertheless, that the reaction
depends upon the place occupied by the group OC.^ H^.

The three compounds which contain this group and but
one atom of carbon — viz., carbonic ether, CO (OCj HjIj, the
tribasic formic ether (the ether of Kay), CII (OCo Hj)j, and
orthocarbonic ether (the ether of M. Bassett) — are all capable
of losing oxethyle by treatment with bromine. It is with
the second of these compounds that we have principally
studied the reaction.

If bromine is added drop b3'drop to tribasic formic ether,
the latter becomes sensibly heated, and the colour of the
bromine disappears without any formation of gas. When
one atom of bromine has been added for every molecule of
ether, the liquid cea.ses to lose its colour if the addition of
bromine is continued, and that the ether employed has been
entirely destroyed is clearly demonstrated by a distillation
of the mixture. The liquid may be divided into three
portions, of which the first boils between 40° and 45° Cent.,
the second between 45° and 125° Cent., and the third
between 125° and 12(3° Cent. The first product is bromide
of ethyle, and contains the whole of the bromine employed
in the reaction. The liquid boiling at 120° C. is carbonate
of ethyle, which yields by treatment with alcoholic potash
carbonate of potassium ; by combustion it gives 5F25 per
cent, of carbon and 8 53 hydrogen, the theoretical quantities
being 50-85 of carbon and 8 45 of hydrogen.

In order to understand the formation of carbonic ether, it
is necessary to admit the formation of hydro-bromic acid,
but, as we before stated, there is no disengagement of gas in
the reaction ; it is necessary, therefore, to suppose that the
hydro-bromic acid reacts itself upon the formic ether. The
products of this reliction would be

fOH

Br C- IF -h C j (OC2 H^)!

The third product, which would be intermediate between
methylglycerine and its ether (the ether of Kay) does not
appear to be stable ; it decomposes in alcohol and formic

* Bulletin de la Snciele Chimique.

t The formulae used in this paper are written on the new system of
chemical notation, which demands 12 as the atomic weight of carbon. —
Ed. P. N.

344

THE PHOTOGRAPHIC NEWS.

LJuiv 17, 1868.

ether. We have detected the presence of formic ether in
the liquid, the boiling point of which ranges between .50°
and 100° Cent.; by boiling with potash and distilling with
sulphuric acid a strongly acid liquid was obtained, present-
ing all the characteristic properties of dilute formic acid,
and capable of reducing nitrate of silver and mercurial salts.
We believe, therefore, that the reaction of bromine upon the
ether of Kay is correctly represented in the equations : — •

1. CH (OC- + Br- = CO (OC- H‘)= + Br + H Br.

2. CH (OC» H Br = CHO (OC- IH) -i- Br C- H*+ C^ H« 0.

These equations we have verified by taking account of the
ether and bromine employed, and likewise the bromide of
ethyle and carbonic ether obtained.

The first reaction consi.sts, therefore, in the liberation of
an ethyle and one of hydrogen of the trib.x<lc formic acid
by the bromine ; the carbon of the radical of which one
affinity has been liberated combines with an atomicity of an
atom of oxygen liberated by the removal of the alcoholic
radical. If the reaction is regardad in this Tght it is pos-
sible to realise the inverse reactions of the nascent hydrogen
upon bodies containing carbon, connected by two affinities
with one atom of oxygen.

Orthocarbonic acid is attacked by bromine in a cold st<ate,
giving rise to bromide of ethyle and carbonic ether; upon
the latter, bromine reacts only when warm, disengaging
ctu'bonic acid and leaving bromide of ethyle. In both cases
other bodies are likewise formed, but the nature of these we
have not as yet studied.

Acetic ether, when cold, is not attacked by bromine, but
on warming the mixture in sealed tubes products of .substi-
tution are formed, and bromide of ethyle. Oxalic and ben-
zoic ethers are not acted upon by bromine, even when warm[;
while, on the contrary, etbylglycolic acid yields bromide of
ethyle when heated with bromine.

We propose making a deeper study of the re.octions herein
mentioned, and will give shortly the results of our researches.

AN EASY MODE OF OBTAINING THE POSITION
AND FOCUS 'FOR FIELD VIEWS.

BV W. CAMPBELL.*

camera, and consider this as the focal point for field view.
The next thing was to get the area of the field of view.
To do this, I took a cardboard, and bending it in the shape
of a funnel, I looked through the large end, and contracting
the smaller, so that it would circumscribe the same area as
the lens would circumscribe on the ground glass, I fixed it
there. This 1 kept as a guide, always in my pocket, so that
when I wanted to know if a particular spot would be in the
field of any view I wL hed to take, I had only to apply to
my cardboard funnel for the information. Exercise, how-
ever, ^oon gave me experience, and I could tell with my bent
hand, looking threugh the opening made by closing the
fingers over the thumb, what to expect. I had still
another trouble. The point selected a.s the centre of the
view could not be placed on the centre of the ground gla.ss
without looking. It was either too high or too low, too
much on the left or too much on the right ; of course it in-
volved the necessity of shifting the camera with black cloth
over my head ; this was troublesome, and had to be reme-
died. After some time I hit upon a plan. I remembered
that in fixing a gun it must be so placed that the sight
covers the object, so I followed up this idea. I drew a line
on the top of the camera corresponding with an imaginary
line drawn through the centre of the lens to the centre of
the ground gla.ss ; and in front, on the top of the camera, I
made a small hole, and on the back made another hole ; on
the line in each of these two holes I placed a peg of wood,
and they sighted my object, and was ple.vsed to find that
I was right. The ground gla.ss showed on the centre, the
object 1 had sighted on the top of the camera.

The whole affair w.os now brought to a nicetj’. When I
wished to get a view, I first applied my cardboard funnel ;
to get the area and distance, of course, if too large a field of
view was seen, I had to go forward ; if too small, I had to
retire from the object. Having got the distance, I then set
up the camera, and drew it out to the marked line for the
focus; then, looking over it, I brought the two points of
sight to cover the centre point, and then proceeded to take
the picture. I never looked to see that I was right ; I was
sure I could not go wrong.

Mamt years ago, perhaps a dozen, I was very enthusiastic in
my profession ; indeed I am so still, though it may be there
is not that ardor displayed now which characterised my pur-
suits then. I loved and longed to carry from the field the
pretty scene I looked upon, and to obtain it I often showed
an enthusiasm which, had it been exhibited in a less laud-
able undertaking, would, I am sure, have seemed very un-
becoming. To ask a perfect stranger to allow me the use of
his window, or to run into a man’s garden, to obtain a better
view without once saying, ‘ If you please, sir!’ were among the
least of my impertinences. When I look back upon them I
fairly blush; but what will enthusiasm not do? It clouds
the vision, dims the light of more refined sentiments, and, if
not mean, is certainly selfish. I never dreamed of any
wrong. However, I never met with a rebuft'; on the con-
trary, I had many kind invitations, and I am now of opinion
that the public are not only tolerant, but indulgent to the
enthusiastic photographer.

In my pursuits I often found much time was lest in
ascertaining just the right distance required to obtain the
field on the ground glass, especially if a house was in the
view as a principal object ; and also time was lost in the
focussing. Now, could I have a sure mode of placing the
camera without the trouble of using a black clotli, and have
it in focus ready to proceed, I fancied 1 should be a gainer.
So I set to work and overcame the difficulty. I proceeded
thus: I soon found that all objects in the field of view were
in the right focus beyond a certain distance; there was
therefore no further necessity for focussing on the field ; all
I had to do was to make a line, drawn on the base of the

• Humphrey't Journal

NEW llEL) COLOURING MATTER.

Dk. Adeiaxi deacritos, in the Chemical Xetes, some experi-
ments with rosolic acid, or aurine cake, in the production of
various forms of a colouring matter yielding many l)rilliant tints
of red. The tinctorial power is stated to be very great, and
although the red rosolic acid has generally been regarded as
fugitive, the new combinations seem to give promise of more
permanency. Amongst other experiments, he says : — “ 1 tried a
solution of aurine in carbonate of ammonia, and precipitated it
with chloride of barium ; after repeating the process already
described again, I obtained in this way a very brilliant flesh-
coloured pigment. 1 mixed, in an earthenware glazed mortar,
some aurine cake and strongbaryta water, filtered this mixture,
and added to the filtrate very weak sulphuric acid, just enough
to neutralize the baryta ; in this way I obtained a pigment
vhich, after drying (of coarse some washing, but not to excess),
can vie, in beauty and tone of colour, with genuine carmine. I
next proceeded to precipitate an aqueous solution of sulphate of
zinc with a very slight excess of a solution of aurine in dilute
caustic potassa, washing again, slightly, the precipitate, and
drying it at 212°; the pigment so obtained has a fine rose
colour. On trying sulphate of zinc again, but with a solution
of aurine in dilute carbonate of potassa, after drying, a very
peculiar and somewhat dull pinkish-coloured pigment is ob-
tained. A most magnificently bright scarlet, of deep hue, is
obtained by first triturating together some previously sepa-
rately-powdered .aurine with lime-water (not milk of lime),
filtering the turbid liquid, and next passing gently through it
a current of carbonic acid gas. A precipitate ensues exhibiting
the colour already referred to ; on drying it, after having care-
fully collected if on a filter and slightly washed it, I find that
even below 212° its colour is yery much altered and impaired.
I find, however, on instituting experiments on purpose, that if
the pigments referred to are dried over sulphuric acid at the

JoLY 17, 1868.]

THE PHOTOGRAPHIC NEWS.

.345

ordinary temperature, their primitive beauty, as seen on preci-
pitation, and while yet moist, is to a very great extent pre-
served. As already stated, none of the pigments described are
fit for oil colours ; I have tried them, but none will do at all ;
but, undoubtedly, mixed with strong solutions of gum free from
acidity, or good size, or, better yet, gelatine and albumen, these
pigments might be of use in colouring paper-hangings, toys,
and other ornaments. As regards the solutions of aurino in
weak fixed alkalies and their carbonates, from experiments I
instituted, I think I may recommend aurine cake as an article
for the manufacture of a red writing fluid — red ink — of great
beauty. Of the solutions 1 trie<l for this purpose, I find that
the solution in carbonate of so<la answers best : this red ink can,
firstly, be used with steel pens, not only not corroding them,
but actually on account of the alkali protecting the steel from
rust and corrosion ; and, secondly, this ink would not affect blue-
laid paper coloured with ultramarine, which latter pigment is
decomposed by acids ; and, since ordinary rod ink is usually very
acid, both the pens and paper suffer, if ultramarine blue-laid
paper is used for writing. Another advantage of the use of the
solution alluded to, instead of red ink, is that it may be safely
used by mechanical draaghtsmen with their steel drawing-in-
struments, which will not suffer from its use. Tampering with
what is written with the alkaline aurine solution with acids, for
instance, will at once become evident by the writing becoming
yellow, while the primitive colour cannot be restored.

“ I find that aurine cake is to some extent soluble in an aque-
ons solution of biborate of soda, yielding a solution of a brilliant
scarlet-red hue ; on writing with the said solution I found that,
after drying, a very pale rose, or, when a more concentiatcd
solution is use<l, an orange-coloured writing, ensues. I pre-
pared all these solutions at the ordinary temperature, by first
pulverising the amine cake in a stoneware or glass mortar, and
next adding the aqueous alkaline solution, and rubbing it and
mixing together for a length of time, and next filtering through
good ordinary white filtering paper. Notwithstanding it is
asserted that the colour from rosolic acid is very fugitive, I find
that things written now. five, ami even eight weeks ago,
exhibit no signs of change or fading. Aurine in alkalino solu-
tion far surpasses best red ink in brilliancy ; if its acserted in-
stability should, on a more severe and lengthy trial, prove
incorrect, alkaline aurine solutions may be of use also, instead
of water-colours for drawings, for mechanical and other
draughtsmen."

o

6(fuinng.s’.

Nf.w Use Fon Collodiox. — Dr. Voillemier recommends a
method of his own for cauterization in surgery. He applies one
or two coatings oi collodion to the skin, letting them dry before
he applies the cautery, in order to avoid setting fire to the ether
evaporating from the film. The red-hot iron instantly destroys
the collodion at the point where it touches, but the heat ra-
diating from the knob exercises no action on the film, which,
being composed of pure cellulose, is a very bad conductor of
caloric. It, after the operation, the collodion be removed, the
skin under it will be found unscathed ; but it is best to leave
the coating on till the cauterized point is healed.

Albumen*, — Large quantities of albumen, or the white of
eggs, and also of yolk, are imported in Southampton from Nor-
mandy. The albumen is used by ph^ographers and calico
dressers, and the yolk is used in the ' manufacture of gloves.
The price of prepared white of eggs was two guineas per pound
not long since. This aroee from the waste it suffered during
the process of preparation. This waste amounted to as much
as 85 per cent.

New Motive Power. — Some of the Italian journals state
that Father Secchi. whose name is well known in connection
with astronomical photography, lias discovered a motive power
lighter, stronger, and more economical than steam. They add,
that the learned Italian is stated to have laid his invention
before the court of Portugal, which is disposed to purchase it.

GLAi5s CcTTiN'o. — A mode of cutting, or rather dividing,
glass, which is a slight modification of an old and well-known
method, has been recently invented in F ranee, and is practised
in the large establishment of the Glass Company of Baccarat.
A jet of highly heated air is directed from a tube on the vase
or other object to be cut, which, while made to revolve on its

axis, is brought close to the nozzle of the tube. The object
being then cooled suddenly, the glass divides at the place
operated on with extreme accuracy.

Iodide of Starch. — M. Guichard has recently examined
this substance carefully, and has arrived at the conclusion that
the colourless iodide of starclf has no existence ; the so-called
iodido of starch is simply starch tinted by iodine. Heat
separates the iodine from the ^-tarch ; the iodine remains in
the wat(,r, cither as such or as hydriodic acid.

Artificial Methylic Alcohol.— E. Linnemann. — Methy-
lamine was prepared from cyanhydric acid, with slight modifi -
cations, according to Mendins's method, and converted into
methylic alcohol by means ot argentic nitrite in the manner
described on a former occasion (vide Chemical Xnc$, No. 43fi,
page 181). The corrected boiling point of the pure alcohol at
the normal barometrical pressure ('670 m. , is 67-1“ C.. rp. gr.
. at -p 21® = -8574. The iodide of the alcohol has the sp. gr. at
2-5® = 2*269, and boils under a pressure 'TSSm. at 42* -5°. These
observations prove the identity of the alcohol obtained from
cyanhydric acid with the methylic alcohol from wood spirit. —
(Ann. Chem. Pharm., cxlv., 42).

Conversion* of Methylic into Ethylic Alcohol.— A
' Siersch. — .\cetonitrile, prepared by acting upon potassic methyl-
j sulphate with potassic cyanide, was converted into ethylamine,
; and from the nitrite of that ba.se alcohol was obtained. This
alcohol was found to be a mixture of ethylic and methylic
alcohol, in the approximate proportion of 4 to 1. The author
explains the presence of the latter by the assumption that
during the decomposition of the nitrite of ethylamine alcohol
has b^n regenerated. — {.inn. Chem. Pharm., cxlv., 4*)].

Electrical Deposits on* Paper and Tissues. — The
Srientijie American gives an easy method for depositing copper,
silver, or gold, by means of the electric battery, on paper and
other fibrous material. The process consists in making the
paper a good conductor of electricity by coating it with a
material which will not peel off. One of the best methods is
to take a solution of nitrate of silver, and pour in liquid am-
monia until the precipitate poured is entirely redissolved by
stirring. The paper, silk, or muslin is soaked in this solution
for one or two hours. It is then taken out and dried, and ex-
posed to a current of hydrogen gas, by which metallic silver is
reduced ; and the tissue becomes a good conductor of electricity,
so that it may be electro-plated with cepper. silver, or gold in
the usual manner.

Comsgon&tnrt.

INFORMERS AND PIRACY.-- GRAVES MERCER.

Sib,— As considerable interest h.os been displayed in your
journal with reference to the raid on photographic “ pirates,"
and remarks made from time to time on the disreputable means
often resorted to by eminent print publishers to protect their
rights, I beg to enclose you a brief report from the fn'ih Timee
and Diibli- .Hail* of the case of Graves Mercer, wDich,
having been dragged through the different law courts during
past eighteen months, at length came to an issue, and was tried
here on Friday and Saturday last ; and with your kind permis-
sion I will offer a few observations on points that are passed
over in silence in all the newspaper reports.

This action was one of sixteen, all of which were brought
separately, and eleven of them by .Mr. Graves Had he suc-
ceeded, no doubt we should have heard a great deal about the
grave nature of the offences and the necessity for securing
exemplary damages ; but now the issue is the other way,
plaintiff can appreciate with the keenest enjoyment, I hope, the
sensations he so kindly intended should be the exclusive privi
lege of defendant.

Now, I meant to have stated at the outset that I do not dis-
pute Mr. Graves’s right to the property he has so liberally paid
for, and never did ; quite the other way ; and the best evidence
of which is the fact that I have quite discontinued the produc-
tion and sale of all copies of engravings, and this notwith-
standing the circumstance that there are thousands of en-
gravings accessible, to which no copyright restrictions whatever
apply. I made this resolution rather than bs in constant col-

• A report of the ca^ was already In type when those sent by oar corres-
pondent reached os. See last issne — Ed.

346

THE PHOTOGRAPHIC NEWS.

[July 17, 1868.

lision with the print publishers, who, by the way, frequently
commence proceedings utterly regardless of the law, which
gives them protection only in those cases where they comply
with its requisitions.

The first remark I wish to make on the case is this, that out
of the hundreds of photographs bought of me by King, alias
Hyams, alias Hymams (of “ gentlemanly appearance,” as one
reporter writes, who must mix in strange society if ho in-
sists on the correctness of his standard of gentility), not one
solitary photograph was produced, though, strange to say,
several twice as large as mine were exhibited to the Court, and
wore stated distinctly not to have been obtained from mo, but
which, nevertheless, were handed about and alluded to from
time to time in such a manner as must have almost induced
some of the jury to imagine they were mine, or, to say the least,
had something to do with the case. And how far this succeeds
may be inferred from the fact that in one of the newspaper re-
ports they were actually stated to have been bought of me !
Now where did these photographs come from? They were
dug out of the fire which destroyed Her Majesty's Theatre and
Mr. Graves's shop, says plaintiff. But how, I ask, did it happen
that these particular photographs escaped the fire, while all
mine were consumed, and this although Mr. Graves positively
declared all these illegal photographs were kept in one recep-
tacle at the end of his shop, and which he facetiously termed
the “Pirate’s locker”?

Secondly, observe the great care used by Messrs. Graves that
no confusion shall arise as to the particular spoil obtained from
diflferent “ pirates.” See what extraordinary precautions they
adopt to prevent the possibility of confounding the innocent
with the guilty. You will please notice Messrs. Graves's modus
operandi recognizes in the fullest manner the justness of that
saying so familiar to lawj'ers ; viz., that it is “ better ninety-
nine guilty men should escape than one who is innocent should
suffer.” And how do they accomplish this desirable object in
ray case ? As follows ; — These illegal photographs, said to
liave been got from me, are carried about by King during the
devious voyage which brought him to Manchester, Birmingham,
Leeds, &c., and which occupied over two months, and all the
time he is visiting the various depots for sale of these things,
and buying goods by fifties and hundreds, relieving the monotony
of his delightful calling by getting drunk once or twice a week
(I have his own word for the truth of this, and that he never
told a lie in his life). In due course, this agent of the eminent
publishers arrives in London, and hands over the contraband
to the admiral, and all the pictures are put away in the same
desk for the present. But when the process of classification
commences, we can easily imagine the method pursued to dis-
tinguish photographs got from “ men of straw ” from photo-
graphs got from people able to pay substantial damages.

Thirdly, it seems to me there is no dift'erence in principle
between a spy of King’s type and the irrepressible Fenian in-
former, and that, as the uncorroborated evidence of the latter
would not be listened to for a moment, so in these cases no jury
could be asked to convict in the absence' of eye-witness testi-
mony. But what really happens in my case ? King called
alone, and was never accompanied by his accomplice upon one
of the eight or ten occasions I saw him ; and even King him-
self stated that Uattermole, his confederate, was with him on
one occa.sion only, and then did not enter my house. Catter-
mole’s evidence amounted to this : that having searched King
and watched him into my house from a distance, so as to avoid
observation, he awaits his return, and King then shows him a
parcel of photographs he had bought, including those which
were the subject of this action. Now, whatever could have
possessed Mr. Graves to imagine fora moment that a jury would
convict any respectable man upon such a tinkering tale as
this, when, to say nothing of the extreme improbability of
C’attermole refuting himself. King had only to employ a third
confederate (whose existence need not be alluded to) to accom-
plish the whole transaction, and cheat his own friend into the
bargain ?

But I must not further trespass on your space, and will only
add that the judge who tried the case most emphatically de-
nounced the stratagem used by plaintiff, describing it as a
“ system that no just mind could approve ; ” and the jury suf-
ficiently testified their sense of the unmistakable difference
between a “ a tissue of lies ” — to use the judge’s own words —
and the truth, by handing down, in less than twelve minutes,
their verdict for — Yours obediently, The Defendant.

MR. BOVEY’S MODE OF TONING.

Dear Sir, — It is with pleasure I have read Mr. Bovey’s
description of toning, and I must, before proceeding, indivi-
dually thank him for the many proofs ho has given of his love
for our beautiful art by making known to his brother photo-
graphers his practical experience in many of its details, and
particularly for his inviting discussion on his last process of
toning. Taking advantage of that invitation. I will ask him a
few questions. Of course photographers require a process by
which they can always depend upon producing the tone they
wish ; therefore it is necessary to have one in which the com-
ponent parts of the toning bath will not be changed (with
the exception of the lo.ss of gold) ; and this brings me to the
first question. Mr. Bovey says he prefers his prints not to be
washed from all free nitrate of silver. If that is the case, how
can he depend upon the exact amount of silver that remains in
the print ? Because, if more remains in one than in the other,
there will be, of course, a difference of tone in the finished
print : and will not every one he tones in that state alter his
bath by the formation of “ nitrate of soda ”? I would ask, also,
what effect the salt so formed has upon the action of his bath ?
And does not the formation of chloride of silver over the surface
ot the print prevent the gold from being deposited on those
parts of the picture on which it is required? for my experience
has taught me that where any deposit of chloride of silver on
the surface takes place, I never get the clearness and depth
required. This, of course, has been with the acetate and
sulphocyanide baths, as I described to you a little time since,
and which answer admirably. I can depend upon every lot of
prints coming out the same. I know I use a great deal of gold,
but I also know that the gold used is on my pictures, and there-
fore the more there is on them the more permanent the prints
must be. — I am, dear sir, yours truly, G. H. Britton.

10, litgh Street, Forest mil, July 8lA, 1868.

LANDSCAPE BACKGROUNDS TO PORTRAITS.

Dear Sir, — It has occurred to me that a much more simple
and convenient method ot taking figures and groups with
natural backgrounds than that proposed by Mr. Burgess in
your last number, or by any of the usual plans of double print-
ing, would be to take the landscape on a carte-sized plate, and
enlarge it on canvas or paper to 7 hy 6 feet. This, I imagine,
may be done without difficulty, as it vvould not require to be
sharp ; indeed, sharpness would be a defect. This background
might be used for various groups, whereas by any other method
a fresh one would be required for each.

The foreground is very easily arranged from weeds, stones,
or other natural objects, in the studio. — I am, dear sir, yours
very truly, Baynham Jone.s.

Cheltenham, \4th July, 1868.

■ — ' — -o

ttj tbi ^tubi0.

Permanganate Intensifif.r. — At a recent meeting of the
Philadelphia Photographic Society Mr. Fassitt made a com-
munication respecting the use of our permanganate intensifier.
He found great advantage in the use of the chemically pure
instead of the commercial article. The solution he used was
3 or 4 grains to the ounce of water, and was of a fine dark rose
colour. To prevent the loss of intensity consequent upon var-
nishing the negative, Mr. Fassitt recommended flowing the plate
with gum water. The greatest care was, he thought, necessary
in washing the negative after intensifying.

Improved Dipper.s. — A photographer miles from home has
sometimes been placed hors de combat by discovering that his
dipper had been left at home, or by breaking a glass one. We
have heard of a forked twig being made to do successful duty
in such a case. Our Philadelphia contemporary says that Mr.
Garrett uses dippers made out of hickory wood, and finds them
unequalled.

The Weather and Photography. — We have heard
various complaints of photographic difficulties arising from the
extremely hot weather, and also of its depressing influence on
professional photography. The American photographers are
complaining from precisely the opposite cause. We find it

THE PHOTOGRAPHIO NEWS.

347

July 17, 1868.]

stated in our Philadelphia contemporary that “ twenty-six days
in May it rained, consequently the photographers were in bad
humour aud growled, wMle umbrella and water-proof clothing
makers were happy and smiled. The same condition of things
yet exists (June 12) without any promise of a change; how much
longer to continue none here can say ; even ‘ the oldest inhabit-
ant ’ gives up in despair, declaring that such he never knew
before. Various causes are wisely suggested by all. Some say
the Gulf Stream has changed its conrse ; others, that they
don’t know.”

Photograph of Theodore’s Sox. — Few persons who have
read the History of Rasselas have ever dreamed of the
possibility of seeing a photograph from life of the Prince of
Abyssinia. We have received from the Stereoscopic Company
an excellent card portrait, which they have just published, of
an Abyssinian prince ; not Dr. Johnson’s hero, however, but
the intelligent little fellow who has recently arrived in this
country, the son of Theodore. The child has a pleasing face,
somewhat of the Egyption type, and the photograph is capital.

A Monster Photographic Group. — Messrs. Mason and Co.,
of Bond Street, have recently invited our attention to perhaps
the largest photographic group ever produced. It consists of
a photograph nearly 12 feet by 7 feet in size, containing the
portraits of 76 bishops, upwards of 60 of whom gave especial
sittings for the efficient production of the picture. The scene
represented is the Pan Anglican Synod, when the bishops of the
Anglican Church throughout the world attended the conference
at Lambeth Palace. The figures are arranged in front of the
building in such natural grouping as could be eftected in a few
minutes. A good 10 by 8 negative was then secured, from
which this enlargement was pi^uced, and then coloured iuoil. '
The difficulty of grouping such a number of male figures, of |
doing justice to portraits throughout, and of getting relief aud j
variety with such a mass of black coats, may be well conceived ; :
but the difficulty has been very fairly combatted, and the
portraits are in most cases capital. Such a work has national |
and historic value, aud the picture ought to find a destination ^
where its historic character will be fittingly recognized. |

Curious Effect of Gelatine umn Glass. — A corres- 1
pondent sends us the following account of a curious result : —

'* Having for experimental purposes poured a thick solution of
gelatine upon a number of glass plates, three of them were set j
aside upon a shelf for some months ; and one day, upon look-
ing at them, I found that in all three cases the gelatine had !
separated from the glass, bringing away the whole surface of
the glass plates in shivers, which firmly adhered to the gelatine. |
The surface of the glass was left full of ruts, like water-worn ;
stone. 1 suppose it to be caused by the strong contraction of
the gelatine and its firm hold upon the glass.”

Photography at Wimbledon. — Photography has become
one of the regular institutions at the camp at Wimbledon.
This year Mr. Blanchard goes to secure rapid or instantaneous
groups and other efiects. Messrs. Moira and Haigb, Messrs.
Demezy and Hemery, are taking portraits there.

Iron Intensifier for Dry Plates.— At a photographic
meeting of the American Institute Mr. Jsewtou recommended
alkaline development for tannin plates, followed, as soon as
detail appears, by a solution containing sulphate of iron i
1 drachm, citric acid 15 grains, water 2 ounces, and a few drops I
of a 15-grain silver solution. Any amount of intensity can be
gained, and pinholes are avoided.

Instantaneous Pictures. — At the sa^ meeting Mr. Chap-
man exhibited some most excellent instancaneous stereographs,
and suggested the following method of development : — Com-
mence operations with the ordinary iron developer, with which
push far as possible ; next wash the plate thoroughly, and
treat with a solution of carbonate of ammonia, 10 grains to the |
ounce ot water, into which put a few drops of the ordinary pyro, ^
silver, and citric acid solution, and a couple of drops of a .Agrain |
solution of bromide of potassium in water ; after this has deve- 1
loped still further, and done its part, again wash, and redevelop i
as usual with pyro and silver. I

Trying for Chemical Focus.|-A photographer recently
sent to a dealer for a lens to try. Not being known to the
dealer, the latter proposed to send the lens to the rooms of a
photographer in the same village whom ho knew, where the other
was asked to go and try it. This was objected to, for the reason
that “ he wanted to try the lens with his own chemicals, to see
if there was any chemical focus in it.” This reminds us of a

photographer who remarked once that he never made a larger
picture than 8 by 10 with his instrument. It would cut 1 1 by 14,
but he feared to attempt it. It strained his lens too much, and
he feared he would break it I — Philadelphia Photographer.

Stains on Negatives. — We are indebted to Mr. Garrett
for the following plan for protecting the plate-holder from the
action of the silver solution : — Sand-paper all stains and var-
nishes olf, and apply a coating of lard all over the holder. It
will then effectually resist the action of the silver solution.
—Ibid.

Ruinous Competition. — A contemporary says that two
photographers in Maine are endeavouring to ruin themselves by
running down prices. 'They have whole-size down to twenty-
five cents, and “ album size ” nine for twenty-five cents.
cent is equivalent to a halfpenny.

Stains ON Tannin Plates. — Our Philadelphia contemporary
says : — “ Tannin may be entirely freed from all colouring matter
by dissolving 6 parts of common tannin in 12 parts of warm
distilled water, and adding 1 part of ether to it. Put the mix-
ture into a bottle, shake it several times, and then set it aside
for some hours, after which it is ready for filtering. The filtrate
is quite colourless, and has no smell whatever. By using it
the black stains, so common with tannin plates, may be avoided,
for these stains have their source in the colouring matter of the
tannin.”

The Bromide Patent. — The decision in regard to the
application for an extension of the Bromide Patent in the
United States will bo given this month. Mr E. L. Wilson,
the esteemed editor of the Philadelphia Photographer, is
working strenuonsly, on behalf of the profession, to defeat the
application. In reference to Cutting's original claim he says ; —
•‘We have proven that Mr. Cutting got his first idea of using
it from another, who showed it to him in a printed book. We
have proven that its use was well known in Europe before Mr.
Cutting thought of it, or gave any evidence that he thought of
it. We have the whole history of his pretended invention (?),
The patent has been a swindle and an outrage upon the public
ever since its birth.” It is inexplicable to English photo-
graphers how such a patent was ever granted, or for a moment
sustained. In view of the possible extension of the patent,
photographers are active in experimenting with anti-bromide
collodions, and excellent results are said to have been obtained.

Indecent Photographs.— William Dugdale and James
Milson, who pleaded guilty at the last Middlesex Sessions to a
breach of Lord Campbell’s Act, were brought up to receive
judgment. The elder prisoner, it appeared, had since the last
session given most important imformation, which enabled the
police to find out the persons b\ whom the traffic in indecent
booksand pictures has been carried on. Saperintendant Durkin
found no fewer than 35,000 publications, and about 500 pictures
and photographs which came within the scope of Lord Campbell’s
Act. The owner of the house in which these nefarious works
were discovered said he knew nothing about them. The
prisoner Dugdale is 73 years of age, and Milson was his servant.
The Assistant Judge, in pronouncing sentence, expressed his
opinion that the age of Dugdale was rather an aggravation of
than an excuse for his offence, and accordingly committed him
for eighteen months. Milson was sent to prison for nine months.

Photography in Evidence. — Tho .Ithencenm says : “ A new
class of evidence has at length, like the electric telegraph, made
its way slowly into the Admiralty Court. In a case of damage
to a ship, photographs were admitted to suow her condition —
a development little expected thirty years ago in throwing light
on law proceedings. Tho lawyers, however, are not to be put
down by the alleged accuracy of the photographs, for on the
ground of conflict of evidence they obtained a reference to tho
Trinity Masters. Still, some day, we may see a sworn photo-
grapher in Chancery and a new class of legal functionaries.
Taking photographs may constitute part of the examination
on the law of evidence.”

Sb ©orresyoobfuts.

Chloe asks how she t-an remove photographic stains from a slab of
marble which ha.s been used to develop over, cyanide of potassium
having been tried without success. We fear that the case is a
difficult one, especially if the discolouration amounts to more than

348

THE PHOTOGEAPHIC NEWS,

[July 17, 1868.

a surface stain, as from the absorbent nature of marble it probably
will. The stains probably consist of partly and completely reduced
carbonate of silver and of carbonate of iron. Oxalic acid instrong^
solution would best remove the latter, and cyanide of potassium
to which a little iodine has been added would best remove the
silver stains ; or iodide of potas.sium might be applied, and fol-
lowed by cyanide. But in each case a little soaking and scrubbing
with a brush will be necessary to do any good at all, followed by
well wn.shing'i n warm water. Possibly rubbing down and re-
polishing will, after all, be the only effectu.al remedy.

W>t. Stukgeox. — Both the salts of which you forward us examides
are really the same thing — iodide of cadmium. That labelled
bromide of calcium is not a bromide at all. You may ascertain
the distinction between a bromide and an iodide by a variety of
te.sts, some of which are simple and easy. The addition of nitrate
of silver will convert an iodide into iodide of silver which is yel-
low, whilst the bromide of silver is white, or of a cream lint.
The addition of bichloride of mercury will convert the iodide
into orange-coloured iodide of mercury, whilst the tHunbiuatiou
with the bromide is not so readily formed, and shows no red tint.
An iodide strikes a deep blue tint with starch, but no such re-
action takes place with a bromide. All the iodide reactions fol-
lowed treatment of the salt labelled bromide of calcium.

C. W. — We have never tried tho proce.ss in question, and cannot say
much about it. It is probable that with a bromide only you would
not get a very vigorous print. A mixture of bromides anclchlorides
gives, in our estimation, the best results for printing by develop-
ment. A solution containing grains of bromide of potassium
and 4j grains of chloride of ammonium per ounce, with a 50-grain
nitrate bath, will yield very good results. AV’e hiive seen good
results obtiiinod with a solution containing G grains of iodide,
i grains of bromide, and 2 grains of chloride per ounce. Alka-
line development of paper prints would probably produce discolour-
ation of the whites. Hot gallic acid may be used, and tho exjxj-
sure may, in sueh case, be .shortened.

Youso. — The fact that you fail to succeed with several proce.sses
with which others succeed suggests that there is some want of
care or precision in your working. The object of tillering the
sjTup through charcoal is to remove certain impurities. The sohi-
tion should not bo returned to the stock bottle after being u.sed.
The want of sensitiveness and the fog must have been due to error
in some part of the operations, or impurity in something used, but
we cannot tell in what the error lies. The commercial collodion of
which you speak has the reputation of being very good. The fact
that you could not obtain an image with it in either the wot or
dry ])rocess suggests that you probably used it without being
iodized. The photographic soap of which you speak we have not
tried, but have heal'd good aecounts of it. The nitrate bath being
“blackened by a collodion plate” we do not luiderstand. How
was it blackened ? Possibly the collodion plate had been con-
taminated with hypo or some other impurity, which decomposed
the bath. Without knowing more details we cannot give you a
remedy.

A. W. — We camiot tell you when bromide of potassium was first
introduced into the market. Bromine was not discovered until 1 826.
It was first Used in photography in 1840, and there is some dis-
pute as to whom tin; honour of its introduction belongs ; in this
country we generally accord it to the late Mr. fioddard. Our
.American cousins dispute this. M. Bayard introduced it into the
paper process, we believe, the same year. Bromide of potassium
was one of the earliest bromide salts introduced into commerce, but
we do not know the date.

W. J. A. G. — It is difficult to ti'ace the cause of yoiu- failure with
morphine plates. It may be due to two or throe causes. Many of
the ordinary samples of commercial bromo-iodized collodion do not
Contain sullicicnt bromide, and the addition of about 1 grain per
ounce is necessary to secui'e good results with most dry-plate pro-
cesses. The soft water may have been impure : it somoti.nes con-
tains traces of sulphuric acid and other impurities collected from
the atmo.sphere of towns. The morphine solution may have been
exhausted by using over and over a few times. 2. The matt silver
stain like a slug-track, extending from the edge of the plate, is
gencnilly tho result of contamination of tho nitrate solution on
the plate, from contact with the inner frame. Coustant washing
of tile inner frame and allowing tho plate forest on clean blotting-
paper will assist you. See article in the present number; see,
also, a paragraph on the use of lard on the inner frame to prevent
contact with the silver solution.

T. W. (Thornton). — The yellow stains are spots of imperfect fixa-
tion, most probably caused by tho formation of small air-bubbles
on tho prints on immersing them in the fixing bath, the hypo
being so prevented from acting perfectly where each bubble is
formed. The result of imperfect fixation is the formation of
insoluble hj-posiulphate of silver at each point, which decomposes
and causes a yellow stain when the print is removed from the
washing water and brought into full daylight; sometimes it
becomes decomposed, and causes tho stain on applying wanu
water. The remedy is to examine e-ach print carefully after im-

mersing in tho fixing bath, and remove any air-bubbles which are
formed. Some samples of paper are more prune to such bubbles
thiin others.

J. S. — \ou will find an article on enlarging by tho magnesium
light in our pages a few months ago, in which a good formula is
given for the preparation of the paper. Sec answer above to
C. AV. As a rule, developed prints do not re(iuire toning, the deve-
loped image generally acquiring a deep brown or black colour. A
fully exposed and rapidly developed print is generally warm in
tone ; one requiring long development generally pa.«scs to a black
tone. The best developer is a saturated solution of gallic acid.
You will find m.any articles on the subject on referring to the
indexes of back volumes. Articles on pages 247 and 253 of our
fifth volume will give you useful information.

B. I,. — I'ir.st apply a solution of iodine to the stain (made by dis-
solving 1 grain of iodine and 2 grains of iodide of potassium in an
ounce of water), then apply the cyiinidc solution, which will remove
the stain ; finally, wa.sh well.

Z. II. A. — The scrap of untoned and unfixed print was too much
di.scidoured when it reached our hands to enable us to form much
opinion of the imirking ; but we should judge from its appearance
that it was from a defect in the negative. If it is not, we should
re(iuire a larger example, or two or three of them, to enable us to
form an opinion.

No Chemist. — AVhen the albumen is diluted in Mr. England's
process the ammonia is still added : about 8 or 10 drops of liquid
ammonia to an ounce of albumen solution. 2. Tho excited plate
is washed, then coated with albumen solution, then w.ishcd, and
then the silver solution is applied. 3. The collodion you mention
will answer ; but it will bo better if you add to each ounce an
additional grain of bromide of cadmium. 4. The edges of the
jdates may be varnished with the vaniish you name. 5. Your
30-grain bath strengthened will serve. If it po.ssess groat excess
of nitric acid, add alittlo oxide of silver to neutmlize a portion of it.
G. Better make a new toning bath. AVe are glad to learn that our
advice helped you so satisfactorily.

Thom.is Stotuaud. — The addition of a little more soluble cotton
will probably assist you in obtaining vigorous images more ofiec-
tually thiui will the addition of an iodide ; or you may try the
gel itino-iron developer.

AV. H. AA''. — Thanks for your letter. AVe are (luite of one mind on
the subject named. AVe will speiik to the rubli.shcr as to the
neglect in question.

Thomas Collins. — AVe do not know of any stereoscopic slides of
the statuary in the Vatican ; but, if they are to be had, Messrs.
Marion and Co., of Soho Square, will most likely be able to supply
vou. Specimens of tho work of the lens you mention can doubt-
less be obtained of tho iminufacturer.

AA'. II.^ — Vignetting opal-gla.ss pictures produced in the camera is
etfected by placing a piece of card with an oval aperture betwoi'ii
the lens and sensitive plate, or by placing a vigrietle gbiss in con-
tact with the negative. 2. Patent plate fiashed’opal answers best.

T. Mautin. — Received. Thanks.

.1. Stu.uit. — AA'c have very carefully examined tho spots on the
prints, which are singular and puzzluig. AVe find that they are
of three s-jrts: bright yellow spots, grey and transparent, and
black and opaque. AA'*c are disposed to believe th.it the cause is in
tho mounting boanl ; the origin of tho latter cbiss certainly is.
On soaking and removing tho print ave find the spots chiefly on
the board, and not on tho print. They suggest the idea of a fun-
goid growth, the consequence of the boards having remained some
time damp. The boards contain a great deal of starch, and more
hypo than is desirable.

Enamel. — On careful examination and testing of tho cards sent wo
find a trace of hjqio, but much less than in most commorcial
samples of cards we meet with. The amount is insufficient to
cause serious injury.

Several articles in type arc again compelled to stand over.

Several Conespondents in our next.

^I)otogriipf|S Urgistcveh.

Mr. A. Paul, Putney,

Photograph of Regatta Prize Cups.

Mr. J. SrABE, 8toke-on-Trcui,

Photograph of Bust of Alfred Tennyson.

Mr. F. Dowseb, Watford,

Photograph of SU Alban's Abbey.

Messrs, AV. and D. Downbv, Newcastle,

Photograph of Sir K. Napier.

Mr. W, Tones, Birmingham,

Seventeen Photographs— Composition Pictures.

All Comniuuicationa for tho Editor to bo addressed to 15,
Gough Square, Fleet Street, Loudon, E.C,

THE PHOT/(liSteHIC

V-

Vc£.. 24, 1868.

NEWS.

CONTENTS.

Toning Collodion Prints

Photography and the Abyssinian Expedition

Photography in Germany. By Dr. U. Vogel

Washing Machines . the Eccentricities of a Syphon.

Nelson K, Cherrill

P ctorial Eflect in Photography. By 11. P. Robinson

Photo-zincography in Practice. By J. Waterhouse, R. A...

PAOB

, 349
. 350
. 351

. 352
. 353

. 354

Pioa

The Wet Collodion Process. By C. Sternberg 350

Causes of Fogging. By Jabez Hughes 357

Correspondence— Informers and Piracy— Graves v. Mercer ... 35S '

Talk in the Studio 359 *

To Correspondents 360

Registration of Photographs 360

TONING COLLODION PRINTS.

The prevailing defect of the various examples of developed
prints on a collodion film which come under ottr attention
is a want of warmth ami depth in the tones. Brown tints
are rarely obtained, and, when secured, they generally lack
richness and intensity. The prevailing tint is a greyi.sh
or bluish black, cold, and wantuig in depth and force. We
have more than once recently describetl the various modes
of toning collodion prints, and the peculiar tints produced
by different treatment, and it is unnecessary, therefore,
agaiu to discu.ss here the details of each method. We
have, however, a hint to offer in reference to one of the |
methods, the conditions of success in which are not gene- '
rally well understood.

Perhaps no tone more perfectly suits the peculiar cha-
racter of the developed collodion print, whether it be used
for enlargements or small pictures, than a rich black,
either quite neutral or incliuiug to warmth. The tone
obtained by treating the image first Avith bichloride of
mercury and then Avith hyposulphite of soda is black,
but it is generally a cold or greyish black, not perfectly
satisfactory. The tone obtained by the use of a gold salt
is generally black, but it too frequently inclines to a blue
black, which is not more satisfactory than the grey black
of the mercury salt.

We have recently been favoured by Mr. Burgess, of
Norwich, with a sight of some examples of his Eburneum
process, in Avhich the picture is produced, as our readers
knoAV, by collodion printing in the camera. The tone in
these specimens Avas of a singularly fine black, Avithout a
trace of blue, resembling the colour of a good engraving.
In answer to our enquiiics as to the mode of ])roducing ;
this tone, Ave learnt that gold Avas the cohiiiiing agent, .
but that success in securing the rigid tint Avas dependent
upon some other conditions Avorth lAting. '

To produce the finest tone in Eburneum jnints. and, of i
course, in all developed prints on collodion, a good nega-
tive, good light, a suitable developer, and gold solution of
suitable strength are necessary, and it is difficult to pro-
duce a good black tone if any one of these elements of suc-
cess is wanting. The negative need not be very dense,
but it must have well-marked gradations, and musi not be
fogged ; it must be clean and bright in the shadoAVS. It is
assumed, of course, that the collodion and nitrate bath arc
in good condition, and we need not here dAvell on these.
The quality of the light is too little considered in the pro-
duction of collodion prints. It is assumed that a dull
light, in Avhich other Avork Avould be impossible, may be
used for collodion printing, a Uttle longer exposure being

quite sufficient to compensate for a little Avorse light.
Mr. Bui-gcss, Avhose opinion is valuable, not simply because
his experience in this direction has been large, but also
because his taste is cultivated and fastidious, states that
he finds it impos.siblc to get fine collodion prints, Avhich
Avill receive a rich tone, in a bad light. In this, as in
many other photographic processes, protracted exposure
does not quite compensate for lack of intensity in the
light.

After careful testing and comparison of the iron and
pyro developers, Mr. Burgess has given the preference to
the latter for producing these prints. The formula Avhich
gives best results is as follows : —

I’yrogallic acid
Citric acid ...
Water
.Mcohol

.3 grains

„

1 ounce
quantum suff.

The exposure should be sufficiently full to enable the image
to flash out on the application of this developer Avithout
much forcing. Experience alone can guide the operator
to Avhat exent the process of development should be carried
to secure a tolerably dense reduction in the blacks of the
image Avithout getting any trace of reduction on the points
of high light. Mr. Burgess fixes Avith cyanide, and, after
Avashing Avell, proceeds to tone Avith a neutral solution of
gold, to Avhich no addition of any kind has been made.
When all other conditions have been satisfactorily secured,
the use of a strong gold solution completes the success,
much greater richness being secured than Avith a Aveak solu-
tion. ^Ir. Burgess sometimes uses a solution containing a
grain of chloride of gold to a drachm of Avater ; but his
more usual strength is a grain of the gold salt in from
1 to 2 ounces of Avater. The time required for toning
Avith a good collodion print and strong gold solution some-
times docs not exceed tAvo or three minutes, but generaUy
requires from five to fifteen minutes. The operation is
completed, of course, Avhen the black tone is seen through
the glass at fhe back of the print.

As Ave have remarked, the question of toning is equally
important in regard to all the purposes for which developed
collodion prints are required. But Ave Ciumot forbear, in
conclusion, expressing our sui'prise that a process so simple
in its manipulations and so beautiful in its results should
receive so little attention amongst portraitists generally.
^Ir. Burgess gave his process, through our columns, freely
to photographers, furnishing full information as to its
manipulations throughout. Some of our readers have,
from time to time, sent us fine examples of the process,
Avorked according to instructions ; but the commercial
utilization of the process has not, Ave think, been at all
commensurate Avith the merit of the process, or with the
probable profits it would return.

350 THE PHOTOGRAPHIC NEWS. 24, 1S68.

PHOTOGBAFHY AND THE ABYSSINIAN
EXPEDITION.

Os britpog to s stcoessfnl Issa? the AbTisic.i*n
it is cTStifTinc to lc*m th»x the scientific >ixS of Rot*1 En-
gineers sruched to the expedition have contribcted in no
small degree towards the triamphant termination of the
a£air. Besides rendering invalnable services to the army,
and cleaning information which has added greatly to our
former knowledge of Ahyas’nia. the engineers, surveyors,
signalleis. telegraphers, well sinkers, photographers; an.l
others have materially helj>ed to civilise the eoontry. and
have left behind them works which will, no doubt, prove to
be the germs of enlightenment and progress. A railway
112 miles was ccnstrccted. a grand imnk road leading
npwards oi 4'>d miles into the interior was made, the greater
part of the onntry was snrveyed and mapped ont. and a
telegraph line of some length established ; and althongfa
some of these works were removed and others destroyed
before the British left, still their existence for a brief period
only wa; mSrient to show the Abyssinians what can be
done by Enropean nations.

It is with that branch of the staff devoted to photegraphy
that are have at presseai to do. As are stated on a previous
occasion, the chief photographer in charge of tbc party aras
Serjeant Harrold, R.E. ; be aras assisted in his work by
seven non-commissioned omoers and men. all of whom, how-
ever, ariih one exception, fell sick before Annesley Bay aras
reached on the tetnm journey. The equipment was a verv
bnlky ana'r, it was divided into two p?;tions. one being
styled A and the other B. and each consisted of eighteen
boxes. B equipment remaiited at Senafe antooched. and
was returned to Enrland arithout having been opened :
while A invariably accompanied tbr ala-an<x' guard tmtil
the expedition reached Lit, when, as ftrict orders arerc
issued to leave all baggage behind. Serjeant Harrold and his
companions, in preference to remaining in the rear, parted
from their paraphernalia, and w.-nt foraranl as fichting
Boldieis- Saboeqnendy the equipment wa.- forwarded to
Macdala. but arrived, cnfortunately, k» late on the afternoon
of King ThaoicKv^'s bniial to allow of a photc^raph of the
body being taken prior to its interment. This is very much
to be regreued. as. with the exception of a sketch made bv
Hr. E'tdmes a few hours after the kinc's death, and sin%
photographed by the Stereoscopic Company, no authentic
ponrm; is in existenae.

The number of pictures taken, amonating to sixty-fire in
all, are ior the moeJ p^ very fair specimens of phott^raphy,
and when the oooditiotts under which thev were taken are
coosideied, the result is certainlv verv creditable. A view
of lake Ashangi. taken from a distance, with grassv slopes
and pieturesqne foliage in the foreground, is exce^inglv
pretty, and reminds one very much of a Cnmhetland or
Westmorland soene. The Tacaxza and Takasi rivers, th-.-
laUer sappeoei to be one of the sources of the Blue NQe.
both aSord charming views of wood and water. Two pano-
ramic^ vdewi of Zoola and Senafe. each ooosisting of three
negatives, are veiy fine prodnetious. and testify to CTeat rkill
aud tact upon the part of Seijeani Harrold'and "his assist-
auts. Then we have a view of the interior vfMas^dala, ^howing

the description of architecture most in roeue in Ahvetinm
the Lc«sca being circular in form, buDt of bamboo and
t.haichsd with ctraw. and resemblincr very doselv EnelLh
hai licks. Hagdala Church and King Theodore's grave
form the sulgect foe astxher picture ; and in the n-eit we
soi a barn-like buOding. with a few out-houses, which beats
the high-sounding title of ~ King Theodor^', house, treasurv.
mint. kc. Then we hare a faithful sketch of the loftv
foTtreas from which the Emperor first saw the approach of
n«. and down tie steep side of whkh his soldiers ran
in exulting glee to capture what appeared to be a heavilv-
laden haggage-train. Imt which, unfortunately for them. w»«
Zioching less than a battery of steel guns, lie finest picture
of ih* whole serisa is, tc our thinking, a view of a «upendouj

clifif overhanging the Bashelo river; the scene is beautifully
lighted, and the mass of granite, which forms a sheer pre-
cipice some hundreds of feet in depth, stands out from a
mass of dark foliage in bedd relief. Lastly, we have several
groups of native chiefs, of the European and native
prisoners, of Kassai and his staff, of the Queen of the Dallas,
ic. The European artisans who made King Theodotv's
cannon are likewise shown, as are also two daughters of the «
late Mr. B 11. who in earlier and happier times was the
' King’s Commander-in-Chief and bosom friend. Oi»e more
portrait dtserves mention ; it is that of a wearied old man,

■ an Abyssinian fiddler, in hb native costume, with hb one-
; stringird instrument upon hb knee. Hb grey locks, thrown
back from hb forehead, reach down to his shoulders, and
impan to hb grave, thoughtful face a truly venerable air :
he b the bard of other days. The pictnies, if not all of them
faultless in their production, tell their tale with grave
fidelity, and form valuable illustrations to the story we hare
all re^ of the Abyssinian campaign.

Accidents with the apparatus and chemicab seem to have
been of rare occurrence ; everything was carefully returned
to its proper place and firmly packed in the transport boxes
whenever the day's work was ended and a march ordered.
Sensitbing and printing had to be carried on whenever there
was a short halt, or in early morning before setting out ; but
seeing that in many cases the day's tramp began at three
a-m , and lasted till eight or even ten p.m.. the opportunities
for working were few and far between. The sand storms in
some parts of the country were very troublesome, frequently
blowing over the dark tent, which, in order to be very light
and portable, had been made somewhat topheavy. The nega-
tivirs in the plate-boxes suff'eied also from the same cause, the
sand entering the smallest crevice, and sometimes doing
E rioos damage to the plates. The only other misadventure
of importance was the bursting of an ether bottle which
bad b^n seenredy packed in a tin case ; the heat was so great
that tho bottle exploded, tearing the case to pieces and
making it go ofif like a small shell. The stock of albumin-
ized paper failed after the first few weeks, and all the prints
had afterwards to be taken on plain salted paper. The albu-
minized paper was found very difficult of preservation, and
became blackeired and discoloured very soon after being
sensitized, so that its absence under these circumstances was
of little importance.

One difficulty s.-ems to have been rather severely felt by
Serj-!ant Harrold. a difficulty which it was impossible to
combat, and which is inherent with military discipline. In
an ordinary way, a photographer, it he cares at all for his
r.-putatico, will insist upon taking an object in his own
way : that is to say, at such a time and under such circum-
stances as he may deem most fit. Now, with a military
photographer it is different. He is ordered at once to take
a certain object in a certain manner, and any little objec-
tions that he may make as to the sun shining direct into
the camera, or the objects being on the move or too far dis-
tant, are treated as so many excuses, and he is there, not to
argue, but to obey ; and obey he must. It is for this reason
that many of the photographs are taken in opposition to
every photographic law. and anything like a soccessfal re-
sult could not therefore be expected. However, the chi«f
photographer and hb principal assistants. Corporals (iardnet
and Marshall, seem to have met this difficulty without fiinch-
iog, and hare gone boldiv to work in a manner that sannot
be too highly commended. Contrivances and makeshifts of
all kinds bad frequently to be resorted to in a quick decided
manner : and. as shown by the results, these arrangements
were often the saving of the picture.

There was little need of working with dry plates, as the
dark tent was always handy. Serjeant Harrold prepared,
however, one batch of drr coffee plates, but was unfortunate
in their emplovmenL He receir^ directions to photograph
the interior of Addesrath Church, anJ proceeded, thereforr,
whh his camera and nis coffee plates to fulfil his instructions.

He had focussed some rude paintings on the ground glass.

JcLy 24, 1868.]

THE PHOTOGRAPHIC NEWS.

.851

and had began to expose bis plate, when a high priest or
ecclesiastic dignitary of some kind appeared on the scene,
and made most unmistakable signs to the eilcct that he
must leave the spot immediately. As the c.xposure had just
commenced, the gallant Serjeant attempted to expostulate
with him, in order to gain a few moments until the picture
was completed ; but, unfortunately, as the period required
was somewhat long, and the Abyssinian divine was becoming
very energetic, both in his language and action, the valiant
photographer deemed it prudent to beat a rapid retreat, in
the performance of which strategic movement he unfortu-
nately lost his plates.

A Captain Pottinger, an officer accompanying the expedi-
tion, made good use of a camera during the expedition, but
his results with dry plates were not, we believe, very suc-
cessful. lie was also unfortunate in not having his appa-
ratus at the front during the taking of Magdala, and was
therefore, like the Engineers, unable to secure any view of
the battle.

We have had an opportunity of inspecting the apparatus
and necessaries since their return to England, and the perfect
manner in which they were selected, fitted, and arranged for
transport reflects great credit upon Captain Stotherd, R.E.,
and Lieut. Harrison, R.E., under whose care and supervision
the stafi' was organized and equipped. It must be some
satisfaction to Serjeant Harroldand his companions to know
that, in performing a difficult duty, they have been instru-
mental in securing of the Abyssinian Expedition many
valuable mementos, some of which it would be impossible
to replace.

PHOTOGRAPHY IN GERMANY.

BY DR. U. VOGEL.

The Gordon Gum Dry Process. — With the greatest interest
I have read your communications on the Gordon gum dry
process, and I have repeated the experiments with it with
the best results. I have made some trials for determining
the relative sensitiveness of the gum proce.ss and the ordin-
ary wet process, and I found necessary thirty seconds for a
picture on a dry plate, under conditions which required
fifteen seconds for a wet plate, using the same collodion and
the same baths. 1 have tried collodions with iodide and
bromide of cadmium — the first sample, 1 part of bromide
to 2 parts of iodide ; the other, 1 part of bromide to 1 part
of iodide — but I did not find much difference in sensi-
tiveness.

The Harnecker Dry Process. — Here, in Germany, a new
dry process excites much attention — a dry process, indeed,
which, from what I have seen, I believe is the simplest known.
M. Harnecker, a very clever photographer and chemist, stlls
a dry-plate collodion. With this collodion one coats a plate
and sensitizes it in the following bath : —

Silver 15 grains

Water ... ... ... ... 135 ,,

Nitric acid ... ... ... 2 minims

Wash the plate as in Mr. Gordon's gt/a process, dry it, and
the plate i.s, without any preservative, ready for use.

The plate is nearly as sensitive as a wet plate. I gave
with success twenty-five seconds to a Harnecker plate, and
twenty seconds for a wet plate, for a picture of the same
details and intensity. The Harnecker plate is, after expo-
sure, put in distilled water, five minutes afterwards dipped
in the silver bath above mentioned until the plate
is evenly coated with it, and is then developed with the
following developer : —

Sulphate of iron ... ... ... 1 grain^

Glacial acetic acid ... ... 3 grains

Water 220 „

Alcohol 4 to 5 „

• An iron developer of 2 grains to the ounce seems unusually weak ; but
(t is so stated in Dr. Vogel’s copy.— Ed.

The picture comes as rapidly as a wet plate, and is
strengthened in the pyro anti silver in the ordinary manner.

1 do not know the composition of Harnecker’s collodion,
but I believe it contains a resin ; but it is very curious that
the bath does not fog after the preparation of the dry plates
as it does with the old sensitive dry plates of Mr. England
and others. But, in general, I must confess, that the resalts
of the Harnecker process are excellent.

Perhaps you have already heard of the Mausoleum in
Charlottenburg, from our Queen Louise. It is a very dark
room, with the celebrated statues of the queen, from the
late cculptor Ranch. It was not possible before to make
any other photographs of this dark interior except stereo
pictures, with very actinic lenses, and these stereos only show a
little part of this interior. Recently, Mr. Btiehns had made
a large picture of this interior with Dallmeyer’s triplet and
Harnecker dry plates, in a time of exposure of two hours,
and this picture is excellent, and was very much admired in
the Photographic Society.

I think the Harnecker collodion will become very import-
ant for taking plates in long exposures.

Photographic Seals. — A curious novelty has recently been
published here by M. Sturmhoefel, in Freiberg. If you send
your card picture and two thalers (si.x shillings) to M.
Sturmhoefel }’ou receive from him a seal with your portrait
in relief. AI. Sturmhoefel does not state the manner
of making such a relief, but it is easy to guess : — Take a
transparent positive on glass (perhaps one of your collodio-
chloride pictures), print it on Swan’s bichromate gelatine
tissue, and soak the latter in cold water; then you will re-
ceive an excellent inverse relief (the lights hollow, the blacks
relief). Make from this a copy in plaster, and from this a
mould in metal, and you have the photographic seal.

The German Solar Eclipse Expedition. — In a few days I
shall go with my friends. Dr. Zencker and Dr. Fritzjene,
to Aden, in Arabia, for taking the solar eclip.se ; and per-
haps it may interest your readers to hear somewhat of our
preparations. Yi'e are ordered to take (I) prints of the
total eclipse (which in Aden continues three minutes)
directly with a large single lens of Mr. Steinheil, which is
corrected for optical and chemical focus, and which gives a
sun picture of 5-6 inch in diameter ; (2) enlarged prints of
the sun after and before the total eclipse at a diameter of
3J inches ; for making this we have a large refractor, with an
excellent clockwork, like the refractor made by Mr. Dall-
meyer for the Wilna Observatory, and described in the
Fuotograpuio News some years ago. We have selected
Aden as our point of view, because to nearly all other
localities where the eclipse is visible astronomical photo-
graphers will be sent from other nations, in Siam the
Frenchman, in Persia your countrymen, &c. In this
manner a photographic series of the different phases of the
eclipse will be secured.

Mr. Warren de la Rue has already described especially
the manner for taking photographs of the sun, the moon
and ill a like manner we think to work.

I fear that we are not so well equipped as your English
expedition was, as we have only a single apparatus. It
would be better to have two or three, for making more pic-
tures in the same time.

We have tried our refractor (heliograph) here on the
Royal Observatory, in taking the moon in a like position as
the sun will have in Aden at the time of eclipse. Ttie
time of the eclipse in Aden is nearly six o'clock in the
morning, and the sun will be at that time so low that 1
fear its actinic power will be very slight. We have taken
the moon in a like low position in a bright weather with
five seconds’ exposure, and have received a welt exposed
picture in one second time another day, and have necessary
twenty seconds for well exposed images. Now Mr. Warren
de la Rue states that the prominences of the sun during the
totality are about three times as bright as the moon, and
therefore we hope to receive in the time of totality (three
minutes in Aden) at least three well exposed pictures of the

352

THE PHOTOGRAPHIC NEWS.

[JoLY 24, 1868.

arious prominences, which arc like clouds visible around
the margin of the dark moon during the eclipse.

My experiments with different samples of collodion for
taking the moon have given some results different from
those of Mr. de la Rue. A pure iodized collodion gave a
very hard picture, intense in the high lights, but so
feeble in the spots of the moon ; a bromo-iodized collodion,
on the contrary, gave a soft picture, not so intense in
the lights, but better in the shadows.

For this reason we will take for the prominence picture
during the totality a bromo-iodized collodion.

For the pictures with the bright sun, taken before and
afterwards, w6 shall take a pure bromized collodion, which
gives in the objects of very great intensity of light much
more detail than a bromo iodized collodion, which will be
very often over-exposed in the shortest time.

We think, also, to make trials for taking pictures of the
stars of the south hemisphere and other things of scientific
interest. M. Zencker will make photographic studies of
microscopical animals and plants of the Red Sea. !Mr.
Fritzjene will take pictures of the different peoples — Arabs,
and others, in Aden. For my part, I think to make
artistic and mineralogical and geological studies of the
landscape of Aden.

It is proposed that our expedition shall go afterwards to
Upper Egypt for taking inscriptions of the hieroglyphics in
the temples of Edfer, Dendera, and Luxor.

ilr. Thumigen, the eminent “ Egyptologist,” will assist
ns, and signify the point interesting for the archasology.

1 think it will be an interesting voyage, from which 1 shall
return not before the end of October.

In the intermediate time I liope to write to you upon the
success of our works ; and closing this letter on the “ Photo-
graphy of Germany,” I hope to give you in my next an
account over the “ Photography in Arabia and Egypt.”

WASHING MACHINES: THE ECCENTRICITIE.S
OF A SYPHON.

BY NELSON K. CIIERRILL.

Next in importance to the perfect action of tire fixing agent
used in silver printing is the perfect action of the water
used in removing that agent.

It is curious, but at the same time characteristic of photo-
graphers, that, until quite recently, the two departments of
silver printing on which permanency depends were the very
two which received the least attention. It used to be taken
ns a rule that silver prints must fade, and therefore it did
not much matter how soon. Now, however, I hope there
will be a little more care bestowed upon the matter ; the
ventilation the subject has lately received has certainly done
much good, and has shown photographers that even though
they must not hope for absolute permanency, silver print-
ing may be longer lived than has generally been sup-
posed.

The points which have been brought out are, 1 think,
briefly these : Firstly, that by more careful fixing — using, if
necessary, two baths, or one of hyposulphite of ammonia —
very much more silver may be removed from the whites of
albuminized paper proofs than has been done, as a rule,
hitherto. Secondly, that by a more scientific application of
water in properly constructed washing raachine.s, very much
more hypo may be removed from the prints than has been
usual up till now. And, thirdly, that by a judicious mi.x-
lure of scolding and coaxing in proper quarters, a mount-
ing-board can be obtained with, if not absolute immunity
from hypo, at any rate less in it than usual.

These three matters are of so great and vital importance
to the success of silver printing, that I propose to give
special attention to them, with a view of reporting any
observations I may be able to make of a suggestive or
useful character.

I have already tried enough experiments with the double

fixing bath to render me exceedingly anxious to try more,
and T only await the promised commercial supply of hypo-
sulphite of ammonia from Messrs. Maivson and Swan to
investigate the matter fully. I feel it would not be so con-
ducive to practical utility were these experiments made with
a small home-made sample of the hyposulphite of ammonia,
because the result at which I wish to arrive is one which
depends mainly upon the cheap and constant supply of the
new fixing agent.

While, however, these experiments are brewing, I should
like to say a few words on washing machines in general, and
on syphon machines in particular.

It appears to me that the most simple and effective wash-
ing machine is that which nature provides — a river. Put
your prints in, tied by the hind leg, and, provided there is
not another photographer next door above, you may expect
the hypo to be pretty well washed out in the course of a
very short time. The practical objection to this simple and
elegant plan seems to lie in the fact that our brethren of the
camera are not, as a rule, landed gentry, and that access
may not be had to streams and water-courses with sufficient
ease to admit of the plan being adopted as a rule.

The plan next best to the one above mentioned seems the
one in which the action of the rive.' is the most nearly
approached : constant change of the water, and constant
motion when in the water, seem the great requisites, and,
fortunately, they are not difficult to obtain. A box with
facilities to let the water run in at one end, and out at the
other ; a tap to let the water in with, and a syphon to run it
out — and, if the thing is properly made, there is no need for
elaborate contrivances of taps, and cock-and-ball apparatus,
and sluices, and levers, and chains, fine things for plumbers
to fit up, and “ a regular annuity ” to “ the man ” who
“looks after such things,” but which, even on paper,
look more like the early efforts to .scheme a steam engine
than the latest pioductions of the nineteenth century in such
a simple mechanical contrivance.

It is, I think, probably owing to some slight misappre-
hension on the part of the schemer's of some of these very
elaborate contrivances, as to the action of a syphon, that
it is so usually considered necessary to make the supply
cut off’ all the time the water is running out of the washing
apparatus. There cannot, in my opinion, be a greater mis-
take : a syphon, when properly constructed, will work enor-
mously faster tlran it is necessary to supply the water to
the cistern, so that though the supply-pipe is running all
the time, the cistern may be quite emptied in a very few
minutes ; and I even consider the action of the water which
comes in during the process of emptying very beneficial,
because it washes (if 1 may use such an expression) the
water off the prints, and gives them a more complete change
than they would otherwise obtain.

It may not, perhaps, appear, on first sight, how it is that
a slow running pipe used for filling the washing machine
can “start ” a large one to work as a syphon for the pur-
pose of emptying it ; it might seem, at first sight, that the
syphon pipe must be no larger in bore than the filling pipe.
But this is quite a mistake. I will try and explain why.
The action of a syphon is produced by the pressure of the
air upon the water contained in the vessel being emptied,
which constantly drives the fluid up the shorter arm of the
tube to supply the vacuum which would otherwise be formed
by the water running out from the longer arm. It is only
necessary to form a current of water in the longer arm of
the syphon sufficiently rapid to induce the first flow over
the bend at the top to ensure a proper action of the instru-
ment. Now let me explain how a very little water coming
into the apparatus may effect this purpose easily enough.
Let us suppose a case in which a small inflow of water (say
at the rate of 10 pints a minute) has to start a J-inch
syphon : as the water rises in the apparatus it will, of course,
begin by gently overflowing down the syphon pipe by just
trickling over the bend of the pipe ; the rate of outflow
would go on increasing till it wa.s the same as the rate of

July 24, 1868.]

THE PHOTOGRAPHIC NEWS.

353

inflow ; and then it would remain, running in at one end
and out at the other without ever starting the syphon at all,
hut for a very curious and important point, viz. this — that
the long leg of the syphon, by going down far below the
level of the water in the apparatus itself, gives the water
confined in it a very considerable speed in its transit through
the pipe, so that the water which only ran quite slowly over
the bend of the syphon pipe comes out with quite a rush at
the bottom, when it has fallen thiough some three or four
feet. But when water goes through a pipe in this
manner — namely, beginning quite slowly as at the top,
and running with increased rapidity all the way down — it
naturally follows that the air in the pipe gets entangled
with the water and carried down with it. The moment
this occurs the pressure of the air on the surface of the water
in the washing trough sends up some more water into the
short limb of the syphon, and so more and more comes
down the longer limb, till in about thirty or forty second.s
after the first few drops come over, the syphon is at full play,
and emptying the trough as quickly as possible.

To ensure the success of this plan, one thing only is
necessary, as far as my experience goes ; viz., that the longer
limb of the syphon must be as straight as possible; it must
have no eccentric bends or curves to check the progress of
the water which comes over first, for it is on the speed of the
fiist few pints that the success of the whole depends.

In setting up an apparatus of this kind not long ago, I
found that a bending of the tube only once at right angles,
and then carrying it out straight for a few feet, so much took
off from the efficiency of the arrangement, that not only would
a small influx of water into the tank not start the syphon,
but even it did not start when the tank was filled up two
or even three inches above the level of the bend ; this I
quite account for by the peculiar shape of the longer limb
of the syphon, which allowed the air to enter freely at the
bottom at the same time that the water was running out,
thus reejuiring main force to set up the proper action, and
not, as it should be, the gentle influence of the small but
rapid flow of water to begin with.

I find that the inflow of the water into the machine is
sufficient to cause enough motion in the prints ; this refers
to only a moderate number, however ; when very large quan-
tities of prints have to be washed at once, the ingenious
apparatus used in Mr. Bedford’s establishment, and de-
scribed some time ago in the News, is most efficient in
keeping up a constant agitation of the water and prints ;
it consists of a flapper kept in constant motion in the water
by means of a waterwheel turned by the inflow water.

When the water is draining out of the washing machine,
the prints should not lie on the bottom of the trough, but
should be provided with a perforated zinc false-bottom on
which to drain ; this should be kept from the real bottom
by slips of wood, or otherwise, so as to be about half an
inch clear of it. I find that nothing can be better than
three coats of Bates’s black varnish to preserve the prints
from injury by contact with the metallic zinc. This var-
nish should, it seems, be renewed every three months or so,
as it may require it. ^

I remember some time ago seeing an account of some
experiments with zinc for washing trays unprotected by any
coat of varnish ; though, in the particular instance referred
to, the prints may not have been marked by the metal, I
cannot but think that, in all cases, it must be much better
to use a coating of varnish to protect the surface of the
paper from the metal.

PICTORIAL EFFECT IN PHOTOGRAPHY ;
Beixq Lessors in

Composition and Chiaroscuro for Photographers.

BY H. P. ROBINSON.

Chapter XXVI.

" The vocsbalaiY in use relating to light and shade is utterly inadequate
to convey that knowledge of its phenomena that a painter requires. It com-
prises merely the terms light, shade, reSection, half-light, and half-shade.

Nowall lighla— with the exception of those belonging to objects self-lumin-
ous, as fire, the sun, Ac.— are either the reflections ot light from the surfaces
of todies, or transmission of light through those that are transparent or
partially so ; the focus of light on a globe is, therefore, as much a reflec-
tion as that appearance on its shadowed side which, in ordinary language,
is called the reflection ; and as to the terms half-lights and half-shades, they
but express, if literally understood, single degrees among the endless grada-
tions from light to dark.” — Leslie.

Chiaroscuro — {continued).

Although there are, betweeu white and black, an infinite
variety of gradations, it will be convenient to divide them
into light (1), half-light (2), middle tone (3), half-dark (4),
dark (5). If a picture were composed of light and half-

1. 2. 3. 4. 6.

light only, the effect would be weak and flat. In photo-
graphing distant views, which consist principally of light
tones, it will be necessary to introduce some dark object in
the foreground to give force and consistency to the whole.
Turner has carried this principle to perfection. Many of his
most beautiful pictures, full of air and .space, consisting
chiefly of delicate greys and blue, are brought into focus by
the introduction of the dark foliage of the stone pine, sup-
ported by some dark spots in the foreground, which is gene-
rally light, the darks being united to the lights by delicate
and infinitely varied half-tones in the middle distance.
Rembrandt’s method was exactly the reverse of this, but
the same in principle ; his pictures are composed of half-
dark and dark, having one small focus of brilliant light,
united in a magical manner to the darks by half-tone. The
marvellous effect of his pictures is due, in my opinion, more
to the judicious management of the half-tones than to the
strong contrasts and forcible effects of his light and shade.
In his pictures and etchings will always be noticed a wonder-
ful transparency in the shadows, which is almost entirely
duo to the half-tones with which they are associated.
Claude, Turner, and Rembrandt were alike in their manage-
ment in one respect : they always forced the brilliance of
their lights by the opposition of the strongest darks.
When Claude and Turner represent the sun, they place near
it their darkest dark. This effect will always be seen in
nature ; if the sun is setting behind a tree, the tree will be
darker than any other object in the scene. In Rembrandt’s
portraits the head is often covered with a black velvet cap
to increase by contrast the brilliancy of the face, and it will
be observed that the other parts are, although dark, in half-
light in comparison. This principle is carried out to a
great extent in the pictures of Adam-Salomon, where the
dark velvet so often introduced plays a most important part
in the economy of light and shade.

Light and shade varies so much with the subject to be re-
presented that it can scarcely be reduced to anything like a
system. But there are a few general arrangements which
the photographer would find valuable to have always before
him, and they arc only, as it were, duplicates of the laws that
govern composition.

In chiaroscuro, as in the composition of lines, the centre
is the weakest part of the picture. Neither the principal
object nor the chief light should be situated in that place
where lines drawn from the opposite corners would intersect.
A position either immediately above, below, or at the side of
this point would better satisfy the requirements of pictorial
effect. In a portrait the head, which is the principal object,
and light, would be above this position, in a more or less
degree, according to the stature of the individual.

When the light spreads through the picture it should
never be allowed to form either a horizontal or vertical line.
This refers to the general mass of light. The horizontal
bars of light seen at twilight are often very beautiful, and
their formal straightness give a grandeur and a sentiment
of repose to be produced in no other way. This rule, in

354

THE PHOTOGRAPHIC NEWS.

other words, would nm thus : — The centre of the picture
should not be light, with the two aides dark, or with the top
and bottom only dark. When the light falls or is spread
diagonally it is more picturesque than when it is arranged
horizontally or vertically. The same rule would, of course,
apply to shadow.

There must be unity of effect in the light and shade as
well as in the composition. Chiaroscuro will often “ pull a
picture together ” when the composition is scattered.
Where there is too great a repetition of forms, light and
shade will break them up or mass them together. Chiaro-
scuro should produce that effect which is produced upon the
retina when the eye is intently fixed upon an object, and is
not permitted to wander, and which some artists maintain
should be obtained by sacrificing the inferior parts of the
picture to the principal, but which will not bear the light of
argument. The theory is that the eye sees only one point
in perfect focus at the same time, and that there is some-
thing unpleasant and imperfect. even to the least experienced
eye, in a picture where everything is made out — the drapery,
the accessories, &c., all minutely represented with the same
finish as the bead. Tliis is a fallacy that has led many
clever painters astray. It is true that the eye, theoretically,
only sees one point at a time, but the eye altei’s its focus so
iustautaueously that ])raclically it secs one part almost as
well as another ; and the same rules should apply to the
picture as to nature. Notwithstandiug that pictures arc
usually smaller than nature, if the eye is fixed on the chief
feature, the other parts, howe%’cr highly finished, will naturally
go out of focus as much as they do in nature, which, as I
have already explained, owing to the instantaneous alteration
of focus in the eye, is not much. Here is an illustration. As
I write I am looking through a window ; a few feet beyond
the window is the railing of a balcony beyond a terraced
garden ; beyond that a grove of trees ; yet further a church
tower ; and in the distance some hills veiled in the blue mist.
All this is seen through an aperture two feet square, and as I
look at it, the focus of the eye changes so rapidly that I can
detect no want of definition — such definition as we get in a
photograph — anywhere. The only indistinct part is the
distant hill.

I’ut there is no reason why this scene, if represented in a
picture, should be a mass of mere detail. Sharp, as we call
it in photography, it may be all over, but if it is to have
pictorial effect it must be m.assed : the church tower, which
is the principal object, must come out into the strongest re-
lief, the rest must be subordinate, and thus we should obtain
that unity without which a picture is a thing of nai’.ght.
'I'he picture is felt to be true and natural when the eye is at
once led to dwell on the chief group or the principal object,
lly insensible degrees, the painter who is a master of his art
keeps down the parts which interfere with the centre of
attraction —

" All things seem only one
In Che universal sun."

And so, after a fashion, it should be in the picture produced
by his light.

Unity of light and sha<lc, as I have just stated, is im-
perative: but there is another quality which at a first glance
would appear to be antagonistic to unity, but which really
aids it. In a former chapter 1 dwelt at some length on the
necessity of repetition in lines and forms; the same rule,
only in a stronger degree, applies to chiaroscuro. No light
in a picture should be allowed to be single or isolated, but
should be repeat4*d or echoed, not in its full quantity or
force — there must be no rival near the throne — but in an
inferior degree. Tlie strength of Ilembrandt, strange as
the statement may appear, was not so much in his groat
contrast of black and white, as in the manner he harmon-
ized and mellowed the violence of either by echoes and
faint repetition throughout the picture. It is the repeated
but fainter echoes of the chief light that harmonizes and
brings together the various parts of a picture into the unity
of a perfect whole. The repetition of the air, varied and

[July 24, ,1868 .

less pronounced, in a piece of music, produces a sympathy
and connection of thought throughout. The effect is ana-
logorts to that of metaphor or simile in literature : a repeti-
tion must not be a symmetrical likeness of its original, but
should appear to belong to the same family. It must avoid
the symmetry of detail, but produce a sort of wholesale
symmetry. What is the secret of the delight we take in reflec-
tions, if it is not similar to that we take in bearing the repeti-
tion of a sound, or in seeing the echoed sympathy of one part
of a picture with another ? To many the reflection is more
beautiful than the reality. Shelley loved the mirror-like
reflections to be seen in forest pools —

‘■SwpetvisioDS, which in our world above
Can never well be seen.

Were imaged by tbe water's love
Of that (air forest green ;

And all was interfused beneath
With an Elysian glow.

An atmosphere without a breath,

A softer day below.”

And Mr. George Macdonald, in his fairy romance and prose
poem, Pfiantastes, says: — “Fair as is the gliding ship on
the shining sea, the wavering, trembling, unresting sail
below is fairer still. Yea, the reflecting ocean itself reflected
in the mirror has a wondrousness about its waters that
somewhat vanishes when I turn towards itself. All mirrors
are magic mirrors. The commonest room is a room in a
poem when I turn to the glass."

PIIOTO-ZINCOGRAPIIY IN PRACTICE.^*

15Y J. WATERHOUSE, R.A.

Corrections.

It has usually been stated that the great disadvantage of
using zinc for printing from is the difficulty of correcting
errors or making additions after the subject has once been
put down and etched. If the following directions be
observed little difficulty will be expe-ienced. In making
coTrections care must be taken to avoid touching the sur-
face of tbe plate with the fingers or to allow the breath
or saliva to fall on the plate. 1 n order to prevent this a
piece of clean paper should be placed under the hand. A
board raised above the surface of the plate should be used
to rest the arms on, and a piece of card should be held before
the mouth by means of elastic, &c.

Corrections before printing are bettor made before the
plate is etched. Stains, finger-marks, spots, and other imper-
fections may easily be removed by means of a piece of snake
stone, slate pencil, &c. Faint lines may be strengthened
with autographic ink and a fine steel pen. Parts may b<^
added by transfer from transfer paper with a small bra.ss
roller. If the plate has been etched and rolled in, the fol-
lowing plan must be adopted : — The plate is first covered
with gum, and fanned dry. If there is no ink on the part to
be altered, remove the gum, and brush the plate with dilute
sulphuric acid (1 to C) ; this is then well washed with water,
and any insertion can be made by being transferred from
transfer paper or put in with crayon or pen and ink. The
part is then etched, tbe gum washed on, and the plate is
ready for printing. The dry point may also be used for
putting in detail, but in this case the print is etched before
using the point.

If it is required to remove part of the work before making
the correction, the plate is fanned dry, a dilute solution of
caustic potash is applied to the part with a pen or brush,
according to the size of the alteration required. When the
ink is removed, the potash is soaked up with blotting-paper,
the gum, &e., is washed off, and the part allowed to dry.
The dilute sulphuric arid is then applied as befoie, and the
corrections put in. Care must be taken not to allow the
alkaline or acid solutions to spread, which may be obviated
by placing a mask of card over the surrounding parts.

If the dry point is used the acid is notrequireJ; the part

* CoQtinaed from p. 343.

July 24, 18G8.J

THL- PHOTOGRAPHIC NEWS.

355

is etched, then covered with gum ; the required detail is
scratched in with the point ; printing ink is then forced
into the linos with a dauber made of closely rolled tlauncl,
worked round and round till the lines are well charged. A
sheet of waste paper is put over the plate, and a proof is
pulled, which drives the ink >st;Il into the scratches, and also
takes o(f most of the superHuous ink; the remainder is taken
oft’ by sponging tlie plate, when it comes off with the gum ;
if necessary, the j)late may be washed with turpentine and
then rolled in again .

If the part to be altered is large, or the work has been on
it for some time, it is better to grain it with a small miiller
and ftne sand, after treating it with sulphuric acid. If the
part cannot well be grained, the acid must be allowed to
work for a longer time.

Failurb.s.

I will now notice briefly the principal causes of failure in
each part of the process.

1. Preparation of the Transfers. The ink refuses to leave
the ground of the print. — The paper has become too old and
decomposed, or has been dried at too great a heat. The ne-
gative was not sufiiciently intense, or, the print over-exposed.

The ink leaves the lines. — The print has not been suffi-
ciently exposed to light. The detail in those parts of the
negative is clouded over, and hinders the action of light.
Ink too soft. Pressure of sponge too great. This fault may
sometimes be remedied by taking a little transfer ink on
the forefinger and dabbing the lines with it.

The lines ragged and broken. — Under-exposure. Coating
of gelatine too thick. The washing water too hot.

Surface of the paper spotted over. — The coat of gelatine
too thin. The pressure too great when inking. Use a
thicker coat of gelatine, or ink by hand.

The close parts clogged with ink. — Too thin a coat of
gelatine. Imperfect contact between the negative and
paper. Over-exposure. Excess of ink, too hard or too soft.

2. Transferring to Zinc. The ink does not leave the paper,
or only transfers faintly. — This may arise from long soaking
of the transfers in order to get the ink off. The zinc plate
has been kept too long. Too little ink on the print. The
transfer too old.

The lines are much spread. — The ink is too soft. The
coat of gelatine too thick. Excess of ink, resulting from
over-exposure, or from too thick a coating being applied.

The ink does not leave the print in parts. — Uneven pres-
sure while transferring. Uneven drying of the sniTace of the
print after washing, which might be obviated by removing
the surface moisture by means of blotting-paper before
hanging up to dry.

3. Printing. The ink is deposited on parts which should
remain clear. — This is caused by the plate becoming too dry,
from not having been damped enough before rolling up, or,
in hot weather, from the rapid evaporation of the moisture,
which maj' be obviated by the use of the damping mixture
before m -ntioned ; but if, by accident, it should occur, as soon
as it is observed, the parts should be gently rubbed with a
flannel, which will generally remove the ink, or the plate
may be damped and the ink removed by ’■oiling in quickly
and dragging the roller smartly over the parts.

There is a much more serious de-fect, which, if neglected,
may result in the lo.ss of the plate. It is termed “ smutting
up.” The detail becomes obscured in a black patch, which
resists all modes of cleaning. The causes of it are very
numerous. Among the principal are: — Etching solution is
too weak. Excess of moisture on the paper or stone. Ex-
treme heat or cold. Use of soft bad ink. Dirty sponge.
Contact of a grea.sy body. Friction with the finger. It
must be renaediod, ai soon as it is discovered, by washing the
ink oft' with turpentine, and rolling in again with hard ink,
damping with tire gum solution.

The lines are doubled or spread. This arises from several
causes, among them; — Slackness of the tympan causing it
to be too close to the plate, which prevents the free extension
of the paper. Use of paper too dry or badly damped, and

of which the edges have become drier than the centre. The
remedy is to fix the paper in the tympan, which should be
raised slightly oft’ the plate, so that the simper may act
gradually on the paper. Most of the failures in this process
arc the result of simple mechanical defects, the causes of
which are not difticult to discover, and which may be easily
remedied.

Photo zi.vcooRAi’iir i.n II.\lf To.nes.

Photo zincographs of ordinary photographic views, &c.,
can bo obtained, hut the results are not satisfactory unless
they are considerably retouched. The process is much more
suited for the reproduction of architectural details. Seme ex-
cellent specimens of this process, consisting of views of Netley
Abbey, Jerusalem, and Stonehenge, have been published at
the Ordnance Survey Office, and I will describe the proces.s
by which they are produced. The sensitive transfer paper
is prepared in exactly the same manner as for subjects in
line, but is kept for about a week before it is u.sed ; the
effect of this is to slightly dccompo.se the surface and make
it more capable of retaining the ink. The negatives should
be good, and may be denser than is usual for silver printing,
as the paper is more sensitive, and there is no after-reduction
of the intensity. The exposure varies from five minutes to a
quarter of an hour, more or less, according to the intensity of
the light and the quality of the negative. The inking is con-
ducted in the same manner as fur line work, but the ink may
be harder and the pressure greater. The development is the
most important part of the process, and requires great skill
and experience to ensure success. The prints, cuated with
ink, are laid face downward on lukewarm water, and allowed
to remain till the gelatine is softened ; the surface ink is then
gently removed by washing the surface with a very soft
sponge and wartn water, taking care not to scrub it at all.
The print is then immersed in warm water, which is gently
agitated, and the detail will gradually appear ; the water
is changed after a short time, and the operation repeated,
the prints being allowed to soak for an hour or so between
each change. When most of the unaltered gelatine has
been removed and the print appears to have soaked enough,
it may be finished oft' by again washing with sponge and
warm water ; it is then hung up to dry. When dry, the
print will appear darker than a silver print of the same
subject, but that will be remedied when it is transferred to
zinc. The transfer to zinc is the same as before described.
The printing must be conducted with as great care as is re-
quired for the finest chalk drawings, and the damping
solution must be used.

Photo-zincotypy.

I have made a few experiments with a view to obtaining
a rai.sed printing surface on zinc by means of photography,
and, from the results I obtained, am of opinion that the
process might be practised with success for the reproduction
of diagrams, woodcuts, &c.,to be printed with type. I have
not worked it out thoroughly yet, but will de.scribe the pro-
ce.ss, in order that others may be induced to experiment iu
this direction.

A photographic transfer is made on to a fine grained
zinc plate in the manner de.scribed before. Care must be
taken to have the lines very perfect, or good results cannot
be obtained. The ink is washed off with turpentine. The
plate is rolled in with an ink composed of : —

Bitumen

... 4 parts

Litho printing ink ...

... 2 „

Wax

... 1 ,.

Burgundy pitch
Turpentine middle varnish...

... 1 ,.

... 1

When this is done, the plate is left for twenty-four hours
till the varnish is quite dry. The back is then covered with
wax or Brunswick black, &c., and the plate is connected
with a copper plate at about a distance of a quarter of an
inch. The two are then plunged into a 70-grain solution of
sulphate of copper, and after a short time the subject will

356

THE PHOTOGRAPHIC NEWS.

[July 24, 1868.

be found in relief. It is better then to make a cast of it
and pile up the white parts. The cast may be stereotyped
or electrotyped in the usual way. The process has been
practised in France for ordinary work, and, it is said, with
success ; but I do not think it has been used in conjunction
with photography.

THE WET COLLODION PROCESS.

Reuarks upon the Production op Brilliant Pictures.

BY C. STERNBERG.*

A BRILLIANT negative is the first thing needful in obtaining
brilliant pictures. Every possessor of a portrait album
must have remarked how comparatively few of the pictures
in his collection have any pretension to brilliancy. Many
photographs are sharp and full of detail, but at the same
time dull and without vigour, or they are sharp and clear,
but hard, and without either detail or half tone. But few
specimens are plastic and brilliant, and have sufficient grada-
tion of tone.

A process by which brilliant negatives are obtainable
includes, of course, many manipulations with which the ex-
perienced photographer is perfectly familiar ; but, neverthe-
less, to the general reader, a recapitulation of the different
conditions necessary to their production may not be without
interest.

In my opinion, the great source of failure lies in the thick-
ness of the film which forms the image upon the glass plate.
Although 1 am perfectly aware that the negatives of many
excellent photographers posse.ss a certain amount of thick-
ness, still I am, nevertheless, of opinion that a really good
negative should be thin and perfectly clear. A few points
in the deepest shadows should display clear glass, and in
certain portions of the high lights an almost perfect opaque-
ness of the film should be visible ; and between these two
extremes there should be as many gradations of tone as
possible. If few half tones only are present in the negative
it is impossible to obtain a brilliant print from the same, as
the result will either be weak, or hard, according to the
difference in the thickness of the film in the lights and
.shadows.

Very much to the point are Simpson’s remarks on this
subject. He says : “ Let us suppose that a picture possesses
twenty different gradations of tone ; in order to be able to
furnish a good print, the negative must then be composed
of twenty different thicknesses of deposit, which are visible
when the image is seen by transmitted light. A negative
which begins with perfect transparency, presenting no hin-
drance whatever to the light in the production of the
deepest tones, and which possesses the twenty gradations of
tone, is capable of giving a perfectly brilliant result, although
it may not appear very opaque in its highest lights. But if
the deepest shadows are covered with a deposit equal to ten
gradations, then the film in the highest lights must be of a
thickness equal to thirty gradations of tone, in order to be
capable of producing a good print; if the film in the
highest lights is equal in thickness to twenty-five gradations
of tone only, it will giv^e less brilliant pictures than the
negative first mentioned, although the film may at first sight
appear of greater thickness.”

Under-exposed negatives generally give hard pictures
with large masses of white and black, and without detail or
half tones. Over-exposure causes a grey precipitate to cover
the picture, which fogs the shadows ; a print produced
from such a negative is too light in the shadows and too
dark in the lights, for everything is lost in half tone, and
brilliant lights and deep shadows are wanting ; in an over-
exposed negative a black coat becomes grey. In developing
a plate which has been exposed too long, it is best not to
allow the developer to go too far, but to wash as soon as
symptoms of over-development are recognizable; in this
manner many a picture may be saved.

The collodion to be used must not be too freshly mixed,
and should be perfectly clear ; its consistence should not
be too thin, and it must be sufficiently iodized. Thick col-
lodion should be diluted with equal parts of perfectly pure
alcohol and ether.

The sensitizing bath must be prepared from recrystallized
nitrate of silver, and should be rendered slightly acid in
order to produce perfectly transparent shadows ; too much
acid exerts the same injurious effect upon the negative as
too little. One part silver dissolved in twelve parts of water
is a good proportion for making a bath ; a saturated solu-
tion of iodide of potassium is prepared, and to every 400
grammes of silver solution is added one diop of the iodide
and one drop of strong sulphuric acid, as under : —

Nitrate of silver ... ... 30 grammes

Distilled water 360 „

Strong sulphuric acid ... 1 drop

Saturated solution of iodide of

potassium 1 „

If the water and chemicals used are perfectly pure, this
bath will give beautifully clear negatives ; but should not
this be the case, and there is formed upon the picture a grey
deposit, capable of being removed by the finger, the bath is
purified with a solution of —

Caustic potash ... 2

Water

L grammes

100 „

which is added by drop.i to the silver solution (shaking the
latter the while) until a slight turbidity is observed. The
bath is then exposed to the sun for a few houi-s, or to open
daylight for some time, when a black precipitate will be
formed, which is filtered off'. For every hundred grammes
of bath is then added 1 drop of acidulated water made by
mixing 10 grammes of sulphuric acid with 100 grammes of
water. After standing for some hours, the following test
should be made : — Coat a plate with collodion, sensitize it,
and let it drain well ; develop it in the ordinary manner,
without exposing, and wash and fix the plate as usual.
After fixing, if the glass is not perfectly clear, but is still
covered with a thin, light deposit which may be removed
by the finger, a few more drops of acid must be added,
and the experiment repeated : too much acid must never be
added at any one time, and care must be taken that the
plates used in the experiments are perfectly clean. As the
deposit upon the plate may likewise be caused by the action
of light, all chemical rays must be carefully excluded from
the dark room.

The addition of organic substances to the developer is ex-
tremely favourable to the production of brilliant negatives.
The three following formulte are recommended ; —

I.-

— Sulphate of iron

25

grammes

Loaf sugar

40

Glacial acetic acid ...

15

It

Water...

500

It

Alcohol

15

If

— Sulphate of iron

10

grammes

Loaf sugar

40

ft

Glacial acetic acid

10

If

W atcr ...

400

II

Alcohol

1

gramme

— Sulphate of iron and ammonia

22

grammes

Gelatine

1

gramme

Glacial acetic acid

8

grammes

Water

300

II

* Pkotoffraphitchts Arckiv.

Ill,

With regard to the latter, the gelatine is dissolved in the
acetic acid and 50 grammes of water (this will take several
hours), and the sulphate of iron dissolved in 250 grammes of
water, and both solutions are then mixed. In general it will
be found that weak developers produce opaque negatives,
and strong developers negatives of an harmonious character.
No. II. developer is suitable for summer work, and for
strongly-lighted pictures. The developer should be used
sparingly, for the employment of too much solution impairt

July 24, 1868.]

THE PHOTOGRAPHIC NEWS.

357

the brilliancy of the negative. For intensifying I would
recommend, —

Sulphate of iron 1 gramme

Citric acid 1 „

Water... ... ... ... 100 grammes,

to which a few drops of a weak solution of silver is added.

To judge of the inten.sity of a negative in the dark room
is by no means an easy matter. If the chamber is illumi-
nated through the medium of a yellow window the ta.sk is
rendered more difficult, from the fact that the intensity of
the daylight is continually varying ; and on this account
one is very liable to be led astray. For this rea.son I would
recommend that the process of intensifying be carried on
with the aid of a lamp or candle screened with yellow glass.

(CAUSES OF FOGGING.

BY JABEZ IIUOHKS.*

“Fogging; ” that is, a darkening of the film all over, directly
the developing solution is applied. — This defect has several
sources. It may exist in a small degree, only slightly ob-
scuring the shadows of the picture ; or it may be to so great
an extent as to prevent its appearance. Fogging often troubles
the young beginner, and as it arises from many causes it is
often difficult to assign it to the right one. Sometimes dele-
terious vapours are the reason ; as, the dark room being
built over a stable, and filled with reeking vapour ; the room
being newly painterl with a slow-drying paint; a leakage
of gas ; a bottle of ammonia with a badly-fitting cork or
stopper. A remedy for any of the above is simply to re-
move the cause.

In extremely warm weather the developing .solution is
much more energetic, and fogging may thus arise from this
increased energy : remedy, dilute it one-half, or double the
quantity of acid. The following are, however, the most
usual causes of fogging : —

Alkalinity of nitrate bath : remedy, addition of acetic acid
till litmus paper is slightly reddened.

Extreme acidity of nitrate bath : remedy, addition of oxide
of silver or ammonia until litmus paper is only slightly
reddened.

Omission of acetic acid in the developer : remedy obvious.

Over-exposure in the camera : remedy obvious.

Diffused light in the dark room. If yellow calico be used,
it has, perhaps become bleached, and must be replenished ;
or additional folds must be used. Sometimes chinks of un-
suspected white light are the cause ; if .so, they must be
stopped up.

Diffused light in the camera or the dark slide, admitted
through a joint giving way, or an old screw-hole, or the
parts of the camera not fitting : remedy obvious.

Nitrate bath made with impure silver, or bad water :
remedy, add a few drops of saturated solution of bicarbonate
of soda until the bath solution remains turbid after shaking ;
then expose it to the sun for a few hours and filter ; acidify
it if necessary.

Newly-mixed collodion will sometimes cause fogging ; it
then require.? to be kept for a few days, when it may work
clean ; or it may be mixed with some older collodion, and
may then be all right. Sometimes a little more acid added
to the bath or the developer will be a remedy. If none of
these aids are sufficient, then the collodion must be rejected.

When you make any change — such as having a new
camera, a fre.sh nitrate of silver bath solution, anew quantity
of developer, or another sample of collodion — you may be

* ®*tr*cted, with permission, from the new edition of the “Principles
and Practice of Photography," just out.

able at once to suspect, and perhaps detect, the cause ; for
if some change occurs in the nature of the pictures which
did not exist before, it is very probable that this fresh circum-
stance is directly conuected with the changed character of
the pictures. Therefore, whatever it is that has been newly
introduced should be carefully examined, and very probably
the cause of the fogging may be discovered. When, however,
you have no such clue, yon must adopt a systematic method
for its discovery. The following i.s the plan : —

First, examine your dark room by covering your yellow
window with some material that entirely excludes all light
Crevices and cracks admitting white light may then be seen
that before were unnoticed, and some of them may have
shone on the glas.s during its preparation, and cau.sed fog.
If these are found, they must be stopped up, and your annoy-
ance may be over.

If these be not the cause, next suspect the window, for
though it may admit only yellow light, it may not be yellow
enough. Yellow materials become bleached, and require re-
newing, especially yellow calico. To test your window — and
it is very important that you be quite certain on this point
— proceed as follows : — Collodionize a plate as usual, and
immerse it in the bath ; then cover up your yellow window
entirely, or leave only the smallest possible chink, so that you
can just see what to do. Take your plate out of the bath and
put it in the dark slide. Now remove the covering from the
yellow window, and draw up the shutter of the dark slide
half way, to expose one half of the plate ; keep the plate to
the light of the window for (say) five minutes, then replace
the shutter, close up to the window as before, so as to exclude
the yellow light, aud proceed to develop your plate. Keep
the developing solution on about the usual time that is re-
quired to produce a picture, for you will not be able to see
what is going on ; then wash and fix it. Now restore the light
and examine the plate, and it must present one of the three
following appearances : — Case A, the half exposed to the
window is drab, and the half not exposed is quite clear and
transparent ; Ca.se 15, it has a drab deposit — in other words,
fog — all over it ; Case C, the plate is perfectly clear an(l
transparent all over.

We shall examine each of the.se cases msucces.sion. Case A
shows that the yellow window is at fault, for half the plate
exposed to it is fogged, but the other half is clear ; therefore
sufficient actinic light passes through the window to injure
the plate. The yellow covering, if bleached, must be re-
moved, or more coverings mu.st be supplied, and a plate must
be tried after each addition, until you have your window so
ellow that a plate may be exposed five minutes without
eiiig fogged. Yellow gla.ss sometimes allows light enough
to pass through to fog the plate ; such glass should be re-
moved and a better sample put in its place. 1 have seen a
piece of yellow-brownish glass, though very dark in colour,
that admitted actinic light almost as freely as white gla.ss.
This is rare, but in photography you try all things, and only
hold fast to that which is good. If the window be discovered
to be the cause of your trouble, it must be covered with fresh
calico, tammy, silk, paper, glass, or other yellow material, or
it may be painted yellow ; but in some manner the light
must pass through a yellow screen in such a way that, while
you are permitted to see your manipulations, your plate must
remain without fog. \ou must have no rest until this is
accomplished. This done, your fogging trouble is over, and
you may proceed to work in comfort; for case A clearly
showed the window was the cause of the fog.

It should be borne in mind, however, that the amount of
protection that a yellow window gives to sensitive plates
depends upon the quantity of light that falls upon the
window. Plates may be fogged on a day of sunshine, and
yet be perfect on a dull day. A yellow window with a
western aspect may suit a morning light, and yet cause fog
in the afternoon. When the window of the developing room
is thus exposed to a variable light, it should be provided
with an additional moveable yellow curtain, to be used when
a stronger light than usual falls on the window.

TuV: photographic news.

[July *J4, 186S.

If the cause of fogging lias tliiis been satisfactoiily tiaced
and cured, it will form an excellent lesson. Uutas there are
other causes of fogging than au iinjicrfcct yellow window,
let us exaiuiue Case B.

Case B, the plate darkens all over under the action of the
developer, and you cau distinguish no tlill’erence h;tweeu
the two halves ; this shows that your window is quite light,
and you must seek further for the cause. It must now lie
between the bath, the collodion, and the developer. First
try the hath : test it with a strip of reddened litmus paper,
and if it changes to blue the bath is alkaline, and an alka-
line bath is a certain eause of fogging. Add acetic acid,
drop by drop, testing between each addition, until blue
litmus paper \svery slightly reddened. Again try a plate;
the fogging will probably not be quite gone, but miudi re-
duced : add a little more acid until it entirely disappears.

Suppo.se, however, that the reddened litmus paper did not
ch.ange colour, then test with blue litrau.s, and if it turn very
red, carefully neutralize with oxide of silver or ammonia,
until only a slight acidity remains ; then resume your trial
to see if you have expelled your enemy, for excess of acid,
especially nitric, will cause fog. Should the test papers
show that the bath is neither very acid nor alkaline, the
probability is that the error is in the developer or the
collodion.

JIake up, carefully, a fresh ileveloping solution, being par-
ticular not to omit the full proportion of acetic acid. You
may even increa.se the quantity of acid, for some samples are
weak, and you may happen to have one; the developing
solution, unless it have its proper addition of acid, will
always cause fog. If the new developing solution rid you of
your difficulty, well and good ; if not, you must suspect
your collodion. Some collodions cause fog; therefore, get
some fresh, and let it have a little colour — a pale golden, for
instance — for colourless collodions are more prone to fog than
coloured ones. If you are not now relieved, you may a.s.su.me
that the nitrate bath is the defaulter, for it must bo one of
the three. Make up a new bath, and if you u.se good silver
and clean water you are almost certain to be out of your
trouble.

In this way, by carefully and exhaustively examining one
thing at a time, you will be certain to tr.ace out the delin-
quent mateiial. If jmu have decided that the nitrate b.ath,
for instance, is the cause, then you h.ave. if it be a new one,
to find out whether the sample of nitrate of silver is pure, or
whether the water is not the cause. The latter is frequently
an unsuspected source of trouble. Again, if it be found that
the developer is at fault, supposing it to be correctly mixed,
each of its components may be suspected and examined in
turn — the iron, the water, the acetic acid, and the alcohol.
Somesample.s of methylated alcohol often cause great annoy-
ance by impurity.

To return to our examination : supposing that we have
not yet discovered the cause of our fog; the conditions of
Cases A or B not applying, let us examine the rest.

Case C, the plate develops perfectly clean aud transparent
all over ; this shows not only that the yellow window is all
right, but that the chemicals are right also; in fact, that
the origin of the fog must be external to the dark room ; and
as nothing else but iHfl’used light can now be the cau.se, we
roust seek to discover it. First examine the dark slide well ;
in some nnsusnected manner it may admit light to the plate.

If your dailc slide he found to be perfect, next examine
your camera carefully. You may teit it in this manner : pre-
pare a sensitive plate as usual, and jilace it in the camera as
if you were going to take a j>icture ; put the cap on the lens,
draw up, half way oiihi, the shutter ol the d;uk .slide, but do
not uncover the lens. Let the plate remain thus for a full
minute, then develop and fix the plate. The plate will either
be one-half fogged, or it will be quite clear all over. If half
be fogged, it shov.s that the camera admits light in some
other manner than through the lens, and thus thefog is caused.
To know where the light is admitted, remove the ground

glass ; and, cxeluding all light with the foeussing-eloth, put
your head into the camera (the lens being still covered), and
j'ou will sec the light streaming in. Y^ou may examine the
interior of your camera in another manner. Place the dark
slide in its place, and draw up the shutter ; remove the lens,
and, with the aid of the focussiug-cloth agaiu, examine the
interior through the flange aperture. If any stray light be
admitted, you will see it reflected from the face of the plate.
It is necessary, when thus examining the interior of a camera,
to wait for a few minutes, to allow the eye to get accustomed
to the darkness, or you may deceive yourself, and think there
is no light, from your momentary inability to perceive it.
The cracks, crevices, or holes being stopped up, your trouble
is passed.

Should your plate, however, develop clear all over, it will
show that the interior of the camera is perfect. Another
cause of fog mayari.se from the lens itself. If a strong light
fall on it, particularly sunshine, fog will certainly be pro-
duced. A screen or shade should bo provided, so that no
light fall on the lens, except from the objects that are being
delineated. Occasionally there is reflection from the sides
of the lens tube, or the edges of the back lens. Doad-black
varnish will be the remedy in these cases.

If you have not now traced out the difficulty, having run
through your chemicals and apparatus, it most probably is
caused by an error of manipulation, such as over exposure,
or a deviation from the proper mode of developing. It is
scarcely probable, however, that you could pursue this in-
quiry without already having a clue to the real cause ; and
I have gone through the series of exhaustive experiments to
show you that, hy this method of inquiry, you may succeed
in tracing not only fog, but almost any other trouble, to its
true .source.

©amsgonirtm.

INFORMERS AND PIRACY.— GR.\.VES v. MERCER.

Sir, — We should much prefer to have remained silent as to
your introductory remarks in the case of “ Graves v. Mercer,”
reported in your number of the lUlh iiist, had not “ The De-
fendant ” of his own accord rushed into print. AYe forbear to
remark upon any of the numerous inaccuracies in the letter
signed “ The Defendant,” unless under the advice of our soli-
citor in the case, which would necessarily involve so much delay
in our replying as to lead your readers to suppose that we
accept ‘‘The Defendant’s” assertions as unanswerable. Wo
may perhaps venture to encroach upon your space at some
future time, but meanwhile wo would remind " The Defend-
ant ” of the old proverb, “ Don’t holloa till you’re out of the
woods.” Others quite as confident and as plau.sible as “ The
Defendant” have, nevertheless, eventually come to giief.

As regards tho employment of so-called informers, we, more
than any, do regret tliat tlio law should bo so inoffective as to
leave us no other alternative, in tho face of tho many dodges
adopted by dealers and others engaged in this illegal traffic,
than the use of such means, in order, in some measure, to de-
fend ourselves from the acts of persons not over-scrupulous as
to tho proper constructions of ‘‘ meum ” and ‘‘ tuum.”

Had yon had the experience that we have had of the diffi-
culty in tracing out tlioso matters, in order to suppress a traffic
ruinous to ourselves, but doubly serious as it affocta tho fine arts
in this country, we cannot but think you would re.adily endorse
tho opinion expressed from the Bench by one of our ablest
London magistrates, that ‘‘ wo are justified in adopting any
means short of felony ” In sucli cases. We have selected as
we consider respectable men, who are under our own control,
and we see no reason to question either their truthfulness or
their sobriety. Wo trust sincerely that the law in this respect
will ere long be amended, so that tho necessity of proving u
sale will bo done away with, and some other more simple,
speedy, and effective remedy provided.— Wo are, your most
obedient servants, Henry Graves and Co.

6. Pall Mall, July 22n<f, 18G8.

July 24, 1868.]

THE PHOTOGRAl’IIIC NEWS.

359

in: tb« ^tubin.

A Valuable Tosih'o Bath. — A correspondent signing

Silex ” says : — “ Mr. Bovey lately gave us an unfailing
toning bath. 1 can give you another, but mine is not a new
one. However, it is worth repeating. I have used it for two
years without a single failure, and with several samples of paper.
Before that time I had used the acetate, but, like Mr. Bovey,
I found there was no eertainty with it. As sometimes a new
bath, mixed only twenty-four hours, often refused to tone at
all, I purchased the following formula from a travelliug pro-
cess-monger for 10s. 6d., an(l I have felt thankful to him ever
since. I think it has since been made public in the News. It
is this 3 grains chloride of gold, 20 grains chloride calcium,
about half a teaspoonful of powdered chalk, 20 ounces common
water. It must be mixed twenty-four hours before use, or
with boiling water one hour will be sufficient. It never refuses
to tone, and will keep ; and more gold, chalk, and oilcium may
be added to it, although I generally make it fresh after re-
newing it two or three times. I never saw a mealy print
pro*luced by it.” — [The examples sent to illustrate the action
of this bath are very excellent. — Ed.]

Another Photooraphic Detection of a Murderer. —
The brutal murder of the wife of a coffee house keeper in
Norton Folgate, and the escape of the murderer, a youth of
nineteen, will be fresh in the minds of many. Ue has been
recently discovered solely by means of a photograph. A
youth, giving the name of George Jackson, was recently com
raitted to Maidstone Gaol for a theft at Woolwich. As we
have before explained, photographs of prisoners and persons

wanted ” are circulated amongst our prisons ns a means of
detection or identification. Among others, the photograph of
the boy Andrew Mackay, the absconded murderer, was sent
to the prison. For some time it did not appear to have at-
tracted any attention, but a thought suddenly seemed to have
struck a warder belonging to the prison that the boy Jackson,
who was under his charge, resembled one of the photographs of
persons who had absconded after the commission of a crime. In
consequence of this he communicated' his suspicions to Major
Bannister, the governor of the prison, and examined the photo-
graph carefully, and this confirmed the suspicion he had enter-
tained previously, that the prisoner George Jackson wasin reality
the murderer Andrew Mackay. He took an opportunity upon
this to enter into conversation with the prisoner, and in the
course of it he asked him if he had ever gone by any other name
than George Jackson, and he at once replied that his name was
Andrew Mackay, and he admitted that he was the person who
was charged with the murder in Nortou Foigate. Major Ban-
nister at once telegraphed to London to Berjeant Duunaway,
an officer of the metropolitan police, and he went down to
Maidstone yesterday, accompanied by a person who was
acquainted with the lad Mackay, and who at once identified
him as the person against whom the coroner’s jury returned a
verdict of wilful murder.

Photography in Chicago. — A recently established
American “ Art Journal ” of considerable merit gives, in its
notices of “ Art Teaching and the Studios ” in Chicago, a highly
compUmentary notice of the new establishment of our old
friend Mr. Carbutt, whose occasional arUcles our readers are
always glad to find in the News Th4critic points out the
fact that Mr. Carbutt is catholic enough is bis taste to exhibit
conspicuously in his gallery examples by the best artists of
Paris and London, amongst the latter our friend Mr. Blanchard
is mentioned, expanded into a firm as " Valentine and
Blanchard.’’

Newman’s Dia.mond Varnish — We have received from
many correspondents very warm praise of Newman’s diamond
varnish, and our own ex{>erience has confirmed all we have
heard. We always avoid, however, giving notices of any
article which might be construed into puffing. We hold that
if a good thing bo kept prominently before the public, by the
legitimate process of advertising, it will make its way without
puffing. A fact regarding this varnish has, however, just been
brought under our attention which ought to be recorded. A
correspondent states that a negative varnished with it was
left out recently the whole of a wet night, and then, when
taken in, the print was forgotten until it was dry and firmly
stuck to the negative. The print was, however, again

moistened, and, by the aid of a little care, removed without
the varnished surface of the negative suffering the slightest
injury.

Bromo-iodized India-Rubber. — A method has bee°
patented in the United States of incorporating india-rubber
with bromine and iodine instead of with sulphur, which is
generally used in producing vulcanized india-rubber. By
adding to iodine one-half its weight of bromine, proto-bromide
of iodine is formed, and this, when combined with rubber or
equivalent gum, will produce a composition which will harden
on being subjected for about an hour to a heat of 250° Fah.
Owing to the volatile properties of proto-bromide of iodine, it
cannot be applied without difficulty to practical purposes. To
obviate this difficulty, we treat both the bromine and iodine,
prior to combining the same, with oil of turpentine, or similar
oil, which has previously been mixed with about one-fourth its
weight of sulphuric acid, to prevent the formation ot an explo-
sive comi)Osition. The pasty mixture produced as above de-
scribed is combined with caoutchouc or equivalent gum, in the
proportion of about three ounces of the paste to a pound of
gum, the proportion of gum being increased if a more elastic
product is desired. Can any photographic use be found for
such a compound ?

Black Varnish. — An aniline black varnish, of recent
Parisian production, is the following : — In a litre of alcohol, 12
grammes of aniline blue, 3 grammes of fuchsine, and 8 grammes
of naphthaline yellow are dissolved. The whole is dissolved
by agitation in less than twelve hours. One application renders
an object ebony black. The varnish can be filtered, and will
never deposit afterwards.— Scientific American.

A Photographer in Canada advertises as follows De-
ceased persons taken at their own residences.” ‘‘ Parties wish-
ing to learn the business can do so cheap.”

A Western .\rtist (?) in “ An Ode to All,” gets off the follow-
ing in his circular : —

“Oh, who would live where .Art isuoknowD,

Where shadows of dear and loved ones are not ?

Perhaps of those who for coautry died without a groan.

Of even of those who went of too much ‘ pot.’”

‘‘Fixing a Dye.”— A report on the colouring matters de-
rived from coal tar shown at the French Exhibition has the
following : — ‘‘A d}er, like all others of his craft at that time,
was busily occupied experimenting with the aniline d5’es.
Amongst other things he tried a reaction which had been de-
scribed by M. Lauth at the end of 1861. viz., that of aldehyd on
a sulphuric solution of aniline red. In this reaction a substance
is produced which gives to solutions an extremely evanescent
blue colour. M. Lauth had given up all idea of utilizing this
blue colour in practice, and M. Cherpin endeavoured to fix the
same colour on silk or wool with similar want of success. His
attempts, although fruitless, were incessantly renewed, ex-
hausting h is purse, but not his patience. One day, however,
discouraged at the want of success attending some recent ex-
periments on which he had founded great hopes, he was on the
point of relinquishing the attempt at conquest over this fugitive
blue, when the idea struck him to confide bis tronbles to an old
friend, a photographer. ‘ A trouble shared is a trouble halved,’
says the proverb. Cherpin proceeded to test this saying, and
experienced the reward of his perseverance and his confidence
in the consolations of friendship. He found bis photographic
friend, and confided to him the history of all his hopes, his ex-
periments, and his fruitless results. — ‘ Fix the blue ? ’ said his
friend. ‘ Is that the only difficulty ? Why it’s the easiest
thing in the world ! Have you tried hyposulphite of soda ? ’ —

‘ Hyposulphite of soda? Mon Bieu, no \ Do you think it will
fix my colour?’ — ‘Of course it will. Don’t you know that
hyposulphite of soda is the fixing agent par excellence, and that
when we want to fix anything in photography, that is the
substance we always employ ? ’ Happy he who possesses faith !
Cherpin tried hyposulphite of soda, and his joy and admiration
of the chemical knowledge of his friend may be imagined when
he saw his blue colour metamorphosed into a splendid green,
this time perfectly stable. It is scarcely necessary for us to
add, that the mode of action of hyposulphite of soda in this case
is entirely different from its photographic action, and that it
would be quite impossible to predict the one by knowing
the other. This anecdote contains a moral. It shows, in our
opinion, not the result of chance— for that is common to all
the world, for where is the discovery to which chance has
not more or less contributed?— but it shows the power of

360

THE PHOTOGRAPHIC NEWS. [July 24, 1868.

the will, the power of perseverance. Clianco only favours two
kinds of persons : those sufficiently instructed or endowed
with talents eminent enough to observe it, to seize it, and to
profit by it ; and those who, by patience, perseverance, and
the power of their will, force it in time to become useful to
them.

Me. Bovev’s Method of Toning. — In .inswcr to the various
querists who have written on this subject, we regret to state that
hot weather and close application to duties have, during the last
few weeks, prostrated Mr. Bovey, and he has been instmeted by
his medical adviser to abstain from all kind of labour, bodily or
mental. He is, we are glad to add, recovering, and hopes shortly
to answer the various questioiLs .addressed to him.

P. C. (Subscriber). — The necessity of forcing the intensifying pi-o-
cess until the whole image is buried in a universal dark deposit,
in order to obtain sufficient vigour, may ari.se from several causes.
It may be due to the use of a new or thin collodion. If it be from
Using a new collodion, the addition of a little of an old sample
will help you. If from the collodion being thin, the addition of
a little more pyroxyline to the collodion will help you. The use of
the gelatino-iron developer will probably help you ; or the use of a
weaker developer, containing a little more acetic acid, may help
you. Take wire not to ov'cr-develop, and in intensifying use
plenty of acid in the solution. By intensifying after fixing you
may probably get rid of your difficulty.

J. W. — The print you enclose has the appearance of being a repro-
duction, not printed from a negative from life. If it be from a
negative from life, we should judge it to be a thin, flat, fogged,
imperfect negative, from which it would be difficult to obtain a
good print. The print it.self is, however, a poor, mealy one ; but
whether it would be jwssible to get one much better from the nega-
tive we cannot say without seeing it.

Answek. — We have met with examples of opal glass with the sur-
face of which the silver image seemed to combine, and remained
perfectly visible after removing the collodion. AVe do not know
of any remedy except procuring another sample. AV’’e have tried
almost every method of cleaning without removing traces of the
image. AVo presume th.at the material used in obtaining the opal
surface has an affinity for silver, and readily combines with it.
The example of the Eburneuni process you enclo.se is very good
indeed.

AV. M. — You will find it difficult cither to weigh or estimate with
accuracy the iodide which has deliquesced. You had better em-
ploy it in making an aqueous solution of iodine, to bo used in
mtensifj'ing, in which absolute accuracy is not iiccessarj'.

SlLEX. — Thanks for your further remarks. The subject is very
interesting, and we shall be glad to examine it as carefully as i>os-
siblc. 2. Undoubtedly the guimtity of tungstate of soda you men-
tion is erroneous. It should have been 20 grains. It has doubt-
less been an error of the press. 3. The infinitesimally small
proportion of chrome alum necessary to render the gum insoluble,
used for retouching prmts, would not, wo think, produce any
action on the silver unage. 4. AVhich is the ivory process you
use ?

AV. B. B. — The photographic qualities of the card forwarded arc
very excellent indeed ; the tone is unusuidly rich, and the print is
at once vigorous and delicate. The lighting is good, although,
for our own ta.ste, wo should have prefcirod a little more direct
side-light, t j pick out points of high light on the face.

AV. J. A. G. — It is one of the puzzles in connection with photo-
graphic practice which wc have not been able to solve, that some
persons who succeed well enough with the wet process fail signally
with almost all dry proco.sscs. In describing their operations
they appear to comply with all conditions of success, hut in re-
sult they meet with nothing but failure. Yours is not a solitary
ease by any moans. In trying the morphine process again, pro-
ceed as follows : — Take the collodion, either 2, 4, or 6, add to each
ounce an additional grain of bromide of cadmium, agitate until it
is dissolved, and then allow it to rest a few days. After coating
and exciting the plate, allowing each plate to remain somewhat
longer in the bath than usual, transfer the plate to a dipping bath
of distilled water, where allow it to remain until another plato is
ready ; then transfer to a dipping bath (or dish) of common water,
there to remain until another plato is ready. After that, again
rinse with distilled water, either in a bath or poured on; then
apply the morphine solution ; allow it tq remain on the pl.atc a
minute or two, and then throw it off, and allow the plate to dry.
Give sueh a plate three or four times the exposure of a wet plate,
and develop with a gelatino-iron developer to which a few drops
of silver solution have been added. The collodions wo have men-

tioned, with the added bromide, may be used for either Mr I

England’s or Mr. Gordon’s process. J

Soke Beset. — AA'hen fog assumes the character of a dull grey i

deposit between the film and glass, it is generally the result of '

using dirty gbesses ; but the same thing sometimes arises from
under-exposure and pushing the development and intensifying.
Sometimes the white -looking deposit you describe on the surface
of the negative is duo to using a water for the developer containing
much of a chloride or of a carbonate, and chloride or carbonate of
silver is thrown down on the film. If your acetic acid is pure, the
use of considerable addition of it in the developing or intensifying
would probably prove a remedy ; but if it be not pure, every Edi-
tion would only increase the evil. In a recent ca.se of persistent .

fogging which cr.me under our attention we found it due to the |

u.se of an impure sample of acetic acid, which contained a re- i

ducing substance. Try the use of the gelatino-iron developer ; it I

is a great aid to the production of clean shadows ; also try, if
necessary, intensifying after fixing instead of before. See article
by Mr. Hughes in'fhis muiiber.

.1. S. — The spots on the excited paper forwarded are duo to irregular
drying of the surface ; the silver solution, in.stead of draining off
and drying off evenly, collects in drops, which dry very slowly,
and wherever a drop rests a light-coloured spot appears, which
prints of a blue tint. 'I'he cause of this irregular drying is not
quite certain; it is alleged by one manufacturer of albuminized
paper to be due to the dry and homy state of the paper at the
time of exciting ; another manufacturer as.serts that the u.se of a nit-
rate bath too strong will cause it. It is easy to try the remedy implied
in both cases : allow the iiaper to remain in a damp place a few hours
before use, so that it shall not be absolutely bone dry when floated.

Also u.se a weaker bath : we believe tliat no commercial sample of
albuminized paperrequires an 80-grain bath ; asa rule, a 40-grain or
a oO-grain bath is strong enough for all commercial papers. A
certain remedy for the spots, when others have failed, consists in
blotting off the excited pajicr on clean white blotting-paper after
exciting.

B. >I.\Gic. — As a rule, a 1.5-grain iron .solution is .strong enough,
especially for summer u.se ; but in presence of dull light, under-
exposure, old insensitive collodion, excc.ss of acid, or othei retard-
ing conditions, double that strength may be required. The
example enclo.sed with the 30-grain developer is certainly better
than that with the 15-grain solution. The fomicr is very good,
but the light is a little too directly in front.

Young. — AVhen you speak of a plate coming out of the bath black,
do vou mean that it was literally black ? If so, some very curious I

addition must have been made to the collodion by some one. AA^o
have soon a plate bbwken all over with fog on applying the devo- |

loper, but never saw a plato black when it came out of the bath.

2. So far as you describe your operations with the honey process
you apiiear to have acted, rightly : why your results should bo
wrong, and your experience different to that of others, we cannot
tell. 3. The collodion you mention is rarely sold iodized ; but it
appears to us incredible that you should purchase a sample of
iodized collodion bv a maker of high repute, and not be able to get
an impression with it. AVo .shall have pleasure in trj'ing it.

4. In ovr h.ands the ebonite baths have proved satisfactory ; but
there is nothing so satisfectorj' as glass, and if used with care in
a pro]ier travelling case there is little risk. 5. In many cases a
swing bath is useful in portraiture. 6. Your question as to the
use of the cjirbon pnx'ess can bo best answered by the pitentoes.

AA'rito to the Autotype Company, 5, Haymarket. 7. Either will
answer well, but probably No. 1 best. 8. The cabinet portrait
enclo.scd is very good indeed.

AA'm. Pimi.ott. — It is somewhat difficult to give an answer to youT
question in this colomn. AVhen you ask how to take transparenf
photographs for the magic lantern, wo are uncertain how much
you know, and at what point to begin to give you hints. You
will find, however, tolerably full instructions in an article on page
73 of our last Y E.ui-BooK. Get that, and if, after reading it, you
require further information, write again.

Several C’orresiiondcnts in our next.

|I()otograp!|S Urgtsterett.

I Mr. A. C'LlBit, gtoarbridge, (

Pliotugraph of Captain fioberts. J

Mr. A. Nicuolls, Cambridge,

Photograph of Christ's College Donkey Race.

Mr. Slixosbt, Lincoln,

Photograph of Lord Monson.

Photograph of The Broad Tower, Lincoln Cathedral.

All Cominunications for the Editor to be addreaaed to 16
Gough Square, Fleet Street, London, B.C.

THE PHOTOGRAPHIC NEWS.

Vc:.. XII. No. bll.—Jubj 31, 1868.

CONTENTS.

PAfilt

Collodlo-Chloride Printing Process 361

On the Restoration of the Negative Film 363

Foreign Miscellanea 363

Sketches of Travel from a Sun-Painter's Portfolio. By Stephen

Thompson 363

On Retouthing Negatives. By Dr Vogel 36.>

Pictorial EOect in Photography. By II. P. Robinson 366

Two Simple and Practical Methods of Printing upon Ivory. By
David Duncan 367

Pina

The Diamond. By James Martin 367

On the Measurement of the Duminous Intensity of Light. By

IVilliam Crookes, F.K.S.. etc 368

Proceedings of Societies— Liverpool Amateur Photographic

Association 370

Correspondence— Removing Silver Stains from Opal Glass —

Washing Machines 371

Talk in the Studio 371

To Correspondents 373

COLLODIO-CIILORIDE PRINTING PROCESS.

It ha.s been our good fortune during the la.st three or four
years to receive from various parts of Continental Europe
and from America many examples of collodio-chloride
printing, and letters of thanks for having given the process
to the public. Some of the most promising examples which
liave come under our notice are those produced on the paper
prepared by Herr Obernetter, of Munich, which maybe kept
sensitive for many months. ^\'e had heard much of excellent
results of this paper, and seen various tine pictures pro-
duced upon it, before we were informed of its precise ;
character; but in the course of some recent interviews with .
Dr. Liesegang, the able editor of the Vhotographisches
Archiv, he informed us that the Obernetter paper, which \
was extensively used in Germany, was simply the result of
an application of our collodio-chloride process. He kindly
gave us various hints based upon his own experience in
working with the paper, which we put to the test in some
experiments mion a sample of the paper submitted to us
for trial, the results of which we shall place before our
readers.

The paper possesses a highly glazed and delicate surface,
possesses about the Siune sensitiveness as excited albumin-
ized paper, and readily receives any tone, from a rich choco-
late tint to a blue-black. According to the information
we received from Dr. Liesegang, the ba.sis is one of the '
orilinary enamelled papers, in which the surface is prepared |
with some white pigment. This is treated with gutta-
percha dissolved in chloroform, and finally with collodio-
chloride of silver. The use of a paper the surface of which
is fonned of a neutral pigment which does not combine
with silver seems to be an essential element in the keeping
qualities of the sensitive paper. In our experiments witli
collodio-chloride of silver we have found that English
papers prepared with animal size most readily discoloured,
whilst a commercial sample of enamelled paper treated
with collodio-chloride of .silver kept in our hands for
upwards of a month without any deterioration whatever.
Certain qualities in the collodio-chloride of silver also
modify the keeping properties of the paper prepared there-
with : of these qualities we shall probably have something
to say shortly.

As a further illustration of the effect of a surface of neu-
tral pigment, as a means of securing keeping qualities
in paper prepared with collodio-cliloride of silver,
we may mention here some examples recently brought under
our attention by Mr. W. II. Smith, who has been giving
some attention to the subject. Some months after the
publication of our collodio-chloride process Mr. Smith
patented a process of printing with gelatino-chloride of
silver, which he has brought to great perfection for print-
ing on wood: he has also tried the same material for

printing on paper, but not with suU’icient success to satisfy
himself. The examples of collodio-chloride printing which
he recently brought under our attention were exceedingly
fine, 'i’lie paper was first preiiared with a neutral white
pigment, china clay having answered best. This pigment,
being mixed with a suitable size, is applied to the paper and
rolled ; this is followed by a coating of a solution of india-
rubber, and then the collodio-chloride is applied. The
paper is found to retain its sensitiveness for some time : an
example placed in our hands for trial was unchanged at
the end of a month. In some cases a slight tint is given
to the enamel surface, and the points of high light being
scratched out in the finished print, the effect of a drawing
in black and white chalk on a tinted ground is obtained.

One of the advantages claimed for the Obernetter paper
is its fitness for development, so that in dull weather
printing is exjicdited. The paper is exposed under a nega-
tive for a minute or two until a mere trace of the image is
seen, and then, on the application of a developer, a vigor-
ous print of fine colour is obtained. The developing solu-
tion proposed consists of —

Gallic acid ^ drachm

Citric acid ... 7 grains

AVatcr ... ... ... ... 2 ounces

After development the print may be toned with the
toning bath recommended for the paper generally, which
we shall state presently, and fixed and washed as usual.

^^’ith the example of the Obernetter jiaper placed in our
hands we produced a score or two of good prints, all pre-
senting a vigorous and rich effect in the printing bath, and
readily assuming in the toning solution a rich deep sepia
tint, or purple brown. The toning bath recommended,
and which wc used, is prepared in tlie stock solutions as
follows : — •

1. In 60 ounces of distilled water dissolve —
Sulphocyanide of ammonium 1 oz. 2 drachms

Hyposulphite of soda ... 45 grains

Bicarbonate of soda ... 15 ,,

2. In 50 ounces of distilled water dissolve —

Pure chloride of gold 30 grains

If the double salts of gold and sodium or pota.ssium are
used, take the double quantity.

The two solutions keep any time. IMix equal parts of
them. The mixture can be used at once. The prints never
become yellow in this bath.

In two to ten minutes the prints are toned. Wash them
in water, and fix in —

Hyposulphite of soda 1 oz. 2 drachms

Distilled water ... ... 32 ounces

Five or ten minutes will suffice.

For washing, two or three hours will be sufficient.

362

THE PHOTOGRAPHIC NEWS. [July 31, 1868

In tlic qualities of delicacy and richness, and the per-
fect rendering of every detail in the negative, nothing
could surpass these prints ; but we nevertheless found
certain drawbacks, not inherent in the process, but due to
traceable causes. The first defect was one to which any
paper sent out ready sensitized must be liable, but to whieh
this paper seemed espeeially sensitive : we mean a ten-
dency to imperfect toning in patches wherever the prepared
surface has been touched by damp or soiled fingers, the
impression of finger marks in many cases being rendered
distinctly visible in the course of printing. Another
difficulty consisted in the liability of the prints to break
or scratch whilst in the various solutions. This appeared
to be due to two causes : the thin and inferior cha-
racter of the paper on which the pigment was applied to
form the enamelled paper. This thin, soft paper quickly
absorbs a good deal of water, and becomes limp ; the pig-
ment on its surface remains, on the other hand, tolerably
waterproof and rigid, and, receiving little support from the
limp paper on which it rests, there is a tendency to easy
breaking or cracking. The final disadvantage is one partly
<lue to the paper and partly to the quality of the collodion
used ; the film in many cases curls from the edge of the
print as soon as the whole becomes perfectly desiccated.
This is not a necessary defect ; we found it occasionally
in our experiments when first working out the collodio-
chloride ]>rocess, and quickly found the remedy in the use
of a less horny and contractile collodion. But even when
this tendency is present from the use of an unsuitable
example of collodion, it may be to a considerable extent
counteracted by mounting the jirints before they arc abso-
lutely and unmanageably dry. Our friend, Dr. Vogel,
who speaks very highly of the paper, states that the addi-
tion of nitrate of soda to the toning b.ath has been found
also to check the occasional tendency of the film to leave
the paper.

In order to secure the best results and to avoid the fail-
ures which commonly attend experiments with a new pro-
cess, certain suggestions and cautions are issued by the
manufacturer of the paper, with a summary of which Dr.
Licsegang kindly furnished us. They run as follows : —

The printing is best effected in diffused light.

'I'hc prints should be wa.shcd in three changes of common
water before toning, and as these waters contain much free
nitrate it should be saved.

Never break the p.aper ; cut it with a scissor or sharp
knife.

In the first washing water the prints curl very often ;
but in the gold bath, if the print side is put downside, they
will become flat again.

Do not put too many prints into the gold bath nor into
the hypo, or they will get red stains.

Cut the prints white they arc in a wet state with scissors,
and mount them directly before they arc dry ; mount with
fresh starch.

'I’he prints obtain their finest beauty by rolling.

Coat with wax varnish.

CAUSE.S OF Failure.

1. The prints become browned in the gold bath, and do not
tone.

Too much hyposulphite in the fixing bath, or the chloride
of gold is not pure. Try whether the gold bath is acid,
and, if so, add bicarbonate of soda until it is neutral. Acid
gold baths do not tone, and makes the collodion film come
off from the paper. If the gold bath is not acid, and does
not tone, the bath does not contain enough gold.

2. The collodion film comes off from the paper.

(a) The paper has been broken.

(A) The prints have not been sufficiently washed before
toning.

(c) The gold bath was aci<I.

(d) The solutions were too concentrated. If the solu-

tions are more concentrated than indicated, the film will
surely come off.

3. The prints have not sufficient gloss.

Coat them with any good enamel varnish. Prof.
Rottger’s, of Frankfort, formula (copal dissolved in
alcohol) is recommended.

We conclude this desultory article on the subject of
collodio-chloride printing by giving a formula as stated by
Dr. Vogel to be successfully used by llerr Voight for
development printing : —

Twenty grains of nitrate of silver are dissolved in an
ounce of alcohol, diluted by a small quantity of water.
The nitrate should be powdered finely ; it will dissolve very
slowly. To the solution is adiled, witli constant agitation,
one ounce of plain collodion containing 2 per cent, cotton,
and half a drachm of an alcoholic solution containing
16 grains of chloride of calcium ; lastly, 1 or 2 drops of a
strong solution of citric acid are added. With this collo-
dion unsized paper is coated in the dark, in exactly the
same manner as a glass plate in the negative process.
When the paper is dry, it is exposed under the negative
until the outlines commence to show, and is developed
with —

Water 1,000 parts

Pyrogallic acid ^ part

Citric acid i i

Add a few drops of silver solution, in case the develop-
ment shoidd progress too slowly. For toning, Obernetter’s
gold bath, with sulphocyanide of ammonium, is used.

ON THE RESTORATION OF THE NEGATIVE
FILM.

In the Photographische Correspondens M. Alois von
Anreiter communicates a method for restoring negatives
injured by the formation upon their surfaces of blisters or
vermicular markings. These defects, which are the result
of exposing negatives to a damp and variable temperature,
or of varnishing the plates before they are thoroughly dry,
M. Anreiter remedies in the same manner as that pointed
out recently by M. Blocde, in the Philadelphia Photo-
grapher, and by Mr. Spiller in this Journal as far back as
August, 1804.

The method prescribed is a very simple one. Instead of
covering the negative with alcohol, and pouring the same
on and off continually until the varnish is removed or
softened, such as was formerly done, the plate is placed in
a bell jar, or supported in a flat earthenware dish, the
bottom of which is covered with spirits of wine, and placed
in a warm locality ; the utensil is covered up, and the spirit
then evaporates and becomes condensed upon the varnished
surface. After a short time the film becomes so soft that
the inequalities on its surface collapse of themselves, or may
be pressed down by means of the finger; if the operation
is prolonged, the whole of the varnish will be dissolved
away, and a fresh coating of the latter must then be applied
when the plate is again dry.

Mr. Spiller’s present mode of operating to remove the
varnish or restore the film of a negative is as follows : — The
plate is placed inside a deep porcelain dish, varnished side
downwards, each corner of the negative being supported by
a small j>iece of cork about an inch in height. A little
methylated spirit, just sufficient to cover the bottom of the
dish, is then poured in, and a piece of blotting-paper some-
what smaller than the negative is moistened with the same
spirit, and placed upon the top of the plate : care must be
taken that the sheet of blotting-paper is not too large, and
that it is merely moistened, and not fully impregnated with
the spirit. The dish is then covered up and placed in a warm
locality, when the spirit evaporating from the blotting-
paper will keep the plate cool, thus favouring the conden-
sation of the alcoholic vapour upon the undermost and
varnished surface of the negative. The dish should neyer

July 31, 1868.]

THL’ PHOTOGRAPHIC NEWS.

363

be placed in a temperature higher than 100'^ Fahr., and
under these conditions forty minutes or one hour will suffice
to moisten the film thoroughly.

On taking the negative from the dish, it is placed face
upwards upon a flat surface, and if the blisters do not go
down of themselves, they are pressed gently with the finger;
or, should they be veritable air-bubbles, pricked carefully
with a pin’s point. The plate must be held occasionally
against the light for inspection, as many of the markings
which are shown by reflected light are invisible when the
negative is regarded as a transparency.

J'orci^w "I'lli.'irdlauGi.

The commission appointed by the French Photographic
Society to award the medals for the year 1867 have pre-
sented their report, in which they recommend the names of
Mr. John Talbot and M. I’Abbe Labordo to receive these
distinctions.

M. Pector, at a recent meeting of the French Photographic
Society, exhibited some pictures printed on matt lepto-
graphic paper, which had been kept untoned and unfixed
for a period of eighteen months in a drawer screened from
the light. Some whitepaper, and prints upon glazed paper
of the same description, had been stored in the same place,
but these were completely destroyed on their immersion into
water.

The Photographische Mittheilungen speaks in high terms
of praise of a work just published bj M. J. Grasshoft' on
retouching photographs. Being practically acquainted
with every branch of the subject, M. QrasshofTs printed ex-
periences should command a wide circulation.

The commission appointed by the Prussian Government
to take note of the forthcoming total eclipse of the sun
includes three photographers, viz., Drs. Vogel, Zenker, and
Fritzsche. These gentlemen left Berlin in the middle of
July for Aden, where they propose to make their observa-
tions.

M. Johannes Bienert discusses in the Archiv the relative
value of certain varnishes, and points out that in many cases
of splitting of films the mode of preserving the negatives is
more at fault than the composition of the varnish. Accord-
ing to his experience he has never known the film.s of any
of his negatives to crack when preserved in a locality of
even temperature, but that when they are stored in glass
studios or light out-buildings where the temperature is con-
stantly changing, accidents of the nature in question are of
frequent occurrence. A varnish which has been patented in
France by M. Hanfstaengl may be recommended very
strongly ; it is thus composed : —

Alcohol 80°
Bleached shellac
Venetian turpentine
Sandrac...

Mastic

..1000 grammes
.. 100

if. Bienert prefers to use in this recipe a somewhat stronger
alcohol than that mentioned, viz., 92° to 93° ; stronger than
this, however, the spirit should not be, as it is otherwise apt
to dissolve away the collodion film. A good varnish, which
may be used with but little warmth, but which should only
be employed for negatives kept in an even temperature, may
be made with —

Ordinary turpentine (thick) ... 16 grammes
Venetian turpentine ... ... 16 „

Sandrac 80

Sugar and camphor, of each ... 1 „

Alcohol 92° 600 „

Finally, M. Bienert gives the formula of a positive varnish
to be rubbed over photographs by means of a small tuft of

cotton wool, and which, notwithstanding its curious compo
sition, is said to impart a beautiful gloss to the prints : —
White wax ... ... ... 11 grammes

Ether ... ... ... ... 32 „

Normal collodion ... ... 24 ,,

Alcoholic solution of white
shellac (not too strong) ... 16 „

Alcohol 8 „

Dr. Liesegang makes a few remarks upon international
photographic nomenclature. He complains that words are
often badly rendered in translations, and that sometimes the
very reverse of the writer’s meaning is expressed. As an
instance. Dr. Liesegang cites the English word “ discoloura-
tion.” which has been translated into decoloration and ent-
fdrbung, signifying bleaching or becoming colourless ; in
this case, if the discolouration of the whites of a print is
being alluded to, the translation is a simple reversal of the
original sense. Other words of a technical nature are often
quite untranslatable, and the doctor therefore suggests that
in order to render such terms intelligible they should be
illustrated by wood cuts, or, better, by original photographs.
As a recent example. Dr. Leisegang alludes to M. Carey
Lea’s article upon “ blurring,” a term which is used by that
gentleman in quite a different sense to what it is employed
by llardwich in his Manual of Photography, and it must
therefore receive a different translation. Dr. Leisegang
suggests the compilation of a German-English-French photo-
graphic dictionary which should contain all the acknow-
ledged terms used in the photographic journals of the differ-
ent countries, and which should, moreover, be copiously
illustrated with photographs.

In the Photographische Correspondenz, Profesaor Pisko
describes Ladd’s new magneto-electric machine, which he
recommends for photographic purposes in connection with
Foucault’s or Serrin’s electric lamp. He states that an appa-
ratus of this description yields, at the distance of one metre,
a light equal in intensity to that of the sun in March
during mid-day.

M. Wendling, in the same journal, contributes an article
on the fading of photographic prints. He lays great stress
on the employment of pure water in manipulating the prints,
and suggests a careful purification of the same prior to its
employment in the toning and fixing operations.

SKETCHES OF TRAVEL FROM A SUN-PAINTER’S
PORTFOLIO.

BY STEPHEN THOMPSON.

No. 2. — Skye Scenery.

Skye is a wraith to the denizens of Cheapside and High
Holborn, and even to the majority of travelled men. It
looms out of the grey mists of the Northern Sea like a
ghost in some wild Norse legend, told by the light of a
dying fire. Skye is like a fossilized sea-king, storm-beaten
and scarred all over with grisly seams and rents. Robed in
cloud wreaths and ever gathering rain-swirls ; the hem
of his sea-bound skirts hollowed out along the shore into
weird-like caves of grotesque and fantastic shape by the worn
weary waves ; grottoes where the night winds sigh and the
kelpies keep court and revel. The entourage is in perfect
keeping with “ the subject.” The grey torn sea that seethes
around “ Macleod’s Maidens,”* with their breasts of foam,
and breaks with wild wolfish leap into the hollow caves
that fringe the shore between Loch Scavaig and Loch
Slappin, is not more savagely picturesque than the dark
splintered peaks of the Cuchillin Mountains. Riven and
split in every direction, their serrated crests have an out-
line as sharp and jagged as a saw, and their craggy ledges
foster the callow eaglet still. The “beauty of repose” is
the antithesis of Skye. Ever the wind blows and the

• Three spires of rock rising sheer out of the sea on the coast of Skye
and shaped like women.

36

THE PHOTOGRAPHIC NEWS.

[July 31, 1868.

fleecy vapours gather around “ Blaavin ” and “ Coruisk,”
and break and reform into solid phalanx, and break again
like armed hosts on a fiercely-contested battle field. 'J’he
untempered breeze that always ends each gust with a swirl
of rain on your unprotected head, is the, same as that which
played amid the yellow locks of the Vikings! Visions ol
storm-tost Norwegian gallcM’s bearing the banner of King
Ilaco, or Torquil, or Sigurd, naturally fill the loreground.
The very names of rock and headland, from Vaternish to
Trotternish, tell of other and earlier associations than oars.
The Norse element is uppermost — a leaven that leaveneth
the whole mass. The boatman, as he rows, sings you long
interminable Gaelic songs embodying Norse legends, melan-
choly in their monotonous chant, but which have taken his
imagination captive in boyhood, over peat fires in Skye-
botliys on drear winter nights, and will never leave him
more. The very pipes, for which Skye boasts a rude college,
though they can sound a love song, seem only to speak when
raising the wailing coronach or the impetuous battle march.

Sea-birds perch on every crag by the shore, and eye your
camera with a shy and puzzled look. Cormorants and cur-
lews scream around you and fly across your field of view.
You grow familiar with Solan geese and the lonely scart with
outstretched neck and attenuated wing; sea swallows abound,
with their keen restless eye ; and even seals sometimes dis-
port themselves before your eyes. You will see, too, the
golden eagle wing his majestic flight: where else more
fittingly, if the Laureate paints from nature?

“ Ho cla.sp.s tho crag with hooked hands,

Close to the sun i>t lonely lands,

Rinf'od with the azure world he stands.

The wrinkled sea beneath him crawls ;

He watches from the mountiiin walls ;

And like a thunderbolt he falls.”

At certain seasons it is never dark here. I have been out
on the hills all night, and the northern lights glowed till
dawn, like

“ As mournful light
That broods above the fallen sun.”

There is something strange and abnormal even in the out-
line of some of the mountains — “ Glamaig,” and especially
its companion, the monstrous " Marsco," where Hilda, the
Scandinavian Princess, was laid, after death, with her face
turned towards Norway, that her spirit might have rest.

“ I wept out all my tears. Amongst my kind
I cannot sleep ; .so upon Marsco’s head.

Right in the pathway of the Norway wiud,

See thou and mase my bed.

And upward to a sea-o’erstaring peak.

With lamentation was the Princess borne,

And, looking northward, left with evening meek
And ficry-shooting mom.”

Here, then, within two days’ sail of the Broomielaw at Glas-
gow is a new sensation for the blase tourist ! The Pyrenees
are more beautiful ; the Alps more picturesque (and of a
height beside which no Scotch mountain can be named, and
comparisons are odious) ; but Skye and the Cuchillins are
unique — a wild desolate ]>icture to hang in your mental
gallery — full of the wild- flavoured poetry of a bold restless
race, beside which our own seems effeminately tame. A
London swell — no ; for some of them can climb a big Alp or
steer a yacht with any one — say, rather, a Parisian exquisite
in tight pantaloons and black shiny sticking-plaster boots,
would find himself not simply in a foreign country, but in
another world — the first stage on the way to Hades.

I believe it may be said that the wildest and most histo-
rically interesting part of Skye had never before been photo-
graphed ; indeed, it is almost impossible to do it, and but
for a lucky termination of a most hazardous venture, my own
fate would be best described by the homely but graphic
simile of a dog coming home with his tail down. There is
no place for your base of operations other than the shelter
aft'orded by the little inn in Glen Sligachan, and the mere
excursion thence to the Cuchillins, and the scenery of the
Lord of the Isles, occupies*the whole of a long da}', and leaves

no time for photographing. Thus, through Glen Sligachan
to Camasunary, four hours; thence by boat (10s.) round to
Loch Goruisk, one and a half hours ; allow for stoppage.^,
launching boat, &c., say another hour : — total, six and a half
hours. The same time is occupied in returning, making
altogether thirteen hours. By using dry plates and starting
very early, enough time might be gained for exposing them,
though not for much selection of points of view. But the
scenery, with its every-varying cloud and rain-swirl, is just
that most difficult to render satisfactorily by a dry proces.«.
Hazardous as it wa-s, after ascertaining as a matter of cer-
tainty that there was one human habitation where I might
find shelter at Camasunary, and be nearer the “ Cuchillins”
than in Glen Sligachan, 1 determined, to the consternation
of some of the passengers, on being landed from the steam-
ship at Loch Scavaig, and trusting to the resources of an
old mountaineer. Accordingly, I was landed in a small boat
on the spot described in the Lord of the Isles as that where
the Bruce landed —

“ Where a wild stream with headlong shock
Comes hniwling down a hod of rock,

To mingle with the main.”

The silence and solitude of the place were most oppressive.
After scrambling over some large boulders and crags, I hid
my cases of apparatus in one of those caves such as abound
nearer Prince Charles’s Cave — where he was hidden by Flora
Macdonald — and Bloody-Kose-Point (which last ought to be
painted by Telbin for a sensational drama), and then essayed
the scramble round the rocky shore towards the solitary farm-
house. After proceeding some distance I reached a point
inaccessible to the foot of man in the (at that time), state of
the tide, but was greatly relieved by finding a boat with
some queer specimens of the old Gael, who volunteered to
take me to Camasunary Bay for “ ten shillin’,” nearly all
the English they could muster, I objected, and finally made
a bargain for “six shillin’.” A place was made for “the
gentlemans” amid a lot of old crones and children, whoso
clothing may be described as nothing in particular; a bit of
ragged tartan wrapped round their middle and secured with
— well, a bit of string. The children eyed me curiously,
and scanned my costume, particularly the buttons of my
coat, as if they had never seen any civilized being before.
After landing and reaching the little roof seen from the
steam-packet in the morning, imagine my horror on finding
it uninhabited! Some repairs were being made, and the
family had migrated for the time. However, an old gillie
who had been there for some purpose came to the rescue, and,
after a long corobbor}’, I elicited that if 1 could cross the
hills I should find in the lone district of Strathaird an
equally lone house — Dr. McAlister’s — where I might obtain
shelter. The hills looked formidable in the gathering rain-
mist, but there was no choice, and girding up my loins like
an antique, and donning a modern mackintosh, I commenced
the ascent. After an hour or so the rain became heavy, and
the mist thickened so much that it was almost impossible to
keep the track. I lost it repeatedly, but after reaching tho
highest point caught one glimpse, and but one, of a white
building far away. This reassured me. To keep the sheep-
track was impossible in the waning light, so I struck off
through bog and slush, as the crow flies, in the direction
where I had caught a glimpse of a roof with my gloss,
oblivious of everything but reaching it before darkness closed
upon me, knowing well, by former experience, the danger of
a night on the moors. Again imagine my feelings a:ter a
long tramp, with the nervous system braced up to a degree
of tension that rendeis it super-sensitive, to find, on reach-
ing the point to which my instincts and not my vision had
safely led me, that it was but the white walls of an aban-
doned kirk, desolated, like many others, by the disruption in
’-13, when the great emigration of pa.stors, with — in some
ca.ses — their whole flocks, to Canada took place. I cannot
say that my heart sunk within me, or that anything sensa-
tional took place, but I felt queer, though believing 1 should
get through it somehow, although the how was^not then

Jci-Y 31, 18G8.]

THE PHOTOGRAPHIC NEWS.

365

very apparent. Again I struck out ; tins time following “ a
burn,” in roiuetnbrance of an old Highlander’s advice given
me twenty years before, under somewhat similar circum-
stances, in the Perthshire Highland ; " Follow a burn, sir ;
always follow a burn ; it’s sure to lead to some place of abode.”
It did lead, indeed, to a rude bothy, where two old hags
were sitting, like the witches in Jlacbcth, over a pot above
a peat tire, but silent and contemplative. From them I
learned the way to Dr. McAlister’s, of “Strathaird,” men-
tioned by Sir Walter Scott in his Notes to the “ Lord of the
Isles.” A real Highland welcome awaited me, and dry clothes
in exchange for my dripping garments, and the pleasure of
cultivated society, for the doctor’s house is a kind of sana-
torium for officers and others who may have suffered from the
effects of climate or a too free indulgence in the pleasures of
the mess-table ; and in this lone retreat from all temptation 1
found Crimean and Indian officers, who had regained that
health amid the wilds of Skye which they had sought in
vain elsewhere.

My way was now clear. The pressing invitation of the
worthy doctor to make his house my base of operations, as it
was so much nearer than the inn in Glen Sligachan, made
the scenery of Loch Coruisk and the Cuchillins un fail
accompli. The doctor’s Skye ponies conveyed us over the
hills each day, and boats awaited us thence to Loch Scavaig.
Captain L. and Captain B. made pleasant what would other-
wise have been a physical impossibility ; Malcolm was the
best of gillies ; Ronald the best of ponies — when you let
him have his own way, which sometimes brought him to
grief. What fishing and what photographing wo had!
Wet through were wo nearly every day, and sometimes
unable to effect a landing on the rocks for the surf and swell ;
but what matter? a warm welcome always awaited us, and sea-
water never inflicts cold. That seal we just missed shooting ;
that eagle which passed so irear ; that tremendous sea we
shipped, and spoiled the tobacco and cigars, were all after-
wards pleasant recollection.s. Night-fishing was popular
and exciting. Captain L., after a successful night on Rat
Island, planned a night at Loch Coruisk. JIalcolm collected
drift-wood for a bivouac fire by a cave thereabouts the day
before, and provender sufficient was taken at the time.
Talk of a formal London dinner party ! — that night, by the
lonely shores of Loch Coruisk, under the shadow of the
“ Coolins,” was something to be remembered for evermore.
A successful day, both with fish and negatives, was closed
by a night with nature in her wildest aspects. Around us
was the scene which Scott makes Bruce describe : —

“ The good Bruce to Ronald said,

‘ St. Mary ! what a scene is here !

I’ve traversed many a mountain strand,

Abroad, and in my native land.

And it has been my lot to tread
Where siifety more than pleasure led ;

Thus many a waste I’ve wandered o’er,

Clombe many a crag, crossed many a moor :

But, by my halidame,

A scene so rude, so wild as this.

Yet so sublime in barrenness,

Ne’er did my wandering footsteps press.

Where’er I haf^ to roam.’ ”

The night was fine, and the echoes for which this place
is remarkable sounded still more strange. A gun fired gave
a prolonged reverberation like the noise of the Dutolimen’s
bowls heard by Rip Van Winkle in Sleepy Hollow. The
Alma was reascended by the light of a bivouac-fire of drift-
wood, amid the smoke of cigars and tobacco. Such a
summer night was all too short, and long before we were
wearied of it, Coolin’s Cliffs glowed red in the morning
sun.

But all things must come to an end, and the moment of
my departure, too long delayed by the urgent hospitality
of the whole party, at length arrived. After another day
like the preceding ones, a late dinner, an evening cigar, and
Malcolm was ordered to have the horse and dog-cart ready
at twelve p.m. for a long midnight ride through the
mountains to Broadford Bay, to catch the Hebridean steamer

at five a.m. going south. One brought a rug, another a
walch-coat that had done duty in many campaigns, another
cigars, another something else, and, amidst hearty farewells
and real regret, the horse’s head was turned southward. The
night was chilly, and the huge hills stood out dim and
mysteriously on either hand, except in one quarter, where
the Aurora Borealis glowed like a reflection from some great
conflagration until morning dawned. In no part of the
Alps or the Appenines have I seen a sunrise to exceed in
beauf}'- that wlr'ch spread itself above the Rosshire Hills on
that morning. The steamer stood in for the bay soon after-
five p.m., and, with a good-bye and a gratuity for Malcolm,

I jumped into the boat waiting to take me to the packet.
Another long day of dreamy quietude while steaming
along the co.ast and through the Western Islands, and late
at night the red lights streaming across the bay told mo wo
were going into Oban.

o

ON RETOUCHING NEGATIVES.

BY DR. VOGEL.

[A re rent number of Dr. Vogel’s Mitlheilungen contains
two prints from a pair of card negatives of the same person
at the same time: one negative is touched to remove freckles,
spots, and physical imperfections, and the other left in its
natural photographic state. The improvement effected by
working on the negative, without in any degree altering
the likeness, is very great indeed. We subjoin a conden-
sation of Dr. Vogel’s article on the subject.]

There was a time when photographers used to take a
pride in furnishing untouched pictures, and were apt to
regard with feelings of disdain any photograph which re-
quired subsequent mending or beautifying.

The object to be fulfilled in retouching is to rectify
inherent faults in a picture. These faults, or imperfections,
are of two kinds, viz., those produced through the ignor-
ance and carelessness of the photographer, from insufficient
illumination, faulty exposure, bad manipulation &c., and
those which may be said to be inseparable from the art of
photography, which, as the painter justly observes, gives
too much detail, and renders the unimportant points of a
picture with as much force' and vigour as the important
ones; moreover, in the reproduction of lights and shadows
photography is sometimes guilty of exaggeration, depicting
the former too glaringly, and the latter too darkly, and
when different colours are included in the picture, often
reversing the order of their brilliancy. For the first named
imperfections the photographer is alone responsible, and
retouching for the purpose of covering up these faults is
certainly a practice to be deprecated ; on the other hand the
employment of a method capable' of correcting blemishes
inherent to the art itself is quite as justifiable as the sub-
sequent finishing process to which an engraved copper plate
is subjected prior to its deposit in the printing press.

As M. Gras.shoff remarks in his recently-published work
on retouching, the rectification of faults may be brought
about either by a previous treatment of the original object,
prior to its being photographed (as, for instance, by powder-
ing or covering up dark spots with ultr.amarine), or the
modification may be effected upon the negati've or the posi-
tive. There are, therefore, three kinds of retouching ; viz.,
the original, the negative, and the positive methods; the
last being the least recommendable on account of its being
the least permanent. Pictures improved by this method are
affected by simple rubbing, whereas retouching by the other
processes secures positives which arc as permanent as per-
fectly untouched photographs, inasmuch as any improve-
ments which may have been effected arc copied into the
paper; Besides, in using the positive retouching process the
work has to be repeated for every separate print, while one
retouched negative will yield several hundred serviceable
positives. For this reason the negative process is most
frequently practised, and has been in vogue in some estab-
lishments as long as fifteen years. Rabending, of Vienna’

THE PHOTOGRAPHIC NEWS.

3C(j

was the first to call public attention to the luetliod, and
although it is still regarded by many photographers with
some contempt, this mode of retouching is extensively
employed.

With reference to the technical elaboration of the nega-
tive retouching method, M. Lindner [the photographer who
furnishes the illustration] remarks ; — “ The retouching takes
plaee upon the varnish. In several experiments of retouch-
ing, undertaken upon the plate prior to its being protected,
I remarked that the subquent application of the varnish
altered the opacity of the material employed, whether it was
blaeklead or colour, in the same manner as the negative
itself is altered. The operation may be performed in two
ways ; the easiest and quiekest method being to employ a
blaeklead pencil (Faber’s No. 3 or 4, according to the coin-
positiou of the varnish) for the purpose, and where the
intensity of the lead is not sufiiciontly great, to cover up
with darker colours. A negative retouched in this manner
does not, however, possess anything like the delicacy and
brilliancy of one manipulated with a pigment possessed of
light-covering properties, yielding an uniform film, — as, for
instance, a mixture of Chinese white and sepia. As the
colour must be laid on in a dry state, and very sparingly,
:t is necessary to work with a soft brush, as a hard one would
require a considerable amount of moisture to render it sufii-
ciently pointed for the purpose. As a support 1 use the well-
known transparent retouching plate.”

“ This is the whole of the process as seen from a technical
point of view; as regards artistic finish there is naturally
plenty of scope for one's talents. For instance, tlie outline
of the nose may be improved, the eyes may be opened wider,
the mouth may be curtailed (by skilful covering up of the
corners), further improvements being afterwards made iqion
the positive, if desired. The lights may likewise be modified
by the application of colour to the glass surface of the nega-
tive, and the shadows softened down ; the latter being well
effected by the employment of carmine. Details in the
drapery, the hair, or background, may also be effected.”

According to M. Lindner’s process, then, it will be seen
that not only is it possible to correct any faults which may
arise in photography, but it is likewise possible to cover up
any imperfections existing in the original. Large noses may
be made small, dark spots may be lighted, old women may
be made young, and, in fact, the method may be regarded as
a perfect “ Adonising process indeed, so effective is it, that
if extensively applied in studios, ladies of doubtful age
might always be asked the question how old they desire to
appear in their pictures, whether above or under fourteen
yearn of a^e. We will not, however, recommend the carry-
ing too far of auy retouching process which, while it may
gratify the vanity of the public, and thereby help to lill the
pockets of the artist, fails to reproduce the trutli.

PICTOIUAL EFFECT IN PIIOTOGUAPII Y ;

Beino Lessons in

Composition and Chiaroscuro for Photooraphers.

BY II. P. ROBINSON.

Chapter XXVII.

“ The highest finish is labour in vain, unless, at the same time, there be
preserved a breadth of light and shadow. It is a quality, therefore, that is
more frequently recommended to students, and insisted upon, than any other
whatever ; and, perhaps, for this reason, because it is most apt to be neg
lected, the attention of the artist being so often entirely absorbed in tlie
detail." — SiB Joshua Key.n'olds.

Chiaroscuro — (continued).

The light and shade of a landscape cannot be materially
altered by the photographer, nor is it necessary that lie
should do so ; but the chiaroscuro of nature is so continually
changing that he may select the effect that gives the most
pleasure to the educated eye. A few sketches of .the arrange-
ments of light and dark as employed by the best artists
may assist bim in making his selection.

Jt is desirable that all lights should have a focus, just as
light falling on a globe is more brilliant on one small spot

[July 31, 18G8.

than on any other part; and all lights in a picture should
be treated as parts of a whole, and subordinated in various
degrees to the principal light. Fig. I represents a simple
form of chiaroscuro much used by many artists. In thio

1.

arrangement the highest light is opposed by the darkest
dark, and the light fades away in every gradation of middle
tones. The two extremes assist each other by contrast, and
produce a most forcible and startling effect, with great
breadth. It will be found in tlie works of Bonington,
Collins, Cuyp, Both, and many other painters of coast and
Hat scenery, to which it is well adapted. Jlany admirable
examples — especially by Collins — may be seen in tlie South
Kensington ^luseuin. The reverse of this, in which dark
takes the place of light, is shown in fig. ‘2. This effect may

Fiff. 2.

often be noticed in moorland scenery or in a flat country,
when the clouds graduate upwards from a dark horizon.
The shadow of a cloud may be thrown over the distance,
while the foreground may be illuminated by intense sun-
light; or the effect may be caused by belts of trees. How-
ever produced, the effect is very beantiriil, and is one that,
now greater attention is paid to passing effects and the sky,
may be easily produced in photography. In this arrange-
ment a ma.ss of extreme dark in the light part of the fore-
ground will he found invaluable ; or, still better, a figure
or other object in which is combined the extremes of black
and white. This will be found to throw the re.st of the
picture — consisting of gradations short of black and white —
into harmony, by creating a focus, as it were, more bril-
liant, and overmastering the other lights and darks in the
picture. Turner’s ‘‘Teincraire ” is an example of this form
of composition.

In figure 3 the darkest shade is relieved by a light object,
and the highest light by the principal spot of dark.
Burnet, in writing of a similar design, says : — “ If a
diagonal lino be drawn through the picture, and the extreme
dark and extreme light bo placed at opposite sides, we must
of necessity have the greatest breadth of effect. If a balance
or union between the two sides be wished, there is no other
way but by borrowing a portion of the one and exchanging
it for a portion of the opposite ; and not only may this prae-

JOLY 31, 18G8.]

THE PHOTOGRAPHIO NEWS.

367

tice be made use of for the harmony of the whole, but the
light and the shade will be thus rendered more intense by

Fig. 3.

the force of opposition. Now, whether the dark which is
carried to the light side bo very small or very large, and
vice versd, we have the groundwork of some of the most
powerful and most natural eftects. If the light is placed
near the horizon — as in evening skies, for example, such as it
frequently is in Cuyp — we see it rising upward until lost in
middle tint in the upper part of the picture, and the middle
tint descending into shadow by means of trees, figures, &c.,
thus making a sweep round the picture, and thereby afford-
ing the greatest opportunity for breadth of effect. If the
two extreme points are connected by intermediate figures, so
as to form but one group, we have the greatest firmness, as
the light part of the group will be relieved by a dark ground,
and the dark part of the group by a light ground ; if we
pursue the contrary practice, and place the dark part of the
group on the dark ground, wo have more breadth and soft-
ness of effect. There is no want of examples in nature or
in pictures to warrant our following either mode.”

It is, perhaps, necessary to state that the illustrations
are purposely exaggerated to show the effect more clearly,
but the truth of nature should never be violated to produce
an effect. Photography gives facilities for approaching suf-
ficiently near to the rules of art without that. Midnight
shadows should never be mixed with the light of day, even in
painting, although it has been managed with great effect by
some great masters of the art — Tintoretto and Carravaggio for
instance. Leslie says : “ This is the boldest fiction of chiaro-
scuro. but it is generally managed by the painters I have
mentioned with such address that it silences criticism, and
forces us to admire, whether we can approve or not. All
that can bo said in its defence is, that the elements of such
a combination are from nature, though united as nature does
not unite them. Conventionalities like this must be for-
given to genius, but I do not think they are to be recom-
mended to imitation ; and in saying so I have no fear of
repressing the daring of genius, for genius — such as the
men I have mentioned po«es.sed — will always have its own
way. Great ability may, however, exist short of theirs ; and
I would gladly repress all who p::rse.ss it from attempting
things which the success even of greater painters cannot
entirely sanction. And there is much need of this caution,
because it is far more ea.sy to imitate exaggeration of effect
than to make simple truth so impressive as it has been made
by Paul Veronese, by Claude, and by the best painters of
the Dutch and Flemish schools, including Rembrandt, when
he pleased to be included.”

Photographers, therefore, must never rely on the excuse
for departing from nature, ” Painters did it thus.” They
must not defy, but court criticism — leaving themselves at
liberty to reject it if it is obviously wrong — and they must
rely on nature for success. Photographers even of “ daring
genius " cannot afford to depart from nature, as these old
painters did, partly because nature is a sure guide, and
partly because it has not yet been settled what “ daring
genius ’’ — as far as it applies to photography — really is.

THE DIAMOND.

BY JAMES MARTIN.*

A FEW practical hints and observations may now, perhaps,
prove of service to those of your readers who may have occa-
sion to use the diamond as a tool for cutting glass tor photo-
graphic or other purposes. The diamond used for this pur-
pose is, as I have said before, generally of the spheroid variety,
as being the hardest, and is used in its natural state. Polished
diamonds are useless ; they will scratch, but not produce a
clean cut ; and so with all other gems or crystals. The only
hand diamonds used by glaziers are the plow and the swivel ;
the latter is that usually employed ; it is, I believe, more
costly than the former, but far easier of application. The
form of the swivel diamond is so well known as to need no
illustration. Its parts consist of the shank or handle (some-
times called the stick), the ferrule, and the steel swivel upon
which the diamond is set, and which turns to enable the
workman to lay the diamond rightly. The great secret of
being able to cut with a diamond lies in observing the
angle at which the bottom of the swivel inclines, and keep-
ing this, when cutting, perfectly parallel with the face of
the glass to be cut. The angular form of the facets of the
diamond varies greatly, and must therefore influence the
slope at which it can cut ; the bottom of the swivel is sloped
accordingly, and acts as a guide. A good diamond, well
used, will cut so thoroughly through a piece of glass that
t will fall in two without pressure from the hands. The
cause of the fracture of the glass at times not following the
cut made by the diamond, and so spoiling the work, is from
the workman not keeping the diamond at an equal slope from
beginning to end of the cut ; and also may be caused by un-
equal pressure. It is found that the diamonds used by some
cannot be used by others. The bones of the shoulder, the
elbow, and wrist are not set alike in all men, and have some-
thing to do with this, also their particular habits of motion,
arising in great measure from their different callings; but 1
believe, by practice, any good diamond can be used by any
one ; but it is better to purchase such an one as suits the
usual habits of the hand of the purchaser, and never to per-
mit its use by any one else, or it will soon need resetting,
and perhaps become worthless, as all diamonds have not
got more than one cutting facet.

I have heard many complaints about deception being
practised by dealers in glaziers’ diamonds, but do not think
that any respectable house would be guilty of it. Before
purchasing, the diamond should be examined with a strong
magnifying lens, to see that it has not been chipped or split
by a fall. The setting should be looked to. It should then
be tried on a piece of glass, and the cuts made examined, to
see that it cuts deep and clean without scratching. If (say)
half a dozen clean deep cuts, the glass afterwards separating
readily, can be made witli a diamond right off, I do not
think its suitability and usefulness need be feared. Diamonds
are sometimes set in the handles of pocket knives, and are
very portable and convenient for amateui-s. Diamonds are
set of different sizes, according to the thickness of glass to
be cut. Thus the plate glass or flush diamond is of large
size, while the one used for cutting thin microscopic glass
is small. There are also what are termed circular diamonds,
and diamonds cutting upon movable circular tables, used for
cutting glasses for magic lantern slides, clocks, &c. Ovals
are also cut generally by shapes applied upon the glass, but
are sometimes executed by machinery,

-o

TWO SIMPLE AND PRACTICAL METHODS OP
PRINTING UPON IVORY.

BY DAVID DUNCAN

Ivory is difficult to manipulate for photographic purposes,
and success has been rare except in the hands of a few skil-
ful votaries of the art. Having succeeded with the follow-

* Continued from p. 282.

368

THE PHOTOGRAPHIC NEWS.

[JoLY 31, 1868.

ing, I add my mite to photographic lore. Profes-sional
secrecy I regard a.s wrong. “ There i.s that scatlereth, and
yet increasoth.” One grain of wheat may produce sheaves,
and thousand.s of shot may be got from a lump of lead.

CoLLODio-CiiLOEiDS PROCESS. — Very much depends upon
the ivory liaving a smooth or polished surhice. There are
various methods of obtaining this. A nice surface can be
obtained by rubbing the ivory with a piece of wa-sh-leather,
occasionally dipped in putty powder. When polished, im-
merse the ivory in a thin solution of spirit varnish, and
dry gently over a gas stove or before the fire. Any kind of
varnish will do that is white and clear. Then prepare the
following : —

French gelatine ... ... ... 1 drachm

Water ... ... ... ... 1 ounce

Loaf sugar ... ... ... J drachm.

Coat one side of the varnished ivory (the polished side) by
pouring collodion fashion, or with a camel-liair brush. The
gelatine solution should be strained through fine muslin, or
filtered through cotton wool, until very clear. When dry,
coat with collodio-chloride of silver in the dark room ; dry,
and print deep ; wash, either under the tap or in a flat dish.
Any old toning bath will do to tone the picture. Fi.v in a
weak solution of hypo ; say, —

Hyposulphite of soda ... ... ounces

Water ... ... ... ... 20 „

Very beautiful pictures can be obtained by the above.

Puoto-Diapiiasie Process. — The following is interesting,
and the results are beautiful, but it is difficult to manage.
Procure albuminized transfer paper — that made expressly
for photo-diaphanie ; float five minutes on —

Nitrate of silver . . ... ... 120 grains

Water ... ... ... ... 1 ounce.

Print in the sun. if possible, and until the high lights are
well covered. The right amount of printing required can
only be judged by experience. Wash, and tone in —
Distilled water ... ... ... 10 ounces

Pure chloride of gold 15 grains.

It will take some time to tone. When toned, wash, and im-
merse the picture in a saturated solution of hyposulphite of
soda for five minutes. Now wash in several changes of
water until the albumen film upon which the picture is
printed loosens itself from the paper. When detached, the
film floats on top of the water as a delicate transparency.
The polished ivory is now brought under the film in the
water, and gently arranged by the fingers. The picture,
after coming from the water, is placed between smooth note-
paper, inserted in a book, and left until drj'.

The absolute method is, of course, the most desirable ; but as
(ho preliminary researches and discoveries are yet to be made,
before a photometer, analogous to a tliermomeler iu fixity of
standard and facility of observation, could be devised, the reali-
sation of an absolute light-measuring method appears somewhat
distant. The path to be pursued towards the attainment of this
desirable object appears to be indicated in the observations
which from time to time have been made by Becquerel, Hers-
chel. Hunt, and others, on the chemical action of the solar rays,
and the production thereby of a galvanic current, capable of
measurement on a delicate galvanometer, by appropriate ar-
rangements of metallic plates and chemical baths connected
with the ends of the galvanometer wires.

-Many so-called photometers have been devised by which the
chemical action of the rays at the most refrangible end of the
spectrum have been measured, and the chemical intensity of
light tabulated by appropri.ate methods ; and within the last few
j’ears Professors Bunsen and Roscoe have contrived a perfect
chemical photometer, based upon the action of the chemical
rays of light on a gaseous mixture of chlorine and hydrogen,
causing them to combine with formation of hydrochloric acid.

But the measurement of the chemical action of a beam ot
light is as distinct from photometry proper, as is the thermo-
metric registration of the heat rays constituting the other eml
of the spectrum. What we w’ant is a method of measuring the
intensity of those rays which are situated at the intermediate
parts of the spectrum, and produce in the eye the sensation of
li ■ ■ ■ ■ ■ ■ - - -

ON THE ME.A.SUREMENT OF THE LUMINOUS
INTENSITY OF LIGHT.

BY WILLIAM CROOKES, F.R.S., ETC.

The measurement of the intensity of a ray of light is a problem
the solution of which has been repeatedly attempted, but with
less satisfactory results than the endeavours to measure the
other radient forces. The problem is susceptible of two divi
sions — the absolute and the relative measurement of light.

1. Given a luminous beam, wo may require to express its in
tensity by some absolute term having reference to a standard
obtained at some previous time, and capable of being reproduced
with accuracy at any time in any part of the globe. Possibly
two such standards would be necessary, differing greatly in
value, so that the space between them might be subdivided into
a definite number of equal parts ; or the same result might,
perhaps, be obtained by the well-known device of varying the
apparent intensity of the standard light by increasing and
diminishing its distance from the instrument.

2. 'Ihe standard of comparison, instead of being obtained
once tor all, like the zero- and boiling-points of a thermometer,
may be compared separately at each observation ; and the pro-
blem then becomes somewhat simplified into the determination
of the relative intensities of two sources of light.

lit and colour ; and, as previously suggested, there is a reason-
able presumption that further researches may place us in posses-
sion of a photometric method based upon the chemical action of
the luminous rays of light.

The rays which effect an ordinary photographic sensitive
surface are so constantly spoken of and thought about as the
ultra-violet invisible r.ays, that it is apt to be forgotten that
some of the highly luminous rays ot light are capable of
exerting chemical action. Fifteen years ago* the writer
was engaged iu some investigations on the chemical action
of light, and he succeeded in producing all the ordinary
phenomena of photography, even to the production of good
photographs in the camera, by purely luminous rays of light,
free from any admixture with the violet and invisible rays.
When the solar sixjctrum, of suificieut purity to show the
principal fixed lines, is projected for a few seconds on to a
sensitive film of iodide of silver, and the latent image then de-
veloped, the action is seen to extend from about the fixed line
G to a considerable distance into the ultra-violet invisible rays.
When the same experiment was repeated with a sensitive sur-
face of bromide of silver instead of iodide of silver, the result of
the development of the latent image showed that in this case
the action commenced at about the fixed lino 6, and extended,
as in the case of the iodide of silver, far beyond the violet. A
transparent cell, with parallel glass sides, one inch across, was
filled with a solution of 25 parts of sulphate of quinine to 100
parts of dilute sulphuric acid ; this was placed across the path
of the rays of light, and photographs of the spectrnm were again
taken on iodide of silver and on bromide of silver, the arrange-
ments in all cases being identical with those in the first cited
experiments, with the exception of the interposition of the
quinine screen. The action of the sulphate of quinine upon a
ray of light is peculiar ; to the eye it scarcely appears to have
any action at all, but it is absolutely opaque to the ultra-violet,
so-called chemical rays, and thus limits the photographic action
on the bromide and iodide of silver to the purely luminous rays.
On developing the latent images it was now found that the
action on iodide of silver was confined to a very narrow lino of
rays, close to the fixed line G, and in the case of bromide of
silver to the space between b and G. Designating the spaces
of action by colours instead of fixed lines, it was thus proved
that, behind a screen of sulphate of quinine, iodide of silver was
affected only by the luminous rays about the centre of the indigo
portion of the spectrum, whilst bromide of silver was affected
by the green, blue, and some of the indigo rays.

It is very likely that a continuance of these experiments
would lead to the construction of a photometer capable of mea-
suring the luminous rays ; for although bromide of silver
behind quinine is not affected by the rod or yellow rays, still it
is by the green and blue ; and as the proportion of red, yellow,
green, and blue rays is always invariable in white light (or the
light would not be white, but coloured), a method of measuring

• The Journal of the PKotografhic Society, voL 1,

July 31, 1868.]

THE PHOTOGRAPHIC NEWS,

369

the intensity of one set of the components of white light wonhl
give nil the information we want ; just as in an analysis of a
definite chemical compound, the chemist is satisfied with an
estimalioi of one or two constituents only, and calculates the
others.

iMcthovl based upon the foregoing considerations would supply
us with what may be tenuoil an absolute photometer, the indi-
cation of which would be always the same for the same amount
of illumination, requiring no standanl light for comparison ;
and pending the development of experiments which the writer
is prosecuting in this direction, he has been led to devise a
new, and, as ho believes, a valuable form of relative photo-
meter.

A relative photometer is ojie in which the observer has only
to determine the relative illuminating powers of two sources of
light, one of which is kept as uniform as possible, the other
being the light whose intensity is to bo determined. It is
therefore evident that the groat thing to bo aimed at is an
absolutely uniform source of light. In the ordinary process of
photometry the standard used is a candle, defined by Act of
Parliament as a " sperm candle of six to the pound, burning at
the rate of 120 grains per hour.” This is the standard from
which estimates of the value of illuminating gas are deduced,
hence the terms *• 12-candle gas,” “ M-candle gas,” &c. In his
work on “ Gas Manipulation,” Mr. Sugg gives a very good ac-
count of the ditliculties which stand in the way of obtaining
uniform results with the Act of Parliament candle. A true
sperm candle is made from a mixture of refined sperm with a
small proportion of wax, to give it a certain toughness, the pure
sperm itself being extremely brittle. The w’ick is of the best
cotton, made up into throe cords and plaited. The number of
strands in each of the three cords composing the wick of a six-
to-the-pouud candle is seventeen, although Mr. Sugg says there
does not appear to bo any fixed rule, some candles having more
and others les.s, according to the quality of the sperm. Sperm
caudles are made to burn at the rate of one inch per hour, and
the cup should bo clean, sraootb, and dry. The wick should bo
curved slightly at the top, the red tip just showing through
the flame, and consuming away without requiring suufling. To
obtain these results the tightness of the plaiting and size of the
wick require careful attention ; and as the quality of the sperm
differs in richness or hardness, so must the plaiting and number
of strands. A variety of modifying circumstances thus tend to
affect the illuminating power of a standard sperm candle.
These difficulties, however, are small, compared with those
which have resulted from the substitution of paraffine, &c., for
part of the sperm ; and Mr. Sugg points out that candles can
be made with such combinations of stearine, wax, or sperm, and
paraffine as to possess all the characteristics of sperm candles,
and yet be superior to them in illuminating power ; while, on
the other hand, candles made from the same materials other-
wise combined are inferior. When, in addition to this, it is
found that candles containing paraffine require wicks more
tightly plaited and with fewer strands than those suitable for
the true sperm candle, our readers will be enabled to judge of
the almost unsurmouutable difficulties which beset the present
system of photometry.

But assuming that the true parliamentary sperm candle is
obtained, made from the proper materials, and burning at the
specified rate, its illuminating power will bo’found to vary with
the temperature of the place where it has been kept, the time
which has elapsed since it was made, and the temperature of
the room wherein the experimeatis tried.

The Rev. W. R. Bowditch, in ms work on “ The Analysis,
Purification, &c., of Coal Gas,” enters at some length into the
question of test-candles, and emphatically condemns them as
light measures ; one experiment quoted by this author showed
that the same gas was reported to bo 14’63 or 17'36 candle gas,
according to the way the experiment was conducted.

The present writer has taken some pains to devise a source
of light which should bo at the same time fairly uniform in its
results, would not vary by keeping, and would be capable of ac-
curate imitation at any time and in any part of the world by
mere description. The absence of these conditions seems to bo
one of the greatest objections to the sperm candle. It would
be impossible for an observer on the continent, ten or twenty
years hence, from a written description of the sperm candle now
employed, to make a standard which would bring his photo-
metric results into relation with those obtained here. Without
presuming to say positively that he has satisfactorily solved all
difficulties, the writer believes that he has advanced some dis-

tance in the right direction, and pointed out the road fo
further improvement.

Before deciding upon a standard light, experiments were
maile to ascertain whether the electric current could be made
available. Through a coil of platinum wire, so as to render it
brightly incandescent, a powerful galvanic current was passed ;
and its strength was kept as constant as possible by a thick wire
galvanometer and rheostat. To prevent the cooling action of
air-currents the incandescent coil was surrounded with glass ;
and it was hoped that by employing the same kind of battery
and by varying the resistance so as to keep the galvanometer
needle at the same deflection, uniform results could be obtained.
In practice, however, it was found that many things interfered
with the uniformity of the results, and the light being much
feebler than it was advisable to work with, this plan was deemed
not sufficiently promising, and it was abandoned. The method
ultimately decided upon is the following : — Alcohol of sp. gr.
0 805, anil pure benzole boiling at 81“ C., are mixed together in
the proportion of 5 volumes of the former and 1 of the latter.
This burning fluid can bo accurately imitated from description
at any future time and in any country, and if a lamp could bo
devised equally simple and invariable, the light which it would
yield would, it is presumed, bo invariable. This difficulty the
writer has attemoted to overcome in the following manner.

A glass lamp is taken of .about 2 ounces capacity, the aper
ture in the neck being 0-25 inch diameter ; another aperture at
the side allows the liquid fuel to be introduced, and by a well-
known laboratory device the level of the flu d in the lamp can
be kept uniform. The wick-holder consists of a platinum tube
T8l inches long and 0T25 inch internal diameter. The bottom
of this is closed with a flat plug of platinum, apertures being left
in the sides to allow free access ot spirit. A small platinunr
cup, -5 inch diameter and -1 inch deep, is soldered round the
outside of the tube O o inch from the top, answering the three-
fold purpose of keeping the wick-holder at a proper height in
the lamp, preventing evaporation of the liquid and keeping out
dust. The wick consists of 52 pieces of hard-drawn plati-
num v.'ire, each 0-01 inch in diameter and 2 inches long, per-
fectly straight and tightly pushed down into the platinum holder
until only 0-1 inch projects above the tube. The height of the
burning fluid in the lamp must be sufficient to cover the bottom
of the wick-holder : it answers best to keep it always at the
uniform distance of T75 inches from the top of the platinum
wick : a slight variation of level, however, has not been found
to influence the light to an extent appreciable by our present
means ot photometry. The lamp having the reservoir of spirit
thus arranged, the platinum wires parallel and their projecting
ends level, a light is applied, and the flame instantly appears,
forming a perfectly-shaped cone T25 inches in height, the point
rate of maximum brilliancy being O‘o6 inch from the top of the
wick The extremity of the flame is perfectly sharp, without
any tendency to smoko ; without flicker or movement of any
kind, it burns, when protected from currents of air, at a uniform
rate of 136 grains of liquid per hour. The temperature should be
about 60° F., although moderate variations on either side exert
no perceptible influence. Bearing in mind Dr. Franklaud's
observations on the direct increase in the light of a candle with
the atmospheric pressure, accurate observations ought only to
be taken at one height of the barometer. To avoid the incon-
venience and delay which this would occasion, a table of cor-
rections should bo constructed for each OT inch variation of
barometric pressure.

There is no doubt that this flame is very much more uniform
than that of the sperm candle sold for photometric purposes.
Tested against a candle, considerable variations in relative illu-
minating power have been observed ; but on placing two of these
lamps in opposition no such variations have been detected.
The same candle has been used, and the experiments have
been repeated at wide intervals, using all usual precautions to
ensure uniformity. The results are thus shown to be due to
variations in the candle and not in the lamp.

It is expected that whoever may bo inclined to adopt the
kind of lamp here suggested will find not only that its uni-
formity may be relied upon, but that, by following accurately
the description and dimensions here laid down, each observer
will possess a lamp of equivalent and convertible photometric
value, so that results may not only be strictly comparable between
themselves, but within slight limits of accuracy comparable with
those obtained by other experimentalists. The dimensions
of wick, &c., here laid down are not intended to fix the standard.
Bersons engaged in photometry as an important branch of their

370

THE PHOTOGRAPHIC NEWS,

[JoLY 31, 1868.

regular occupation will be better able to fix these data than the
writer, by whom photometry is only occasionally pursued as a
means of scientific research. Already many improvements
suggest themselves, and several causes of variation in the light
have been noticed. Future experiments may point out how
these .sources of error are to bo overcome ; but at present there
is no necessity to refine our source of standard light to a greater
degree of accuracy than the photometric instrument admits of.

The instrument for measuring the relative intensities of the
standard and other lights next demands attention. The con-
trivances in ordinary use are well known. Most of them depend
on a well-known law in optics ; namely, that the amount of
light which falls upon a given surface varies inversely as the
square of the distance between the source of light and the ob-
ject illuminated. The simplest observation which can be taken
is made by placing two sources of light (say a candle and gas-
lamp) opposite a white screen, a few feet off, and placing a stick
in front of them, so that two sha<lows of the stick may fall on
the screen. The strongest light will cast the strongest shadow ;
and by moving this light away from the stick, keeping the
shadows side by side, a position will at last bo found at which
the two shadows appear of equal strength. By measuring
the distance of each light from the screen, and squaring it, the
pro luct will give the relative intensities of the two sources of
light.

in practice, this plan is not sufficiently accurate to bo used
except for the roughest approximations ; and from time to time
several ingenious contrivances, all founded upon the same law,
have beeu introduced by scientific men, by which a ranch greater
accuracy is obtained ; thus in Ritchie’s photometer the lights
are reflected on to a piece of oiled paper in a box, and their
distances are varied until the two halves of the paper are equally
illuminated. In Bunsen’s photometer, which is the one now
generally used, the lights shine on opposite sides of a disc of
white paper, part of which has been smeared with molted
spermaceti to make it more transparent. When illuininatod
by a front light, the greased portion of the paper will look dark ;
but if the observer goes to tho other side of the paper, the
greased part looks the lighter. If, therefore, lights of unequal
intensity are placed on opposite sides of a piece of paper so
prepared, a dillerenco will be observed ; but by moving one
backwards or forwards, so as to equalize the intensity, the whole
surface of the paper will appear uniformly illuminated on botli
sides. This photometer has been modified by many observers.
By some the disc of paper is moved, tho lights remaining sta-
tionary ; by others the whole is enclosed in a box, and various
contrivances are adopted to increase tho sensitiveness of the
eye and to facilitate calculation ; but in all these tho sensi-
tiveness is not greatly augmented, as the eye cannot judge of
very minute ditferences of illumination approximating to
equality.

In 1833, Arago described a photometer in which tho pheno-
mena of polarized light were employed. This instrument is
fully described, with drawings, in the tenth volume of tho
tHuvres Completes de Francois Arago \ but the description,
although voluminous, is far from clear. Tho principle of its
construction is founded on “the law of the square of the cosines,”
according to which polarized rays pass from tho ordinary to
the extraordinary imago. The knowledge of this law, ho says,
will not only prove theoretically important, but will further lead
to tho solution of a great number of very important astronomical
questions. Suppose, for example, tluat it is wished to compare
the luminous intensity of that portion of tho moon directly
illuminated by the solar rays with that of tho part which re-
ceives only light reflected from the earth, called tho parlie
cendree. Were the law in question known, the way to proceed
would bo as follows : — .\fter having polarized tho moon’s light,
pass it through a doubly refracting crystal, so disposed that the
rays, not being able to bifurcate, may entirely undergo ordinary
refraction. A lens placed behind this crystal will therefore
show but one image of our satellite ; but as tho crystal in
rotating on its axis passes from its original position, the second
imago will appea^r, and its intensity will go on augmenting.
Tho movement of the crystal must bo arrested at the moment
when, in this growing extraordinary image, tho segment corre-
sponding to tho j art of tho moon illuminated by tho sun ex-
hibits tho intensity of tho ashy part shown by tho ordinary
imago. From these data it is easy to perceive, ho says, that
the problem is capable of solution.

In another part of tho same volume, after speaking of tho
polariscopo which goes by his name, Arago writes : — “ I have

c

e c’

GOO

d' d

now arrived at tho general principle upon which my photo-
metric method is entirely founded. The quantity (I do not say
tho proportion) — the quantity of completely polarized light,
which forms part of a beam partially polariz(id by reflection,
and the quantity of light polarized rectangularly, which is con-
tained in tho beam tra.asmittod under the same angle, are
exactly equal to each other. Tho reflected beam and tho beam
transmitted under tho same angle by a sheet of parallel glass
have in general very dissimilar intensities ; if, however, wo
examine with a doubly refracting crytsal, first tho reflected and
then tho transmitted beam, tho greatest difference of intensity
between tho ordinary and the extraordinary images will bo tho
same in tho two cases, because this difference is precisely equal
to tho quantity of polarized light which is mixed with the
common light.”

In Arago's astronomy, tho author

again describes his photometer in the

/ N \ following words : “ I have constructed

(+)( + ) an apparatus by moans of which,

' ' — upon operating with tho polarized

image of a star, we can succeed in
attenuating its intensity by degrees
exactly calculable after a law which
1 have demonstrated.” It is difficult
to obtain an exact idea of this instru-
ment from the description given ;
but from tbe drawings it would appear
to bo exceedingly complicated, and
to bo dilTeront in principle and con-
struction from the one now about to
be described. Tho present photo-
meter has this in common with that of
Arago, as well as with those described
in 1853 by Bernard,* and in 1854 by
Babinet,t that tho phenomena of
polarized light are used for effecting
the desired ond. But it is believed
that the present arrangement is quite
now, and it certainly appears to
answer tho purpose in a way which
leaves little to be desired. 'Phe in-
strument will be better understood if
tho principles on which it is based
are first described.

Fig. 1 shows a plan of tho arrango-

f ^ f A ment of parts, not drawn to scale,

I y J I ) and only to be regarded as an outline

V — ' sketch to assist in the comprehension

of general principles. Let D repre-
F>g- L gent a source of light. This may bo

a white disc of porcelain or paper illuminated by any artificial
or natural light. C represents a similar white disc, likewise
illuminated. It is required to compare tho photometric in-
tensities of D and C. (It is necessary that neither D nor C
should contain any polarized light, but that tho light coining
from them, represented on each disc by the two lines at right
angles to each other, forming a cross, should bo entirely un-
polarizod.) Let II represent a double refracting achromatic
prism of Iceland spar ; this w’ill resolve tho disc D into two discs,
d and d', polarized in opposite directions ; tho plane of d being,
we will assume, vertical, and that of d' horizontal. 'Ihe prism II
will likewise give two images of tho disc (J ; tho imago c being
polarized horizontally, and c' vertically. Tho size of tho discs
D 0. and tho separating power of tho prism II are to be so
arranged that tho vertically polarized imago d, and the hori-
zontally polarized imago c, exactly overlap each other, forming,
as shown in tho figure, one compound disc c d, built up of half
the light from D and half that from (J.

(To be continued.)

Dr0mMur5S of ^onctifs.

Liveupool Amateur Photooraphic Association.

The second out-door meeting was held on Monday, tho 22nd
ult., at Llangollen, North Wales. Notwithstanding that tho
morning opened rather unfavourably, between twenty and thirty

* Comptes Rendus, April 25, 1863.

t i*roceeUiog9 o( the Uritiah Association, Liverpool Meeting, 1864»

July 31, 1868.]

THE PHOTOGRAPHIC NEWS.

371

ladies and gentlemen assembled, and passed a very pleasant
day. Several of the party elected to continue their journey a
few miles past Llangollen ; the rest, who were content with the
town and its picturesque vicinity, were able to secure several
pictures before the rain came, just as the “onward” party
were getting to work. The rain continued steadily for about
two hours, after which, until dinner time, Sol was in the ascend-
ant, and cameras in full occupation.

At four o’clock both detachments met, and, at the President’s
kind invitation, sat down to a sumptuous repast at the “ Hand ”
Hotel. Owing to a misunderstanding with regard to the time of
departure of the return train, the party was compelled to wait for
the next one, about half past eight ; and to relievo the tedium
of the “ long wait ” — everybody elso’s plates being exposed and
cameras packed up — Mr. Mawdsley took two groups in the
court-yard of the " Hand,” upon collodio-bromide plates. The
return journey was by far the least pleasant part of the day’s
proceedings ; as, with the total disregard of punctuality gene-
rally observable on that lino, the train arrived at Birkenhead a
few minutes before midnight, and passengers were landed at
Liverpool too late for all out-going trains and omnibuses, and
cabs at extra faros were in great demand.

The ordinary monthly meeting of the same Association was held
on Tuesday evening, the 30th ult., the President, the Rev. G. J.
Banner, in the chair.

The minutes of the previous meeting wore read and con-
firmed, and Mr. Alfred Tyror was elected a member of the
Association.

A vote of thanks was passed by acclamation to the President
for his hospitality ou the occasion of the excursion to Llan-
gollen.

After some desultory conversation.

The President asked Mr. Henderson if he could explain
the cause of the peculiar tones noticeable in some of his prints
on the table.

Mr. Henderson attributed them to tho paper, while the
opinions of others leaned towards acidity in the printing or
toning baths.

Mr. Hughes exhibited some prints mounted with india-
rubber, and which were jieeling off the mounts, and gave it as
his opinion that " india-rubber mounting ” is a “ delusion and
a snare.”

Mr. Guyton made some remarks bearing out Mr. Hughes’s
opinion, and stated that he had been warned of tho effect years
ago.

It was decided to hold the third out-door meeting at Beestoii,
on Thursday, 9th July.

The meeting was adjourned at an early hour, the attendance
of members being very small.

The usual monthly meeting of tho Association was hold on the
evening of Tuesday, the 28th July, at tho Free Public Library,
the President, tho Rev. G. T. Banner, in the chair.

The minutes of the previous meeting and of tho Llangollen
excursion were read and confirmed.

Mr. Mawdsley submitted for inspection some 8J by 6J prints
from negatives on tho Liverpool Company’s plates, which were
much admired. They consisted of views on tho Sussex coast ;
and two were presented to the Society’s album.

Mr. Guyton brought forward^ some first-class views, Ac.,
including “The Prize of Prizes,^^y Dr. Hemphill ; in emula-
tion of which Dr. Watling showed an admiratilo print from a
wet collodion negative, both subjects consisting of studies of
“ Still Life.”

Many members being inadvertently prevented from com-
peting for Mr. Green’s prize, the time was extended, and tho
largo print will be awarded at the August meeting for the best
twelve stereos taken during Juno, July, and August.

Mr. Greene also offered one of his 24 by 18 prints “ for the
best year’s work ” shown at the end of the year.

The thanks of the Association were unanimously awarded to
Mr. Greene for his generosity.

On the motion of Mr. Henderson, seconded by Mr.HuBBAcii,
it was decided to have an excursion to tho the “ Old Hut ” on
Saturday afternoon, tho 15th of August.

A paper by Mr. Bolton, on “ A New Preservative Medium,”
was then read, and a vote of thanks Wiis passed to the author.

Mr. Bolton, however, an;l his results being absent, it was

considered that further experiments were necessary to establish
the superior claims of quassia over tannin.

Mr. Greene related his experience with a new toning bath
recently described in tho Photographic News by Mr. Bovey,
who finds that the ordinary adjuncts to chloride of gold in the
toning bath, while acting as retarders, have a tendency to pre-
cipitate the gold as powder. Ho proposed ; —

Chloride of gold (orange) 8 grains

Common salt 1 grain

Pour on IJ pints boiling water, and let stand till lukewarm
and then add 2 gallons cold water. It improves by keeping
only requiring to bo strengthened. In rather more than tho
above quantity Mr. Greene recently toned simultaneously
forty-four prints 10 by 12 inches, and one print 24 by 18,
obtaining rich sepia and black tones, with au available surplus
of gold.

Mr. IViLsON considered the action somewhat similar to that
of the double chloride of gold and sodium.

The President showed some prints toned and fixed at one
operation, as lately recommended by Dr. Liesegang, but the
results were unsatisfactory.

A short discussion ensued, and the meeting then adjourned.

REMOVING SILVER STAINS FRO.M OPAL GLASS.

Sir. — I see that one of your correspondents has met with a
difliculty in removing tho image from opal plates. There is
no need for him to get a fresh sample, it this be the only thing
wrong. After removing tho film, should the impression remain,
let him subject the plate to a strong heat from a spirit-lamp,
having previously covered it with much diluted nitric acid. Tho
ghost of tho picture will slowly vanish, and the plate be as
good as ever. — Your obedient servant, P. S. Drayton.

IloTton Court, Chipping iiodburij, 21th July, 1868.

PS — I do not know if this plan will answer with collodio-
chloride or collodio-bromide plates, but it has never failed with
the ordinary wet plates.

WASHING MACHINES.

Dear Sir, — I can fully endorse Mr. Cherrill’s remarks upon
washing machines. The most efficient one — and which I have
had in use many years — may be found fully described, as used
by the Government at Southampton, in one of the early
numbers of the Photographic News. Not only small but
whole sheets can bo thoroughly washed without tearing, and
it may readily be made by any country carpenter. — 1 am, dear
sir, yours truly. An Old Photographer.

July 2bth, 1868.

2LaIk iu tbc Stubio.

Final Medals of the French Exhibition. — Our readers
will be gratified to learn that Dr. Diamond has just received
from the French Imperial Commission a medal “ for services
rendered,” in acknowledgment of his labours as a juror in tho
photographic department of the Exhibition of last year. This
is tho more complimentary to the recipient of the medal, and
will be the more gatifying to English photographers, inasmuch
as it is a somewhat exceptional honour, not conferred upon tho
jurors generally, but only ujxm such as have been especially
marked out foi honour for the especial value of their assistance.

Retouching Negatives. — We have been favoured by Mr. J.
B. Mohr with a sight of some touched negatives, and prints
therefrom, which aptly illustrate the value of the method in
giving refinement without detracting in any degree from the
likeness. Portraitists are becoming more and more familiar with
the fact that the truth of photography may be materially aided
by the truth of art, and that yellow freckles, &c., scarcely per-
ceptible in nature, are not truthfully rendered when repre-
sented by coarse, black spots. Skilful retouching of the nega-
tive removes all this, and makes the photograph come nearer
to the truth of nature. Our readers may learn, on reference to
our advertising columns, that Mr. Mohr is for a short time de-

372

THE PHOTOGEAPHIC NEWS,

[July 31, 1868.

voting himself to teaching photographers his method of touch-
ing, which will be a boon to many. Wo note that in the
advertisement Mr. Mohr is to be addressed as ‘‘ N.,” at the
office of this paper.

SiLVEKiNG Iron Wire.— A patent has been granted in
Bavaria for the following method of silvering hooks and eyes
and other small articles made of iron wire. The articles are
suspended in dilute sulphuric acid until the iron shows a clean,
bright surface. After rinsing in pure water, they are placed
in a bath of a mixed solution of sulphate of zinc, sulphate of
copper, and cyanide of potassium, aud here remain until they
receive a bright coating of orass. liustly, they are transferred
to a bath of nitrate of silver, cyanide of potassium, and sulphate
of soda, in which they quickly receive a coating of silver.

Decomposition and Recomposition of Light.— Mr. W. J.
Lane used, in place of the costly apparatus generally employed
for this beautiful and instructive experiment, a glass tube 8 or
10 inches long and i an inch in diameter, with a bore of -05 to
•09 of an inch. In a room containing only one light (a gas
flame, for instance), while standing a few feet from and facing
it, place the tube horizontally across the eyes and as near to
them as possible, and on looking toward the light a beautiful
arc of a largo size will appear, which is composed of a series of
splendid spectra, more or less brilliant, according to the refrac-
tive powers of the lube and the distance of the observer from
the light. Now, upon revolving the tube while so placed, the
arc of light will apparently revolve very rapidly, the colours
will bo blended, and white light produced, thus affording a
pleasing experiment. With large tubes of greater dispersive
power the effect would probably be more beautiful.

^0 Corr£sg0nb£ttts.

Bill Jenkins. — In strengthening a negative bath you can add the
necessary proportion of nitrate of silver direct to the bath, or you
Ciin add a little of a fresh strong solution ; but the mode of pro-
ceeding which we prefer, and which we find answers best, is first
to add a few ounces of distilled water to the old bath, which will
cause a precipitate of iodide of silver, and thou, after filtering, add
sufticient nitrate of silver to make the whole of the desired strength.

Lytte’s Studio. — The defect in the print you forward arises from
imperfect fixation. The solution of hj-posulphite has been too
weak or exhausted, or the print has not been immersed for a suffi-
cient time. No such result will ever arise if you fix in fresh
strong hj’po, immersing the prints for a period of not less than
ten or fifteen minutes, and keeping them in motion, by turning
over from lime to time, to prevent them sticking to each other.

D. Welch. — Thanks. The specimens are very good and interest-
ing, and, as you observe, attest the value of the various formula)
you mention. It is satisfactory to us to know that the formuhu we
iiave publi-shed give such good results.

W. J. A. G. — If you wash the negative after development, and then
cover it with a mixture of equal jiarts of golden sjTup and water,
vou c.in intensify and fix at your leisure without any disadvantage.
Before proceeding to intensify, take care to remove all the golden
syrup solution, as if any portion remain on or in the film it will
act somewhat like acetic acid, having a restraining action. There
are several good reasons why it is bettor to fix at home. It enable!
you to judge of the intensity of the i)ieture deliberately, without
the inconvenience of limited space, limited amount of water, &c. ;
and, further, it dispenses with the necessity of carrj-ing any fixing
agents amongst your other chemicjils, or the danger of splashing
the fixing solution into the bath, a danger which working in little
space sometimes renders imminent.

.1. 11. G. — If you neutralize and sun thoroughly the negative bath
with which you have accidentally mixed a little of the printing bath
containing sup^r and nitrate of soda, it is probable that any inju-
rious matter which may be present will bo eliminated ; or it may be
done without sunning bv means of permanganate of potash. The
only injurious matter will be the sugar and any traces of albumen.
The nitrate of soda will be harmless in the negative bath. This
course will be better than boiling down the solution in onlcr to use
it as a printing bath, because it is difficult to eliminate all iodide
of silver, and that is sometimes found to interfere with toning
operations; but if you prefer the latter, first add double the
bulk of distilled water to the bath to throw down iodide, filter, and
then boil down to the proper strength.

A. W. — During the period in which the Dagucri'eotype proce.ss was
used, bromine itself, and not its .salts, was employed. A mixture
of bromine and iodine, called bromide of iodine, wasat that time u.scd,
and in 1846 Mr. Bingham introduced what was called “ bromide
of lime,” a mixture of bromine and lime, somewhat similar in cha-
racter to chloride of lime. In the paper processes bromide of potas-
sium was employed, and as this was freely soluble in water no other
salt was needed. It was not until after the inkoduction of the collo-

dion process that a new bromide salt became desirable, bromide of
potassium being very slightly soluble in collodion. In 18d3 we find
recoj-d of the bromides of iron, nickel, cadmium, and ammonium
having been tried : some by the Abbe Laborde, and some by Mr.
Crookes. The latter gentleman had, we believe, msed some of
them earlier than that ; but we cannot state at what date.

A Subscriber. — As your letter contains grave charges, which might
be made the subject of legal enquiry, they should be substantiated
by your name, which we shall be gbwl to receive. The case is not
at "an end, we believe, and facts like those you mention bear
seriously upon it, and should be brought forw.ard and substantiated.

II. II. — Your idea of the .shape of the glass room in question is
correct. You will find the dimensions in our description of it.

2. Generally, photographs intended for finishing in crayons are
produced on rough drawing-paper, which presents sufficient tooth
without further preparation. Sometimes the surface is treated
with size in which a little powdered pumice or cuttle-fish bone is
mixed, so as to secure a tooth. As a rule, soft crayons are pre-
feiTcd ; but much depends on the choice of the colourist, r or
fini.shing in black and white, a few sharp touches with eonte crayon
are often employed.

J. H. Johnson.— If the nitrate of .soda were quite pm-e it should
cause no precipitate at all when added to a silver solution. The
turbidity has probably been due to the presence of some slight
impurity. 2. It is probable that you will find that the strong solu-
tion will be useful to add to your regular solution from time to
time to strengthen and replenish it. Add a little sugar ; but the
nitrate of soda will scareeXv be neces.sarj-, as the bath is robbed of
the latter in less proportion than it is of silver.

Collodion. — The term “ e(iuivalent focus ” always applies to com-
pound lenses, and means the focus at which it will give an image
the .same size as a single lens of the same power. For instance, if
a single lens give, in rendering an object twenty feet distant, an
image six inches in length, a portrait lens of similar equivalent
focus will give exactly the same sized image of the .same object at
the same distance. But measuring from the back of each lens to
the ground glass the distance will be slightly ditferent. The
single lens has (.say) a focus of six inches measured from its back
surface to the ground glass ; but the portrait lens will probably
only have about five inches between its back surface and the
grotmd glass ; to get the equivalent focus, the measurement must
be from the ground gla.ss to a point between the front and back
lenses of the combination. The simplest mode of ascertaining the
equivalent focus is to take an engraving or map, and produce a
shiup image on the ground glass precisely the same size as the
original, then unscrew the lens, and measure the distance between
the object and the grotmd glass : one-fourth of that distance is the
equivalent focus of the lens. 2. Chloride of calcium and chloride
of lime are two ditferent things. The fonner is a combination
of chlorine and the metal calcium, the latter is an incorrect term
used to describe a mechanical mixture formed by passing chlorine
through the hydrate of lime ; it is supposed to consist of chlorine,
hypochlorite of lime, and hydrate of lime. 3. We do not know
whether Ilamecker’s collodion will or will not be introtluccd into
this country. 4. Cotfee plates c.arefully prepared are said to keep
some months. How the recent hot weather would affect their
keeping qualities we cannot s)iy. Tltc diyness would be favour-
able to keeping. 5. Either the D. or the new rapid, we should
think. The optician will give you the best advice.

II. S. — The marks on the negative appear like those produced by
over-io li/.cd collodion, for which the best remedy is a little more
plain collodion, or the addition of a little mure soluble cotton
and a little .stronger bath. Ago will mend the matter; the addi-
tion of about half a grain of bromide per ounce, and the use of a
stronger bath, may help you. I\'c have not had time yet to
examine your collodions, but will t ake an early opportunity of
doing so.

R. M. E. — AVe prefer .sugar-candy for the developer, but ordinary
sugar may be used ; mola.sses restrains too much. In some experi-
ments we made, 1 grain of molasses was equivalent to 20 of glacial
acetic acid in restraining jaower.

G. C. C. quotes the following from the Enginea- : — “ Cyanide of
potassium, much used by photographers, is an exceedingly dan-
gerous poison; and they will be glad to hear that the painful
ulcers and baid symptoms which it produces may be effectually
prevented by ruCbing the hands, when soiled with it, with a
mixture of protosulphatc of iron reduced to a very fine powder, and
lin.sced oil.” He adds : — “ I never heard of the hands being
‘soiled’ with cyanide of j»ta.ssium. 1 do not quite understand the
meaning of the paragrapn, unless it is that the use of the sulphate
of iron, Ac., should follow the cleansing of the hands from the
stains of nitrate of silver with cyanide of potassium.” G. C. C.
.should remember that the word “soiled” is used doubtless in the
sense which Lord Palmerston regarded dirt, as simply “ matter in
the wrong place.” He is right in his idea that the iron salt should
follow the cyanide in order to neutralize it; a thorough good
rinsing with water should follow both ; but we counsel our
reader to avoid cyanide, and use simply pumice-stone and water.

J. Martin. — Received. Thanks.

Several Correspondents in our next.

NEWS.

Til E ] Tl( mieiHEHIC

CON TER IS.

T/'iK

Neir Substitule for Ground Glairs 373

The Military School of Photography at Chatham 373

Echoes of the Month. By an Old Photographer 374

Short Essays on Photography and Art. By Nelson K.

Cberrill 376

The I.ate M. Claudet 377

Pictorial KBect in Photography. By II. P. Robinson 378

On the Prineiples of Lighting and Constructing Studios. By Dr.

Vogel 379

PAC.R

Notes on Deyelopmcnt 380

On Nitroglucose. By M. Carey Lea 381

Correspondence — Photographic Notes on the Continent-
Informers and Piracy : Graves v. Mercer — Photography

and Disease 381

Talk in the Studio 383

To Correspondents 381

Registration of Photographs 384

NEW SUBSTITUTE FOR GROUND GLASS.

A VARIETY of Bubstanccs have been proposetl, and some of
them successfully used, as substitutes for ground glass as
used in photography, either for focussing-screens or as a
backing for transparencies for the stereoscope. Our attention
has been recently called by Mr. Woodbury to another, which
is, we think, better than any that has been proposed or tried-
The material proposed is not, indeed, new, but its applica-
tion for the purpose in question is, we believe, new, as well
as efficient.

Mr. Woodbury proposes to use gelatine ren<lered semi-
opaque by the addition of a white pigment. This may be
either applied direct to the front or back of the transparency, i
or it may be made in thin sheets and used as required. For
stereoscopic transparencies this appears to us, from the ex-
amples we have seen, to give a better result than either
ground glass, opal gla.ss, or dull varnish. The ground
glass, unless it be very fine indeed, when used with stereo-
scopes with powerful lenses, gives an unpleasantly sparkling
or frosted appearance, and interferes with the delicate defini-
nitiou of the picture ; and this is true, but perhaps in a less
degree, of the dull varnishes. Opal glass generally ob-
structs too much light, but it gives a delicate soft effect to
the picture. White pigmented gelatine gives an effect
scarcely distinguishable in kind from opal glass, but as it
can bo used in a much thinner and more transparent layer,
the softened delicate effect can be obtained without dullness ;
in fact, the degree of opacity is quite under the control of
the photographer himself.

For focussing-screens we cannot imagine anything better.
All photographers who use an eye-piece in focussing, in order
to secure the greatest sharpness, arc familiar with the diffi-
culty they experience from the grain or texture of the ground
glass being magnified, rendering the focussing of line detail
difficult. The infinitesimally Jijie particles of white pig-
ment which ])rodncc the semi-opacity of the screen when
formed of this substance will in no case confuse the finest
definition, even under very high magnifying power. The
one disadvantage which a screen of opal gelatine may
possess would arise from the case with which it may be
soiled or scratched ; f)ut this may be prevented to a consider-
able extent by treating the gelatine with a solution of alum,
which will render its surface hard and insoluble.

For preparing sheets of opalized gelatine the formula
used by Mr. Burgess in his eburneum process will answer

admirably ; it stands as follows : —

French clear gelatine

... 5 ounces

Water

... 20

Glycerine ...

... i ounce

Oxide of zinc

1'

After soaking the gelatine in the water for a few hours it is
dissolved by gentle heat, and then filtered through flannel.
The zinc white is placed in a mortar with the glycerine and
one ounce of the water, and made into a soft paste. It is
then stirred into the warm gelatine, and allowed to stand for
a couple of hours, keeping the solution warm to allow the
coarser particles to s--ttle to the bottom ; the upper portion
is then carefully decanted to get rid of the sediment, or, if it
be allowed to cool and become a jelly, a slice can be cut off
the bottom, removing all the coarse particles. Where the
photographer desires to make the sheets for use it will bo
wise to use up his solution at once, as it will not keep well,
especially in hot weather. Where he wishes to keep it at
hand ready to coat glasses, its keeping properties may bo
improved, and decomposition arrested, by the addition of a
1 trace of carbolic acid, or a little essential oil of cloves will
help to preserve it. Or if it be desired to keep the mixture
ready for use on redissolving, it may be poured out on
sheets of glass and allowed to dry ; it may then be cut up into
strips, and kept as dry opaline gelatine, which can bo
readily redissolvcd on adding the proper quantity of
water.

We may add that it is Mr. Woodbury’s intention, we
believe, to prepare sheets of opaline gelatine ready for use,
and supply them to photographers commercially.

THE MILITARY SCHOOL OF PHOTOGRAPHY
AT CHATHAM.

On the occasion of a recent visit to Chatham, we availed
ourselves of the opportunity to visit the military school of
photography at that town. The school forms part of the
Royal Engineer establishment at Chatham, an institution
established for imparting instruction to officers and non-
commissioned officei-s of the Royal Engineers in all branches
of techii’cal education. Surveying, construction and esti-
mating, fortifications, telegraphy, and photography arc the
principal subjects taught, and these in a theoretical as well
as practical manner ; all young officers, on fiist joining the
corps, being first ordered to Chatham to undergo a course of
scientific instiuction at the establishment before they are
despatched to various stations to enter upon their ordinary
duties. At the present moment, H.R.H. Prince Arthur,
who has recently been gazetted to a lieutenancy in the
Royal Engineers, is pursuing his studies at Chatham, and is
going through the same course as that prescribed for all
Engineer officers.

Instruction in telegraphy and photography is imparted
under the superintendence of Captain Btotherd, R.E., the
latter subject being taught by Serjeant Instructor Church, to
whose immediate care the whole of the arrangements con-

374

THE PHOTOGKAPHIC NEWS.

[August 7, 1868.

nected with photography are entrusted. Mr. Church, who
has been connected with the establishment for nearly ten
years, and possesses, therefore, very considerable e.xperience
as a theoretical and practical photographer, has been success-
ful in devising a thoroughly systematic and effective mode
of instruction. The students are mostly young non-commis-
sioned ofdcers, who, to the number of eight or ten, are formed
into classes and trained in the art for several months ; on
their being deemed sufficiently skilled in their duties they are
drafted away to stations whore their (qualifications may be
made use of.

The school consists of a suite of rooms for operating,
printing, and mounting, together with a glass studio of very
fair dimensions. All the mechanical parts of the process arc
first taught, such as cleaning the glass j)late, sensitizing and
squaring the paper, collecting residues, &c. ; then instruction
is imparted in printing, toning and fi.xing, and similar sub-
jects, and, finally, the students are allowed to operate. It
any of the jmpils show particular aptness for their work,
these are entrusted with the more delicate operations of the
processes, and in this manner the plan of instruction laid
down is made to answer with much success. After a com-
paratively short period of training, Mr. Church is able to
turn out photographers who are proficient in every branch
of their art ; and it may not be out of place to mention that
Serjeant Harrold, who recently obtained considerable repu-
tation from the manner in which he acquitted himself as
chief photographer in the Abyssinian expedition was one of
Mr. Church’s pupils.

In qjassing through the printing-room our attention was
called to a very fine series of dry-plate negatives which had
been obtained by the coffee process. The films of these were
very delicate and thin, and even in the highest lights there
was a slight transparency ; but although there was no por-
tion of the image which could be termed opaque, neverthe-
less the pictures produced from these plates were remarkably
brilliant, and free from all suspicion of fiatness. An expla-
nation of this apparent contradiction was readily offered
upon a second inspection of the negatives, for it was found
that the coffee had given to the films a yellowish, non-actinic
tint, and had thus imparted vigour to what would otherwise
have been but very feeble productions. The plates had been
prepared about a week before they were used, and required a
somewhat long exposure — about three minutes in a good
light, or six times as long as would have been necessary with
an ordinary wet plate. Mr. Chureh is of opinion that if a
dry plate requires more than a minute’s exqjosure, it matters
very little whether they remain in the camera for two,
three, four, or five minutes ; he also believes that when
working with collee plates, which acquire a yellowish tint
from the colouring matter of the preservative material, a pro
longed exposure of the negative is always beneficial. For
architectural or landscape photograjjhy the coflee plates
were found to bo everything that could be wished, and,
owing to the soft, delicate detail always obtainable if the
negative has been sufficiently exposed, there was a greater
certainty of obtaining a good result than with wet plates in
this particular branch of the art. A little care was necessary
in the development of the first few plates, but after the
operator had acquired some experience in the operation the
negatives might be developed with the same ease and
certainty as wet plates.

The unmounted q)rints in the establishment are kept piled
upon one another in a perfectly flat condition, and the
method adopted to prevent their curling up is a very simq)le
one, although, we believe, not generally known. The dry
albuminized print is laid, face downwards, upon a square of
plate glass, and upon the middle of it is placed a stout
paper folder, or angular piece of wood. The latter is pressed
down upon the print with one hand while with the other the
picture is drawn from beneath ; after passing under this
scraper two or three times, the print will be found to roll
itself up inside out, becoming afterwards perfectly flat, in
which condition it will remain for any length of time if

kept under slight pressure. The process of mounting is thus
greatly facilitated, and the pictures, not being moist, are less
liable to be torn in the operation.

The photographic duties of the school are not confined to
the taking of landscape views and subjects connected with
engineering, but a large portion of the work performed con-
sists in the reproduction of plans and drawings, to be printed
either by means of photo-lithography, or merely on plain
salted paper. Thus we saw on the eve of completion a sur-
vey of the whole of the route taken by Lord Napiei in
Abyssinia, from Zoulla to Magdala, the mountains, rivers,
and principal localities being all marked and noted. The
map in question was of a somewhat large size, and had been
constructed, we believe, from as many as eight negatives.

Again, in order to give the jDupils sufficient opportunity
for practising their art, a certain amount of private photo-
graphy is allowed ; strict regulations are, of course, in force
to prevent a privilege of this kind being abused, and pic-
tures of members of the corps of Royal Engineer's only are
allowed to be taken, the photographees paying the cost
price of their portraits. In this way the nun-commissioned
officers under instruction enjoy greater facilities for gaining
skill in their profession than could be obtained in the
ordinary routine of their duties.

No special arrangements have yet been devised for carry-
ing on photography in the field. Mr. Church, en attendant
the advent of a perfect dry-plate process, prefers to use the
ordinary dark tent, which is packed in a box fitted on
wheels, ready to be run out at a moment’s notice. This may
not be so convenient as a dark wagon or portable labora-
tory, but when packed it is much more likely to resist the
dangers of transport and rough handling, and, being of
small dimensions, it is readily conveyed to its destination.
For campaigning the expanding camera is of course used,
and the bottles, trays, developing cups, and other utensils
employed are either of ebonite or gutta-purcha ; duplicate
articles of a perishable and fragile nature, such as focussing
glasses, &c., are always carried, and the packing of the
apparatus in a perfectly rigid manner is a subject carefully
attended to. By dint of a few simple precautions of this
nature, strictly enforced, out-door photography is carried on
in a sure and systematic manner, and failures and mishaps
are of rare occurrence.

ECHOES OF THE MONTH.

BY AN OLD PUOTOGRAPUEB.

Summer Troubles — Photographic Secrets — Photographic
Identification — The New Miltonic Poem — Photogra-
phy AT WiMBLEDO.N A NeW MaNUAL OF PHOTOGRAPHY

PlR.ATES AND SpiES ReTOUCIII.NQ NEGATIVES — TllB

Societies.

Summer, although the season of sunshine, is not generally
the best season for sun pictures. Either spring or autumn
is better, as a rule, either for portraiture or landscape. The
portraitist, indeed, generally anticipates a variety ot troubles
in the shape of fog, stains, and pinholes, arising from the
high temperature. It is not a little surprising that this
summer, the hottest, driest, within the memory of middle-
aged folk, there have been fewer photographic troubles than
usual. I mean, of course, that I have heard of fewer, after
consulting a moderately large circle of photographic ac-
quaintances, and I have experienced fewer myself. The dry-
ing of the plate when long kept is the only trouble I have
had, and the excellent system of washing the plate and re-
dipping before development, which you recently described,
has proved a perfect cure. I had tried the system before,
but always with a necessity of giving longer exposures, in
order to secure good results. Mr. Hughes’s plan of prolong-
ing the second immersion of the plate until the film is again
thoroughly permeated by the nitrate solution, however, re-
moves every difficulty, and, with the ordinary exposure, gives

Attottst 7, 1868.]

THU PHOTOGRAPHIC NEWS.

375

perfect results, and I for one am deeply indebted to you and
Mr. Hughes for the hint.

Speaking of this indebtedness, suggests to me some
thoughts on the extent to which photography as an art, and
photographers as a body, are under obligation to the large
baud of experimentalists and volunteers who have contributed
80 largely to the unparalleled progress made in little more
than a quarter of a century. 1 heard a photographer re-
mark the other day that he thought nothing had contributed
so much to ruin photography as a profession as the practice
of some of the best professional photographers of publish-
ing all they know, and so enabling the least cultivated
photographers a fair chance of competing with more expe-
rienced men. I could not help smiling to think how little
the speaker recognized his own obligations to this habit of
communicating their knowledge, in which our best men most
frequently indulge. I wonder how many, or, rather, how
few, of even the most capable photographers would have
found out for themselves all that is known of photography,
unaided by the published experiences of others. Surely
never was an art to the devotees of which the injunction
could so properly be applied: “Freely ye have received ;
freely give.”

_The value of photographic identification is so well recog-
nized that it scarcely needs affirming ; but it is interesting
to note the specially important cases in which it serves great
ends. We all remember the important part it played in
securing the capture of the murderer of Mr. Briggs ; the
discovery and identification of another murderer has just been
made by its means. The wife of a coffee-house keeper, in
Norton Folgate, was some months ago beaten to death with
a rolling-pin by her husband’s apprentice, who got clear
off, and no clue could be obtained as to the direction of his
flight. It seems that just after committing the murder he
was convicted at Woolwich for stealing a meerschaum pipe,
and sent to gaol ; there a warder, having seen the photo-
graphic portrait of the murderer, which had been circulated,
noted the likeness to the prisoner committed for theft, and
so on further examination he was identified, and will, doubt-
less, suffer the penalty of his crime.

Yet another aid to identification has come under my
notice. Literary circles have been in a state of excitement
during the last few weeks in regard to the discovery of a new
poem supposed to be Milton’s. Mr. Henry Morley, Pro-
fessor of English Literature at the London University, has
found written on the fly-leaf of a copy of Milton’s works, at
the British Museum, an unpublished epitaph, or, rather, as
Mr. William Sawyer has justly pointed out, three epitaphs,
bearing the signature J. M. The style is regarded by good
critics as essentially Miltonic, but the genuineness of the
lines as those of ^lilton has been the subject of hot discus-
sion. Decision on the matter depends chiefly on the ques-
tion of handwriting. If it can be shown that the lines are
in Milton’s handwriting, and that the signature is veritably
•1. M., and not, as some assert, P. M., the point will be vir-
tually settled. As the lines can only be e.xamined at the
Museum, and as the best meansTTf comparing them with the
handwriting of Milton do not exist at the Museum, photo-
tography comes in as a deus cx maehina to meet the diffi-
culty. Mr. Valentine Blanchard has, 1 understand, been
commissioned by Mr. Hain Friswell (the editor of the series
of works in one of which Mr. Morley was engaged when he
made the discovery) to make a photographic facsimile of
the epitaph for publication in the new work. The facsimile
can be readily compared with Jlilton’s handwriting, and
will, I understand, be compared with the original MSS. of
Milton’s Poems, in the library of Trinity College at Cam-
bridge, as aff’ording more complete evidence than can be
obtained by comparing it with Sotheby’s facsimiles, which
have so far been used as the test.

The mention of Mr. Blanchard’s name reminds me that I
have seen some capital instantaneous groups secured by that

gentleman at Wimbledon, although working without shelter
in such a tropical heat must have been trying work, and in
no wise favourable to instantaneous photography.

A new scientific manual of photography, or rather of tlie
chemistry of photography, by Jlr. Carey Lea, will, I under-
stand, shortly be published. Photographers will doubtless
look with interest for such a work from the pen of Jlr. Lea, who
is doubtless an able contributor to scientific photographic
literature. It is odd enough that in this country no great
work on photographic chemistry has been published. In
France the Photographic Chemistry of Barreswill and Da-
vanne forms an extended and important work. In this
country Hardwich’s “Manual ” has been the only work de-
voted to this subject ; and that never very complete or satis-
factory work,* has neces.sarily been getting out of date since
Mr. Ilardwich’s retirement from photography half-a-dozen
or more years ago. I shall look for the new work with
interest.

The case Graves v. Mercer, tried at Dublin, posses-ses con-
siderable interest for all concerned in the use of photography
as a means of popularizing art by means of photography.
I believe that few things can have a more valuable influence
on the art education of a country than the circulation of
good photographic reproductions of works of art. A very
large store of the best things of this kind are not copyright,
and may be circulated freely without trenching on the
privileges of any one. But if the statement of the case as
it at present appears be correct, no one can enter into the
business of publishing such reproductions without being
subject to the machinations of informers, who, if they fail
in all means of inducing the dealer to procure for them
copyright works, are under the temptation, in order to secure
penalties, to swear falsely that they have been supplied with
copyright works by persons who have honestly determined
to steer clear of all connection with copyright reproductions.
When spies or informers are used to detect crime, there is
always a risk that they will manufacture cases rather than
fail. On the other hand, publishers such as Mr. Graves
have suffered so severely that they are naturally resolved to
avail themselves of all legal means to hunt down and root
out the dishonest destroyers of their trade. No one can
blame them. They must possess the sympathy of right-
minded people. They will doubtless, as they affirm they
do, obtain the best men they can for the work, but stamp
out piracy they will at all hazards. It is a hard thing in
such a case to hit the juste milieu ; when sweeping means
are used to secure the punishment of criminals, it is hard
to avoid at times involving the innocent in the punishment.

The dernier mot on the question of retouching negatives
has not yet been said in this country, I apprehend. Very
few of our English portraitists seem as yet to have fully
realized all the advantages to be gained. The example
which appeared in Dr. Vogel’s Mitthelungen strikes me as
almost startling. Two portraits have been taken at one
time on one plate. The face is that of a young girl with an
apparently coarse, spotty, and freckled skin. Such at least
is the effect of the print from the untouched negative. Such
a portrait could scarcely be acceptable to any one : it
exhibits in a forcible manner the offensive exaggeration with
which photography at times treats physical defects. The
adjoining print is from the touched half of Ihe negative.
It is impossible to detect any alteration which should affect
the likeness. Form, light and shade, everything is the
same except the coarse spotty texture, which is substituted
by a refined smooth skin ; a change which most persons
would hail with delight, even if it erred a little in a direc-
tion opposite to the exaggeration of photography pure
and simple. I think experiment in this kind of modifica-
tion is welt worth the attentton of all portraitists.

Few of the societies are meeting. It is refreshing to

* I looked the other day to the Vocabulary of Photographic Chemicals
a this work for " bromide of cadmium," and found no mention of it.

376

THE PHOTOGRAPHIC NEWS.

[August 7, 1868.

find that some of them have the courage in this exhausting
weather to hold meetings. I see that the Liverpool Ama-
teur Society is active. The system of giving priises adopted
appears to induce a pleasant emulation, and is, I think
■worthy of the consideration of other societies. A gentle-
man present at one meeting of this society, I find, pronounces
india-rubber mounting, after some experience, a ‘'delusion
and a snare,” au opinion in which I cordially concur.
Another gentleman gave strong testimony to the excel-
lence of Mr. Bovey’s toning bath. Mr. Bolton described
his cxpesiments with a new preservative, for further parti-
culars of which I shall look with interest.

SHORT ESSAYS ON PHOTOGRAPHY AND ART.

No. 1. — The Academy Exhibition of 18G8.

BY nelson K. CIIEERILL.

Another exhibition of the Royal Academy has run its
appointed time and has closed, not without its lessons to the
art student and the public at large. The show of pictures
this year has been considered, on most hands, as very far
inferior to that of former years, not that it was less in
number, for the academj is always full, and more pictures
are rejected than hung every year, but simply, in the
opinion of most people, the pictures were not up to the
mark of excellence, which, from the productions of former
yeaiR, they might have had reason to expect. However this
may be, there was this year an abundance of material from
which the photographer might take a lesson in the artistic
application of the power so easily within his control ; no ex-
hibition of the Academy ever yet was so bad that nothing
could be learnt by it, even if nothing in it could be admired ;
the very defects of the pictures would form a most valuable
lesson in art to tho.se who may wish to improve.

It is not from a wish to dogmatise about what ought to
lie and what ought not, that these few general ob.servations
are penned, but more from a desire to promote that discus-
sion of the art powers of photography, which has of late
tended so much to improve its practice.

There is a much disputed question which now and then
crops up with regard to portraiture in the open air, namely,
one about the proper height of the horisou line. Some
have argued that if the junction of the sky and land be at
any other level than the height of the head in the sitter
it is simply wrong ; this seems nonsense to me, because, sup-
pose there are two sitters in the picture of different height’
or suppose one sits down and one stands up — a thing I sup-
pose more or less possible in nature, if not in art — where is
the horizon line to be put ? Of course the real position of
the line in question is the height of the eye of the spectator,
or, in photography, of the lens of the camera ; but it is
not at all necessary that the lens should be the same height
as the eye of the sitter, indeed, when it is so, it has to be
considerably inclined downwards, therefore in most cases
the horizon line should be below the height of the head in
the picture. About one third the way up the plate seems
to be a proportionate height in the usual way ; and in con-
firmation of this view I am glad to notice that it is decidedly
the rule in the Academy Exhibition this year, and that in
almost every case the horizon line was below the shoulders
in pictures of the kind 1 have been speaking of. So long,
however, as photographers wish it to be their boast that
their art is more true to nature than painting, they must re-
member in each picture to keep the horizon line at the exact
height which it makes in that picture.

Another point seems worthy of notice here, it is one which,
although not exactly bearing on any subject connected with
photography, cannot,! think, fail to be of interest among
photographers ; the amount of colour which may be used
in a picture. There is a fashion in everything, and just now
the fashion among a certain set of artists is to paint, in
various shades of white, instead of in coloura, as it is usually
understood The ob’cct seems to be to obtain “ tone,”

literal and exact tone, instead of colour which may be a little
out of tone if carried out fully. The question, how far this
may be right, will not, I think, prove uninteresting to pho-
tographers, at least it should not do so. The pictures in
tone may be divided into two classes, merging more or less
into one another— those which absolutely represent the
thing they profess to do, and those which represent only the
tone of a subject which must contain a great deal of colour
as ■well. In the first of these, of course, the absolute repre-
sentation is all that can be given, and so long as that is
obtained the only question left to the critics are those con-
cerning the choice of subject and general treatment ; but
when a highly-coloured subject is represented in a tone
mostly composed of white, with a slight sensation only of
any other tone, it seems to me open to very grave objection ;
objection, I mean, on the score of setting up such work as a
standard of comparison of art works in general. No doubt
any man has as much right to paint a picture all white as
another has to paint one all blue or all green, only let not a
picture which is true to fashion but not to nature be set up
as a standard of such paramount excellence as to rule not
only the present but all future generations of artists.
Fresnoy not inaptly says, —

“ The hand tliat colours well must colour bright,

Think not that praise to gain by sickly white."

This idea has been, as I before mentioned, rather to obtain
all the tone, and but little of the colour of a picture, than all
the colour, or as much as possible, and but little tone, or
only as much as may “ come.” This seems to me wrong
upon the face of it, for painting is essentially the art of
colouring and not of monochrome ; it is the object of
engraving to translate colour into black and white ; while it
is the object of painting to transcribe colour as it is, or as it
may be supposed to be, in the eye or mind of tlie artist.

A photograph should be the most perfect picture for tone
that can be produced ; the relation should be absolute be-
tween all the several parts. Tfiere is, however, anotheu-
reason, a more complete and perfect one why painting in
this “ tone,” which is coming now so much into fashion, is
wrong : it is that the harmony of tone so much prized is
gained by what looks very like a .sacrifice of truth. The har-
mony of tone in nature begins with white, or the lightest
shade of some colour which for the present purpose wo may
consider white, and ends, frequently, in the deepest black
possible, so deep that no amount of black paint or any mix-
ture of paints, can come near to it. But those painters of
tone do not by any means represent this long range of
natural colour or gradation ; they soy, we will paint harmo-
nies, beginning with white and ending with white, with a
little colour in it. A harmony, no doubt, they paint, but
not one that can be found in nature, and it seems to me a
very grave question whether nature should be represented in
a manner in which it does not rtpresent itself. It is, of
course, thought tremendously clever to be able to paint a
picture all oif one colour, and yet to have the wonderful har-
mony of tone in it. But are cleverness and “ trick ” the
highest aims of art? or even aims worthy of art at all ? I
think not. So long as photographers possess their present
powers it is much to bo hoped they will use them to the best
advantages they can, and not be led by a false notion of
aping art to try and make “ symplionies ” instead of jdc-
tures, because if they do they will certainly fail and that
without remedy.

There is another thing worth mentioning as being a thing
to avoid in a more or less mechanical art like photography,
even as it should be more avoided than it is in all art ; I
refer to the introduction of absolutely impossible accessories.
In one notable picture in the exhibition this year was an
incongruity, which if any smaller man, a “ Lancelot or
another,” in art had done, it would be said by all to be
nothing less than absurd. On the same canvas, .and at the
same time, are represented in different parts of the same
picture, two incidents which by their very nature must have
been in reality separated from each other by some fifteen

/

/

Auoust 7, 1868.]

THE PIIOTOGRAPIIIC NEWS.

877

hunt! red or two thousand years. It may be saiil that art is
imaginative and, tliereforo, cannot ho hound to time, or
place, or circumstance. True ; but should art not bo in some
sense bound to possibilities? Why should it not bo so ? All
things in reason are possible, even if they may not bo pro-
bable. Photographers have certainly no right and no power
to attempt strictly imaginative pictures ; it is even argued
by some that nothing should bo represented by the camera
prior to the invention of photography ; that is, that no
scene should bo “got up ” and photographed, and then said
to represent something that occurred prior to the invention
of the art of photography ; and the argument on which this
is based is not so much the incapacity of photography to
represent such scenes with good pictorial effect and even
some degree of truth, but from a feeling of inaptness or in-
congruity in a modern art being used to pourtray ancient
events. How far this argument holds good it is not my
present purpose to consicler ; but it seems to mo that if
photography is not allowed to represent events at which the
camera might have been present, much less should artists
represent events at which not only they were not present
but which never happened for them to be present at. Here
seems to me to lie the great distinetion between an art
mechanical and an art not limited as to its means of repre-
sentation. The one is compassed by the uniformity of
present accidents while the other is bounded only by the
imagination of the artist. But should artists use this greater
freedom to imagine things not only impossible but absurd
in themselves? And should not photographers, also, take a
hint, and in their arrangements of present pictures avoid
such acces,sories as may lead to the same “ blooming
errors ’’?

— ■»—

THE LATE M. CLAUDET.

Thk last number of our excellent contemporarv, the Scien-
tific Review, contains a long and able article entitled
“ Claudet : a Memoir.” The writer — one of M. Claudet’s
most intimate friends, and one with whom we have had the
fortune to spend some very pleasant hours in M. Claudet’s
company — gives a very complete and graphic sketch of the
public life and scientific labours of the veteran photographer,
regretting, however, that owing to the death of 8ir David
Brewster, who had undertaken to write a memoir of Claudet,
an adequate testimony to his scientific worth must remain
unwritten.

After briefly stating the birth of M. Claudet, in Lyons,
in 1797, and his connection with the glass works of Croisy
le Koi, he proceeds : —

M. Claudet came to London to c.stablish the sale of gla.ss shades,
sheet, and other glas.s not then manufactured in England. In 1833
he invented the machine now generally used for cutting all cylin-
dric.al gliuss. For this invention Prince Altert awarded him the
medal of the Society of Arts, in 1853. But all this while ho was a
student of science, training and waiting for the object to which his
true life was to be devoted. The path was opened to him by the
almost simultaneous realizations of photography by Daguerre and
Fo.x Talbot. In citing those well-known names, we do not forget
Niepce, the noble pioneer of the photographic art. His imperfect
results, and tho.se of AVedgwood, D««v, and others, had not arou.sed
the interest of men of science. Even the acliievemcnt of Daguerre
was received with the coldness of incredulity ; but Claudet saw at
once the breadth and beauty of the prospect it opened, an<l dashed
into photography with a warmth anci resolution that took his asso-
ciates by surprise. He was by title a “photographer” before the
name was known or photography believed in. Wo remember him
then. Ours was the spring-time of life, his the meridian. We
caught his enthusiasm, we became h’s disciple — as who would not
that felt the influence of his gifts and acquirements, and witnes.sed
his unflagging energj', his heroism of purpo.se ? There he would be,
day after day, among the fumes of mercury and iodine — careless of
life or health — experimenting, producing, expounding, never tiring,
never exhausting the fecundity of his expedients, never desponding
in his aspirations. And, happily, he was found equal to what he
undertook. When at first chemistry had to be called in aid, he was
a chemist (as testifies Francois Arago).* AVTien later, optics had to

• " M. Claudet, qui a trouve le moyen de reduire i quelques secondes la
durfe d’exposition dans la chambre obscure." — OJuvres completes de Fran-
Qois Arago. Tome vii., p. 6ia.

be appealed to, ho wjis a mathematician ; when mechanical science
was to bn invoked, ho was an ingenious meclianician ; when art
was required, he was an artist of consummate taste ; whatever new
resources had to bo sought , he was ever ready, for the spark of genius
was there, needing but the breath of opportunity to fan it into tlio
flame of achievement.

Thus qualified, Claudet (1840) took up photography as a idiilo-
sojihic pur.suit ; and henceforth literally his days were devoted to
the practice, his nights to the theory of the new art and science.

Referring to M. Claudet’s early experiments in increasing
the sensitiveness of the Daguerreotype plate, the writer
says : —

The operation was thus made a hundred times more rapid, and
hence Claudet has the credit of first rendering jiossible the etfectual
portraiture of animate objects. So semsitive had ho now made his
metal t.ablet that he obtained a porlniit by the oxyhydrogen light in
fifteen seconds; an impression of black lace by the light of
the full moon in two minute.s, and by the light of the stars in
tifteen minutes ; an impression of a sculptured figure by tlio light
of a candle in fifteen minutes, and the same from the light of a
lamp in five minutes ; and an image of the moon in four seconds.

After enumerating many of the early scientific contribu-
tions to photography of M. Claudet, he gives, in speaking
of the stereoscope, an excellent extract from one of his papers
on the subject : —

“ The stereoscope is the general panorama of the world. It brings
to us, in the cheapest and most portable form, not only the picture,
but the model, in a t.angiblo shape, of all that exi.sts in the various
countries of the globe ; it introduces us to scenes known only from
the imperfect relations of travellers; it leads us before the ruins of
antique architecture, illustrating the historical records of former and
lost civilizations, the genius, taste, and power of past ages, witli
which we have become as familiarized as if wo had visited them.
By our fireside we have the advantage of examining them without
being expo.sed to the fatigue, privation, and risks of the daring and
enterprising artists who, for our gratification and instruction, have
traversed lands and seas, crossed rivers and valleys, asc('ndod rocks
andmountains with their heavy and cumbrous photographic baggage.”

“ Claudet was,” remark.s the writer, “ endowed by nattire
to bo an investigator. A watchful and sagacious observer,
he was quick to detect coincidences or exceptions, and un-
tiring in pursuit ; ” and he proceeds to point out the acute-
ness which distinguished his researches in the by-paths as
well as the high-roads of science, especially as related to his
favourite studies. “Thus,” he says: —

In his paper on “ The Phenomenon of the Relief of the Image,’’
he observed “ that the imago formed on the ground glass of the
camera obscura appears as much in relief as the natural object when
seen with two eyes, and his experiments have disclosed the singular
and unexpected fact that, although only one imago seems depicted
on the ground glass, yet each eye perceives a dittorent image. The
image seen by the right eye is the representation refracted by tho
left side of tho lens,” and vice versa. ‘^Consequently, the.se two
images presenting two ditferont perspectives, the result is a stereo-
scopic perception, as when we look through tho stereoscope at two
images of dilferent perspectives.” He then explains that he a.scer-
tained these facts by many experiments, “ the most decisive of which
consists in placing before one of tho marginal openings of the lens a
blue glass, and before the other a yellow glass. The result is two
images superposed on the screen of the camera, one yellow, tho
other blue, forming one image of a grey tint, the mixture of yellow
and blue, when we look with both eyes at an ecpial distance from the
centre. But when we shut alternately, now the right eye and then
the left ej'e, the imago appears first yellow, and second blue.”

And, again : —

Sometimes, too, ho allowed hira.solf to str.ay from his chief garden
of delight into outlying paths ; and wo find liim at the British Asso-
ciation describing his “ Star Chromatoscope — an instrument for ex-
amining and comparing the rays of the stars.” Tho purpose of this
instrument is “ to develop an infinitely small spot of hglit into a
largo circle, exhibiting on its periphery the various rays emitted by
the star, all following each other in spaces con'cspouding with their
duration; showing also Idank spaces between two contiguous rays,
corresponding with tho black lines of the spectrum. AVe have, in
foct, a spectroscope by which we can analy.se tho partieular light of
any star ; .and, further, by this instrument wo may arrive at the dis-
covery of the real cause of tho scintillation, and compare its intensity
in various climates and at different altitudes of a given star.” Or,
again, we hav’e a discourse “ on moving photographic figures, illus-
trating some phenomena of vision connected with the combination
of the stereoscope and tho phenakistoscopc, by means of photo-
graphy.” “ Our sensation of vision,” he s.ays, “is not iu the eyes,
but only in the single sensorium of vision, to which both eyes con-
vey their separate perceptions.” Again, ho gives us “A new fact

378

THS PHOTOGRAPHIC NEWS.

[August 7, 1868.

relating to binocular vision,” to illustrate the persistence of the im-
pression made by light upon the retina. At the conclusion of
this paper he modestly as justly adds that Professor Wheatstone by
his admirable discovery — the pscudoscopo — has left very little for
further investigation in the physiology of binocular vision. lie ex-
I)Oimds with generous praise the inventions of others, as in his
paper “ On the principles of the solar c.amera.” “Such,” he says,
“ is the essential principle of Woodward’s solar camera. • * *

This principle is truly marvellous. * • Without question, its in-

troduction into the photographer’s studio will mark a period of con-
siderable improvement in the art”

The demands upon our space preclude further extract this
week, but we shall return to the article in our next.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Chiaroscuro for Photographers.

BY n. P. ROBINSON.

Chapter XXVIII.

*' When the composition is kept dark, forming a mass of shadonr in the
centre of the canvas, the light is often conducted round it by means of the
sky, water, or tight foreground ; and as the dark becomes, in a manner.
Isolated, it receives great vigour and importance. If a clump of trees, such
as we often find in Claude, is to be represented, their stems shoot out from
a ground of the same darkness, tliereby producing a union of the trees with
the shadow which they cast on the ground. As a light in the centre of dark
tints must thereby acquire an increased consequence, so a dark in the
middle of light tints receives the same importance.” — Burnstt.

Chiaroscuro — (continued).

An arrangement of light and shade not so much regarded
now as a strict rule, called “ the three lights,” at one time
was considered to be indispensable to a good picture, and
is, indeed, a very pleasing effect of chiaroscuro, including
in itself every element of success, unity, variety, and repeti-
tion. It was Sir Joshua Reynolds who first enunciated
this precept : “ The same rules which have been given in
regard to the regulation of groups of figures must be ob-
served in regard to the grouping of lights ; that there shall
be a superiority of one over the rest, that they shall be
separated and varied in their shapes, and that there should
be at least three lights : the secondary lights ought to be
of nearly equal brightnes.s, though not of equal magnitu<le,
with the principal.”

The following sketch will give some idea of the arrange-
ment.

Fiff.l.

It will be seen that the three lights are placed at unequal ,
distances from each other, and form an irregular triangle. ■
The chief light — that in the sky — is brighter and broader
than the others; it is repeated by the secondary light on the j
cliff, and carried eff by the light reflected in the water on
the left hand.

The most beautiful eflects are often produced with the
simplest materials; but it is very difficult to persuade photo- |
graphers, who have such ample' means of rendering detail,
and whose pictures ars as easily and as highly finished if
they are full of subject as if they had very little in them, to
be content with sufficient material for pictorial effect. With

painters all the force of the palette and all the skill of the
artist are frequently employed by such simple materials as a
straight and low horizon meeting the sky. On such sub-
jects the most skilful resources of the art are necessary, and
enable the artist to show his strength. How very seldom is
a photographer content to keep his horizon low, and de-
pend on the sky for effect ! Fig. ‘2 is from a photograph in
which this arrangement has been observed, and in which
the view, without being too much suppressed or neglected.

Fiff. 2.

has been subordinated with great advantage to the general
effect. A proper union and sympathy between the parts of
the picture have been kept up by means of the broad mass
of light which occurs in the sky, and is repeated on the
ground. This illustration also shows the extreme value of
carefully chosen and placed figures in a landscape. The
one figure being white and the other black, collects the
scattered lights and shades in the picture, and reduces them
to proper subordination, The use of extreme black and white
in small quantity and in juxtaposition is also exemplified in

fig. 3.

A method pursued by Turner, and followed since by
many artists, is most effective. Instead of relying on a
small portion of light surrounded by large masses of dark,
as Rembrandt did. Turner understood and exemplified in
many of his best works the extreme value of small masses of
dark set in a border of light, but never unsupported by
other spots of dark. This was often obtained by rearing a
dark tree against a light sky, balanced by dark figures in
the foregound, which is usually light; between the fore-
ground and the distance is generally a mass of shade uniting
the two. The illustration figure 3 is constructed on his

Fiff. 3.

“ View of Orvieto,” and is one of the many pictures painted
by Turner that shows the principle clearly. This was one of
the pictures so treasured up by the artist, in order that he
might leave them to the nation, that no money could buy
them. A bold sweep of landscape, to the left of which rise
a tree and a dark ma.ss of foliage ; in the foreground, which
is varied with that minute subdivi.sion of lights and darks
which made this artist’s effects, like photography when

August 7, 18G8.]

THE PHOTOGRAPHIC NEWS.

379

rightly understood, so elaborate and yet so broad, the dark
parts of the dresses of two women, who are washing at a
classic fountain, repeat and support the dark tone of the
tree ; the dark vine leaves brought out prominently on the
light masonry also perform the same office, and extend the
shadow to the extreme right. The only bits of pure white
in the original are on the woman’s dress in connection with
extreme dark (see last chapter), and the piece of paper on
the lute. These minute bits of pure white arc placed with
a definite purpose and with extreme art, and help to bring
forward the foreground and throw back the distance. In
the distance, on a rocky eminence, stands the town of
Orvieto backed by mountains, which is all treated with great
tenderness and delicacy. The general arrangement of
masses will be found somewhat similar to that described in
chapter 27, figu-e 2.

Few photographs have been taken uniting extreme force
in the foreground with delicate and tender distances and
skies. There is no reason, save that of a disinclination to
take much trouble over such a simple thing as a photograph,
why they should not be done. If photographers would say
to themselves, “ This scene is as well worthy of my undivided
attention and of all my skill as it would be that of a painter
who would not hesitate to spend some weeks in painting it,”
they would probably produce better results. I have never yet
been able to see why a photograph should be confined to one
exposure for foreground and distance, any more than it should
be considered legitimate that an etching should have one
biting only. In etching, the artist exposes his plate to the
acid a longer time, and bites deeper lor the deep shadows
than for the lights ; if he did not, he would get no variety
of light and shade, and his work would be thin and weak.
In photographing such a view as the one of Turner’s we
have taken for illustration, I can see no reason why the fore-
ground should not be obtained in one negative, giving suffi-
cient exposure to bring out the necessary detail in the
shadows; and the distance and sky on one or more nega-
tives, suiting the exposure to the effect required. The
only technical objection would be, that it would require
skill in the printing, which, in the eyes of many photo-
grapher's, would be an immense advantage, the “ fatal
facility ” of the art for producing rubbish being the great
cause why photography as an art has not advanced further
than it has done.

Difficulties in art are necessary to its exi.stence. If there
was nothing to overcome there wonld be no incentive to
exertion, and art would soon become a tnechanical trade.
Opie was always of opinion that the internal difficulties of
painting were its very best friends, and, in one of his dis-
courses at the Academy related, the following apposite anec-
dote to prove his statement; — “Two highwaymen (says a
certain author), passing once by a gibbet, one of them, with
an ill-boding sigh, exclaimed, ‘ What a fine profession ours
would be if there were no gibbets !’ ‘ Oh, you blockhead,’

says the other, ‘ how much you are mistaken ! Gibbets are
the making of us ; for if there had been no gibbets every one
would be a highwayman !”

ON THE PRINCIPLES OF LIGHTING AND
CONSTRUCTING STUDIOS.

BY DR. H. VOGEL.

Chapter II.

In my first chapter I have explained the chief principles of
calculating the direct brightness in a glazed room, and
pointed out at the same time, by a series of examples, the
consequences arising from that calculation, previously
neglecting the effect of the light reflected by walls, &c., and
the loss of light produced by reflection during the transmis-
sion of light through glass.

To those who have followed attentively our explanations
it will be of no difficulty at all to determine the amount of

the light which falls on any point in the studio. With
small apertures we can very easily calculate the relative
amounts of light at different parts of the room ; with larger
windows, which have some influence on the illumination,
the best criterion is afforded by constructing the angle of
light. To this purpose the studio (or a piece of it contain-
ing the acting glazed surface and the point which must be
illuminated) must be drawn on paper, sketch and ground-
plan, and the angle of light constructed in the horizontal
or vertical direction. These are not yet all the possible or
interesting instances ; indeed, there could be written a great
volume on this subject. In these lines I only propose to
write upon the effects of our most important constructions of
studios.

In my diagram I suppose a studio with its glazed side

directed northwards. It is 32 feet long and 16 feet broad ;
there is no interruption in the wall, and the front, h g, lies
northward. At a 1 suppose a person at a distance of 5 fe(.t
from the glazed wall and of 4 feet from the back wall ; the
curtains are drawn in the space g h (28 feet). If we wish to
state the effect of the glazed wall, g h, of 28 feet long,
we are obliged to construct the angle of light g a h. Now
suppose, instead of the long glass wall g h, another, g k,
not directly situated northward, and of a length of 8 feet ;
the angle hag will then be exactly as great as ft a g ; that
is to say, this small aperture of only 8 feet long will pro-
vide the studio with as much light as the other wall of 28
feet long ; nay, even a wall, g I, of only 5 feet long,
would afford the same amount of light to the person at a,
but this would not be quite applicable, because the edge of
the wall at I would conceal a great deal of the field of light
to the apparatus at A.

I have now proved that we could employ an inclined wall
of 8 feet long instead of another of 28 feet without decreasing
the original amount of light. The same is the case with
glass roofs. A straight skylight of 28 feet could be substi-
tuted by an inclined one of only 8 feet long.

If I now construct a studio with such a wall and an ana-
logous skylight, I get a room which, as to brightness, totally
equals the great studio of 32 feet long. The effect of light
would even be much greater with the small glass wall g k
than with* g ft, as with the latter the light falls in under a

380

THE PHOTOGRAPHIC NEWS.

[AtrousT 7, 1868

very great angle, and tlierefore much more is lost by reflcc- | The depth of the roof is 12 feet. For single portraits it would
twn- I not only suflice but even be much too great, and only on

The form of the studio of the above-stated description is ' exceptional occasions it would be used all unveiled. Thus,
to be seen in our diagram. The parts not hctched are glazed, starting from the principles of the most simple illumina-
the others dark ; the .apparatus is to be placed into the dark tion, I arrived .at a construction of studio, which, in fact, has
room, T T, the person, however, at a near the glazed wall. ' already been employed — as, for instance, on the great tunnel

studios— and I have proved that, under the quoted condi- ;
tions, it is of the same effect for single portraits as a great
studio fronting to north. Such a studio would entirely
suflice to amateurs and little photographers. The side w.all
is best fronting to north, because by this means the lateral ,
and chief illumination is kept free from direct sun r.ays. |
The roof must be screened by sails. If there is not room
enough, the depth may even be smaller than IG feet.

If such a studio is suflicient for t.aking single portraits
and recommends itself by its great cheapness, it has also its
faults, if compared with the great studio fronting north,
hiret of all, the person receives light .always from the. same
side (in our diagram from the right side), whilst in a north
studio, according to the position of the sitter, he will receive
his light either from the right or from the left side. This
fault, however, is not very great. Mr. Ileutlinger’s excel-
lent portraits, for instance, are all illuminated from the left
side.

A greater drawback however arises if the sitter is not
placed quite near the glass, but a little further removed from
it. Supposing a person at b, at double the distance from the
glass than a, we can judge of the effisct of light by draw- i
ing the lines b h and b g, and thus constructing the angles i
of^ light h b g and k b g ; in the diagram we instantly per- I
ceive that h b g is much greater than k b g, and conse- j
quently that for a point situated at a greater distance from '
the glas.s, the amount of light is considerably greater in a
studio fronting to north.

In a tunnel studio we must therefore be contented, in our
operations, with the room in the direct neighbourhood of 1
the windows, whilst a north studio allow.s you to extend
much more towards the depth, and therefore affords more
scope ^ for artistic arrangement, and undoubtedly better
illuminates groups which require the whole depth of the
studio.

Fiom the physical point of view I now have pointed
out the effects of a tunnel studio and of a studio pointing
to north. Accordingly to the .above-given principles, every-
body can e.asily perceive himself alone how the effect will
be changed if the dimensions are altered, as suppo.sed above.

NOTES ON DEVELOPMENT.*

Developers^ which contain a copper salt arc sometimes in-
strumental in causing the negative to be covered w’tb a
brownish fog, which, on account of its characteristic colour
18 easdy distinguishable from that generally met with.
This fogging may either cover the whole of the picture, or

* Photographischei Archie.

a portion only of the image may be affected by it ; but in
any case the defect is not superficial, but lies between the
glass plate and the Clm, that part of the negative being
most damaged where the collodion layer is thickest. These
cbserv.ations lead to the conclusion that the injury is
due to a particular condition of the collodion film, and that
this view of the matter is correct was proved by the follow-
ing experiment: —

Two plates were coated with strongly iodized collodion —
such as is generally used — .and one of them being placed in
the sensitizing b.ath as long only as w.as absolutely neces-
sary, while the other remained in the bath a few minutes
longer. After exposure in the camera they were both deve-
loped with the following compound ; viz. : —

Sulphate of iron ... ... ... 3 parts

Moist sug.ar... ... ... ... 3 „

Sulphate of copper ... ... 3 „

Acetic acid 3 „

Water 100 „

The second plate yielded a perfectly clean and pure
negative, while the first was totally covered with a thick
fog; the reddish brown precipitate lay under the image,
and was greater at the end of tire plate from which tire collo-
dion had been drained than at the other.

From this result we may therefore conclude that in the
film of the first plate undecomposed salts of iodine was pre-
sent, which, combining with the copper of the developer,
formed red iodide of copper. The silver reacts slowly
upon the iodine salts, being at fii-st prevented from enter-
ing into combination with the same by the ether contained
in the collodion ; it is natural to presume, therefore, that in
a thick layer of collodion, undccomposed iodide m.ay still
be present, and from this we maj' deduce the precept that
the plate should not bo removed from the bath too early, if
a copper developer is subsequently to bo employed. With
thin and porous collodion, obedience to this rule may not
be of so much importance ns when a material of a thick
consistence is used.

The above experiment teaches us one more lesson ; viz.,
that the smooth flowing of the silver solution over the nega-
tive on its exit from the bath is no proof that a complete
conversion of the soluble iodide salt into iodide of silver
has taken place.

In earlier times much discussion took place upon the
relative merits of pyrogallic and iron developers for wet
plates, and finally it was generally decided that the iron
solution was the most energetic developer, and yielded,
therefore, quite as soft and detailed a picture, with a short
exposure, as the pyrogallic acid did after a longer one. Iron
development is now universally employed in conjunction

August 7, 1868.]

THE PHOTOGRAPHIC NEWS.

381

with a subsequent intensifying operation with pyrogallic
acid.

The solutions in general use of these two materials are of
very different strengths, for in employing one part of pyro-
gallic acid wo generally add at least ten times as much water
as would be added for one part of sulphate of iron. This
hardly seems right, seeing that the iron is already a much
more energetic reducing agent.

We have lately been experimenting with a 5 per cent,
solution of pyrogallic acid, using, therefore, the latter mate-
rial in the same degree of concentration as iron is employed,
and with this developer we treated a series of portrait nega-
tives. All of the pictures were perfectly free from spots
and stains, and so vigorous and intense that it was neces-
sary to proceed rapidly with the operation of washing to
prevent the films from becoming' too opaque. The period
necessary for their treatment wa.s only one-third that re-
quired to produce negatives with the iron developer and
pyrogallic acid intensitier, and the pictures obtained were
quite as soft and delicate as those developed with iron. The
only drawback in the method was that the slightest traces
of dirt upon the glass caused the deposit of a light metallic
precipitate ; there can be no doubt, however, that the strong
pyrogallic developer brings out the weaker light rays more
satisfactorily, and yields, therefore, negatives more harmo-
nious in their character than are obtained by the sulphate
of iron solution.

ON NITROGLUCOSE.

BY M. CAREY LEA.

As nitroglucose has been much less studied than its con-
generic nitro-substitution compounds, jryroxyline, xyloi-
vliiie, and nitroglycerine, .a few words on its preparation and
properties may not bo uninbu'esting.

'Ihe substitution docs not take place in sugar with quite
the same facility as with cellulose ; the acids need to be
stronger, and the temperature lower. The sugar, moreover,
appears at first to dissolve, and then to separate out again in
the form of a greyish paste, which, when thrown into
water and freed from the adhering acid, becomes nearly
white.

An attempt to prepare nitroglucose by the use of nitre and
sulphuric acid, which succeeds so well and so easily in the
case of cellulose, failed almost wholly with sugar. Not more
than two or three per cent of the weight of the sugar was
obtained.

With sulphuric and strong nitiic acids, allowed to cool
thoroughly after mixing, the reaction takes place easily, and
a considerable quantity of nitroglucose is obtained. The
nitric acid should be .os strong as po.scible, and, as the acid of
the requisite strength is not easily obtained commercially, 1
have found an advantage in using in part the fuming sul-
phuric acid. Two fluid ounces of fuming sulphuric acid, 2
of common sulphuric, 2 of strong nitric acid, as near to T5
sp. gr. .as can be obtained, give-^od results. The sugar is
stirred in, in the form of powder, to a thin paste. The
stirring is kept up, and as fast as the nitroglucose separates
in doughy masses it is removed with a spatula and thrown
into cold water. A further .addition of sugar will give more
nitroglucose, but considerably less in proportion than the
first addition. As soon as possible, the nitroglucose is to be
kneaded up with cold water, to got the acid out. In one
case, when this was neglected for ten or fifteen minutes, the
nitroglucose p.assed to a greenish colour, and apparently was
undergoing a commencing decomposition.

The removal of the adhering acid is much more difficult
than in the case of pyroxyliue, and is an extremely dis-
agreeable operation. The acid perv.ades the whole of the
doughy ma.ss so fully th.at the fingera are stained and burned
by it, nor can the whole of the acid be removed satisfactorily
in this way. The best means I found was to dissolve the

®rude nitroglucose in a mixture of alcohol and ether, and
Mien to pour this into a large quantity of cold water with
constant stirring, and violent agitation afterward. The
method is not altogether satisfactory, and seems to be
attended with some loss of material, though why, it is not
e.asy to see.

Prepared in this way nitroglucose is a white, lustrous
body, which may either assume the doughy amorphous con-
dition, or the crystalline, and passes from one to the other
with extreme ease. When first formed by the mixed acids
it always has the doughy form. That which I obtained by
the use of nitric and sulphuric acid was crystalline from the
first. When precipitated by water from its solution in
alcohol and ether, it is doughy and almost liquid, and
remains so for a long time, if there is any considerable
quantity of it.

The best mode of preserving it appears to be under wtiter.
By standing thus it gradu.ally hardens, .and passes some-
times to a somewhat hard amorphous ma.ss, and sometimes
to a gr.anular crystalline state. It appears to bo wholly
insoluble in water. A few minute grains of the crystalline
form diffused through 15 or 20 ounces of w.ater did not dis-
solve after many hours standing. In a mixture of alcohol
and ether it dis.solves as easily as sugar in water, and in
such quantity as to make the liquid syrupy.

Its detonating properties are but slight. If it bn well
dried, and a match be applied, it deflagrates with a feeble
flash.

It has been stated by Dr. V. Monckboven that when dis-
solved in alcohol and kept some time in a warm place, it
undergoes decomposition, as evidenced by the fact that the
Solution then gives an abundant precipitate with nitrate of
silver, which at first it did not do. An experiment made in this
direction did not give the result thus indicated. A solution
of nitroglucose in alcohol, containing about 40 grains to the
ounce, w.as placed in a stoppered vial, and was kept in the
sand-l).ath .at a temperature of about blood heat for nearly a
month. But neither it nor a fresh solution g.ave a precipit.ate
with alcoholic solution of nitrate of silver. .It would seem
from this that certain conditions of temperature or otherwise
are nece.ssary, in order that this decomposition should take
place. — American Jonrnal of Science.

e

PHOTOGRAPHIC NOTES ON THE CONTINENT.
[from a special correspondent.]

Kiirnberg, 1st August, 1808.

To be transported in forty hours from the hot .and noisy
Metropolis into the middle of the Thuringian forest, is a
change as sudden as it is .agree.able. Situated in the centre
of Germany, far removed from any town of size or import-
ance, the magnificent scenery of Thuringia with its gigantic
forests of beech and pine, stretching out on every side, is
little known and rarely visited. And yet the district is one
in which Englishmen should feel an intere.st. The towns of
Coburg and Gotha are the principal residences of the Saxe
Coburg family, and the palaces of Rosenau and Reinhardts-
brunn were the birthplace and favourite resort of the late
Prince Consort : both of the latter castles are frequently
visited by Her Majesty, and arc minutely described in “ The
Early D.ays of the Prince Consort.” Besides these places of
interest, Thuringia includes the ancient town of Eisenach,
where the princes of Orleans (the descendants and heirs of
Louis Philippe) were educated, and the castle of the Wart-
burg, in which Luther translated the Bible. Thus it would
appear that, possessed of both historical and loyal associa-
tions, besides being endowed with great natural beauty, the

382

THE PHOTOGRAPHIC NEWS,

[August 7, 1868.

district requires only to be known to become a place of con-
stant and fashionable resort by the tourists of England.

Eisenach is, perhaps, the most central point of Thuringia,
situated on the railway between Frankfort and Leipsic, at
the junction of the line from Coburg. Everything in the
district is still in a very primitive state, and in the railways
one is positively made uncomfortable by the strict regula-
tions posted up in the carriages. You are on no account to
lean sidewards out of window, nor to press against the door ;
neither are you to touch the handle of the door, or enter, or
descend from, a carriage without the permission of the
officers of the Company. Thus when a pretty view strikes
you either to the right or the left, the only way of looking
at it, if you do not wish to infringe the regulations, is to
take a peep out of the corners of your eyes ; and as castles,
either preserved, or in ruins, surmount almost every hill in
a commanding position, the trial to one’s feelings is very
great indeed.

The universal primitiveness before alluded to is especially
noticeable in photography. Neither in Eisenach, Gotha, or
Coburg, could I sec for sale any pictures taken by the camera
of points of interest in the neighbourhood. I wished very
much to obtain a picture of the Wartburg, taken, if pos-
sible, when I first knew it, some ten years ago, before it had
been spoiled (or beautified as the people around call it), for
I felt an interest in this remarkable old place, where is still
shown, in one of the chambers, the trace on the wall of the
ink which Luther threw at the devil. The castle is also the
scene of the opera of Tanhiiuscr, and was the residence of
the Holy Elizabeth, who, unbeknown to her hard-hearted
hu.sband, used to carry up victuals to the starved out resi-
dents in the bourg. On one occasion, when she was caught
in the fact by her husband, the latter angrily seized the
basket she was carrying and throwing back the cover of
the same, discovered nothing more than a cluster of roses ;
after which, it is said, he never molested her more. In order
to purchase a photograph, I entered two or three shops in
the town, and on each occasion was shown some three or four
dozen prints, but in no single instance were the pictures
direct photographs of the objects, bat simply copies of
engravings. This custom of photographing pictures is one
much practised throughout Germany, and is certainly to
be deplored, as unskilled purchasers are often misled thereby,
the shopkeepers themselves not unfrequently believing in
the genuineness of the pictures they sell. It was the same
with the pictures of Hoscnau and Rheinhardtsbrunn ; and
with panoramas containing series of twenty or thirty
sketches of places of interest marked “ Photographies de
Thuringie,” they were all photographs of engravings.

At the town from which I date this letter, photography
is practised to a notable extent, but not, in my mind, to the
degree it might be done. Nuremberg is par excellence a
town, noted lor its wonderful architecture, its buildings pre-
senting the most varied and beautiful subjects for the camera,
and yet of these advantages photographers seem to have
availed themselves but partially. The delicate antique stone
carving of the various churches ami numberless fountains,
the frescoes on the public buildings, the quaint gable roofs
of the old fashioned houses, together with their overhang-
ing ornamental windows, are subjects essentially suited to
photography ; and yet, with the exception of some speci-
mens by M. Koenig, of Nuremberg, very few of the beauties
of the town are seen produced in the shop windows.

Of the ordinary photographic portraiture produced here
I will not speak too critically, as it would be unfair to com-
pare it with that of larger towns, but from the specimens
exhibited in the different show-frames, practisers of the art
appear to be well represented. No cabinet portraits are to
be seen, but some large vignetted heads exhibited in one or
two of the studios are deserving of much praise

Lim, Zrd August, 1868.

Down the Danube from Passan has been a delightful trip.
The scenery although very different to that on the Rhine.

certainly equals, if it doen not sometimes surpass the same.
True there is not that constant succession of lofty hills, each
surmounted by a castle, or ruined bourg, nor are there the
green sloping vineyards of Rhineland, but on the Danube
the mountain walls on each side are higher and clothed in
one dense mass of rich foliage which stretching along the
steep slopes dips down to the water’s edge on either side.
The stream twists and turns continually, and sometimes
doubles back so completely that a tower which is first seen
at the right hand is afterwards observed on the left. The
scene is continually changing, and the views obtained are of
the most varied character. It seems very strange that so
lovely a district should not be as much visited ns the Rhine;
on the latter river there are as many as eight or ten large
steamere passing up and down every day, whereas here one
small steamer per diem suffices for the whole of the traffic.
What is wanted is a pioneer in the person of a photographer
to depict the beauties of the route and to make them well
known. The view from the window of the hotel at Linz,
where I am at present writing, is certainly more beautiful
and extensive than any that can be seen on the Rhine, and
would alone repay the trouble of a visit. If Mr. England
will direct his steps in this direction next summer and bring
his dry plates with him, I will guarantee him as successful
and pleasing campaign as that made by him last year on
the Rhine.

I continue my journey down t’ne Danube to day as far as
Vienna, and will write again on my arrival in that town.

INFORMERS AND PIRACY.— GR.WES v. .MERCER.

Sir. — With reference to your report of this case in your
valuable Journal, I beg to make a few remarks. It is a signi-
ficant fact that in a former trial (Graves t>. Ashford, Mr.
Ashford stated just what the defendant in this case states, viz.‘
that the photographs sold hy him were of a size diftering from
the one he was charged with selling, and of which he denied
all knowledge.

When evidence is conflicting, probabilities must be con-
sidered. At the trial, Mr. Mercer stated that he knew the
danger of selling photographs taken from copyright engravings,
and had discontinued the practice for some time. lie also
stated that he knew his customer to bo an informer. Under
these circumstances it is hardly probable that he would part
with a copyright photograph, if he had such a thing in his
possession.

The informer, however, must live, and he can only do so by
furnishing his employer with the means of obtaining convic-
tions. He therefore buys wherever he can. and when on ex-
amining a dealer’s stock, he finds no copyriglits he solicits the
dealer to obtain them for him. Too often the dealer tails into
the trap, and is heavily amerced in consequence.

In this case either the informer mistook the identity of the
purchase, and planted the photograph amongst those bought,
a contingency supposed to bo guarded against by having him
searched by Cattcrmole before entering Mr. Mercer’s premises.

A man, who to put a dealer off his guard buys hundreds of
non-copyright photographs from him, while always asking for
illegal goods, is not unlikely to make up a case on finding ho
cannot otherwise got one.

I do not for a moment suppose that such a proceeding would
bo approved by the plaintiff, if really committed, but ho is open
to censure for not clearly ascertaining the modus operandi of
his staff of informers, and a man who mixes himself up with
such men as informers are and must be, notwithstanding their
“gentlemanly appearance,” must share with them the odium
attached to their proceedings, and submit to the rebuke of the
Judge and the estimate of the Jury as shown by their
verdict.

Dealers not trading in copyrights should know that they
have a remedy against informers under the 5th section 11 and
12 Viet. cap. 43, which enacts that any person who shall
council or procure the commission of any offence punishable on
summary conviction shall be liable to bo proceeded against and
convicted of the same, either together with the principal
offender on, before, or after his conviction. Thus informers

THE PHOTOGRAPHIC NEWS.

383

Augost 7, 1868.]

counselling the commission of a mis-demeanoiir render them-
selves liable to punishment.

Informers are justified in going to a dealer’s shop and in
specting what he may have for sale, but on finding that ho
does not deal in illegal subjects, they have no right to persuade
and council him to procure and sell such things. In so doing
they themselves transgress the law.

Mr. Graves complains of the losses he has sustained by
piracy. There is, however, a per contra which must act as a
partial solatium to him. The heavy tiues which have been
inflicted have mostly found their way into his pocket, and have
to a considerable extent re-iinbursed him for his outlay iu
paying informers, — I remain, sir, yours faithfully. Photo.

PIIOTOGHAPHY AND DISEASE.

Sin,— Having through illness in the month of Foburary last
omitted to read your excellent Journal, I now find, on reading
up, an article headed “ Photography and Disease,” (see page
98, of Feburary ‘23th,) in which I read complaints from two
brother photographers. I have been a practical photographer
about twelve years, manipulating daily for about six years
without feeling any ill elTects from the process. About six
years next Ai^ust, while returning from business, and to all
appearances in my usual good health, I was suddenly attacked
with a tit in the street which seized me in the left hand and
arm and left me senseless on the pavement. Since that time
I have had twenty -one more attacks of the same nature, the
last being on the 2nd of January, 18G8. 1 feel the same symp-
toms as your first correspondent exactly. I have been for six
years under some of the cleverest medical men I think iu
London, and all attribute it to poisoned blood from the use of
the chemicals, and each advised me to give up the practice of
the art altogether. As I am not adapted tor anything else,
that to me is impossible as at times I can scarcely stand to
develop a plate, so I am compelled to practice the art from
necessity. With respect to B. B., your second correspondent,
my sincere hope is ho will give it up ere too late, my feelings
after washing prints are exactly the same as Le states, but
unfortunately I have lost the use of my left arm on three
occasions for about seven days each time. A celebrated physi-
cian, whose name I should be happy to send any sulferer, told
mo three years since I must really give it up. I did so at the
time, and went in the country for one month, in which time I
got considerably stronger, I improved in appetite, and increased
ten pounds in weight in twenty-eight days, but was compelled
by circumstances to re-enter this profession. I am sorry for the
sake of your correspondents I did not see their letters before,
but hope it may not be too late to be of some service. — I beg to
remain, dear sir, yours most respectfully.

August 2nd, 1868. A Severe Sufferer.

2Lalk iu tb£

Koval Cornwall Polytechnic Exhibition. — It may be
well to remind our readers that pictures intended for competi-
tion at the forthcoming Royal Cornwall Polytechnic Exhibition,
should bo sent in before the 17th of next month. Forms for
flliing in, and all other particulars relating to the photographic
department, may be obtained of Mr. J. C. Stephens, Falmouth.
As our readers know, silver medals are offered for the best por-
trait and the best landscape, and bronze medals for the second
best.

The American Bromide Patent. — The great struggle be-
tween American photographers and the owners of the bromide
patent is concluded, the patentees are defeated, and the restric-
tions in the United States on the use of bromides in collodion
are at an end. The aim of the patentees was to secure a seven
years’ renewal of an iniquitous monopoly, and they have striven
hard to gain that end. The opposition has been conducted
energetically and successfully on behalf of American photo-
graphers by our friend Mr. E. L. Wilson, editor of the Phila-
delphia Photographer. The treasurer of the opposition finds
that the expenses have been iu excess of the funds, but, of

course, photographers will quickly contribute to supply the
balance out of pocket.

Photographs in Evidence. — In a recent trial for murder
at Shrewsbury, a photograph of the murdered man was produced
in course of the proceedings for the purpose of identifying him
as Mr. Zusman, the person stated to have been murdered.
It was ascertained, however, that the photograph was a copy
of another jiortrait in a broach belonging to the deceased's
widow. In the absence of direct evidence as to the origin of
the broach portrait, tho copy was regarded as valueless.

Chloride in Bromide of Potassium. The Paris corres-
pondent of tho Chemical Notes, says : — At a meeting of tho
Societo do Pharmacio, M. Baudrimont gave an account of “ A
Process for Detecting tho Presence of Chloride in Commercial
Bromide of Potassium.” Tho bromide to be examined is first
tested for iodine. For this purpose a small quantity of the salt
is dissolved in water in a test-tube, and an equal volume of
bisulphide of carbon added. Upon tho addition of a few drops
of bromine water, the bisulphide of carbon becomes coloured
violet, under the influence of iodide, if this be present. When
the test shows tho presence of iodine it is necessary to remove
the whole of this element from the sample. This is effected by
dissolving about 10 grammes of the salt iu distilled water, adding
bromine water until violet v.apours are no longer visible upon
boiling, and then testing for iodine in the manner first de-
scribed. Afterwards the solution is evaporated to dryness to
remove the excess of bromine, and thus one obtains a bromide
of potassium free from iodide, but which may contain chloride.
The remainder of tho process depends upon the fact that a
given weight of chloride of potassium requires a much greater
amount of a standard solution of nitrate of silver than tho same
weight of bromide of potassium ; while the bromide for the com-
plete precipitation of 1 gramme requires 1'128 grammes of
nitrate of silver, 1 gramme of the chloride requires 2-278 gram-
mes. For tho examination of the bromide of potassium, a
standard solution of nitrate ot silver is first prepared by dis-
solving, in a litre of water, 10 grammes of tho pure salt, each
1-lOtli c.c. corresponding to 1 milligramme of nitrate of silver.
1 gramme of tho bromide to bo examined, freed from iodine it
necessary, is dissolved in lOO c.c. of distilled water : 10 c.c. of
this solution, representing -1 gramme of bromide of potassium,
would require, if pure, 14-2 c.c. of tho silver solution ; chloride
of potassium would require 22- 7 c.c. M. Baudrimont proposes a
method of making the final reaction more delicate by adding a
few drops of solution of chromate of potash to tho bromide ex-
amined ; tho nitrate of silver added then combines with the
whole of the bromine and chlorine in preference, and the com-
plete precipitation is marked by the production of the red pre-
cipitate of chromate of silver. It is obvious that the bromide
contains more or less chloride, according as the number of
burette divisions (divided into 1-lOth c.c.) of the silver salt re-
quired exceeds 142. With a salt containing one-tenth of its
weight of chloride of potassium 151 divisions are required, and
with a mixture of equal weights of chloride and bromide, 185.
The same method may be employed to recognize the degree of
purity of several compounds. Operating as before — that is to
say, dissolving 1 gramme of the meterial to be examined in
100 c c. of distilled water, and taking 10 c.c. of the solution —
the following numbers of 1-lOth c.c. divisions required will
show the purity for at least a considerable number of salts : —
102 for pure iodide of potassium, 257 for cyanide of potassium,
246 for dry carbonate of potash, 290 for chloride of sodium, 119
for carbonate of soda 10 equivalents of water, 47 for phos-
phate of soda -I- 24 equivalents of water, and 54 for arseaiate
of soda -i- 14 equivalents ol water.

The Duke of Edinburgh. — The London Stereoscopic
Company have favoured us with an excellent photograph of his
Grace the Duke of Edinburgh, which has the especial interest
of being the only one taken since the attempt upon his life.
Tho photograph is very excellent indeed.

Photography and Literature.— The Athenceum, in re-
viewing a book on Lake Scenery illustrated with photographs,
is severe on the literary portion of the book but complimentary
to photography. It says : — “ We turn to the illustrations in
photography. Here, as the camera is incapable of slang, tho
glory of nature is displayed. We hope the photographs are to
bo procured without the text of this book.”

The Best Photographers, Day and Sun. — Censor.

384

THE PHOTOGKAPHIG NEWS.

®0rmy0ttb£uts.

Alec. — A.s wo Lave not tried the sample of collodio-chlorido to
which you refer we cannot .speak with certainty of the prepara-
tion, or give the reason for the lack of vigour in your pictures.
We may state, however, that want of vigour in collodio-chloride
prints is generally due to one of three causes, cither there is in-
sufficient free nitrate of silver, insufficient citric acid (<)r similar
body), or the collodion is too thin. Tiy first adding a little more
citric acid ; if that docs not give you sufficient vigour, fry adding
a few drops of a saturated aqueous solution of nitrate of silver ;
and if that docs not give sufficient vigour try adding a little more
pyroxyline. You will find in our Ye.^u-H'ook full instructions
for preparing collodio-clilonde after a formula wliich gives us ex-
cellent results. In general terms the formula stands thus : the
plain collodion should contain about 8 grains to the ounce of
pyroxyline made by the formula given on page 79 of our Yeaii-
llooK. To each ounce of this collodion should be added 15 drops
of a solution of nitrate of silver containing a drachm of the nitrate
in a drachm of water ; 1 drachm of a chloride solution containing
32 grains of chloride of strontium in 1 ounce of water ; and
i drachm of a solution containing 32 grains of citric acid in
1 ounce of water. After mixing, the collodio-chlorido may be
u.sed in from fifteen to thirty minutes. If you do not make collo-
dion, take almost any good plain negative collodion and add the

f materials as above.

E.vauiREU. — Rromido of silver is very sparingly soluble in the
nitra*c solution. The bromide of silver formed on adding bromide
of potassium would be precipitated, and the bulk of it will be
filtered out. It is probable that you will not find the solution in
any way unsuitable for a negative bath. 2. The thin phantom
image you describe is most probably due to the collodion, which
you state is of your own make. You should also have stated the
formula by which it is made, and we could the better have helped
you. Newne.ss in the collodion, if good, is a common cause of
thinness of the image. Insufliciency of pyroxyline is a common
cause. If you have reason to think that your collodion contains
sutficient pjToxyline and sulficicnt of the sensitizing salts, then
modifying the developer may help you. Try the gelatino-iron
developer. We remember once trying a sample of collodion which
gave the then, |x)or, blue looking image you describe, and we found
that the addition of citric acid (1 or 2 grains per ounce) to the
iron developer instead of acetic acid materially improved matters.
Let us know the result, and if necessary, state the formula of your
collodion. You need not apologize for troubling us. It affords
us pleasure to assist our i-eaaers.

A. Canadiax. — Sec answer to Alec for a formula for prcj)aring
collodio-chlorido of silver. You will find fuller particulars incur
Yeak-Book. Anv good phain collodion will answer. The nitrate
of silver must be added in aqueous solution. A drachm of water
will dissolve a drachm of nitrate of silver, and a drop of this solu-
tion will contain nearly a grain of nitrate. The chloride and the
citric acid are used in alcoholic solution. If you cannot readily
procure chloride of strontium, chloride of calcium may be used in
its stead. 2. A transparent positive is made in the camera, the
image of a negative being made to fall on the sensitive plate instead
of an image from an object. You will find instructions in our
last Yeak-Book on page 73, also in our last volume
page 517.

No. 45. — The yellow spots on the print forwarded pn)cccd cither
from imperfect fixation or from nitrate of silver coming into con-
tact with the print before the tiyiio was fully removed by washing.
They are not the results of grease in the pai)cr, nor are they con-
tagious. The probable cause is imiierfect fixation from the use of
weak or exhausted hypo, or frc'm the prints sticking iri the bath.
The result is the formation of insoluble hyposulphite of silver,
which, being white, is not noticed at first ; it is eventually decom-
posed by light, sometimes in a few hours, sometimes in a few davs,
and causes brov n and yellow spots.

A Si BSCKiBEi! (S. Walden).— You will find full details of the
Ebumeum process in our Yeak-Book for 1866.

11. E. Y . — Mo have succeeded mHiIi collodio-chloride of silver on
many different varieties of paper, our best results having been ob-
tained on the paper prepared with arrowroot for the Wothljiype
process. The gclatiniz(!d paper of Marion arill i)robably answer
well, and we see no reason to doubt the permanency of proofs so
produced. The gelatine possibly might, without disjidvantage, be
rendered insoluble by means of alunu 2. M'e have used albu-
minized paper without salt, and obtained good results; but we
strongly object to the use of albumen, which, in contact with salts
of silver, we believe to be an active cause of instability. To secure
any chance of coagulating the albumen on albuminized paper, it

[August 7, 1868.

should bo floated on boiling water, plain side down ; mere immer-
sion will wash off the albumen. 3. Producing collodio-chloride
prints on glass, and then transferring them, would doubtless con-

■ duce to permanency ; and we have obtained some very pleasing

3 results in that way ; the chief objection to such a mode would bo
the trouble involved. M’e hope shortly to publish some details of
operations with some fresh samples of paper.

C. E. F. — It is verj’ probable that the lens you mention may answer
the purpose ; but we cannot speak witli certainty. The new rapid
rectilinear will also probably answer. 2. It is probable that adding
a trace of gelatine to your developer will be of service, as it will
aid in securing even flowing of the developer, and also in slightly
retarding the rapidity of its action.

T. II. IIedix. — Thanks for the solution of hyjiosulphite of ammo-
nia, which we shall taKc an early opportuniiy of trying.

J. G. — There is no such memorandum book published. It would
probably be found useful. AVe will make the suggestion to our
Publisher.

AV. J. A. G. — AA'e believe that none of the Abyssinian photographs
have as yet been published. AA''e will ascertain and let you know
particulars.

J. II. E. (Sale Green). — Thanks for the photograplis duly received.
They arc exceedingly fine in all resiiects. Manon (Soho Square)
is the only likely firmthat we know. AVewill make some enquiry
ns to any other firm, and if we learn will let you know. AVe do
not know of any dry process which would yield better i-esults than
yours by the oollodio-albuiiicn process ; very few, indeed, nearly
so good.

Keceivei); The Amateur’s Manual or Photookabhv. By
Kichard Kingham. Fifth editiou. Also Specimens of Portraiture
by AV’m. Notman.

Several Correspondents in our next.

iHjotogniyIjs Hcgiatticff.

Mr. Eaeeacloouh, Scarboro’,

Photograph of D. J. Fox, Esq.

Mr. R. Slisgsbt, Lincoln,

Photograph of Rroad Tower, Lincoln CAthedral.

Mr. W. Walton, Kensington,

Eight Photograplis of Mr. F. Neville in various characters.

Nine Photographs of Arthur Lloyd in varioui characters.

Mr. C. Mason, Cnmciford,

Photograph of Ucv. .1. J. Wilkinson.

Photograph of Rev. Oliver Ucckcrley.

Mr. J. Laixg, Shrewsbury,

Photograjih of St. Slary’s Church.

Mr. Titos. Bkxnktt, Worcester,

Sixteen Photographs of Clergymen.

Photograph of — Hunt, Esq.

Messes. Appletok and Co., Bradford,

Phatograph of Rev J , Lomas.

•Mr. Rkaunee, Torquay,

Photograph of Rev. Joseph Bard.sley.

Three photographs of Rev. Joseph Bardsley (busts).

Mr. llOGCAED, Redcar,

Two photographs of Middleboro’ Exchange.

MrJ. A'. Hatch, Huddersfield,

Photograph of “ Cherry Tree Inn ” Huddersfield.

*,* All )diotographs forwarded to the Publisher for registration receive
attention at once ; but the jire.ssure on our space sometimes compels us
to defer the acknowledgment in this column. It should be borne in
mind, therefore, that non-aclnowledgment at once does not necessarily
imjdy non-receipt or non-registration.

All Communicalions for llio Editor to bo addressed to 15
Gough Square, Fleet Street, London, E.C.

All communications respecting advertiscinouts to be
addressed to the Publisiieks, Messrs. Fipee and Carter, 15,
Gough Square, Fleet Street, Iiondon, E.C.

THE PHOXaSl^PHIC

/ ''V ' ■ * ' ■ r

Voii. xij. ilo, ■5lt^=— 14, 1868.

"<■ l'\\ v'V

NEWS,

CONTENTS.

PACK

The New Act to Regulate the Sale of Poisons 385

Photography for Facsimile 380

The Kinescope 388

The I.ate M. Claudet 387

Reduction of the Sesqui-Salts of Iron to Protosalts 388

Chloro-Iodized Collodion 388

Method of Mountinc Photographs and Engravings 389

Actinic Value of Colour in Negatives. ByM. Carey Lei 389

Photo-Block Printing 389

Pictorial EQect in Photography. By II. P. Robinson 390

PAGE

On the Measurement of the Luminous Intensity of Light. By

Willian Crookes, F R.S , etc 391

On Some New Experiments on Light. By J. II. Gladstone,
PH.D., F.R.S 398

Proceedings of Societies— Photographic Society of Marseilles...

Correspondence— Photographic Notes on the Continent

Talk in the Studio

To Correspondents

Registration of Photographs

THE NEW ACT TO REGULATE THE SALE OE
POISONS.

An act has j ust been pa.ssed to regulate the sale of poisons
and amend the Pharmacy Act of 1852, the provisions of the
new Act materiallyaffecting the convenienceof photographers
and vitally concerning .all photographic dealers. By the pro-
visions of the new act it becomes unlawful for any person
c.xcept a registered pharmaceutical chemist, to retail certain
])oisons scheduled in the act. The poisons so mentioned,
which concern photographers, are cyanide of pota.ssiuin and
other metallic c)'a.iides, corrosive sublimate (bichloride of
mercury), oxalic acid, and chlorofoim, the latter necessarily
comprehending amber and other varnishes of which the sol-
vent is chloroform. The penalty incurred by every unquali-
fied person who shall retail any of these poisons is live
pounds for each offence.

The qu.a!itications of a pharmaceutical chemist, the ex-
amination he must pass, and the registration requisite, are
all duly set forth in tire present act and in the pharmacy act
which is amended by the present cn.actments, ami need^ot
be repeated here, as not concerning tlie general body of our
re.ailcrs. Pharmaceutical chemists, moreover, may not sell
the poisons scheduled except under the most stringent and
guarded conditions.

Tlie (pialified seller will be liable to pen.alties unless the
box, bottle, vessel, wrapper or cover in which the poiron is
contained, be distinctly labelled with the name of the article
and the word “ Poison,” and with the name and adilivss of the
seller of the poison. In regard to certain poisons the quali-
fied seller must not supply any jierson unknown to him,
unless introduced by some person known to him ; and on
every sale of any such article the seller must, before delivery,
make an entry in a book to be kept for that purpose, stating,
in the form provided, the date of the sale, the name and ad-
dress of the purchaser, the name and quantity of the article
sold, and the purpose for which it is stated by the purchaser
to be required, the signature of the purchaser and of the
person, if any, who introduced him to be affixed to the
entry.

The convenience of photographers will be somewhat
aft'ected by the act, but photographic dealers are most con-
cerned, not so much, perhaps, by the loss of profits on the
articles in question as by the annoyance involved in being
unable to complete orders, and the multiplicity of explana-
tions and disappointments involved. Some months ago,
during the progress of thu bill, we called the attention of
those concerned to the possible restrictions on trade which
such an act would impose, but, so far as we can learn, the
interests of those using various ot the articles mentioned for
industrial purposes have not been considered. Singularly
enough, the makers and venders of patent medicines are ex-
empted from the operations of the act, and such an excep-

tion having been made, we can scarcely suppose that a similar
exemption might not have been secured to vendors for in-
dustrial purposes, if the case had been duly represented to
the promoters of the bill in committee. As the matter
stands the act will have a tendency, probably, to restrict the
use, in photography, ot cyanide, and also of mercury, neither
of which arc necessary, and the abolition of which from
studios generally will probably do more good than harm.

We append some extracts from the Act which does not
come into operation until the 31st of December in the pre-
sent year, permitting, therefore, plenty of time to photo-
graphers who still desire to use such things to lay in a
supply, and at the same time allowing the dealers generally
to get rid of the stock in hand, which it is desirable they
should effect before the date in question. The following are
clauses of interest to our rc.aders : —

From and after the thirty-lir.st of December, one thousand eight
hundred and .sixty-eight, it .sh ill be unlawful for any person to sell
or keep open .shop for retailing, dispensing, or compounding poisons,
or to assume or use the title “chemist and druggist,” or chemist or
druggist, or pharmacist, or dispensing chemist or druggist, in any
part of Great Britain, unle.ss su eh person shall bo a pharmaceutical
chemist, or a chemist and dnigg ist within the meaning of this Act,
and bo registered under this ’Act, and conform to such regulations as
to the keeping, dispensing, and selling of such poisons as may from
time to time bo prescribed by the rharmaccutical Society with the
consent of the Privy Council.

Tho several articles named or de.scribcd in the schedule (A.) shall
bo deemed to bo poisons within the moaning of this act, and the
Council of the Pharmacouti&il Society of Groat Britain (horcin-after
referred to as tho Phannaceutical Society) may from time to time, by
re.solution, declare that any article in such resolution named ought to
be deemed a poison M-ithin tho moaning of this Act ; and thereupon
the said Society shall submit the same for the approval of the Privy
Council, and if such approval shall bo given, then such resolution
and approval shall be imvortixed in tho London Gazette, and on the
expiration of one month from such adverti.soment tho article named
in such resolution shall be deemed to bo a poison within tho meaning
of this Act.

Several clauses, as the qualification, registration, &c., of
pharmaceutical chemists follow, and the Act then pro-
ceeds ; —

Nothing heroin-before contained shall extend to or interfere with
the busine.ss of any lejrally qualified apothecary or of any member of
the Royal College of Veterinary Surgeons of Great Britain, nor with
the making or dealing in patent medicines, nor with the business of
wholesale dealers in suppljdng poisons in the ordinary course of
wholcs<ilo deahng; and upon the decease of any pharmaceutical
chemist, or dhemist and druggist actually in business at the time of
his death it .shall bo hiudul for any executor, administrator, or trustee
of the estate of such pharmaceutical chemist or chemist and druggist
to continue such business if and so long only as such business shall
bo bona fide conducted by a duly qualified assistant, and a duly qua-
lified assistant within the meaning of this clause shall be a pharma-
ceutical chemist or a chemist and druggist roistered by the registrar
under the Pharmacy Act or this Act ; provided always that rems-
tration imdor this Act shall not entitle any person so registered to
practise medicine or surgery, or any branch of medicine or surgery.

It shall be unlawful U) sell any poison, either by wholesale or by

386

THE PHOTOGRAPHIC NEWS.

[August 14, 1868.

retail, unless the box, bottle, vessel, wrapper, or cover in which such
poison is contained be distinctly labelled with the name of the article
and the word poison, and with the name and address of the seller of
the poison ; and it shall be unlawful to sell any poison of those which
are in the first part of Schedule (A.) to this Act, or may hereafter be
added thereto under section two of this Act, to any person unknown
to the seller, unless introduoed by some person known to the seller ;
and on every sale of any such article the seller shall, before deliver}’,
make or cause to be made an entry in a book to be kept for that pur-
pose, stating, in the fonn set forth in Schedtile (!•'.) .o this Act, the
date of the sale, the name and address of the purchaser, the name
and quantity of the article sold, and the purpose for which it is stated
by the piu-ehascr to be required, to which entry the signature of the
purchaser and of the person, if any, who introduced him shall be
affixed ; and any person selling poison otherwise than is herein pro-
vided shall, upon a summar}’ conviction before two justices of the
peace in England, or sheriff in Scotland, be liable to a penalty not
exceeding five pounds for the first offence, and to a penalty not ex-
ceeding ten pounds for the second or any subsequent offence. And
for the purposes of this section the person on whose behalf any sale is
made by any apprentice or servant shall be deemed to be the seller ;
but the provisions of this section, which are solely applicable to poi-
sons in the first part of the Schedule (A.) to this Act, or which re-
quire that Uie label shall contain the name and address of the seller,
shall not apply to articles to bo exported from Great Britain by
wholesale dealers, nor to sales by wholesale to retail dealers in the
ordinary course of wholesale dealing, nor shall any of the provisions
of this section apply to any medicine supplied by a legally <iualified
apothecary to his patient, nor apply to any article when forming part
of the ingredients of any medicine dispensed by a person registered
under this Act; provided such medicine be labelled in the manner
aforesaid, with the name and address of the seller, and the ingre-
dients thereof be entered, with the name of the person to whom it is
s(dd or delivered, in a book to be kept by the seller for that purpose.
And nothing in this Act contained shall repeal or affect any of the
provisions of an Act of the session holden in the fourtci.'nth and
fifteenth years in the reign of Her present Majesty, intitlcd An Act
to Regulate the Sale of Arsenic.

SCHEDULE (A.)— Paut 1.

Arsenic and its preparations.

Prussic acid.

Cyanides of potassium and all metallic cyanides.

Strychnine and all poisonous vegetable alkaloids and their salts.

Aconite and its preparations.

Emetic tartar.

Corrosive sublimate,

Cantharidcs.

Savin and its oil.

Ergot of rye and its preparations.

Pakt 2,

Oxalic acid.

Chloroform.

Belladonna and its preparations.

Es.sential oil of almonds, unless deprived of its prussic acid.

Opium and all preparations of opium or of poppies.

PHOTOGRAPHY FOR FACSIMILE.

We have had opportunity recently to assist in a somewhat
interesting application of photography as a means of aiding
in comparison and identification of documents. JIauy
of our readers are aware of the recent discovery of an im-
printed poem supposed to be Milton’s. Mr. Henry Morley,
Professor of English Literature at London University, in
the course of compiling a volume of Puritan poems, e.xamined
a volume of Milton’s minor poems, dated 104.5, in the King’s
Library at the British Museum, written on the fly-leaf of
which he found a manuscript poem entitled “An Epitaph,”
signed J. M., and dated 1047. The style of thought and
expression, and the character of the metre, struck him as
essentially Miltonic, and he communioated to the Times his
discovery of what he believed to be an unknown poem by
Milton. Straightway a hot controversy arose as to the pro-
bability of the poem having been written by Milton. The
matter and manner were fiercely attacked and ably defended.
The similarity of the handwriting to that of Milton’s was
denied and ro-aflirmed, the signature was doubted and de-
fended, and the daily press and the critical weekly press
were kept for some weeks in a state of excitement over the
discussion.

, Any discussion of the literary question would be out of

place in these pages, and we pass by that part of the ques-
tion by merely remarking that much of the thought and
expression are strikingly like, and not unworthy of, Milton.
But there is a phase of the question which will interest
photographers. Original MSS. in the handwriting of Mil-
ton are not plentiful. The authentic examples in the
British Aluseum chiefly consist of fragments or signatures,
which do not afford very extensive facility for comparison.
Sotheby’s Fac-Similcs afford more scope ; but these are, at
best, but the imitations of a clever copyist, and, in some
instances which we have noticed, fail to reproduce quite
accurately the originals. There is, however, in the
Library of Trinity College at Cambridge, a tine collection
of Milton’s original manuscripts, which must manifestly
afford the most valuable aids to comparison. But here
arises the difficulty : the treasures of Cambridge cannot with
propriety leave the Library at Trinity, nor can the British
Museum with more propriety permit a rare and valuable
book to pass out of its custody. The two manuscripts can-
not be brought together, but here photography steps in to
solve the difficulty. The authorities of the Museum accorded
to Mr. Hain Friswell, the Editor of the “ Bayard Series,” on
which Mr. iMorley was engaged, permission to photograph
the recently discovered poem, and under this authority an
excellent copy of the poem was produced by Mr. Blanchard.

We were entrusted by Mr. Friswell with an early proof of
the negative for comparison with the MSS. at Cambridge, and
by the courtesy, and with the a.ssistancc, of the Master of
Trinity, we were enabled to make a careful comparison. It
is difficult, perhaps, in a case of this kind to arrive at cer-
tainty. Strong I robability is as much as can be looked for.
Allowing for the somewhat cramped style and diminutive
size rendered nccessarj in completing a given number of
lines within the limited space of the blank leaf of a small
book, the handwriting in the new poem and that in the
Cambridge MSS. was strikingly alike, the resemblance being
most marked to poems in the Cambridge MSS. near the date
of the recently-di-scovered “ Epitaph.” The Cambridge
^ISS. extended over a period of more than twelve years ; but
the writing in a poem dated 1G4C, presents the strongest
points of similarity, the fo'mation of the figures of the date
btnng precisely the same as the formation of the figures in
the date of the “ Epitaph.” Not only did we find a simila-
rity in the general style of writing, but an absolute identity
in many points of distinctive peculiarity in the form of both
cajiitals and small letters, in spelling, and in words of con-
traction or abbreviation. The capitals, especially in Milton,
are unusual in form, and resemble rather the printed italic
capitals now in use than the letters with curved and flowing
lines of written letters. We have not space here, and it
might not interest all of our readers, to enter into minute
detail as to the character of individual letters. Suffice it to
say, that the experiment proved a strikingly satisfactory
illustration of the value of photography for facsimile as
superior to any other method which could possibly bo
adopted.

A photo-lithographic facsimile, produced by Mr. .\yling
from Jlr. Blanchard’s negative, will be published in the
volume of poems shortly to be i.ssued, and some notes oii the
results of tlie comparison for which facility was afforded by
photogiaphy.

THE KINESCOPE.

We have recently received from M. Roman Talbot a jirctty
little optical toy, in wliich a curious and interesting appli-
cation of photography is made. It is practically a minia-
ture illustration of the principle of persistence of vision upon
which the eft’ects of moving figures are obtained in the
thaumatropc, the zoetrope, &c. The kinescope is in the
form of a handsome oval locket with ring to bo worn
attached to a watch chain. It contains two microscopic
transparent photographs, placed opposite a minute Stanhope
lens. The two photographs are of the same object in a

THE PHOTOGRAPHIC NEWS.

387

August 14, 1868.]

different position, and represents two successive phases of
one action. On loolting through the small aperature at
first nothing is seen but a fine magnified image of a trans-
parent photograph. But on pressing a small button the
first image disappears and a seeond tills its place with such
rapidity as to produce on the retina the effect of motion in
the figure. Thus in the example b d'ore ns the first photo-
graph gives a group of two ligures, a young lady, and a
young gentleman leaning over her chair, the lady listening
very demurely apparently to the gentleman’s conversation.
The button is touched, and straightway the gentleman is
seen to kiss the lady — respectfully of course, and on the
forehead — her head being in turn lifted to receive the kiss.
On alternately pressing and releasing the button, the
the gentleman is seen to repeat the salute with rapidity and
empressement. This is of course but one effect of many
representations of objects in motion which may be produced.
The photographs are excellent, and an effect of great soli<lity
is produced. This is another illustration of our recent
remarks on the ingenuity with which our continental neigh-
bours are constantly making ingenious, and often, we
believe, remunerative, applications of the art.

THE LATE M. CLAUDET.*

As a science, and as an art, photography embraces a very
wid(“ range of study and experiment, and it has genoially
hap|>ened that its votaries have devoted themselves to some
one of the many phases of interest it possesses. To some
its especial interest has consisted in the subtle problems it
has presented to chemical or optical science, and tlio stimulus
to research in new directions in connection therewith ; whilst
to others its chief interest has consisted in the facility
with which it lent itself to pictorial purposes, and the rare
truth and beauty of its results. M.Claudet was singularly
complete and universal in his devotion to photography ; ho
was equally enthusiastic in regard to its scientific, mechani-
cal, and artistic developments, some of his most recent ex-
periments having been devoted to the perfection of an in-
genious mechanical contrivance, by which ho hoped to
rbffusc definition and secure more artistic qualities in por-
traiture. Ilis biographer says ; —

Yet, whilst wo point to Claudet iii a philosoph('r, it would bo less
than justice not to recognize his ability as an artist, and his great
services to tlie art of idrotography. lie not only himself produced
beautiful and perfect works in photography, but wius also eminently,
by his studies and inventions, the moans of enabling others to re-
line and advance the art. lie was, imlocd, the champion of photo-
graphy as an art. AVhen the managers of the I’nivei-sal Kxhibition
of 1S02 had plai-cd photography in the mechanical department, he
emerged from the laboratory into the studio, and, lance in rest,
chivalrously proclaimed photography one of the tine arts against all
comers. “ 1 am one of those,” he says, in one of his printed letters
of that date, “who are convinced that photography deserves to be
ranked among the fine arts. If photography was only a machine,
such as a magic lanteni, with which cverj' one can strike pictures on
a white screen with the same success, its productions might indeed
bo exhibited in the mechanical department ; but as I tind from my
own experience, which is as old as photography itself, that nothing
is more dillicult than to jrroducc photographs deserving to be looked
at— that it requires thouglit, taste, judgment, and refinement to use
with success the apparatus and the i)roccs.s — I consider that there is
ns much art in the result as in any of the .so-called tine arts.”

Some space is next devoted to recent correspondence be-
tween il. Claudet and Sir David Brewster, in regard to the
favourite notions of the latter as to the importance of small
lenses. Some extracts from his letters to M. Claudet may
be interesting here : —

^[arch 22, 1867. — -I am persuaded that the great desidemtum in
photography, whether monocular or binocular, is die per fiction of the
picture, in the camera. I am certain that ditferent cameras, even
xvhen the lenses are coiTccted for colour and abetration, do not give
the same likeness.

This imperfection obviou.sly arises from the ditferent apertures of
the lens, in a great measure ; but I believe, also, from the number and
form of the separate lenses.

♦ Continued from p. 378.

An infinitely small pinhole is the most perfect camera, and the
nearer we can approach to the smallest and thinnest lens, the nearer
do we approach to a perfect portrait.

The extreme sensitiveness of the process enables the photographer
to re luce his lens to the size of the human pupil, which is abso-
lutely necessary to luoducc the portrait of the jier-son whom wo
actually sec, but something also depends on the perfect homogeneity
of the glass employed, and of the number and curvature of the re-
fracting surfaces.

No proper experiment has yet been made to ascertain the effect of
a single lens of diamond or any other substance. I wish you would
enter upon this inejuiry. You are the only per.son I know lilted to
do it.

April 18, 1867. — I have no doubt that with your knowledge,
theoretical and practical, you will give a new character to photo-
graphic portraiture.

I think the two great points to bo attended to are : 1. The small-
ness of the aperture of the lens; and 2. The simplicity of the opti-
cal apparatus, the smalle.st thickness of the refracting material, and
the smallest number of refracting surfaces.

1 do not thitik sharp dejinition at all neccs.s.ary ; on the contrary,

1 tliiuk it an evil.

In society I see faces, and every expression npon them avith sufli-
cient distinctness, notwithstanding my long-sighted vision. AVhen
I put on glasses to have perfect vision, the very distinct picture, even
of the youngest and smoothest faces, is disagreeable, while that of
middle-aged and old persons is still more so. Beauty, either of form
or expression, is injured by sharpness of outline ; and the vision of
minute parts, and the corrugations and wrinkles of age, and even of
middle life, are made doubly disagreoable.

lias it ever occurred to you that a largo lens, perfectly achromatic
and w’ithout spherical aberration, cannot give a correct representa-
tion even of a perfectlij flat space, such as the breadth of a lincl

I shall be glad to read the papers you mention, which I hope will
soon be published.

Jane 3, 1867. — I am delighted with the result of the topaz exiH*!!-
ment ; the portrait is singularly fine. The dispersive power of
topaz is 0'024, that of crown glass being 0'033, and that of flint glass

0 018. To have the smalle.st aberration, the side of the lens with its
Hatter surface should be next the image, the aberration in this case
being 1, and the aberration in the other case -1, so that yourexcelhait
effect has been produced with the largest aberration. This seems to
thrown new light on the subject. The lens hadthusagreat number
of foci, a number increased by the number of chromatic foci, and
hence the excellence of the pietare. It is easy to increase the number
of foci by increasing the size of the lens, but then you introduce the
error arising from tlic supeiposition of ditferent views of the figure,
as seen from different points of the lens.

If these views are correct, it would bo worthwhile to try a lens of
flint glass, witli various chromatic and actinic fo(s, and with the
radii of its surface as 1 to 6 (a plano-convex nearly), having its flattest
side towards the sitter. It will bo curious if we find that the lens
which is the worst for the telescope and the micro.scope should bo the
best for taking the picture of a solid object, such as the human
figure. • * *

I wish you would try some experiments with the largest lens you
have in your cameras, and take five pictures of a large statue, one
from half an inch of its centre, one from the lowest point, one from
the highest jjart of its circumference, and one from its left and righf.
This would show clearly tho effect produced by the size of the lens.

If the exjreriment were made upon a living figure, tho change of
ex])ression would be .seen. It would be also very interesting to take
a photograph of tho same statue with a small pinhole.

August 20, 1867 — I cannot resist th.ankingyou for your interesting
letter and its enclo.sures.

Your portrait by the topaz lens imperfect. Nothing can surpass
it, and it is hardly necessary for you to try the one- fourth of an inch
aperture. It might be worth while to try three-fourths of an no'i,
which will reduce more than one-half the time of sitting.

It is not necessary here to discuss the question of tmill
lenses of long focus, tho adoption of which, even it the
results were desirable, would he practically iinposs'hle in
portraiture. A copy of the portrait by the topaz lens ha.s
been kinilly promised by ^Ir. Ilenry Claud<-t to each member
of the Photographic Society, and many photographers will
thus acquire an opportunity of examining the results Sir
David Brewster thought so perfect. On the subject of wide
apertures, M. Ulaudet, writing to Sir David, says; —

“ In order to prove the defects of operating with large apertures
in len.se.», I operated in the following manner : — 1 had a disc of the
same size as the lens (5-inch), having on its diameter an aperture of

1 inch, which ci uld at will be turned alternately to the right or left
of the horizontal line corresjxmding with the iliameter of tho lens.
Having taken a portrait with the ais;rture on one side the diaphragm

388

THE PHOTOGRAPHIC NEWS.

was turned so as to present the openinjj on the other side, and then
a second portrait was taken before the sitter had moved.”

“ The result of this experiment is very conclusive, for the two
portraits being examined with a stereoscope, present the strongest
•terooscopic effect which can be obtained by the usual mode of ope-
rating.”

The latter sentence in the paragraph just quoted in reality
disposes of Sir David’s argument. lie believed that a por-
trait to bo correctly delineated should not be produced with
an aperture larger than the pupil of the human eye, over-
looking, apparently, the fact that two eyes are employed, and
that to secure some approximation to the relief and solidity
of nature a much larger aperture should be used in the lens,
when objects in relief have to be depicted on a flat sur-
face. It is worth noting here, also, that from the letter of
Sir David, dated June 3, 1867, it appears to have been a
new idea to him that diffusion of definition in rendering
solid objects could be obtained by lenses having a series of
foci at dift'erent planes, or, in other words, by using lenses in
which a certain amount of aberration was purpo.sely left un-
corrected, a practice the %'alue of which for certain purposes
we have pressed upon the attention of our readers for many
years.

We conclude by extracting some eloquent paragraphs on
the general character and labom-s of M. Claudet : —

In 1851, Claudet set up a temple to photography after his own
heiirt. Here, in the Hall of Audience, could he be con.sultcd at call
from the adijHun sanctum. Here, .surrounded by symbols and ex-
amples, the neophyte wa.s impre.saed with the dig-nity and bc.auty of
photography ; perhaps first learned that photography is an outcome
of the labours of philosophers through the ages of civili.sation. Tor
he saw, on glancing at the medallion prirtraits around the cove, n.ames
of men now thought of ns ancients— Koger Bacon, Porta, Da Vinci,
Newton — and was reminded of the honour due to many nearer to his
own time, as Davy, Wedgwood, Niepce, Daguerre, Talbot, Wheat-
stone, Brewster, Arago. He saw described by allegorical paintings
the progress of the arts by which natural objects and the human fonn
have been represented from the earliest time — statuary, painting,
application of the camera obscura to photography and of photography
to the stereoscope, emblems of the discovery of photography and of
the means of producing photogi-aphic pictures, mural scrolls, chro-
nological records of the inventions and discoveries whereunto jihoto-
graphy is indebted ; or, looking again, ho read inscriptions of the
classic testimony of Virgil or Martial ; “ Nulla recordanti lux: est
higrata" “ Solan quis dicere falsum audeat ? ” “ Lux est mundi
lumen." All this is to be seen no more. This temple, so character-
istic of Claudet’ s devotion to photography, was burnt a few weeks
after its chief priest had quitted it for ever. With it wei-c lost many
beautiful works and valuable relics of the master’s labours.

But, as we have elsewhere .said, that for which Claudet deserves
best to be re'membered is of such a fabric as fire cannot destroy. He
has left his impress upon science — a gap in the ranks. Like all men
of original thought, he will be followed, not replaced. Tho.se who
haunt the groves of science will miss his familiar form, and listen in
vain for his instructive lucubrations, l-’or he wa.s of the order of
the Peripatetics. 'Wliethcr at the Koynl Society, or at photographic
confederations in England or Scotland, or at universal exhibitions —
wheresoever the British Association wandered, there wa.s he seen and
heard; or whether in the Philosophical Transactions, or in the
Comptes Eendus, or in photogi-aphic journals, or in art journals —
wherever photography had to be expounded or vindicated, there would
be found the product of his pen. His activity was incessant, his
motto that of Pascal; “ Le repos e’est la mort.”

Nor would wo conclude a memoir of Claudet without indication
of his personal qualities. That ho was of a generous temperament,
liberal and gonial, is indeed partly implied by what has been pre-
viously said of his enthu.sia.sm. It was .so. He wa.s “one of nature’s
gentlemen.” Unsordid, he allowed the interests of science to over-
rule all meaner considerations, and with the true sentiment of the
philosopher, subdued all things to the purpose of investigating the
recondite principles of nature’s laws. 'This was his adoration :

“ Est Pens in nobis, est Pens in rebus.” Whatever his toils or his j
disappointments, he was not discouraged. “ He that seeketh to be !
eminent amongst able men hath a great task,” says Bacon, and with i
such a task Claudet was contented. He was one who had set himself
to answer the insatiate Sphinx, not expecting the success of (Edipus, 1
willing to die in the encounter. Eorwithhimit was truly a “labour
of love.” Science wa.s the mistress of his heart, a sweet echo ever
responsive to his con.stant call. And so he found solace in

" Divine philosophy,

;,Not harsh and crabbed as dull fools suppose,

But musical as is Apollo's lute,

And a perpetual feast of necl^ed sweets,

Where no crude surfeit reigns.”

[August 14, 1868.

The recognition of Claudet’s merits in his lifetime was perhaps
sufficient to satisfy a man who sought only such honour. He re-
ceived awards of eleven medals, including the Council Medals of the
Universal Exhibition, 1851, besides that on other great occasions,
being on juries, he wins excluded from the awards. He was elected
member of the Royal Society in 18.53, and in 1865 he was made a
Chevalier of the Legion of Honour. But of such was not his ambi-
tion. He was a votai'y to science, and wrought chiefly to feed her
altar-flame. For him that was enough.

" Rcctc facli, fecisst merces est."

REDUCTION OP THE SESQUI-SALTS OF IRON
TO PROTOSALTS.

Mr. W. .J. Lasd contribute.s fo onr excellent contemporary
the Philadelphia Photographer, a simple method of con-
verting the persalts of iron fo the protosalts hy means of
nascent hydrogen. As it sometimes happens that large
stocks of iron solution become peroxidized, the method may
he found useful hy photographers. lie says : —

“While engaged in the anal3’sis of nitrates by 'M. Pe-
louze’s method, I find that solutions of persalts of iron are
perfectly reduced to protosalts hy nascent hydrogen. As I
do not remember to have seen a record of such reduction of
ferric salts (in solution), I am induced to ofl'er this, hoping
that something useful may result from it, either hy its ap-
plication in analysis of iron salts, or to the restoration of
developers, &c. The following will serve as an example of
the experiment, which may he modified in various waj's : —
If to a solution of persulphate of iron, a small qiiantit)’ of
sulphuric acid and iron filings are added, an elimination of
hydrogen will take place, hut the greatsr part of the gas at
the moment of liberation unites with the ox3’gen of the
pci-salt, and in a short time reduces it to protosulphate, in
which no trace of a higher iron-salt can ho found. The ex-
periment is he.st made in a flask with a small neck, loosely
stopped ; and, if the solution is to he tested for pci-salt, the
flask should he fitted with a valve opening outward. The
temperature should be raised that the perfect expulsion of
the atmosphere may he afl’ected, the oxygen of which would
quickly peroxidize some of the reduced salt. I have expe-
rimented upon the mineral acid salts of iron. The organic
acid salts would prohabl3' undergo like reduction witli the
proper material for generating hydrogen in their solutions.”

o

CIILORO-IODIZED COLLODION.

Jlr. F. M. Spencer says in the Philadelphia Photo-
grapher:— “I find the following to make a collodion even
more sensitive than any hromized collodion I have ever
used. I am indebted to Professor 'Powler for the idea mainl3’.
I substituted chloride of magnesium for chloride of ammo-
nium, as suggested hy him.

Ether and alcohol ... ... equal parts

Iodide of ammonium .. ... 3 gr«. to the oz.

Iodide of cadmium ... ... 2 ,, „ „

Chloride of magnesium... ... I gr. „ ,,

Pyroxyline ... ... 5 to G grs. „ „

“ I dis.solvc the salts in the alcohol, add the cotton, and
then the ether.

“ I use a forty-grain silver hath, kept as nearly as possible
in harmou}' with the condition of my collodion — generally
neutral, hut if my collodion be slightly alkaline, I had
rather the hath he so too, than to he the least hit acid. I
think any operator who will give this collodion a fair trial,
will he pleased with it. I never have to doctor iny hath,
except when it becomes overcharged with alcohol which I
drive off hy boiling. Or if I find my hath overcharged
with iodide of silver, 1 add a few drops of a strong solution
of cyanurct of potassium. Shake and filter. In short, with
a chloro-iodized collodion, I consider the most difficult
points in in-door photography fo he lighting the subject
and managing the development.

Augo ST 14, 18 G8.]

THE PIIOTOGKAPIIIC NEWS.

389

METnOD OF MOUNTING PHOTOGRAPHS AND
ENGRAVINGS.

The following method of mounting photographic and other
pictures produced upon paper has been patented in
America : —

“Take any substance that affords a plain and 'even sur-
face, and can be enamelled or painted white, whether it be
paper, glass, china, or any form of earthenware, wood, stone,
or metal, and having made the surface white and smooth,
by enamelling, painting, or other process, and cover it with
a mixture of clarified beeswax, balsam of fir, and spirits of
turpentine, mixed in about equal parts, softened by heat
to such consistency that it will readily flow over and off the
surface, leaving a thin film remaining. The picture to be
mounted, which may be an ordinary photograph, taken and
finished in the usual manner, or an engraving, is then ren-
dered translucent, by the application of wax, varnish, or
other suitable substance. Before the film of beeswax,
balsam, and spirits of turpentine hardens, the picture is
placed upon the surface of the film, and pressed gently upon
it, or, should it have hardened, it is softened by the heat of
a spirit-lamp, and when sufficiently soft, the picture laid
upon it, and by the application of an even and gentle pres-
sure, it soon becomes faxed. The picture, after being thus
mounted and revarnished, is then ready for colouring, which
is done in any of the ordinary methods.

“ It is evident that the tint or colour of the background
will influence the appearance and tone of the picture, and
therefore affords a means of cheaply producing a wide range
of artistic and beautiful effects,”

♦

ACTINIC VALUE OF COLOUR IN NEGATIVES.

BY M. CAREY LEA.*

I.Y working with any sort of dry or preserved plates, we
are met by a difficulty which does not occur with wet
ones. Instead of the silver-gray colour of the wet plate, we
have to do with every possible shade of colour (the expres-
sion is not exaggerated, as will presently bo seen), and the
estimation of the effect of transparency or opacity to the
chemical rays of light is a question of vital importance to
the photographer. I do not pretend to be able to give rules
for its solution, rather feeling disposed to echo the wish of
an English photographer for a pair of “actinic spectacles,”
to enable one to estimate the value of these shades. But
even where a satisfactory solution is not to be expected, a
survey of the difficulty is always useful.

The colour of the film in a dry plate seems to have very
much less to do with its actinic value than could at all be
imagined. For example, I have a negative taken by the
glycerine process, in which the sky is deep blood red. Such
a shade is commonly known as very opaque to the chemical
rays, yet the sky “ prints through ” more than any other
negative that I have taken, within my recollection, and more
than other negatives with lighter looking skies taken by the
same process. It should be mentioned that no part of this
negative is very dense, so that the sky printing through
cannot be ascribed to anything in the way of a long expo-
sure necessitated by an otherwise dense negative.

On the other hand, some time since I made two negatives,
also by the glycerine process. In both the di.stance consists
of trees about a quarter of a mile off. The foliage was
dense and dark green, and no sun upon it — the day was
overca.st with rather thick clouds. The distant foliage in
question came out in developing of a well-marked bluish
colour. In view of this and of apparent thinness, I expected
them to print too black ; in place of which, this blue por-
tion proved so opaque that the difficulty was the other way.
It should be said that this blue was perfectly so without any
tint of green or olive to explain its behaviour.

The opacity to light of the olive colour in many of the

• ritiladelphia Photographtr.

plates developed according to the alkaline process is very
remarkable. Every one who writes on the subject very pro-
perly warns his readers of the danger, and yet I doubt if
any one learns the lesson fairly except by experience. Nega-
tives that look beautifully graduated as to colour may print
hard and flat for this reason, and considerable experience is
required to know when to stop the development, in order to
get the best results. Distant trees, if strongly illuminated,
may show a strong contrast with the sky when seen with
the eye, by holding up to the window, and yet, on printing,
these trees may almost shade out into the clouds or sky
above.

When negatives by the glycerine process are developed
with iron, the most extraordinary diversities of colour result.
Sometimes the plates exactly resemble wet plates developed
by iron, have the same silver-gray colour and creamy look,
and sometimes show well as positives by reflected light.
Oftener, especially when the exposure has been long enough
to dispense with anything in the way of redevelopment, the
image is entirely within the film. Its surface is then hard
and glossy, and it is in these cases, especially when there
has been a little over-exposure, that the remarkable effects
of colour come in.

I have several negatives, in each of which the following
trii)le play of colours comes in : —

First, if they be viewed against a dark background by re-
flected light, but by diffused reflected light, and not
catching the reflection of a sky through a window, then the
skies in the negatives are deep blue, very intense — so are
their reflections from the surface of water. The grass and
foliage is pale-green — so, also, is its reflection in the water’,
except where the foliage is highly illuminated — in such
places its colour is as blue, nearly, as the sky.

If the reflection of the sky, as seen through a window, bo
caught, these colours disappear, and all the high lights, and
even middle tones, have a yellow, brassy, metallic look on a
neutral ground.

Held up against the sky, and viewed by transmitted light,
the whole negative is brownish-red, except some over-ex-
posed branches of a tree ; these are blue by transmitted
light.

All this colouration has resisted fixing by hyposulphite of
soda, and is easily distinguishable. Although it seems a
a stop towards heliochromy, the effected is simply curious,
and not in the least pleasing.

Blue, in glycerine plates, is not .at all an uncommon
colour, both by reflected and triinsmittcd light. But, it is
to be remarked, that the same portion of the plate is never,
it would seem, blue by both reflected and transmitted light.
The blues, by reflected light are dark brown by transmitted,
and tJie portions that are blue by transmitted light are not
so by reflected.

The very satnc plates tint give these varied colours, when
developed by iron, give plain black when pyrogallic acid is
used for developing. Solarized portions, upon which the
light has been too strong, develop red by the iron developer ;
black, or sometimes dark-olive, with pyrog.allic acid.

This suggests the idea that in the study of heliochromy
more attention is probably needed to the forms of develop-
ment, and less to the sensitive agent, than has been given.

PHOTO-BLOCK PRINTING.

The economic value of a method of producing, by means of
photography, surface printing blocks which may be used
with ordinary types cannot be over-estimated. Experimen-
talists have been alive to the value of such a process for many
years, and numerous attempts have been made to compass
the desired end. The early experiments of M. Paul Pretsch
possessed much excellence, but like too many of his efforts in
photo-engraving did not meet with the success which their
ingenuity and the persevering zeal of the experimentalist
deserved. Mr. Dalliis, Mr. Hancock, and others have worked

THE PHOTOGRAPHIC NEWS,

[August 14, I8684

3 90

with considerable success, so far as we can judge from the
examples we have seen, in the same direction , but as yet
their processes have not received any extended commercial
a|)plication. Mr. Griggs has worked with some succe.ss in
the same groove, an example of his work having recently
appeared in our pages. We have had for some months in
our possession, waiting until we had space to devote to the
subject, a fine example of photo-relief engraving by Mr.
Swan, and another block, produced by an analogous process,
received from Dr. Vogel of Berlin. We hope shortly to find
space to place these illustrations of processes before our
readers.

A few days ago we were favoured by ^Ir. D. Fruwirth with
some fine examples of photo-lithography and photo-block
printing, by processes wliich he has recently patented. The
processes in their general character are, we understand, due to
Air. Courtenay, modifications and improvements only being
claimed by Mr. Fruwirth. It is with the block-printing we
have to do at present. It is ba.sed upon the known re-action
of light upon gelatine and a chromic salt, the speciality here
depending upon a combination of the glyphographic
procc.ss with a photo-engraving process. The operations
may be briefly stated as follows; — A good negative is first
obtained — always, bo it understood, a reproduction of a
subject possessing the mechanical gradation of stipple or
line— under this negative a plate coated with gelatine and
bichromate is exposed, and the insoluble portions are sub-
sequently washed away, leaving the whites of the image in
relief. From this relief a cast in plaster is taken, and from
the plaster cast another cast in type-metal is obtained. It
is here that care is required, and facility for improvements
upon old processes arises. It rarely happens that the relief
in the gelatine mould is sufficient to yield a good printing
block, the recesses not being snfticiently deep. In ordinary
press printing the paper is backed by a soft elastic surface,
and if the recesses are not deep the paper is pressed into
them, and a muddy unclean image is the result. ^ In the gly-
phographic processes broad spaces ai’e easily built up on the

mould with wax to prevent this result ; but the close spaces
between finer lines are more difficult to deal with. Air.
Fruwirth having obtained his stereo intaglio, applies a thick
coating of a suitable varnish or ink to the whole of the sur-
face, besides building up the broad spaces with wax in the

usual way. In this stereo cast it will be observed that the
lines in relief will form the recesses in an electro block
obtained from it, and the mode of treatment we have de-
scribed will secure, it is understood, sufficient depth in
the recesses to permit clean printing. Amongst the
examples to which Mr. Fruwirth called our attention were
some blocks as large as a page of this Journal. The demands
upon our space only permit ns, however, to insert here a
small illustration, which besides possessing greater deli-
cacy, also permits to many of our readers facility for com-
parison, being one of Kaulbachs celebrated illustrations to
“ Ileynard the Fox.” It is probable that when we have space
or occasion we shall place further examples before our
readers.

At present we can sec no valid reason why processes of
photo-block printing for reproduction of engravings or of
drawings made in line for the purpose should not receive a
much wider economic application than they have yet done ;
but it is a singular fact, that hitherto almost all attempts to
supersede wood-engraving, from photo-engraving down to
graphotype, have failed either of commercial or artistic
succe.ss, or of both. Wo hope for the method under notice
a better issue.

We may add, that besides some very good photo-litho-
graphs in line, Air. Fruwirth showed us some of the most
pertect photo-lithographs in half tone we have yet seen,
and possessing very high promise indeed. As the procc.ss
will bo patented, anil the specification is not fully entered,
we cannot enter into the detail.s of the process at present.

PICTORIAL EFFECT IX PlIOTOGRAPflV ;

Bei.no Lessons in

Composition and Ciinvaosouiio for Photoorapiiers.

BY II. P. ROBINSON.

Chapter XXIX.

** Nature is always broad : and if you paint her colouri in true relations,
you will paint them in majeitic masses. If you find your work look broken
and scattered, it is, in all probability, not ouly ill composed but untrue.” —
Husk in.

Chiaroscuro — (continued). — Breadth.
Whatever arrangement or system of chiaroscuro is employed
in a picture it must have breadth of effect, without which
the eye will never rest upon it with jilcasiiro. Just as a
degree of irritation to the touch arises from uneven surfaces
so all lights and shades which arc interrupted and scattered
are more irritating than those which are broad and con-
tinued. It must not be supposed from this that extreme
contrast of light and shade in the proper quantity, and in
the right place, is not agreeable, for upon contrast and
opposition, as 1 have already shown, much of pictorial eflect
depends, but it is the flickering lights and perpetually
shifting glare of ill-managed chiaroscuro that keep the
eye iti a state of constant irritation, and distracts the atten-
tion from the subject of tlie picture. 'I'he effect to he
avoided is that which Aliltou described before bis weak and
easily aft'ected eyes had lost their light, when he wrote —

Hide me from daj’s garish eye.

When the sun begins to Ring
His Haring beams.”

In an endeavour to explain the cause of the beautiful
eflect of breadth as seen in twilight, an admirable writer
says : — “ It may, perhaps, be said that the imagination,
from a few imperfect hints, often forms beauties which have
no existence, and that indiflerenco may naturally arise from
those phantoms not being realized. I am far from denying
the power of partial concealment and obscurity on the
imagination, but in these cases tlie set of objects when seen
by twilight is beautiful as a picture, and would appear
highly so if exactly represented on the canvas; but in full
daylight, the sun, as it were, decompounds what had been
so happil}’ mixed together, and separates a striking whole
into detached unimpressive parts.”

It is always of service to the artist to examine the satno

TIIU PHOTOGRAPHIC NEWS.

391

AtTGu.^T 14, 1868.]

scenes at different times of the day and under different
effects. He then has an opportunity of speculating on the
cause of the beautiful appearance at one time, and of the
commonplace look most scenes have at other times.

Objects, which in themselves possess no interest, are fre-
quently made to delight the eye, from their being produc-
tive of breadth. This cause seems to account for the plea-
sure we receive from many massive, heavy objects, which,
without this charm, and considered singly, are positively
ugly. Some pictures, though bad in every other respect, but |
possessed of breadth, attract and arrest the attention of the
cultivated eye ; while others, admirable in detail and
colour, but where the harmonizing principle is wanting, will i

often be passed over as uninteresting. But breadth must
not be carried out to effeminacy ; the most healthy system
requires a tonic sometimes, and too much sweetness and
breadth become sickly. Illustrations of pictorial art are
often to be derived from music. It is so here. The first
effect of mere breadth of light and shadow is to the eye
that which mere harmony is to the ear, both produce a
pleasing repose, which, if not relieved, becomes dull and
wearysome. The eye requires to be awakened occasionallj',
for it must bo remembered, however delightful repose is,
repose leads to sleep and sleep to death. But as harmony
and design must be preserved in the wildest music, so must
breadth be observed in the most complicated scenes.

The illustration to this chapter, the original oi which
is a fine example of breadth of effect, is taken from Turner's
“ Liber Studiorum,” and was used by ilr. Lake I’rice in
his articles on a similar subject to the present one in the
Photographic News some years ago. Its excellence as an
example of breadth must be my excuse for introducing it
again. Mr. Lake Price observes in reference to it: — "The
fine subject of ‘ Norham Castle ’ is a masterly example
of this management, [breadth of effect]. Here the dark
mass of the castle occupies the centre of the picture, and is
the focus of shadow, diminishing thence to the edges of the
subject; i\m principal light of the sky being brought into
immediate contact with the strong dark, the qualities of
increased brilliancy and great breadth are simultaneously
attained. The beautiful and poetic effect of this subject
should animate some of our landscape photographers to
endeavour to emulate similar effects from nature. The
student will gain considerable knowledge of the capabilities
of chiaroscuro, in its application to landscape, by repeated
and careful examination of the broad, varied, and masterly
effects to be seen in Turner’s ‘ Liber Studiorum,’ which is
in itself a compendium of light and shade applied to land-
scape composition."

Paintei-s have found it difficult to unite breadth with de-
tail, but it has been attained, in the works of some great
masters, in great perfection, showing that bre idth is not in-
imical to finish as insisted by some writers and painters, and
by one photographer. The microscopically finished works
of (rerard Dow are never wanting in brea<ith, and the well-
known pictures of Meissonier, highly elaboi.ile 1 as they are,
are remarkable for the very qualities which it has been sup-
posed high finish would destroy. But the photographer is not
so much troubled as the painter with this fear of detail de-
stroying breadth. The utmost extreme of definition js quite
compatible with the most tender atmospheric gradations.
The detail of nature need never be sacrificed for the sake of
representing atmosphere. If definition and atmosphere

exist together in the subject to be photographed they
should appear in the picture, or something is wrong.
Either the chemicals are out of order, the exposure is not
well timed, the development or intensification ill-judged, or
the photographer has attempted to do on one plate that to
which he should have devoted two or three, and combTij^ition
printing.

Nothing, perhaps, is more pleasing or more flattering to
the vanity and indolence of artistic mankind than the being
able to produce an agreeable general effect with little labour
and less study ; this they call “ artistry,” and think clever,
but it is not the intention of painting which should repre-
sent nature, and not an abstract idea of it. Mere sketches
of breadth no more represent nature than do the “ tone ”
pictures of some modern artists, in which the changes are
rung on all the gradations, from the very limited scale of
lavender to white, represent colour. These pictures, in
which the painters probably endeavour to “snatch a grace
beyond the reach of art,” are very clever as far as they go,
but they, like sketches that show only breadth, do not go
beyond A or B in the alphabet of art.

ON THE MEASUREMENT OP THE LUMINOUS
INTENSITY OF LIGHT.

BY WILLIAM CBOOKE.S, F.U.S., ETC.’'"

The measure of the amount of free polarization present in
the disc c d, will give the relative photometric intensities of
D and C.

The letter I represents a diaphragm with a circular hole in
the centre, just large enough to allow the compound disc c d to
bo soon, but cutting oft' from view the side discs c' d' . In front
of the aperture in I is placed a piece of selenite of appropriate
thickness for it to give a strongly-contrasting red and green
imago under the influence of polarized light. K is a doubly
refracting prism, similar in all respects to H, placed at such a

* Continued from p. 370.

392

THE PHOTOGRAPHIC NEWS,

[August 14, 1868.

distance from the aperture in 1 that the two discs into which
I appears to be split up are separated from each other, as
at g r. If the disc c d contains no polarized light, the
images g r will bo white, consisting of oppositely polarized
rays of white light; but if there is a trace of polarized light
in c d, the two discs g r will bo coloured complimentarily ;
the contrast between the green and red being stronger in pro-
portion to the quantity of polarized light in e d.

The action of this arrangement will bo readily evident. i
Let it bo supposed, in the first place, that the two sources !
of light, D and C, are exactly equal. They will each bo
divided by H into two discs, d' d and c d , and the two !

polarized rays of which c d is compounded will also be ab-
solutely equal in intensity and will neutralize each other
j and form common light, no trace of free polarization being
^ present. In this case the two discs of light, g r, will bo
j colourless. Let it now bo supposed that one source of light
I (D, for instance) is stronger than the other (C). It follows
j that the two images d' d will bo more luminous than the
two images c c, and that the vertically polarized ray d will be
stronger than the horizontally polarized ray c. The compound
disc c d will therefore shine with partially polarized light, the
amount of free polarization being in exact ratio with the photo-
metric intensity of D over C. In this case the image of the

Fig. 2.

selenite plate in front of the aperture I will be divided by K
into a red and a green disc.

Fig. 2 shows the instrument
fitted up. A is the eye-piece
(shown in enlarged section at
fag. 3). G B is a brass tube,
blacked inside, having a piece,
shown separate at D C, slipping
into the end B. The sloping
sides, D B, B C, are covered
with a white reflecting sur-
face (white paper or finely-
ground porcelain), so that
when D (J is pushed into the
end B, one white surface, D B,
may beilluminated (as in fig. 2)
by the [candle, and the other
surface, B C, by the lamp. If
the eye-piece A is removed,
the observer, looking down the
tube G B, will see at the end a
luminous white disc divided
vertically into two parts, one
half being illuminated by the
candle E, and the other half
by the lamp F. By moving
the candle E, for instance,
along the scale, the illumin-
ation of the half D B can be
varied at will, the illumination
of the other half remaining
stationary.

The eye-piece A (shown en-
larged at tig. 3) will be under-
stood by reference to fig. 1, the
same letters representing simi-
lar parts. At L is a lens to col-
lect the rays from D B C (fig. 2), and throw the imago into
tho proper part of the tube. At M is another lone, so ad-
justed as to give a sharp image of the two discs into which
I is divided by the prism K< The part N is au adaptation

of Arago’s polarimeter ; it consists of a series of thin plates
of glass, capable of moving round the axis of the tube, and
furnished with a pointer and graduated arc (shown at A G,
fig. 2). By means of this pile it is possible to partially polarize
the rays coming from tho illuminated discs in one or the other
direction, and thus bring to tho neutral state the partially polar-
ized beam c d (fig. 1) so as to get the images g t free from
colour. It is so adjusted that when at the zero point it pro-
duces au equal effect on both discs.

The action of the instrument is as follows : — Tho standard
lamp being placed on one of tho supporting pillars which slide
along tho graduated stem (fig. 2), it is adjusted to the proper
height, and moved along tho bar to a convenient distance,
depending on tho intensity of tho light to be measured ; tho
whole length being a little over four feet, each light can bo
placed at a distance ol twenty-four inches from tho disc. ^The
flame is then sheltered from the currents of air by black screens
placed round, and tho light to bo compared is fixed in a similar
way on the other side of tho instrument. Tho whole should
bo placed in a dark room, or surrounded with non-reflecting
screens ; and the eye must also be protected from direct rays
from the two lights. On looking through the eye-piece two
bright discs will bo seen, probably of different colours. Sup-
posing E represents the standard flame, and F tho light to be
compared with it, the latter must now bo slid along the scale
until tho two discs of light, soon through tho eye-piece, are
about equal in tint. Equality of illumination is easily ob-
tained ; for, as tho eye is observing two adjacent discs of light,
which pass rapidly from red-green, to green-red, through a neu-
tral point of no colour, there is no difficulty in hitting this
point with great precision. It has been found most conveni-
ent not to attempt to get absolute equality in this manner, but
to move tho flamo to the nearest inch on one side or the other
of equality. The final adjustment is now effected at the eye-
end, by turning tho polarimeter one way or the other up to
45®, until the images are seen without any trace ot colour.
This will be found more accurate than tho plan of relying en-
tirely on tho alteration of tho distance of the flame along the
scale : and by a series of experimental adjustments tho value
of every angle through which tho bundle of plates is rotated
can bo ascertained once for all, when tho futuro calculations

August 14, 1868.]

THE PHOTOGRAPHIC NEWS.

393

will present no difiBculty. Squaring the number of inches be-
tween the flames and the centre will give their approximate
ratios ; and the number of degrees the eye-piece rotates will
give the number to be added or subtracted in order to obtain
the necessary accuracy.

The delicacy of the instrument is very great. With two
lamps, each about twenty-four inches from the centre, it is
easy to distinguish a movement of one of them to the extent of
1-lOth of an inch to or fro ; and by using the polarimeter, an
accuracy considerably exceeding that can be attained.

The employment of a photometer of this kind enables us to
compare lights of different colours with one another, and leads
to the solution of a problem which, from tho nature of their
construction, would be beyond the powers of the instruments
in general use. So long as the observer, by the eye alone, has
to compare the relative intensities of two surfaces respectively
illuminated by the lights under trial, it is evident that unless
they are of the same tint it is impossible to obtain that abso-
lute equality of illumination in the instrument which is requi-
site for a comparison. By the unaided eye one cannot tell
which is the brighter half of a paper disc illuminated on one
side with a reddish and on the other by a yellowish light ; but
by using the above-described photometer the problem becomes
practicable. For instance, on reference to fig. 1, suppose the
disc D were illuminated with light of a reddish colour, and the
disc C with greenish light, the polarized discs d d would be
reddish, and the discs e e' greenish, the central disc e d being
of tho tint formed by the union of the two shades. The ana-
lysing prism Kand the selenite disc I will detect free polarization
in the disc e d, if it be coloured, as readily as if it were white ;
the only difference being that the two discs ot light y r cannot
be brought to a uniform tchite colour when the lights from
D and C are equal in intensity, but will assume a tint similar
to that of e d. When the contrasts of colour between D and C
are very strong — when, for instance, one is a bright green and
the other scarlet — there is some difficulty in estimating the
exact point of neutrality ; but this only diminishes the accu-
racy of the comparison, and does not render it impossible, as
it would be according to other systems.

No attempt has been made in these experiments to ascertain
the exact value of tho standard spirit-fiame in terms of the
parliamentary sperm candle. Difficulty was experienced in
getting two lots of candles yielding light of equal intensities,
and when their flames were compared between themselves and
with the spirit-flame, variations of as much as 10 per cent,
were sometimes observed in the light they gave. Two standard
spirit-flames, on the other hand, seldom showed a variation of
1 per cent., and had they been more carefully made, they would
not have varied 0‘1 per cent.

This plan of photometry is capable of flir more accuracy
than the present instrument will give. It can scarcely be
expected that tho first instrument of tho kind, roughly made
by an amateur workman, should possess equal sensitiveness
with one in which all the parts have been skilfully made with
special adaptation to tho end in view. — Quarterly Journal of
Science.

ON SOME NEW EXPERIMENTS ON LIGHT.

BY J. H. GLADSTONE, PH.D., P.R.S.

The Chemical Xewt reports a lecture at the Royal Institute, by
Dr. Gladstone, from which we make some extracts.

Tho speaker commenced by referring to tho fact that we are
constantly making new experiments or observations on light :
in fact, all seeing is but a comparison of different degree of
light and shade, and the contrast of colours. Most of the rays
that meet our eyes from surrounding objects arc reflected
rays, but some of tho commonest things, such as the water-
bottles and tumblers of cut-glass on our dining tables, exhibit
beautifully the bending, the magnifying, the diminishing, and
the production of coloured fringes, due to refraction. The
purpose of this discourse was to rise from the simplest pheno-
mena of this kind to a consideration of refraction-equivalents,
and to describe the state of our present knowledge in regard
to them.

By means of the electric lamp it was shown that a piece of
glass, or other transparent body, will throw a perfectly black
shadow if the two surfaces through which the ray passes be
not parallel ; that the light is then bent on one side, and at
the same time spread out into its component colours ; that
this bending (refraction) varies with the amount of inclination

of the two surfaces to one another, but in such a way that the
sine of the angle of refraction bears a constant ratio to the sine
ot the angle of incidence ; that this constant number, termed
the index of refraction, or fi, belongs only to the one sub-
stance, each solid, liquid, or gas, having its own index ; that
there is no necessary connection between the amount of re-
fraction and the length of the spectrum (dispersion) caused by
different substances, whether gaseous, liquid, or solid — for in-
stance, a solution of an iodide always disperses more than a
solution of the chloride of the same metal, even though it be
diluted to the same amount of refraction.

This index of refraction is affected by change of temperature.
In liquids, and probably in all gases, the bending decreases as
the thermometer rises ; in soUds, on the contrary, as lately
shown by Fizcau, the change is in the opposite direction,
crown glass always remaining the same, and fluor spar being
the only case where he observed a diminution. This was
experimentally demonstrated in regard to liquids. Thus a
yellow sodium ray, which had passed through a hollow prism
filled with oil of nutmeg, and thence through another filled
with bisulphide of carbon, moved some inches along the screen
when the nutmeg oil was warmed a few degrees by stirring it
with heated iron wire. This index of refraction is still more
materially affected when a body passes from the solid to the
liquid, or from the liquid to the gaseous condition ; a fact that
was illustrated by the visibility of the water melted in crystal-
line spaces in the middle of a block of ice.

The index of refraction of a mixture is moreover not always
the mean of the indices of its constituents. Thus a ray passed
successively through two hollow prisms filled with equal
quantities of alcohol and water respectively, fell on the screen
in a certain position ; but when the two liquids were mixed
together, and divided between the two prisms, the ray was
visibly refracted to a greater distance.

These changes depend on the alterations of volume which
the substances undergo ; and the speaker, in conjunction with
the Rev. T. Pelham Dale, had observed in liquids that the index
of refraction, minue unity, divided by the density (in symbolic

fi—i

language ) is constant for all temperatures, and for all mix-

d

tnres, or rather that the coincidence is very close, but not
quite perfect, on account of some other law not yet understood.
This conclusion has been abundantly verified by Landolt of
Bonn, Ketteler, and Wullner, and the former experimenter
has founded upon it a method of analysing mixtures of liquids.

This unchangeable number was termed the •* specific refrac-
tive energy ” of the substance, and it seemed to hold good, not-
withstanding a change frjm the solid to the liquid or the
gaseous condition. It was early observed that the specific
refractive energy of a compound bore a close resemblance to the
mean of the specific refractive energies of its components.
Landolt, by multiplying this number by the chemical equiva-
lent, facilitated the calculation greatly. He termed this new

M — I

number tho “ refraction-equivalent," P , and proofs have

d

rapidly accumulated that the number is little affected, not only
by temperature, change of aggregate condition, mixture, or
solution, but even by strong chemical combination.

Thus diamond, which is crystallized carbon, has the refrac-
tion-equivalent 5 0; sulphur has 16'0. Bisulphide of carbon,
CSo, which is nearly the most refractive liquid known, should
therefore be represented by 5 -h ‘2 x 16, that is, 37 0. The
experimental number is 37'3. But the diamond will burn in
oxygen, and is thus converted into carbonic anhydride, while
. it is possible to reduce this gas into another containing only

■ half the amount of oxygen, namely, carbonic oxide. The re-
fraction-equivalents of these gases, as deduced from Dulong's
observations, are respectively 10'03 and 7'53 ; but the difference
between CO; and CO is one equivalent of oxygen, and the
difference between the above numbers is 2 o. This, then, may

■ be taken as the refraction-equivalent of oxygen, and subtract-
ing it from CO=7‘53 we have remaining C==5-03, practically
the same number as that obtained directly from crystallized
carbon. Similarly, but generally by more indirect methods, it
has been determined that this element, whether pure, as
diamond, or combined with other elements, to form gases, as
the above-mentioned, coal-gas, or cyanogen ; or liquids, as
chloride of carbon, benzole, oil of turpentine, dcohol, or ether ;
or solids, as paraffin, sugar, or camphor, is still exerting the

894

TIIS PHOTOGRAPHIC NEWS. [Augtjst U, 1868.

haipe infliienco on the rays of liglit tliat set its particles in
motion, an influence that we can express by the number 5 0.
Again, to revert to sulphur, the two salts, snlphocyanide and
cyanide of potassium (K S Cy and K Cy) differ by one equi-
valent of this element, and their refraction-equivalents as
determined from their aqueous solutions are rcspoctively 33'4
and 17‘1, numbers differing by IG'3, a number almost identical
with that reckoned from molten sulphur. In this way the re -
fraction-equiv.alents of a largo number of the elements have
been determined, and tho following table comprises what seem
the most probable numbers among those that havo been

0 published by Landolt, Ilaagen, and Schrauf, as well as
laker : —

Refraction-

Atomic-wi'iKht. eijuivalcnt.

Hydrogen

l-O

... 1-3

Chlorine

... 35-5

... 9-8

Bromine

... 800

... 15-7

Iodine ...

... F27 0

. . 21-4

Oxygen

... 100

... 30

Sulphur

... 32-0

... 100

Carbon...

.. 12(1

... 50

Silicium

... 280

... 02

Nitrogen

... 11-0

... 41

riiosphorns

... 310

... 185

Arsenic...

... 750

... ICO

Antimony

... 1220

... 2.5-7

V'anadinm

... 51-1

... 25-4

Sodium...

... 230

... 19

Tin

... 1180

... 1.1 2

Copper ...

... 03-1

... 11-2

Mercury

... 2000

... 21-G

Tho above numbers are reckoneil for tho rod ray. Most of
them as yet claim to bo considered only as a])proximativo ; and
it seems certain that some elements, as oxygen and sulphur,
havo more than one refraction-equivalent.

Vanadium, though included in the above table, has only just
been determined, and that from tlio oxytrichloride which Pro-
fessor Roscoe exhibited a few weeks before. It is interesting,
ns it supports his theory of the close analogy of phosphorus and
vanadium, for these two bodies, with sulphur, exceed alt others
in refraction, and especially in dispersion.

The speaker stated that ho was now engaged in examining
the effect of salts in solution on the rays of light, and that ho
hoped to determine in this way tho refr.action-equivalents, not
only of a multitude of salts, but of tho metallic elements them-
selves.

a vegetable gelatine which did not readily become fluid, even
at a high temperature. This gelatine was used for culinary
purposes in Java, and retained its solid gelatinous form in very
hot weather.

M. ViCai., who had made tri.al of this vegetable gelatine,
believed that in addition to the advantage named it would give
still more delicate results than the ordinary gelatine, and hoped
to communicate some further results at the next meeting of tho
Society.

Tho Committee charged with the examination of tho Sfl
Clement stated the results of experiments. It was, they said,
moro economical than the ordinary nitrate of silver, ns tho in-
ventor had aflirmod, and that was an essential point of supe-
riority. Tho proofs required, they thought, a little longer
exposure, but they came out very well an<l very regularly.
By using twenty per cent of Sel Clement some time was gained
as regarded the exposure, and there was still a notable
economy compared with the ordinary nitrate employed at
fifteen per cent. As regarded the preservation of whiteness
in tho paper, there was also an advantage, as the paper
prepared by tlio Committee continued white for five or six
days without any especial means taken for tho purpose, while
those examples which were kept enclosed showed no altera-
tion at present, after a lapse of moro than fifteen days. The
Committee, therefore, did not hesitate to advise tho use of
that salt as really advantageous, and they recognized tho
truth of tho assertion made by M. Clement in support of
his invention. Without occupying themselves with tho matter
on a chemical question, it was moro important to ascertain
whether it was practical, if there was economy in it, and, us
to tho p.aper, whether it preserved its whiteness. On these
two points tho Committee had conclude,! in tho attirmativo.

JI. ViDAi, placed upon the table some specimens of tho
Carrier paper, sensitized anil unalterable. Ho was happy to
state that M. Carrier had arranged for tho manufacture of his
sensitive paper. lie hoped that until the carbon process bo
came moro general that paper would render great service to
tho art of photography. It was to bo desired that local depots
should be established, in order that when a few sheets were
required they need not havo to send to Paris for them. For
tho negative photometer, and for the photometer used in car-
bon printing, those sheets would prove valuable auxiliaries,
because they preserved their whiteness for years. M. Vidal
was pleased to testify that tho specimens which ho had in his
possession for a long period remained without the least altera-
tion, cither in their colour or in tho sensitiveness. When used
for printing proofs, tho paper gave fine blue blacks in a bath
thus composed : —

Drorttbiug.'i of

PnoTOGnAPnic Society of Marseili.es.

The usual monthly meeting was held on the 8th ult., Mr. A.
Taylor in tho chair.

Tho minutes of a previous meeting having been adopted,

M. CociiEL presented to tho Society a number of tine proofs
of tho monuments of Nimes, some of which were of largo size,
and stated that they wore produced by the Triple and Rectili-
near lens of Dallmoyer, ujion the perfection of which instru-
ments he spoke in high terms, and stated that from the contrac-
ted space it would have been impossible to obtain them without
a lens of wide-angle yielding straight lines.

After some conversation on tho Woodbury process,

Mr. Taylor (tho Chairman) exhibited some specimens of
Swan’s Carbon Process, and also Mr. Wharton Simpson’s
work on Carbon Printing. Tho specimen excited much admi-
ration.

M. Vidal said if such beautiful and stable results could be
obtained by this process, and they had before seen some of
equal excellence, it was surprizing that such comparative in-
ilifl'erenco to tho jirocess continued to exist in France, and
hoped that they would soon imitate tho example of their foreign
conjreres.

Mr. Taylor said ho had recently visited England, where he
saw many fine specimens of carbon printing, and understood
that it was being tolerably generally adopted, lie had had tho
])leasure ot seeing and conversing with Mr. Wharton Simpson,
who, in speaking of tho various now processes, had mentioned,
as a means of overcoming tho dillicultios of using ordinary
gelatine in hot weather, tho probable advantage of employing

Water 700 cub. centimetres

Chloride of gold 1 gramme

Water 500 cub. centimetres

Sulphocyanide of ammonia 100 grammes

Mix these two solutions in equ.al parts fur whatever quantity
may bo required. If too much chloride of gold bo used the
imago becomes too blue. It is neccs.sary to print deep in the
pressure frame.

Tho proceedings then terminated.

Comsjjon&cttcc.

PHOTOGRAPHIC NOTES ON THE CONTINENT.
[from a special correspondent.]

Vienna, 0th August, 1808.

Dow.n the Danube, from Linz to Vienna, the country is
vary dilferent to that about Passau. Instead of ttie forest
scenery and densely-wooded slopes which shut in tho river
on both sides above Linz, the banks of the stream are
studded with thriving villages, large well-built convents, and
picturesque ruins. The panorama is certainly as fine, and,
perhaps, more varied than that of the upper Danube, where
the banks are not so much cultivated nor so populously in-
habited. At one part, about midway between Linz and
Vienna, called the Donau Wirbel, there is a very strong
rapid, and here the view is particularly beautiful. On aj -
proaching Vienna the village and convents assume a more
Eastern aspect, and the spires and steeples of tho larger

August 14, 1868.]

THE PHOTOGRAPIIIO NEWS.

395

buildings are ornamented with the peculiar Turkish or Ilus-
sian domes and cupolas.

The Danube does not actually flow through the city of
Vienna, or “ Emperor town,” as it is called in Germany, but
passengers on entering the Austrian metropolis by water arc
conveyed thither by a canal leading from the river. The
town is just now in holiday garb, for the Sebiitzen Fat is
being held here, and the streets are full of riflemen in their
picturesque shooting coats faced with green. Flags are
planted along the principal thoroughfares, military bands
are continually parading the streets, and of all kinds
are going on. Fifteen thousand foreign riflemen arc said
to have assembled from the different European countries and
America, and the Schutzen-hallc, or shooting hall, which 1
visited on Monday last to hear some of Strauss’ far famed
music, is probably one of the finest and largest temporary
buildings that was ever erected.

Passing to matters photographic, I may mention that I
have visited several of the studios in the town. M. Ludwig
Angerer, the royal photographer, whose charming group
pictures are well known in England, possesses three studios
in the town, one of which, viz., that specially employed for
taking carte and cabinet pictures, I had the pleasure of
visiting. It is situated in the Johann Gasse, in the busiest
part of the town, plenty of side and top light being available,
and the greater portion of the glass room being furnished
with blue glass. The dressing-rooms arc very conveniently
situated on the same floor as the studio — just behind the
screens — so that the sitter has but a very short distance to
come. Cabinet portraits seem most in demand, and M.
Angerer disposes of them at the very reasonable rate of ten
shillings the half dozen. I saw several portraits taken,
mostly of riflemen, all managed in a very prompt and skilful
manner. The printing, mounting and similar manipula-
tions are not carried on in this studio, but arc confined to
another building devoted specially to that class of work.
The lenses used by M. Angerer are mostly those of Dallmeyer
and Voigilander.

The studio of M.il. Ilabening and Monkhoven I was
likewise permitted to visit; and here, again, 1 found the
fivourite style of portraiture to bo the cabinet, excepting, of
course, the enlargements, which are a speciality of this firm.
For the last description of photographs a laboratory has
been fitted up, in which the manipulation of large sheets of
paper is proceeded with. One of the tanks used for deve-
loping, toning and fixing measured 4J by GJ feet, and there
were besides, several other baths of somewhat smaller dimen-
sions. All the collodion employed, as likewise all the
chemical preparations used by the firm, are compounded on
the premises, and by this means an exceedingly regular
system of working is insured. The glass room possesses but
little side-light, but is provided with illumination mostly
from the top. The portion of the room in which the camera
is placed, and where the operator stands, is almost in utter
darkness ; in fact, so mucli so, that the j)latc may be sensi-
tized or developed in the dark-room leading from this part
of the studio without the door of the laboratory being
closed. The dark room is always kept at an even tempera-
ture, a stream of cold water being allowed to flow into the
room during hot weather, and artificial heat employed in the
winter months. The horizontal bath is used lor the sensi
tiziug, and the vertical bath for the fixing of plates. It is
the custom to intensify after fixing, and finally to fix again,
whereby the negatives arc said to gain in brilliancy and
transparency. No other lenses but those of Dallmeyer are used.

I was shown Dr. Van Monckhoven’s enlarging apparatus
in working order, magnifying a carte-dc-visite picture upon
a screen three feet long. The pictures are produced direct,
and not by development, except in very bad weather, hard
pictures being produced upon nitroglucose paper, and soft
ones upon salted paper. With a good light, an enlargement
is produced in a quarter of an hour, without having re-
course to any accelerating process, such as the use of ammo-
nia vapour, &c. The original carte negative, from which

the enlargement is taken, is left unvarnished, and is never
intensified,

The show of photographic portraiture in the streets is
remarkably fine, and certainly equal to that of Paris. The
specimens exhibited by Dr. llcid, M.M. Mahlknecht, Luck-
hardt, Lowy, Adele, and others too numerous to mention, are
certainly very superior, and the prices asked in most cases
are remarkably reasonable. Of the minor class of photo-
graphers there appear to be but few in Vienna.

Ischl, Sth August, I8G8.

Beautiful Ischl, situated in the middle of the most sub-
lime scenery of the Salzkamniergut, is the spot from which
I write these lines. As it is the most fashionable watering
place of Austria, and the favourite resort of the Empress, 1
was in the hopes that, in common with our own Spas, tho
town would contain one or two photographers of note where
I might pick up a few stray hints. As 1 have not, however,
yet seen anything worthy of mention, I shall defer any
further remarks until I reach Salzburg.

itt the StuMa.

North London Punsentation Print. — Tho North London
Cominitteo appointed to select tho presentation print, have been
enabled, through tho liberal terms at which tho most suitable
prints wore offered by tho producers, to offer to tho members tho
two best jirints submitted for competition. One is a magni-
ficent 12 by 10 figure subject, by Mr. Lako Price, entitled “ The
Falconer,” and tho other a IG by 12 landscape, with won-
drously fine clouds, by Jlr. N. K. Chcrrill. It is hoiiod that tho
prints will be ready for distribution at tho first meeting of tho
Session in October next.

The Forthcoming Eclipse. — As our readers know a total
eclipse of tho sun, of a very remarkable character, will take
place on tho 18th, not visible, however, in this country as tho
central line will pass just south of Arabia, across India and tho
northern part of Borneo to tho northern limit of Australia. The
central eclipse begins at half-past three in the morning of Tues-
day. This eclipse possesses unusual features of interest. Tho
greatest possible radius of tho circular shadow of tho moon
thrown on tho earth careful computation gives as 174 miles.
An eclipse of this extent cannot happen once in many thou-
sands of years, nor can one happen often which approaches even
closely to the conditions required to make the duration of total
darkness the greatest possible. In tho great eclipse of tho next
week nearly all tho conditions which tend to increase tho
moon’s shadow aro nearly fulfilled. At the place which is most
favourably situated tho total eclipse will last six minutes fifty
seconds. Tho exact position of this spot is in lougitudo east
from Greenwich 102 dog. 50 min. C sec., and north latitude
11 deg. 35 min. 7 sec. As our readers know several observing ex-
peditions will visit tho best points of observation. Two expedi-
tions, welt provided with instruments, have proceeded from
this country to India for tho purpose of observing this great
eclipse. Tho first, organized by Major Tennent, has been
sent out under tho auspices of the Iloyal Astronomical Society.
Tho second has been sent out by the Royal Society, under
Lieutenant John Ilerschcll, son of Sir John Ilerschell. Mr.
I’ogson, superintendent of the Madras Observatory, will head a
third expedition. Franco has sent out M. Jansen at tho head
of a well-appointed expedition. Prussia has sent Dr. Vogel
and others to Aden ; and the Pope sends out the Jesuit priest
and astronomer. Father Secchi.

M. Braun’s Reproductions.— The excellent photographic re-
productions of tho art treasures of Continental galleries by M.
Braun, aro well-known, and it is stated that ho contemplates a
visit to England for tho purpose of reproducing tho rare works
comparatively buried in this country. English photographers
should look to it that tho laurels be not shorn on their own
ground. Tho Journal oi the Society of Arts speaks in high
terms of a highly-interesting portfolio of photographic repro-
ductions in pigment printing of designs by tho old masters,
belonging to tho various museums in Europe. Tho work in-
cludes nine hundred designs from the Lourve, eleven hundred
pieces from tho Albertine of Vienna, one hundred and fifty
pages from tho collection of tho Grand Duke of Saxe Weimar,
and several hundred drawings from the little-known Ufiiii
ollection, at Florence. M. Braun, it states, has lately pro-

396

THE PHOTOGRAPHIC NEWS,

[August 14, 1868

duced, at Milan, copies of the Ambrosienne entire, with tli®
eighty drawings by Leonardo do Vinci, and the cartoon of
Raphael’s “ School of Athens at Venice ho has reproduced
more than three hundred of the designs in the Academy of the
Beaux Arts ; at Florence he has photographed the most remark-
able examples of sculpture, ancient aud modern.

Tkanspakent Metal.— From one of our German exchanges
wo copy a statement that a transparent metal has been dis-
covered, the component parts of which arc water-glass and
copper : “ It is of a deep orange hue, can bo molted and cast,
wrought under the hammer, and rolled. Files will not scratch
it ; it is translucent, and capable of being wrought into orna-
ments of rare beauty.” Kvidenfly a chemical canard, un-
worthy of serious notice. — Scientific American.

Opaque Glue. — Ur. Vander Woydo, writing to the Scientific
American says ” I see a recipe of a correspondent for making
opaque glue, which is as injurious to the glue as the bone dust
proposed for that purpose in a former number. Bone dust
being gritty and not uniting with tlie glue spoils it entirely. I
find by analyzing a specimen of very white opaque glue of ex-
cellent quality, that the white substance is nothing but carbon-
ate of lime very finely divided, probably introduced in the form
of the so-called Paris white. I find in trying the mixture of
this substance with glue, that it has two effects beneficial to
the manufacturer : first, in giving a dark coloured glue a lighter
shade and thus presenting an appearance of a higher priced
article, and, second, in adding to the weight of the glue by the
addition of a substance only about one tenth of its value. The
beauty of this adulteration is that the sticking qualities — which
are of coarse tho only ones the consumer cares for — are not in
the least deteriorated, but, ou the contrary, soem improved.”

ffl ®orrwgfaubcnts.

Henry Berlon. — Ilcrr Gras.^holTs address Ls 51, Behren Rtras.se,
Berlin. We should think Mr. Trulmer would order the work for
you. Herr Gras.sholf is an artist, and himself retouches negative.s.
Herr Lindner produced and retouched the negative a print from
which was issued in a recent number of Dr. Vogel’s Mitlheilungcn.

Rev. J. H. Johnson. — Wo will submit the cpieries to Mr. Bovey.
For our own part, wo prefer the use of a little carbonate of lime
when tho gold salt .shows any trace of acidity. As a rule, how-
ever, when the double chloride of gold and sodium is made there
need be no excess of acid at all.

Henry Williams.— We believe that eollodio-chloride of silver is
supplied by most dealers. Mes.srs. M iwson and Sw.m, Huggon
and Co. . and some othei's prepare it. You will find instructions
for making aud using it in our \ eak-Book. 2. AVc do not know
of any agent f.>r Obcrnol tor’s paper in this country.

Moui’iii.ne. — There is a .special term of printing-frame made for
printing transp irencies on dry plates from uncut negatives, per-
mitting tho neccs.sary movement of tho plate. A very good one
was devised b}- Mr. Smith, of Xogretti aud Zambra’s, and may
doubtless be obtained of that linn. If you print on avet collodion
in the camera no cutting is necc.s.sary, as tho requisite transposi-
tion of the images is neces.sarily made in the cAincra. by each half
being practic.dly tumed round on its own axis. 2. We are not in
possession of the information in reference to Cook’s apparatus
which you require.

AV. J. A. G. — It is illegal to make copies, for your own amusement,
of copyright pictures. Tho fact that a sale is generally proved in
order to secure conviction arises from two circumstances : first, it
is generally the easiest mode of proving delinquency; and, second,
because the actual producers are rarely caught ; the dealers only,
as a rule, come within reach of detection. A’ery few proprietors
of copyright would, we apprehend, take the trouble to pi-osccuto an
amateur whose copies were bona Jide for his owm amusement only.
But the terms of the Act are stringent. It enacts that if any jicr-
son not being the owner of a copjTight shall, without consent of
the owner, “ repeat, copy, coloui-.ibly imitate, or otherwise multiply
for sale, hire, e.xhibition, or distribution,” lie shall forfeit a sum
not exceeding ten pounds for each offence. 2. A mixture of glyce-
rine and water may be used instead of golden sjTup and water.

Henry AVilcox. — All the manipulations in Mr. Gordon’s gum
process, ns described in our Year-Book, remain precisely the
same, except the use of tho iron developer instead of th.at at first
prescribed. 2. Drain upright ou clean blotting-paper. 3. A
changing box for 12 by 10 plates would bo costly, and perhaps a
little difficult to manage. Double backs would be best ; or a
changing bag might bo managed possibly. 4 . The rapid rectilinear
lens is not intended for studio work, but would probably be as rapid
as tho single wide angle for landscaix; work. 5. For enlarging,
your No. 1 will answer well, and will bo most convenient. 6. No :
in answering our correspondents, wo have undertaken a duty which
a very lengthened experimental and practical acquaintance witjj

almost every branch of photography has rendered easy and plea-
sant to us, and we do not, therefore, get tired of what you term the
“ eternal interrogatories” put to us.

J. Barratt. — Registration will protect a design or shape, but it
will not protect a principle, nor will it protect anything dependent
on the working together of parts. A patent is required for such
protection. AVhether registration will serve your purpose or not
we have not data before us to determine. The protwtionof regis-
tration can only extend for three years. It is of course much
cheaper than a patent, only costing three or four pomids.

Si’ECULA. — Y’’our concentrated nitrate of silver solution having been
in the sun during the hot months which have elapsed since Mr.
McLaehlan’s communication ought now to be ready. The next step
is to jiroceed exactly in accordance with his instructions as toiodizing,
dilution, and rest fora tcwd<ays, until any cxee.ssof iodide of silver
is re-precipitated. ’I’he only modification in which you can do justice
to the .author of any process is to follow implicitly his oavn directions.

D. AV’. S. — Unless you have some skill in colouring you will scarcely
succeed in colouring glass transparencies for the magic Lantern ;
and if you have any skill you will .succeed best with the medium
to which you are moat accustomed, whether oil or water. If you
wish to u.se .aniline colours you will find it best first to give the
transparencies a varnish of dilute albumen, about 1 part white of
egg and 4 parts water. This varaish will also aid you in using
ordinary water colours.

Engineer. — The article in our Y'ear-Book practically contains all
the information which has been publi.shed on Mr. Flngland’s dry
process. On p. 187 of ou? la.st A’olumo you will find his commu-
nication to tho Photographic Society on tho subject ; and in tho
early part of tho same A'olume many communications and com-
ments from other contributors, but we do not remember that any of
the.se contain more details than Mr. England himself has commu-
nicated. ’I’ho trustworthiness of the process is best avouched by
tho fact that Mr. Flngland brought home from his last summer’s
tour 300 perfect negatives.

T. F. — AA’c have once mot with a similar case to that in the spotted
example you enclose. It arose on that occ;ision from prints being
left a long lime in water without movement or agitation. Tho
))rints which had floated to the top of the water looked spotted with
dust, and on sponging the surface it was found to be covered with
spots in which the albumen was removed, as in the example for-
warded. It was clear that the long soaking with, possibly, the
action of lime salts in the water, po.ssibly some atmospheric deposit
from the operating room, had induced a dccomp<)sition of the albu-
men surface, dis.solving it at the points of contact ; but tho pre-
cise cause wo are unable to indicate. The yellow stain on tho
print is due to imperfect fixation, probably from the print sticking
to another print or to the side of the dish in fixing.

PiiOTO-LiTiio. — Y'our .specimens arc very good fora voting h.and;
but they posse.ss the defects most common to photo-iithogniphy ;
that is, a certain rottcunc.ss in the fine lines and a want of rich
depth in the blacxs. AA'hat is the nature of the process you em-
ploy 'i A\'e shall be glid to hear of your progress and sec more of
your work.

R. T. S. — You will find tho description in question on p. 3S of our
Fourth A’olume. Tho principle involved preserves the w.iter and
the print constantly in motion, and keeps a fresh supjdy of w.iler
consLintly running in, whilst tlie old water is emptied by a syphon.

Dll. P. Likseoang. — Many thanks. AVc will write soon. AVo
have not received the last number of tho Arc/tir containing
the formula you mention. Tho last which has reached us is No. 157.
AA’ill you kindly forward us the number in question.

T. Jones. — AV^e are not aware of any agent for tho Obernotter paper
in England.

Electro. — Tho journal styled tho “Electrician” has, wc under-
stand, been discontinued for some years.

Q. — The statement is not true. Tho resolution was passed without
a single dis.senticnt. Neither of the gentlemen named either moved
or seconded tho re.solution. 2. Y’es : your conjecture is probably
correct ; imaginary existences ; but we cannot go into the matter here.

Ignoramus. — The back of the plates is to be painted after the pre-
paration is complete, and before exposing of course. It is because
the sensitive film is very transparent, and therefore the plates are
liable to tho defect which has been erroneously styled “ blurring.”
2. Tho paint is of course washed off after exposure. If the alka-
line developer is used, the image is brought out by tho combined
action of pyro and ammonia; but if you consult Mr. Gordon’s
recent article you will find that he recommends iron development.
Y’our letter was not in time for an answer in our last.

Dr. Piiirson. — Received: “ Sur I'application de certaines pro-
prictes optiquos des corps a analyse Chemique des substances
mincr.ilos et des substances organiques, par M. lo Docteur Phip-
son.” Many thanks.

G. — An angle of 45° answers well; but a little modification is not of
importance. It is important to secure a good pitch to throw tho
water off in wet weather, and prevent a tendency to leakage.

Anxious. — Y'ou do not state on what point you require an
opinion. Tho negative appears to have been taken in a dull light,
and is thin and lacking in vigour, partly from bad light and partly,
probably, from tho quality of tho collodion.

THE PHOTOGRAPHIC NEWS

Voi. XII. No. August 21, 1868.

C 0 N T E N T S'.

PJlGR

Mens. Adam Salomon in London 397

The American Bromide I’ateat 39S

Critical Notices 399

Photographic Printing in Silver, Theoretical and Practical.

By \V. T. Bovey S99

Sketches of Travel from a Sun-Painter’s Portiolio. By Stephen

Thompson - 401

Pictorial BQect in Photography. By II. P. Robinson 402

PiOC

Likeness in Portraiture : Liability of Sitters 403

A Chapter in the Early Ilistory of Photography 404

Correspondence — Photographic Notes on the Continent — IThito

Pigment in Carbon Printing 40.5

Talk in the Studio 403

To Correspondents 407

Photographs Registered 40S

MOXS. ADAM-SALOMON IX LONDON.

JIoNS. Au.vm-Salomon has just returned to Paris, after a week
or two spent in London, and we have had the pleasure of
spending a good deal of time in his company, listening to his
remarks on the art and practice of photography. We have
also had the good fortune to receive further examples of his
charming portraiture, some of which exceed, if possible, any
of the wondrous pictures which wo have before noticed, and
which some of our readers have had opportunity of examining.

Here we have a portrait of a noble little fellow, in a half-
sitting, half-reclining position, the treatment of which was
suggested, M. Salomon informs us, by a picture by Sir
Thomas Lawrence — probably the portrait of Ma.ster Lambert.
Every part of the picture seems literally perfection. Whilst I
the general effect is one of extreme vigour, richness, and \
relief, on examining the details every part is found full of
the most exquisitely delicate half-tone and modelling. A
fair child, with profusion of light hair, a light dress, large
white collar, white cuffs, and white stockings, there is never-
theless not a point so large as a pin’s head of pure white in
the picture, fine half-tone marking the gradations of every
white object, the texture and colour of each being rendered
by tones very distinct from those of the fair ilesh, every
portion of which is most perfectly motlelled. The grace,
case, simplicity, and naturalness witli which the child rests
his fine head on a pretty hand, and tlie sweet unconscious-
ness of his expression, cannot be well described, but they
arc such as satisfactorily illustrate the fitness of photo-
graphy, under favourable circumstances and in capable hands,
for producing the highest art results in this direction. The
composition and chiaroscuro of the picture seem simply
faultless.

Another picture, of a totally different subject, is also a
fine example of a similar kind of treatment, securing per-
fect gradation of tone, detail, texture, and modelling in
light materials, without a single patch of white. This is
a portrait of a lady, a brunette, with dark eyes and hair,
in a white dress of tulle trimmed with white satin. Every
undulation of every fold ; every thread, in fact, in the light,
soft, flowing drapery is perfectly rendered ; every play of
light and reflected light in the satin trimmings perfectly
registered ; but everything is full of tone : except a glancing
light here and there, no patch of white is present much larger
than the sparkling point of brightness on the pearls on the
lady's bracelet. All this is secured without any sacrifice of
perfect detail and richness in the dark hair and the dark
accessories in the picture, the whole being singularly har-
monious. We have not often seen a photograph which so
thoroughly illustrated the possibility of a degree of perfect
lighting rarely attained. On examining every part of this
picture, it would seem as if the light had been especially
arranged to secure relief in that part. The delicate

white arm which rests against the white dress is a perfect
study of modelling and roundness, so nearly like the dress
in colour, yet so diff'erent in texture, and so boldly in relief,
it would seem, on examining it, as if the light had been
arranged for that effect alone ; yet further examination proves
every other part of the picture as perfectly lighted and eflfec-
tively rendered in its kind.

It is not a little singular that whilst great brilliancy is
the first quality which strikes an observer in M. Salomon’s
pictures, yet the study of tone and harmony is that which
mostly engages his attention. In speaking of tone here we
do not mean tint or colour, but of fullness of gradation
throughout the picture. Xo degree of vigour or of mis-
called brilliancy obtained by great contrasts of black and
white could compensate, in his estimation, for the absence
of harmony. ^V^e were strongly reminded, in a conversa-
tion with him, of some remarks of Mr. Rejlander’s on the
same subject. If, by any chance, he remarked, it was neces-
sary to print from a hard negative, he would prefer to ex-
pose the paper to the light for a minute or two, in order to
degrade the tint, and so reduce the scale of tones, rather than
have a picture with crude contrasts of black and white not
united by proper gradations of half-tone.

Whilst maintaining and so admirably proving the capa-
bilities of photography for art expression, M. Salomon, in
common with most men possessed of the faculty of creative
art, feels deeply the tyrannical conditions and unplastic
character which belong to photography. The photographer,
he remarked, in endeavouring to produce a picture, is a slave
to his light, his lens, his chemicals, his sitter ; the perverse-
ness or imperfection of any of these may defeat all his
eff’orts to realize ;ui idea and produce a work of art ; and
often, when exhausted and disappointed, ho has retired
for relief, rest, and tranquillity, to his sculptural atelier,
where the modelling clay answered to every touch ; no
rigidly awkward muscles or perverse expression, no move-
ment, no limited range of focus, no chemicals yielding only
results out of all harmony with the aim of the artist, or
giving negatives full of spots, streaks, or pinholes. Never-
theless, photography, with all its difficulties, is the subject
of his intense enthusiasm, and its conditions, chemical and
mechanical, are carefully studied, with a view to coax from
it its most willing service to art purposes. Ue prepares his
own collodion, and, in answer to a question as to the propor-
tion of bromides and iodides he employs, we learn that he
thinks it worth while to use constant variety to suit varying
conditions of subject and of light. 8o also with his deve-
loper and with other controllable preparations. His most
usual formula for developing is, however, as fqllows : —
Ammonia sulphate of iron ... 75 grains

Glacial acetic acid 75 minims

fc5ulphatc of copper 7 grains

Water 3 ounces.

398

THE PHOTOGRAPHIC NEWS.

[August 21, 1868.

He is deeply interested in conversation with a company of
photographers who surround him, and is readily communi-
cative on all subjects connected with his experience in the
art.

In printing, it is his practice to produce one impression
from a negative himself, as a guide or pattern lor his
printer. If the negative require it, some portions are
masked during printing with cotton wool, or sometimes with
ground glass ; small portions at the back of the negative
are stopped out with transparent water colours, to retard in
given degree the passage of light. 8pots and pinholes are
touched out, and occasionally, also, strongly-marked freckles ;
but beyond that there is no retouching on the negative.

Apropos of this question of retouching, an amusing inci-
dent occurred during his visit. A j)hotographcr of con-
siderable position having heard that il. Salomon was in
London, called upon him to pay a visit of courtesy and ex-
press appreciation of his pictures. In course of conversation
he remarked that, of course, the pictures were retouched, and
that much of their beauty was dependent on this fact,
adding, “ Of course I know it is said that this is not so, but
strictly in confidence, and entre nous, touching is the great
secret, is it not?" In repl}' to this, il. Salomon called for a
sponge, and asked his visitor to take the print in immediate
question — the Duke of Hamilton, we believe — to wash the
rint thoroughly, and remove the touching. This having
een done without altering the character of the picture, the
visitor expressed his conviction that the touching was upon
the negatives. This M. Salomon assured him was not the
case; with the exception of the stopping out little defects,
his negatives were untouched. Where a print required it,
such touching as might be desirable was, of course, applied,
but that in no case were they worked up so as to change
the character of the picture. Satisfied from his experiment
that it was not to retouching the excellence of the print was
due, the visitor hit on a very brilliant idea: he had dis-
covered, ho thought, the secret of success. Each print was
the product of two negatives identical in contour, &c., but
varying in intensity ; one being taken for the delicate
lights, and the other for the deep shadows. A print was
was then carefully produced by printing from the two nega-
tives in succession ! The idea is undoubtedly ingenious ; but
M. Salomon had not tried it; bethought it would be diffi-
cult, if not impossible, to succeed satisfactorily, and assured
his visitor that his results were produced by ordinary ap-
pliances without intricate or secret dodges.

M. Salomon had the jdeasure of meeting in London, by
his especial desire, Mr. Williams, Mr. Ilobinson, Mr. Kej-
laiider, Mr. lilanchard, Mr. Mayland, and some others whoso
work he knew and admired. To Mr. Williams he sat for a
portrait, being the first iffiotograph for which he had ever
sat. Messrs. Lock and Whitfield also obtained a negative
of him, a print from which we have not yet seen.

More than one photographer in London courteously
ollered to M. Salomon the use of studios during his visit,
should he desire to produce photographs ; but, with
the exception of a day spent at Tunbridge Wells experi-
menting in conjunction with Mr. Itobinson, M. Salomon
did not attempt photography in this country. Mr. llobin-
son obtained severai fine largo negatives of his visitor.

To the method of finishing the print with an encaustic
paste Al. Salomon attaches considerable importance. For
that employed on his pictures ho has promised to send us
the precise formula, which we shall have pleasure in giving
to our readers, as it varies in some respects from the
recipes hitherto published. Some other coinmuuicatious
from M. Salomon, to whose kindly and genial communica-
tions we are much indebted, we hope also to place before our
readci'S shortly.

Wo shall be happy to show the new specimens to any of
our readers who may call at our residence, and we have
obtained M. Salomon’s promise to send some further ex-
amples to the exhibition meeting of the Society in
November next.

THE AMERICAN BROMIDE PATENT.

A FORT.sionT ago wo announced that the application for a
renewal of the bromide patent in the United States had
been refused, and congratulated our American brethren on
their final emancipation from a tax so irritating and ini-
quitious. A thirty-two page supplement to the PA
Photo<irapher puts us in possession of all the details of the
case, both for the patentee and for the opposition, the
latter having been chiefly maniiged by our friend Mr. E. L.
Wilson, editor of the Photographer. As the matter possesses
historic interest, a brief summary of the case will probably
interest our readers.

The notorious bromide patent was obtained in America
by Mr. James A. Cutting, of Boston, in 1854, and is dated
July 11 of that year. The special claims in the specifica-
tion are for two things : first, the displacing by alcohol of
the water remainin.g in pyro.xylino after it is washed, the
collodion being, it is stated, more sensitive when the cotton
is quickly dried ; and, second, the use of bromide of potas-
sium in collodion ; the proportion given being 2i grains of
the bromide and 2.V grains of iodide of potassium, dissolved
in a little water, to one ounce of collodion. It is worth
noting that at the same time Mr. Cutting obtained two
ofher patents for so-called improvements in photography :
one for the addition of camphor to collodion, an addition,
in our experience, rather injurious than otherwise; and
another for cementing a glass over photographs by means of
Canada balsam, an operation for which Mr. Ross had received
the medal of the Society of Arts in this country years before.
And it is further worthy of note that Mr. Cutting obtained
a patent in England, on the 2Gth of the same month, in
which was included the means of removing moisture from
soluble cotton by means of alcohol, the use of camphor in
collodion, and the cementing of glass over photographs by
means of Canada balsam ; but, oddly enough, in this patent
there is no mention whatever of bromide, a circumstance
which is very suggestive of some knowledge that at that
time the value of bromides in collodion was too generally
known in England to permit of the slightest chanee of ob-
taining a patent for their use. Certain it is that in this
country the use of bromides in collodion by some photo-
graphers was coeval with the discovery of the collodion
process. The action of bromine in the Daguerreotyjre j>ro-
ccss and the effect of bromides in paper processes had been
so well known for many years that it would scarcely have
been possible to overlook their probable value in collodion.
In the first treatises on the collodion process bromide is men-
tioned and recommended, and in the third number of the
first photographic journal published in this country we find
the use of bromides in collodion referred to, not as a novelty,
but as a matter-of-course fact. At a meeting on the 5th of
April, 1853, negatives were exhibited, in the production of
which bromide of ammonium was employed, and the details
were published ; nevertheless, in America, in July, 1854, Mr.
Cutting obtained a patent for the use of bromide of potas-
sium, which has since been construed to mean any bromide.

This patent has been in operation during the last four-
teen years, and enormous sums have been paid by American
photographers for its use. One photographer alone, it
a|-pears, paid Cutting 10,000 dollars, and we find mention of
the iiayment of various other sums amounting to upwards of
15,000 dollais. Cutting eventually parted with the bulk of
his interest in the patent, finding great difficulty in en-
forcing it and in obtaining licence fees. The ultimate
possessor, a Mr. Hubbard, has enforced it with much peree-
verance and shrewdness. The question of the validity of
the patent has on several occasions come before the courts,
but the cases have generally been compromised. The appli-
cation for a renewal of the patent has been made by the
e.xccutor of Mr. Cutting, who died in comparative poverty,
it is stated, some time ago. He appears to have been a ver-
satile genius, having latterly carried out to a large extent
the “ aquarial-gardeu business.” ^e built and owned a boat

AuflcsT 21, 1868.]

THE PHOTOGRAPHIC NEWS.

399

called the “ Ambrotypo,” in which housed to make aquatic
excursions to supply his garden with pickerel, horn-pouts,
and whales ; at one time he “ ran” a Western saw-mill. lie
had various other patents : one for a beehive, one for a spark
arrefter, and one for a photo-lithographic process. The
ground of the application for an extension was that Cutting
had not derived sufficient remuneration for his invention.

The evidence by which the originality of the invention
was sustained appeai-s to have been weak and insufficient
in the last degree, and it seems clear that if the case had
ever been fairly brought to trial before that, the patent must
necessarily have been proved invalid. The evidence of the
opponents was very strong. One witness stated that he saw
Cutting experimenting in 1853, and saw him refer to a book
in which a bromide formula was published. Dr. Langdell,
who was a partner with Cutting in 1853, gave evidence that at
that date Cutting had not tried a bromide in collodion, and
that he (Langdell) made the first trial, and communicated
the result to Cutting. Dr. Cresson, of Philadelphia, a
gentleman of high reputation as a chemist and expert, gave
evidence of the use of bromides in 1852, pictures produced
by their aid having been shown at the Fianklin Institute at
that date. A curious piece of evidence was introduced by
this gentleman ; he produced a bottle witli its original label
ns follows : —

No. 10.
Collodion
lod. potassa?
Brom. potass. ..

Mo. 4-18, 1852.

ozj-

gr- viij.

gr.IV.

Chlorid. sod. ... ... ... ... gr. IV.

Water m. 30

Absolute alcohol m. 30

There is one piece of evidence for the opposition which is
a little puzzling. Mr. F. Langenheim, an old pliotographcr
in Philadelphia, stated that in 1840 he used collodion, and
employed salts of bromine in preparing it. As the recog-
nized tliscovery of the collodion process by Archer was not
publi.shed until 1851. this allegation by Mr. Langenheim
requires some explanation or corroboration.

One of the most interesting documents connected with
the case is the Report of Chief Examiner in the Fine Arts
Department of the Patent Office, Mr. T. K. Peale. The
original application for a patent was passed by this gentle-
man ; but now, in the presence of fuller evidence, he dis-
tinctly states that Mr. Cutting was not the orignator of the
u.se of bromide in collodion, nor was he entitled to a patent
for its use ; and, further, that an extension of such a patent
could not be granted without great injustice to the public.

After hearing the evidence, the character of which we
have briefly indiciited, it is not surprising that the Acting
Commissioner of Patents refused the application for an ex-
tension, and American photographers will no longer be
hara.s.sed by constant but irregular demands for payments
of “ room rights,” demands which, being enforced by threats
of legal proceedings, have often been paid simply to avoid
the harass, risk, and loss of time inevitable in siich suits.
Without organization it is almost impossible to resist an
impo.sition of this kind, and we congratulate our American
friends on having secured a combination to defeat the
attempt to extend an irritating impost, and on the able
leadei-ship under which this organization has been so
successfully carried out.

Critinil

HISTORICAL AND ARCHITECTURAL NOTES on
the Parish Churches in and around Peterborough. By
the Rev. W. 1). Sweeting, M.A. Illustrated with Photo-
graphs by William Ball. (London: Wliittaker and
Co. ; Peterborough : E. T. Hamblin.)

The value of photography is rarely better illustrated than
when it is employed in delineating architectural and archeo-
logical subjects, for which its literal and minute truthful-

ness so especially fit it. Jlr. Ball’s photographs in the
volume before us give tbc work, we have no hesitation
in saying — and without any underrating of the laborious
care with which the text has been written — its especial
value and interest in the estimation of readers, the actual
pictured representation of each church before the eyes
investing written description and parochial records alike
with a degree of interest which must otherwise have been
wanting.

There are few districts in England more rich in parish
churches of historic interest than the Eastern Counties, and
the blaster of King’s College School at Peterborough has
done good service in furnishing a valuable contribution to
archaeology and to local history in writing these notes, and
in collecting and arranging the records before us. The
volume is a handsome one, well printed and well got up.

THE AMATEUR’S MANUAL OF PHOTOGRAPHY.

Edited by Richard Kingh.am. Fifth Edition. (London:

Thomas Kingham.)

We have before noticed this excellent manual in favourable
terms. The fifth edition, now before us, is, we are informed,
a reprint of the previous edition, no change or improvement of
sufficient importance for notice having been made in photo-
graphy since the issue of the fourth edition, fifteen months
ago. 'fhe manual is a useful one throughout, and its value
is much increased by the possession of several chapters on
various subjects by Dir. Valentine Blanchard. The editor
scarcely docs his work full justice, by the way, in neglect-
ing to append Mr. Blanchard’s name to his articles where
they appear in the text ; with this e.xceptiou wo have no-
thing to say but commendation.

PHOTOGRAPHIC PORTRAITS, By William Notman,
of Montreal, Canada.

We have been favoured by Dir. Notman with some further
examples of large portraiture, treated in the manner known
as characteristic of the portraits by DI. Adam-Salomon. In
most respects these pictures are very admirable; tliey are
brilliant, forcible, and well modelled ; rich, deep, and warm
in tone ; and fine in composition. Tlie chief fault we have
to find is the presence in some of a few chalky and spotty
lights. DI. Salomon, we may observe, saw them, and ex-
pressed considerable approval.

PHOTOGRAPHIC PRINTING IN SILVER. THEO-
RETICAL AND PRACTICAL.

BY W. T. BOVEY.

Actinism: Its Varying Condition and Influence on
Toning Action, etc.

In the experiences of photographers who have submitted to
practical tests the formula presented with my last communi-
cation, discrepancies have, I am not in any way surprised
to learn, occurred in the results arrived at ; and 1 was
quite prepared, when I invited communications on the
subject, to find sceptics denouncing *• new-fangled innova-
tions,” and pointing out the virtues po.ssessed by the “ bleach-
ing solutions ” whenever they chance to work aright, which
being, as they prove, matters of uncertainty, afford evidence
that their constitution is allied to empiricism ; their prin-
ciples are open to a fuller investigation. Dly readers will
probably admit that the apparent novelty of my views on
toning matters places me in a position of some considerable
difficulty, as I am arrayed, single-handed, again.st matured
ideas, deep-rooted prejudices, and, added to these, the pub-
lished opinions of many very able experimentalists, rvho are
justly regarded as authorities in all matters pertaining to
photographic science. I have accepted the conditions freely,
not in a spirit of bravado, but with a full consciousness of the
purity of my motives, which aim to accomplish some amoun

THE PHOTOGRAPHIC NEWS,

[August 21, 1S68.

of good by ridding an art of the elements of uncertainty
in at least one direction. Ilaving anticipated some objectiorus,
lam prepared to cnconnter others, and am desirous that the
theories I have already advanced, together with others I am
about to offer, may be fully and exhaustively discussed, for
1 hold that he who aims at truth should cling to no pet
dogmas that are found to he based on error ; his mind
should be ever open to conviction, and, if assailed by
error, he may find comfort in the thought tliat an infant
truth is at all times surrounded by a net-work of miscon-
ception— that a wise and natural law has so designed it.

If we trace the history of civilization as far back as the
pen of the historian has spanned, ■we perceive the course
pursued by progress impeded with ifs, huts, sophistry,
and scepticism, and these retarding influences, seen as
things to be wept over, until the mind embraces a wider
field of vision, when it is directly perceived that the im-
proved results justify every rctiirding cause, and make
visible the link which connects each impediment with the
grand scheme of progression, a scheme that finds in each
adverse influence a wisely ordered power, devised to sepa-
rate the chaff from the wheat, by upholding error until truth
has undergone a searching scrutiny to remove every cause of
doubt that would dim the lustre of final victory. If the
human mind was more credulous, less conservative, less
prone to cavilling, less inclined to doubting and disputa-
tions, progress would admit of a wide definition and muddle ;
anomalies, wisdom, and folly would each in their turn aft’ord
the inteq)ret,ation. But 1 am turning into the “ sidings ”
of digression, so will embrace a .starting point that will lead
to new arguments and observations in connection with the
subject of gold toning.

From the numerous communications 1 have received,
having vefereuce to the method of toning I recently ex-
plained, 1 presume the subject has been more or less studied ;
and where success has been attained, some amount of curi-
osity has been felt to .ascertain why so small an .amount of
gold should work so effectively with comparatively so large
a bulk of water ; and, seeking the results so nearly re-
sembling the products of an acetate bath when in its best
“form,” some have been prompted to speculate on the reason
why of the coincidence. The tale is briefly told. ^ly
chloride of gold and sodium bath embraces the actual
motive principles possessed by the acetate, carbonate, and
every other form of soda baths where sulphur forms no part
of the compound. That such is a fact is clearly shown by
the arguments advanced in my last communication ; and the
real advantage possessed by the toning method I advocate
is simply an entire absence of every retarding influence
which exists in all other kinds of toning solutions, by
reason of the excess of acetate, carbonate, or other com-
pound of soda provided in their construction ; an excess
which not only occasions an immense ■waste of gold, but
adds a greater evil in the elements of uncertainty it pro-
vides. But we need not dwell further on this point, as we have
to enter at length on subjects of greater importance, and
the first to be considered is described in the heading to this
paper; viz., “Actinism: its varying conditions and influ-
ence on toning action.”

Photographers who are engaged regularly, or at intervals,
in printing operations must have obseiwed the perplexing
differences that occur in the quality of the prints they pro-
duce; sometimes rich and full of vigour, at other times
poor, flat, and unpromising ; sometimes printing a fine
violet tint, at other times a brisk red. Not unfrequently
the prints seem to fly up “overdone” with surprising r,api-
dity; more frequent still the printing proceeds tardily, and
the resultant prints prove unsatisfactory, notwithstanding
the light is brilliant and the weather promising. These
changes arc, as a rule, attributed to the paper, which is sup-
posed to have been mi.xed by the dealer, and he is conse-
quently condemned, whilst the true cause remains unsus-
pected. I have paid much attention to this subject during
the present year, and my intimate knowledge of the paper 1

use has .o-ssisted me in arriving at, I believe, a correct con-
clusion, viz., that the varietj- of results described are due to
meteorological influences, ilorc than this, 1 believe — and
the belief is founded on careful and continuous observation
— that the actinic condition of the atmosphere exercises no
sm.all amount of influence on the human body, especiallj'
when the nervous org.aniz.ation belongs to the sensitive
order. When the chemical force is applied in fits and starts,
like magnetic storms, the printing proceeds with irregular
rapidity, and the prints are violet-colour, full of vigour,
and behave in a peculiar manner in the toning bath, as I
shall by-and-bye describe. Under the conditions alluded tc,
a nervously organized individual experiences a strange irri-
tation, and his or her temper is for the time being none of
the sweetest. On the other hand, when the prints move
slowly, and a bright light is present, our nervous friend ex-
periences a Lassitude, and is inclined to dejection ; but when
the printing moves comfortably fast, no matter what light,
and the prints assume the depth and hue which portray a
successful day’s work, our friend is in good spirits and feels
remark.ably well. These observations on a person uncon-
nected with photography convinces me that actinism is
electricity under another name. It is, doubtless, hidden
from the most sensitive of electrouometers, but may exist,
nevertheles.s, in a latent form ; just as latent heat causes no
change on the thermometer, was concealed from philo-
losophers until the splendid researches and discoveries of Dr
Black were made known.* The opinion I have formed is
further strengthened by the behaviour of the toning bath
when the b.atches of prints taken under the several condi-
tions described are submitted to the action of my toning
bath. The prints secured during the season of intermittent
yet violent actinism tone with rapidity, and, except activity •
and care are observed, a case of over-toning ensues.

ilcm. — To .add a minimum qu.antity of gold when
strengthening the bath. The condition of printing having
at the proper time been observed, when the prints have been
procured in the dr.agging manner before alluded to, toning
.action is slow. Mem. — To add a full amount of gold (3

to 4 grains, not over-dosed with hot water) to the solution.
When the prints are in first-rate condition, and the bath
not too strong with accumulated gold, the le.ast given quan-
tity of gold to be .added to the bath, a full dose of boiling
w.ater to be applied. The remarks on prints of .slow pro-,
duction apply to pictures printed in the direct sun ; also to
those printed when the atmosphere is excessively dry .and
hot, such as we have amply experienced during the present
summer ; for, be it remembered, the hygrometric condition of
the atmosphere c.xerci.ses a vast modifying influence on the
character of the prints, over dryth being more injurious than
over dampness, a proof of which is shown if we remove a
piece of paper from a calcium drying-box and at once place
it in the frame. I have found great advantage, when the
paper was too dry, by placing it in an ordinary fuming-box,
such as I described about three years ago, and placing damp
sheets of blotting-paper at the bottom of the box in lieu of
ammonia.

From the above remarks it will be perceived that to secure
undeviating good results in printing operations the eyes of
the printer must be kept wide open, and the conditions
under which his day’s work is c.xecutcd should be keenly
observed; and if he is of a philosophical temperament and
able to accumuLate information by the sense of touch as
well as sight, let him note well the touch of his prints as
they leave the timing bath. Your slowly produced batch
of prints (when a bright bnt yellow light prevails) feel
smooth and soft, but the quicker produced prints have a
touch singularly different.

In the spring of this year, when I was first led to in-
vestig.ate the influence of actinism on the toning of the
prints, I was guided by the strange sensation experienced at
my finger ends when handling prints that had been produced

repaid actinism as electricity iu its primary condition, chemically
active, but insensible to ordinary tests that detect free electricity.

Attottst 21, 18G8.]

TIIIJ riTOTOGRAPIITC NEWS.

401

with marvellous rapidity, and the toning flew up at a jump ;
the sensation was similar to that experienced when a weak
galvanic circuit is completed between the body and a vessel
of water and the tips of the fingers are applied to the water.
Struck by the phenomenon, 1 cogitated again and again
over the matter, and I at length felt convinced that a toning
bath was, after all, a simple affair, and that toning prints
was only another name for electrot3^ping ; and if the con- .
striictiou of my toning bath is considered, we have an electro
bath pure and simple, minus the electro power as usually
applied by a battery. This last difficulty is, however, set
aside if we regard the silver print as the primary motive
power ; and this remark leads us into the theory of toning
action, which we describe briefly as follows : —

Our gold bath consists of gold, chlorine, and sodium in
combination, water, free chloride of sodium, and a trace of
free acid all being diffused through a volume of water ; so
far we have a non-actinic solution. Introduce the prints.
What follows? With the gold solutions usually employed
chlorine, strong and active by concentration, pitches into
the silver surfaces, and, finding no free silver to gratify its
appetite, nowise particular, it turns on the reduced silver,
and half devours it before a sufficient layer of gold is de-
posited to arrest its voracious, destructive propensities. In
some instances a little bleaching is advisable when extremes
of contrast in the negative cause the darker portions of the
print to become bronzed and buried ere the lighter are
finished ; but with a real good negative the slighter the
amount of bleaching the better. I need not here enlarge
on the disadvantages found in toning with a small quantity
of concentrated solution a large number of prints when each
batch is toned under conditions different from those which
preceded. Having had my say on this matter on a former
occasion in the pages of the Year-Book, suffice it that I
return to my toning solution to show up its more consistent
behaviour. The prints are introduced, a small amount of
free nitrate adhering to each print. The chlorine, proving
powerless to attack the reduced silver, is content to form an
alliance with the trace of free silver ; the liberated gold is
deposited on the print, toning action is set up and con-
tinued until the whole silver surface receives a deposit, when,
if the solution is properly constructed, further toning action
ceases, and the print may be removed. The minute trace of
salt added with the gold serves to keep the silver in check
that is introduced in the washing water or is roaming at
large in the solution ; it grasps the intruder, and my batch
is not slow in showing that chloride of silver is only await-
ing your absence to change its to-and-fro career into a drive
towards the bottom of the vessel.

In concluding this paper, I would just add, that wild as
some of the statements here offered might appear, they are
no less facts ; and facts called freaks which nature works,
though true, yet seem wild fiction to those who, having eyes,
think they see, yet see not through lack of searching ob-
servation.

Direct Answers to Correspondents.

1. The chloride of gold I employ i.s that known as non-
del iquescent, prepared by .Johnson and Matthev.

2. It matters but little if the solution discolour.

3. When a bath is fresh made and refuses to tone, do not
throw away the solution, but add gold treated with hot water
until the bath will tone ; no difficulty will be afterwards
experienced.

Other enquiries will be answered in my next, and the
value of free silver in the toning bath further illustrated.

SKETCHES OF TRAVEL FROM A SUN-PAINTER’S
PORTFOLIO.

BY STEPHEN THOMPSON.

No. 3. — The Land of Burns.

To wander amidst the natural scenery that a great poet has
enshrined in verse is like a posthumous visit to the studio;
a peep into the workshop ; a turning over of the draperies and

materials which he has grouped and worked up into his
pictures ; the bricks and mortar with which ho reared the
edifice we all know so well ; the dry bones which he has
made to live ; the background of his subjects, and the side-
scenes ; the “ setting ” of the pearl of thought — but the
setting only, the framework, so to speak — that he has
grouped and wreathed around his gems. The Banks O’Doon,
though pretty enough, furnish but the materialities which
clothe, not inspire his songs. Many another stream that
flows through deep-flowered meadows, sparkling in the
golden sunlight by day, —

“ And to the sleeping woods all night
Singeth a quiet tunc,”

would have served his purpose equally well. That sensi-
bility which made him so alive to the beauties of external
nature, at once a source of exalted pleasure and of exalted
pain, would have found materials almost anywhere ; the
power of expression which accompanied it is a faculty for
which we must seek explanation elsewhere.

In an evening walk by the banks and braes of the winding
Doon, past Alloway’s auld hamlet kirk and the Brig
O’Doon’s keystone arch, you will see many of those things
which have been filtered through the mind of Burns into
his verse — lassies “ wi’ lint-white locks,” youngsters pad-
dling i’the burn, the Castle O’Montgomery, and, may be,

“ the bonny blink ” of some Mary’s e’e, to which Burns was
but too susceptible. You may see the rose and woodbine
twine, hear the mavis pour its melodious song, and stroll
where the milk-white thorn scents the evening gale.
Cottai’s’ “ wee bit ingles ” stand beneath the shadow of their
appropriate tree, and were the traveller to enter one he
would see the “ big ha’ Bible ” reposing on its shelf. The
hymn of praise is still Dundee’s “ wild warbling measure,”

“ plaintive Martyrs’,” or “ noble Elgin.”

Burns was a true artist in his own particular walk. He
knew well how to arrange his materials, —

“ And iTistic life and poverty
Grew beautiful beneath his touch.”

His pictures are generally good in composition, nor do they
lack breadth and contrast. He was very fond of the use of
particular accessories — the burn, the hawthorn, the mavis
notably, and the silvery birch, or “ birk ” (Scottish) he used
inordinately, and introduces it at every opportunity. He
is as much addicted to its use as Reynolds to the use of
carmine and the fugitive lakes, or Turner to the use of the
scarlet shadow. Nor was he wrong. The “ Lady of the
Woods,” as Coleridge named it, lends herself gracefully to
the limner — though, by the way, from its tremulousness, a
very difficult tree to photograph — and for beauty and
graceful delicacy well deserves the lake-poet’s appella-
tion.

Like many great poets. Burns’ smaller pieces were the
best. His little birds sang sweetest ! But he could set up
his easel and attack a larger canvas successfully, and close on
his subject with no feeble grip. See his “ Tam O’Shanter,”
and his “ Cottars’ Saturday Night.” At the same time he
was as unequal to the sustained effort of the Idylls or Enoch
Arden as to the “Iliad” of Homer. Yet he seldom affected
the sonnet — those little cabinet pictures that in Milton and
Wordsworth’s hands sparkled like Mosaics — “the key with
which Shakespeare unlocked his heart,” Spenser’s “ glow-
worm lamp,” Dante’s “ myrtle leaf,” and Petrarch’s lute ;
and which, as Keats has sung, should consist of one idea
well worked out, —

“ The sonnet .swelling loudly
Up to its climax, and then dying proudly.”

Burns had an eye for colour : he tipped his wee mode.st
daisies with crimson, and hung upon every green blade a
pearl of dew. But his colour is always laid on judiciously,
and every touch of the pencil tells. And what a lofty ideal
he had of the inborn worth of man as man, and what a
withering scorn of the selfish worldling and the pharisaical

402

Till? PHOTOGRAPHIC NEWS.

[ArousT 21, 1868

bigot ! When liO worked on such subjects he dipped his
brush in the “primaries,” and his manipulation was terribly
vigorous. He made his lath very acid, and got hard pic-
tures. There was more of Gainsborough in him than of the
courtly Reynolds, and with a strong dash of George 5Ior-
land. But the greatest charm which haunts these banks
O’Doon is that subtle sense running like an under-current
through the mind wherever you tread, that Burns also trod
these paths, “with his ploughman’s stoop and genius flaming
eye.”

All this seems, perhaps, to have little to do with photo-
graphy, hut it serves to show that in poetry and art (in
which photography may be included), although the
genius of the operator is new and distinct, he has to work on
the same old materials. The circling year brings seasons
presenting the same types of beauty that they did in ages
])ast. The woods and trees blossom anil decay in pretty
much the same way they did of yore. All nature’s stock-
in-trade is of the same old pattern, because incomparable
from the beginning ; and the human face divine, we may be
sure, always presented — allowing for varieties in the dress or
“ setting ” — much the same types of expression, because it is
the passions and emotions that mould or modify its outward
form and contour, and human nature (which, as Mr. Squeers
observed, is a “ rum-un ”) has always been .animated by
pretty much the same desires and propensities, virtues .and
vices.

But all artistic workers work in the same spirit, poet or
artist, ancient or modern. There is in all the same love of
beauty of form, and grace, and symmetry /oriti own sake.
And photography — to make a personification of it — is a
young fellow of perfectly new and original genius, but, like
the rest, he has to work upon old materials and old stock
subjects. Ills range is limited, and some things he cannot
do .at all, not even badly. Perhaps it is a pity that others
with no more eye for colour, and as little ideality or ima-
gination, were not under the same restrictions. But what is
within his range he can do inimitably well. And, more-
over, he has not yet fully cultivated all the gifts he has.
When he has done so will be time enough to deplore the
want of others. Perluaps by that time, .as the powers that be
are said to add their gifts as a reward to those who have faith-
fully cultiv.ated the gifts they already possess, sister Science
may add a little more plasticity, remove some of his youthful
restraints, grant a longer tether, and, perhaps, above all, a
little more sensibility to the harmonies of colour. Ruskin
says, colour should always be sternly withheld until all
other technicalities are mastered, and then made the student’s
reward for all the uphill, preliminary labour. Perhaps if
photography had that gift prematurely, greater crudities and
incongruities would be perpetrated than are now laid to his
charge. We know not what latent powers may reside in
certain suhstivnees under certain conditions, as unknown and
unsuspected as those which lay dormant for centuries in the
substance known as horn-silver, that blackened on expo-
sure to light, but which the alchemists of old could make
nothing of, handling the fact as a monkey does a watch —
examining it, peering into it, and finally laying it down
with a puzzled air.

Burns’ land is very accessible ground from Glasgow for the
tourist. The subjects are well together, and are lighted at
diflerent periods of the day, so that ho may be certain of
some of them. “ Alloway’s .auld haunted kirk ” is a morn-
ing subject, and requires a lens of very wide angle, the
kirkyard is so small. “Burns’ monument” is due about
noon or later. The “Auld Brig O’Doon” makes an excel-
lent subject, both from the river-side and the new brig, but
requires a lens of long focus. It is good from 3 p.m. until
sundown. “ Burns’ Cottage " is half a mile from the other
subjects, and is duo in the morning later than Alloway
kirk. There are some pretty bits farther up the Doon,
but it requires some thoughtful prospecting as to com-
position, &C., which should bo done on the day or evening
before.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Chiaroscuro for Photographers.

BY II. P. ROBINSON.

Chapter XXX.

** With respect to the conduct necessary to be pursued in obtaining this
advantageous distribution of the lights and darks in a ]>icturc, there U little
now can be said upon it, as our neighbours on the Continent have long
since developed the principles of practice adopted by the great chiaroscu-
rists.” — Harry.

Chiaroscuro — (continued). — Portraiture.

In portraiture the chiaroscuro is to a very considerable ex-
tent under the control of the artist ; there is, therefore, not
so much excuse for imperfect and faulty lighting as there
is in landscape photography.

The tendency of the lighting in photographic portraiture
h,as been to har.sh patches of black and white, or to miser-
.able softnes.s, full, it is true, of delicacy and half tone, but
insipid and without character. Neitlier of these varieties
possess wh,at could be strictly called chiarosouro, which term
implies .some notion of the arrangement and man.agement
of light and shade. The extreme popularity of M. Adam-
S.alomon’s pictures in the Paris Exhibition seems to have
made photographers alive to the fact that there is something
more in light and shade than wh.at is shown in the model-
ling of a face. It is this last subject, however, that we will
fir.st consider.

The object to be attained in lighting a head, considered
as a head only, without reference to the general effect of the
picture, is roundness and a certain degree of lelief, not the
relief attained by the stereoscope, but that degree of pro-
jection which is seen in all good pictures. How to obtain
this relief shall be our next consideration. It will fir.st he
necessary to say a few words on the studio in which the por-
trait is produced. The general details of a glass house have
been so often explained that for my present purpose it is
sufficient to say that in these remarks I refer to a ridge-roof
studio, one side (the south) of which, up to the ridge, is
opaque, the other half glass to within a few feet of the floor.
I make no reference to tunnels, in which I do not believe,
and which arc only available in the hands of men who will
make good pictures in spite of, and not because of, the diffi-
culties with which they have to contend.

The glass side of the roof may he blocked up permanently
for five feet from each end ; the remaining space of glass
should be divided into four widths, covered with white blinds
on spring rollers, pulling down from the top. I do nof think
blue or black blinds in addition of any consequence ; they
only produce complication and disorder. The side, also, if the
studio is so situated that it receives light through it direct
from the sky, should have corresponding blinds ; but if tiio
light reflected from buildings only is admitted, then tho
blinds are not necessary, this kind oflight being very weak
and ineffective in comparison with that from the sky.

We will suppose the south wall to be papered or coloured
with a middle tint of a grey or greenish-grey colour — the
studio will then he ready for making experiments in light
and shade on the face. To assist further description, I give

/>>. 1.

a plan of the roof, premising that the size of the floor is
28 feet by 14 feet.

Place a sitter in the usual ]X)8itioii ; or, perhaps, n marble '

August 21, 1868.]

THE PIIOTOGRAPniC NEWS.

403

l)ust will bo bccaiiso yon can look it more steadily

in tbo face, and it will not tiro with your prolonged study
and observation. Turn the face to the light, and let .all the
blinds be up, so that it in.ay fall full upon it. The conse-
quence will be that the features will appear faint and indis-
tinct, or very much in the condition Queen Elizabeth would
have preferred to have been taken, without shadow. If the
head is now turned away from the light until it presents a
three-quarter view to an observer standing where the camera
is usually placed, the off-side of the face will appear in
agreeable shadow, and the nose and other features will stand
out in relief. But the best effect is not yet obtained. Al-
though the light is broad, and relief is got, the light is too
brojid and flat, and there is not sufheient subtlety or delicacy
in the gr.idations in the lights, and not enough transpiirency
in the shadows ; the photograph would consequently have a
harsh black-and-white effect. If .all the white blinds are
drawn down about one-third of the roof sp.ace, the shadowed
side of the fare will appear softer and more in harmony with
the light. We have now to produce the greatest amount of
gradations in the lights. This is done by drawing down
the two curtains (1 and 2) farthest from the sitter. It will
now be found that the shining lights down the nose, on the
forehead, and other parts, are produced to perfection, and
that all gradations, from opacity to bare glass, to speak
photographically, .are to be seen on the bust, and that the
whole face receives its proper projection and relief.

It will bo thought by some that to exclude light in the
manner described will prolong exposure, but experience
teiiches that the truth lies the other way. A properly
lighted head does not take a longer exposure than one on
which the fullest light attainable in the studio is thrown,
and the results are not to be compared.

If it is considered desirable to take the head more in-
clining to profile, or if the sitter has features that project
very considerably, the shadowed side will be found to be too
<lark. In this case reflectors are sometimes employed. This
I think air objectionable proceeding. Any reflection giving
more light than the natural reflection from the grey wall I
have described will produce a second spark of light in the
eye, which has a very disagreeable effect. A much better
method is to work diagon.ally across the studio, as shown in

fig. 2.

In this arr.angemcnt the background (n) is placed .aslant ;
the sitter (i) is .seen from the camera (c) in a fuller light,
but still with a three-qu.arter view ; the sh.adows of the nose
will be stronger, but confined to a less sp.ace, and the
shadowed side of the face will be lighter. This arrange-
ment is also very suitable for an exact profile, or one show-
ing a glimpse of the off eye.

in a photograph of a well-lighted he.ad will be seen the
extremes of white and black in small quantity united by
masses of ever-varying gradation. 'I’ho extreme value of
bbock and white in minute but visible qu.antity w.as never
lietter stated th.an by Uuskin in the following p.a.ss.age. which,
although it refers to colour, states the case as regards light
and shade equally well : —

“ Next, respecting general tone. I said just now, th.at, for
the .sake of students, my tax should not be laid on black and
white pigments; but if you mean to be a colourist, you
must lay a tax on them yourself when you begin to use

true colour; th.at is to say, you must use them little, and
make of them much. There is no better test of your colour
tones being good than your having made the white in
your picture precious, and the black conspicuous.

“ I say, first, the white precious. I do not mean merely
glittering or brilliant ; it is easy to scratch white sea-gulls out
of black clouds, and dot clumsy foliage with chalky dew ; but
when white is well managed, it ought to be strangely deli-
cious— tender as well as bright — like inlaid mother-of-pearl
or white ro.ses washed in milk. The eye ought to seek it
for rest, brilliant though it may be, and not to feel it as a
space of strange, heavenly paleness in the midst of the
flashing of the colours. This effect you can only reach by
general depth of middle tint, by .absolutely refusing to allow
any white to exist except where you need it, and by keep-
ing the white itself subdued with grey, except at a few
points of chief lustre.

“ Secondly, you must make the bl.ack conspicuous. How-
ever small a point of black m.ay be, it ought to catch the
eye, otherwise your work is too heavy in the shadow. All
the ordinary shadows should be of some colour, never black
nor ,appro.aching bback ; they should be evidently and always
of a luminous n.ature, and the black should look strange
among them ; never occurring except in a bl.ack object, or in
sm.all points indicative of intense shade in the very centre of
masses of shadow.

LIKENESS IN PORTRA.ITURE— LIABILITY OF
SITTERS.

A c.vsE of considenable interest to profcssion.al photo-
graphers is reported in the Sussex Express, as luaving been
recently tried in Westminster County Court: —

An action was brought by Messrs. Maull and Polyblank,
photographers, of Piccadilly and Fulham Road, Brorapton,
to recover the sum of £8 17s. Gd., being the price of an
enlarged photographic portrait of Mr. Rhodes, the delendanl .
who is a gentleman of some property, well known in Brighton,
which they had painted in oil. Mr. Minton appeared for tho
jilaintiffs ; Mr. E. C. Willoughby, instructed by Mr. Robert
Warren, of Golden Square, London, represented the defendant.

It appeared from tho evidence of a number of witnesses
called by tho plaintiffs, that the order for the picture in ques-
tion was given some time in August, 18GG ; that, on its being
sent homo, tho defendant was dissatisfied with it, chiefly on
account of the high colour on tho face, and what he considered
a cynical expression.

The artist was called, and stated ho took tho portrait from a
smaller photograph, which was enlarged and then painted in
oil. He could not say that lie gave the subject a sitting prior
to tho complaints made, and in explanation ef tho variation of
tho colouring of tho hair and whiskers in tho portrait from tho
original, ho stated ho received general instructions to soften
and tone down tho ravages of age, and that tho final sitting
was important to give a •* pleasant touch up,” in other words,
to put a pleasing expres.sion on the face of the sitter. All tho
witnesses agreed in tho opinion tho likeness was a flattering
.and an agreeable one, and was done in a workmanliko
manner.

After several attempts at alteration tho defendant returned it
as not being a proper likeness, and hence these proceedings.

Mr. E. C. Willboughby, on behalf of tno defendant, st.ated
ho did not dispute either that the picture was a good one as a
work of art, or that it was worth the money. Tho solo ques-
tion was whether it was a likeness or not. Tho learned
counsel 8Ugge.stcd that tho law was the same in this as in every
case where tho buyer relies upon tho seller’s judgment and
skill ; the l.atter impliedly warrants tho article furnished shall
be reasonably fit and proper for the purpose for which it is re-
quired. So here, an artist who agrees to paint a likeness is
bound by his contract to supply what is a likeness — not a re-
semblance or a caricature. Ho then cited two cases ; one where
Sir Edwin Landseer had returned to his tailor a dress-coat
because it did not fit him, being so humpy at the shonldors as
to make him (if ho had worn it) an object of ridicule at tho
Royal Academy dinner ; and another where Madllc. Tietiens,
tho celebrated singer, liad refused a statuette, as it was an in-
different likeness. In both cases tho learned judgo told tho

404 THE PHOTOGRArHIC NEWS. [Aontrsi 21, 18C8.

jury that where persons paid a good price for an article, rely-
ing on the seller’s skill and judgment, they had a right to
expect their money’s worth, and he left it to the jury to say
whether the contract had been fulfilled. In both the verdict
was for the defendant. So here, what with the flattering altera-
tions and the “ pleasant touch up,” the real character of the
features was departed from, and though an excellent work
was produced, yet it was not a likeness of the defendant, but
what one sees in the Academy at this season, “ a portrait of a
gentleman unknown.”

Mr. Rhodes, who is a fine and good-looking man, was called
as a witness, and was carefully scrutinized by the learned
judge, who compared his features with those on the smaller
photograph, and the oil painting. Mr. Rhodes stated that the
portrait was required for his mother,* and was rejected by his
family on the sole ground that it was not a likeness, lie sat
everal times after to the artist for the purpose of alterations, but
finding it was no better, but rather worse, he declined to accept
the picture. He distinctly denied he ever told the artist to
give him a “ pleasant touch up,” denouncing this expression as
photographic slang.

The learned judge, in giving judgment, said this was a very
important case, and he was ratlier sorry he was left alone to
decide it. He quite agreed with many of fhe observations for
the defence. It really was a very narrow issue. Was the oil-
painting a likeness of the defendant or a good copy of the small
carte-de-visite ? The carte-de-visite was an excellent likeness ;
it was admitted that the oil portrait was to follow this. It
seemed to him it did not do so ; none of the features were pre-
served in their integrity ; and, in fact, he could barely identify a
single one. Under those circumstances he could not say it was a
likeness, or the contract carried out, and in his opinion the de-
fendant was not bound to receive it. His judgment would bo
for the defendant.

A CHAPTER IN THE EARLY HISTORY OF
PHOTOGRAPHY.

OcE excellent Philadelphia contemporary recently contained
a report of a meeting of the photographic section of the
American Institute, at which the early history of photo-
graphic portraiture came under attention. As there appears
to be considerable disagreement in the statement of facts by
dift'erent authorities, and exactitude in the history of every
step in our art is matter of interest, it seems desirable,
if possible, that the state of the case should be ascertained
whilst many of the actors in the scenes are still alive to tell
the story. The origin of this discussion is as follows : — A
short time ago a letter addressed to Mr. Peter Le Neve
Foster was published, and this letter was read at this meet-
ing of the Institute in question. Upon this Mr. J. .Johnson,
a gentleman intimately associated with the early history of
the art, made a statement in which he takes exception to
Mr. Claudet’s facts in terms of somewhat scant courtesy.
The letter which follows was sent in reply to a letter from
Mr. Foster congratulating Mr. Claudet on the receipt of a
second honour : —

My Dear Foster, — Immediately on the discovery of Daguerre,
I went to Paris, saw him, and bought from him the first license
to work out his proce.ss under the patent he had taken in England.
I came back, brought all the specimens I could procure — made by
his pupils, for he was attending once a week at tlie Conservatoire
des Artes et Metiers — to instruct all the adepts and give them the
information they wanted to master tlie process. I sent to the Royal
Society’s soirees the best specimens, after having submitted a col-
lection of them to the Queen, who kept the best of them.

At that time, and without any authority from the patentee, the
Polytechnic Institution took up the subject as an advantageous one
to give lectures upon ; and Mr. Goddard, a chemist in the employ-
ment of the Institution, explained every day the process to visitors,
illustrating it by taking Daguerreotype pictures of a white bust
before the audience.

Then, without a license, and in defiance of the patentee, Mr,
Beard, having bought an American invention by which, .substituting
a large concave mirrorj for the object-glass of Daguerre, found it
was possible to operate upon a very small plate placed in the focus
of the mirror, with a greater rapidity than by Daguerre’s plan.
Beard was allowed by the Polytechnic Institution to erect on the
top of the building a glass room, and he began to take portraits by
the said American photographic process . He intentionally dropped

the name “ DaguerreoU-pe.” You recollect the success and popu-
larity of the process.

In the meantime, wishing to work out my license, I treated with
the proprietors of the Adelaide Gallery, and I erected on the top
of the building a glass room and all that was necessary ; but I
could not use the patented mirror, so that 1 was obliged to do the
best I could with Daguerre’s slow object-glass. I went on so
during 1840.

Early in 1841 1 communicated to the Royal Society my discovery
that chloride of iodine and chloride of bromine, added to the pre-
paration of Daguerre (iodide of silver), was capable of rendering
the original process one hundred times more sensitive, and from
that moment I obtained instantaneous Daguerreotype pictures — as
much so as with the present process of photography^ My discovery
made a groat sensation in France, and every one look up the pro-
cess, for which I had not taken out a patent.

But 1 must not omit to state that Goddard had m,ade some ex-
periments on the application of bromine, and that before my paper
was read at the Royal Society it appears he had sent to the Royal
Society a sealed paper, in which he had described the accelerative
property of bromine. I believe that it was so ; but my discovery
was the only one (being published and public) by which the photo-
graphic world could practise a very quick process ; and, in pub-
lishing [it to the Royal Society, 1 gave all the information and
directions necessary to practise it.

Is'ot long after Beard had taken up the American photographic
process, Daguerre instructed his agent in l.ondon to find a buyer
for his English patent. By my license he was bound to give me
the option of refusal. My partner, not understanding the future
of photography, would not consent to our buying the whole patent
for £800, which was the jirice asked by Daguerre. I was obliged
tc decline the offer ; and Daguerre’s agent having made known to
Beard the terms of the purchase of the patent, the latter wide-
awake speculator was too glad to accept the offer, particularly,
thinking that in buying the patent he could withdraw my license.
This gave rise to a very long and expensive action in Chancery,
which was at last decided in ray favour, and Beard had to pay the
whole expense.

During the year after Beard had bought the patent, he sold
licenses to all country towns to the amount of £36,000! ! This I
know as certain from Johnson, who was interested with Beard,
having sold him part of his patent for the concave mirror, of which
Johnson was the inventor. 1 have told you more than you probably
wanted, but I could not help giving you the whole story.

A. Claudet.

Mr. John Johnson, of Saco, Maine, being present at the
meeting, stated that this contribution to the “ History of Photo-
graphy ” contained statements so wide from and at variance
with the truth, it might not bo out of place to endeavour to
show wherein A. Claudet is unreliable, historically.

At the suggestion of John Joshson, in New York, United
States, in October, 1839, Alexander S. Woolcott joined him to
prosecute the Uaguerrean art. In this month and year the
first Dagiicrrean portrait from nature was taken by Woolcott
and Johnson.

On the 3rd of February, 1840, William S. Johnson (the father
of John) sailed for London, and reached there about the close
of the month, and immediately thereafter had an interview
with Richard Beard, Esq., and with whom an agreement was
entered into for the patenting of the mirror camera (the inven-
tion of Wolcott) in England.

The issue ot this patent was opposed by Daguerre’s agent in
London ; the opposition to the issuing of the patent for the mirror
was withdrawn on Board and Johnson agreeing to pay Daguerre
£150 per annum for the right to employ and use all pertaining
to the Daguerrean art, chemically, patented by Daguerre.

Mr. Claudet undoubtedly went to Paris ; he was the first to
obtain a licence from Daguerre (through an agent) ; his licence
was for the use of three cameras anywhere in England, paying
the sum of £200 therefor. It was thought the British Govern-
ment would purchase the entire patent of Daguerre ; if not,
Claudet should have the first right to purchase the entire patent
for £900 more. On the other hand, if any other party (Claudet
not becoming the purchaser within the time prescribed) pur-
chased the entire remaining interest, Claudet was hound in
honour to receive his purchase money, and to deed to Richard
Beard (for himself and Johnson) the license he held ; but he
thought diflerontly, and an expensive Chancery suit was insti-
tuted ; the subsequent failure of Beard doubtless terminated
the litigation, leaving Claudet, without doubt, to foot the bills.

Richard Beard, Esq., paid £200 and expenses for one-half of
the American invention ; the remaining half, with all profits,
he purchased for £7,000 at twelve mouths from the issuing of
the American patent in London.

AuausT 21, 1868.]

THK PHOTOGRAPHIC NEWS,

405

.John Goddard, before being in tho employ of Uiehard Beard
and William S. Johnson, was an employe of the Adelaide Gal-
lery Association as a lecturer in the department of light, de-
monstrating, with tho aid of tho magic-lantern, the physical
proportion of light ; ho was in no sense a chemist, and did not
profess to bo.

In March, 1840, Wolcott and Johnson opened in Now York
city the first Daguerrean portrait gallery of the world.

In October, 1840, John Johnson (tho speaker), at tho solicita-
tion of Richard Beard and William S. Johnson, sailed for and
arrived in London about tho middle of October, for tho purpose
of aiding to upbuild tho English enterprise.

Wolcott and John Johnson, from the time of tho departure of
Mr. William S. Johnson, conveyed by letter, &c., to Beard and
Johnson, in London, every detail of experiments, arrangement
of light, discoveries, applications, and improvements.

John .Tohnson, it will bo seen, had been engaged a twelve-
month in the art before sailing for Europe — seven months at
practical portrait taking in the gallery at New Y'ork.

The high latitude of London, and the shortness of the days,
with the feeble actinic power, even in October, there made it
apparent, in an eminent degree, to a New Yorker, that a
renewed effort should, if possible, develop by chemical means a
shorter sitting.

To this end I worked diligently, succeeding, by the discovery
and application of chloride of iodine, in eftecting the desired
result, toward tho close of November or early in December,
1840; Dimond and Co. (per Mr. Turner), of Holborn Bars,
London, preparing whatever was ordered for my use.

In March, 1841, Richard Beard opened his Daguerrean gal-
lery at the Polytechnic Institute. By reference to the publica-
tions of that date, it will bo seen that the enterprise was no
longer a doubtful one, my chloride of iodine producing results
highly satisfactory, as it had months before in New York City, I
having communicated tho discovery to Mr. Wolcott, then in
New York.

John Goddard, of London, was in tho employ of Beard and
Johnson, at Holborn Bars, and at tho Polytechnic, and claimed
to have made a discovery in tho application and use of chemi-
cals to the Daguerreotype.

For several months he and I worked in tho same gallery,
each using their own preparation of chemicals ; his was marked
“ A. and B.” Tho nature of his, as conveyed to mo by himself,
consisted in adding iodus and iodic acid to iodine.

If Mr. Goddard ever used bromine with iodine, he failed in
its application as an accelerator, for in no instance did ho ever
produce results more speedy — using the samo camera with
myself — than those pictures produced by myself with chloride
of iodine.

In the early part of 1841 much of my personal time was
devoted to the planning and constructing of the operating room
and building at tho Polytechnic Institute, London, and looking
after the blue plate glass for its skylight, in plate-glass works
in Lancashire, &c.

After months of working in London, I was despatched to
other cities and towns to aid in opening other galleries, William
S. Johnson taking general charge of tho manufactory, and
assisting genercally in all that pertained to this art and enter-
prise.

In October, 1841, John Johnson returned to tho United States,
and soon thereafter discovered and used chloride of bromine,
and at once forwarded the formula to A. S. Wolcott (who had,
in the previous July, gone to London to take charge ot tho
optical, chemical, and mechanical details). Mr. Wolcott manu-
factured chloride of bromine in London, and it was sold and
distributed throughout England .as “ Wolcott’s Mixture,” and
it prevailed as a successful and needed chemical.

Olaudet reports that “ Johnson ” had told him that Beard
had sold licenses to tho amount of £36,000, and adds : “ This I
know as certain, from Johnson, who was interested with Beard,
having sold part of his patent for the concave mirror, of which
.lohnson was the inventor.” Wolcott invented tho concave
mirror in its application to tho Daguerreotype, and I am certain
that “Johnson” never informed Olaudet or reported that
£36,000 wore received, for no such sum was ever received from
licenses and sales.

Months after Beard opened tho rooms at tho Polytechnic
Institute, he, with tho censent and wish of both Johnsons, pur-
chased all Daguerre’s interest in his patent, and was assured,
on paying £9TO to tho agent, that Olaudet would deed to him
(Beard) all liis right by paying £200 therefor. Olaudet, how-

ever declined ; leg.al proceedings were had, resulting as before
stated.

A brief summary, then, would show that Johnson and Wol-
cott took tho first Daguerrean portraits from life, established
tho first public gallery in tho United States, and subsequently,
through their labours, opened the first one in England ; that
.John .Johnson, in 1840, discovered, used, and applied chloride
of iodine in England ; that Wolcott soon thereafter mado it
public in America; that Claudet opened a gallery at tho Adelaide
Institute in 1841, months after Board had boen in full work.
Claudet’s “instantaneous” pictures were myths ; instantaneous
pictures could not bo had by those sent to sit for them. Beard
worked not “ without a licence, and in defiance of the patentee ” !
but with one granted months in advance of any real need of its
use.

John Goddard was a lecturer, not a chemist, at tho Adelaide
Gallery, before being employed by Beard and Johnson.*

Tho process introduced by Bo.ard and Johnson was always
considered as substantially that of Daguerre, and his name was
never intentionally dropped.”

If Clandet worked at all in 1840, it was not for the public ;
the records should prove when he opened his gallery, and tho
time of a sitting, and as to the time of tho application of both
chloride of iodine and chloride of bromine.

Goddard was sent to France to obtain the great secret and
possess himself of the required chemicals that had been
heralded as “instantaneous;’’ on returning, however, ho
brought with him a camera possessing tho wonderful property
of instantly producing the work ! !

Goddard’s bromine combination —if, indeed, he over used it —
failed to produce faster action than that of chloride of iodine,
discovered and used by John Johnson.

Had Claudet acted in good faith, there would have been no
Chancery suit. Daguerre complied with tho terms of his agree-
ment, either that Claudet should purchase the entire patent, or
yield to that other who should the licence he hold, by being
refunded tho purchase money ; and, finally, to prove to the
British public his far-seeing, Mr. Claudet greatly magnifies tho
sum Mr. Beard had received, and endeavours to qualify it by
answering his “ Dear Foster ” that Johnson, “ tho inventor of
the concave mirror” (of which he was not tho inventor), h.ad
so informed him ; it not being true ; Johnson did not so inform
Claudet.

“ The whole story ” is too jumbled a mass to pass for history
of “ great interest,” or contribution to tho “ History of Photo-
graphy.”

®orr{sp0n&£iir£.

PHOTOGRAPHIC NOTES ON THE CONTINIRirT.

[from a special CORRESPONnENT.]

Heiligenblut, 13f/t August, 1808.

I HAD intended to have written from Salzburg, but wishing
to join a p.arty of pedesstrians who were contemplating a
knapsack tour through the Tyrol, I was compelled to leave
that town rather earlier than I had expected. I am now
writing from a small village in the Puster Valley, at
the foot of the Grosse Glockner, known as the Chamounix
of the Tyrol, and as we are just now awaiting the dispersion
of hazy weather before we can ascend to the glaciers, I seize
the opportunity of sending you a few notes made since T left
Vienna.

In a previous letter I mentioned the practice which
obtained very greatly in some parts of Germany, of selling
photographs of engravings, of landscapes, &c., as original
photographs. When I made this statement I imagined
the custom was confined to smaller towns and out-of-the
way places only, and I was very much astonished indeed
to find that at Vienna and Salzburg, both of which towns
are e.specially noted for their good photography, these
spurious articles were largely sold. At Vienna, where I was
very anxious to obtain some pictures of the Danube and
other localities of interest, it may be stated that at the shops
of the largest photographic dealers fully one-half of tlie
smaller pictures were reproductions of engravings. There
is, of course, no harm in selling a photograph of a wood-cut

406

THf: PHOTOGRAPHIC NEWS.

[August 21, 1866.

or engraving if the same is sold as snch to the |)nhlic, but
in most cases the latter believe the print to be really a
genuine picture taken direct by the camera from n.ature.

The landscape photographs exhibited at Salzburg are
decidedly superior to those shown at Vienna. In the last-
named town, with the exception of a few pictures, of mediocre
quality, of various places of interest in the vicinity, there
was nothing whatever to be seen ; all photographic talent
was concentrated upon portraiture (certainly with great
success), and landscape work overlooked altogether. In
Salzburg, however, some very fine pictures may be seen of
the Salzkammergut and Tyrol, taken mostly by 'MM. Baldi
and Wnrthle. A photograph of the Koenig See, and
another of the principal square at Salzburg, were particularlj
good. Xo scenes on the Danube were, however, to be
obtained, and it certainly seems passing strange that while
tlie Khiitc has been worn out and done to death by photo-
graphers, none of the clever followers of the art who live
actually upon its shores or in its immediate vicinity should
have deemed it worth their wliile to have reproduced some
of the many beautiful spots which adorn the greatest, if not
the finest, of European rivers.

Bad Gastein, through which I passed on my way here,
seems very much in the same position as Lschl as regards
pliotography. It is one of tlie most fashionable and expen-
sive spas in Austria, and yet I did not actually see one
photographic studio iu the place. Views of the mountains,
waterfalls, and points of interest in the neighbourhood were
exhibited for sale in the bazaar and at the shops, but where
one photograph was to be seen, twenty of the old tinted
exaggerated pictures were shown.

With regard to the prices charged at Salzburg and Vienna
for cabinet and card pictures, they are certainly very low.
The highest price quoted for cabinets was ten florins for half
a dozen, while the general price at first-rate artists was but
six florins (a florin being equal to about one shilling and
ninepence). Carte-de-visite pictures varied from twelve and
eight florins per dozen downwards, articles of a very good
description indeed being obtainable at six and five florins
per dozen.

In .Salzburg the specimens exhibited in the show-cases
betrayed, in more than one instance, unmistakable signs of
fading and yellowness. Some of them had been so imper-
fectly washed, that not only were the whites utterly destroyed,
but the pictures themselves were rapidly disappeaiing.
I'Tjm this it would seem that our neighbours on this side of
the Channel were not more fortunate than ourselves in pro-
ducing durable and imperishable silver prints. No speci-
mens of the carbon process or of photo lithography did I see
in any ol the establishments that 1 visited.

The sccnerj,' in this part of the country is truly magnifi-
cent. and the extensive views to be obtained in making
one’s way here from Gastein, over two mountain passes 9,000
feet above the sea, and a glacier more than two miles broad,
are among the most beautiful I have ever seen. The land-
scape is very wild and uncultivated, and the neighlmurhood
thinly populated. On the paths at every half mile, or
thereabouts, are erected small chapels or crucifixes (the people
are Catholics), and these ot the most crude description.
Some of them are indeed so imperfect as to remind one very
much of the photographs recently taken in Abyssinia of
pictures from native bible.s. Besides the religious erections
l)efore mentioned, the roads arc plentifully studded with
rude paintings of fatal accidents which have happened in
the vicinity, such as a man falling from a precipice or into
a stream, or perishing in the snow. These productions are
quite peculiar to the district, and are so numerous (for many
of them date fifty years back) that I have counted as many
as thirteen in one day’s journey.

I must not conclude this letter before mentioning two very
beautiful optical eflects which I witnes.sed a day or two
ago. The first was the formation of a perfect rainbow in
the spray of a large waterfall, which could be seen, so our
guide ii^rmed us, only between six and eight o’clock in

the morning, when the sun’s rays fell upon the fall in a
certain direction. All the colours were very clearly rendered,
the violet baud being very marked indeed.

The other optical spectacle was even more striking. A
swift stream ran between two mountain walls of considerable
height, which at onetime bent round so as to form a right
angle. A narrow path had been cut into the side of the
rock at some distance above the stream, whence the rapid
current might be seen foaming and chafing below. The
sunlight fell direct upon the water until the latter turned
the angle, when it came under the deep shadow of the rock.
The current, however, carried the sunlight with it beyond
the angle into the more sombre portion of the chasm, where
it appeared like a stream of molten silver flowing from a
furnace and illuminating the objects in its immediate
vicinity.

WHITE PIGMENT IN CARBON PRINTING.

Sir, — I understand that Mr. Blair has just invented a new
carbon process which, a friend assures me, is to supersede all
processes at present in existence. The new process consists,

I understand, in the use of a white pigment on a black
ground, instead of a black pigment on a white ground. If
1 am not much mistaken, such a process was proposed by
some one in your own pages some years ago, and condemned
subsequently by Mr. Carey Lea as impracticable, because
almost any white pigment- which could be used would be
likely to decompose the sensitive salts. If such a proceas
be practical, the credit of the suggestion i^ duo to your
original correspondent, whose name 1 forget. My chief
object in writing now is to suggest that, whil.st many white
pigments — such as oxide of zinc, carbonate of lime, &c. —
might decompose the chromic salt, it seems likely that kaolin
might have no such action, and would probably form a good
pigment for the purpose.

By the way, did not ilr. Blair propose the method of ex-
posing carbon prints at the back after some person else had
published precisely the same thing? Is he in the habit of
making, as “original,” suggestions which othei-s have already
published ? — Very truly, Z.

[The suggestion to which you refer was made by Mr.
Frank Eliot in our issue for .lime 17, 1804, in an article
entitled “Suggestions for a New Pigment Process.” Mr.
Carey Lea has recently referred to the same idea as wortli
consideration, having doubtless thought better of the matter
since 18o4. Mr. Eliot’s suggestion was to use a white pig-
ment on black paper, employing il. Poitevin’s process with
gelatine, perchloride of iron, and tartaric acid. You will
find it noted in our recently published work. Mr. Burnett
was the first person to definitely point out the necessity of
exposing a carbon print on one side and washing away at
the other, although it had been somewhat indefinitely re-
ferred to by the Abb£- Laborde. Mr. Blair published shortly
after Mr. Burnett, and, as we have no doubt, without any
knowledge that the idea had already been published. Jlr.
Blair has been, we believe, a hard-working and conscientious
I experimentalist in carbon ; that he has occasionally made
I suggestions which had already been published is probably
' due to insufficient familiarity with the current photographic
literature, which would keep him informed on the progress
of the art. — Ed.]

S^alk itt tfaf ^tubia.

Keeping Qualities of Gum Plates. — In a lefter just re-
' ceived from Mr. Russell Manners Gordon, who is in North
' Wales, ho observes, in relation to some of the gum plates lie
' has been trying, that they keep perfectly for six mouths (and
how much longer requires to be ascertained) after exposure and
before development. The only change (if any) is the improve-
ment in quality. We do not know any other dry plato of
I which such a statement can be made.

August 21, 1868.]

THE PHOTOGRAPHIC NEWS.

407

New Preservative for Collodio-Bromide Plates. —
Tlio now presorvativo, tlio results of which were recently
described at a meeting of the Liverpool Amateur Society by
Mr. Bolton, consists of quassia and sugar. One ounce of quassia
chips and 200 grains of sugar are macerated for a few hours in
water, which is poured over them in a boiling state. The solu-
tion is then strained, and is ready for application to the collodio-
broinido plate. The addition of albumen to this solution, in
the proportion of a drachm to a pint, Mr. Bolton thinks an
improvement. The advantage of the now preservative is in-
creased sensitiveness. It is probable that the preservative
might bo applied with advantage to plates prepared with bromo-
iodized collodion, and excited in the usual way.

PuLMiNATixo Silver. — M. Couvreux recently addressed a
letter to the French Photographic Society, stating that in
evaporating a bath of nitrate of silver in which a portion of
tho water had been replaced by alcohol, ho noticed a white
light precipitate, and hastily removing tho capsule from the tiro
ho recognized in the filtrate fulminate of silver. Ho fortunately
removed it from the fire in time to prevent an explosion.

Informers and Pir.vtes. — Wo find various comments ex-
pressed on tho subject. Whilst all persons sympathize with
Mr. Graves in regard to the deep wrong he has sullbred from
pliotographic pirates, almost all regret that quostionablo moans
should bo used to serve a right cause. The Stationer says: —
“ In reference to tho spy system, it occurs to us as very peculiar
that the persons who have been heretofore prosecuted have not
thought of the Act 11 and 12 Vic., cap. 43, sec. 5, which recites
that “ every person who shall counsel or procure tho commission
of any offence punishable on summary conviction shall bo liable
to bo proceeded against and convicted of tho same, either to-
gether with tho principal offender, or before or after his convic-
tion.” In tho case of tho hawker, it is worthy of note that tho
fine was inflicted for an offence committed at Portsmouth so
long ago as the 27th December last! When the Act of Par-
liament was passed which required process to bo issued within
six months after the commission of an offence, it surely was
never intended that delinquents should bo subjected to tho law
for that period after the discovery of the fraud ? Mr. Graves, as
wo have said in prior issues, is quite right to protect his own
interests, but we strongly object to his delaying tho prosecutions
for so long a period as six months. In all other criminal in-
dictments it is considered incorrect unless a prosecutor takes
immediate process. And such a feeling is correct, because,
wore it otherwise, it would hold out a premium for persecution,
and enable malicious persons to practiso the lex talionis in a
manner that could not fail to produce injurious social effects.

Precipitate of Chloride of Silver.— Dr. Vogel says: —
“ Not long ago we had a discussion in our Photographic Society
on a proper method to facilitate the precipitations of chloride
of silver from tho waste water containing silver salt in solution.
It is curious that sometimes days, and even weeks, will elapse
tieforo all tho chloride of silver has been precipitated, and par-
ticularly is this the case in those printing establishments where
tho pictures are pasted with gum arable to the negatives ; tho
gum finds its way into tho water and retards precipitation.
Other organic substances have a similar retarding intluence.
Tho best practical remedy appears to bo, to mix a couple of
jiounds of nitric acid with the waste water, or some hot
water.”

Five Hundred Dollars Prize. — A medical journal in
Philadelphia says that a correspondent has authorized tho
editor to offer a prize of 60(? dollars for an improvement in
photo-micrography. He says : — “ To advance science, facilitate
research, further our knowledge of diseases, at tho mooting of
the American Medical Association, in 1869, through tho award
of a committee, I will tenders prize of five hundred dollars for
an improvement on tho micro-spectroscope. I am anxious to
iiavo invented and perfected a micro-photographic ajjparatus
for scientific purposes — a compound microscope, with an
attachment so arranged that it will afford the investigator a
complete photographic representation, or spectrum, of all micro-
scopical bodies placed within the field of vision. Such an
instrument would be an achievement in science ; we could read
direct from the type true pathology. It would be obvious to all.
It would reveal many of tho mysteries of nature in morbid
agency. It would aid us in etiology and histology. It would
afford advantages in the study of organic and inorganic
chemistry. We could observe tho changes produced by a
diathesis — determine the faults in rheumatism and gout. Wo
could also mark tho developments and progress of pyogenic.

septic, and zymotic diseases. I want an instrument simplified,
with jiower sufficient to print animality, from tho larger
aniinalcula down to tho minuto microphito. The micro-photo-
graphs thus taken could bo readily magnified if desired. Tho
premium sliould bo ojien to all competitors, at homo or abroad.
Without invidiousnnss, I respectfully nominate Professors
.loseph II. Leidy, University of Penn.sylvania ; Christopher
.lohnston. University of Maryland; and Austin Flint, Jr.,
Bellevue Hospital Medical College, Now York, as tho com-
mittee to dotormiiio tho award to tho inventor of tlio best
instrument.”

Kelief in Art. — A daily contemporary, in noticing somo
paintings in which the artist had endeavoured to secure un-
usual roundness and relief in his pictures, emulating in some
degree tho effect of tho stereo.scope, says : “ But grave autho-

rities on art matters have decided that this perfection of
imitation is not the true aim of painting ; but, on tho contrary,
that tho pencil should bo taught to reject minor details,
which detract from tho great whole which a composition
should always assume; that tho painter should depict what
he beholds in tho mirror of tho imagination, rather than make a
minuto transcript of objects as they appear to keen critical
eyes. Painting is a creative art. Genius will often realize, by
a few strokes of tho pencil, ideas and effects full of pathos and
dramatic power, which tho mere imitator could not rival by
excessive labour. It must always be unilerstood that a Donuor-
liko fidelity and a stereoscopic-like relief are not regarded as
beauties by those who have thought much and written much
about tho great art of painting.

Antidote to Veoetable Poisons. — Tho Coroner stated,
at a recent inquest, that if powdered charcoal weio adminis-
tered, it would often prove an antidote to irritant vegetable
poisons like aconite.

Cones jjoutniuts.

A Yovno PiioTOOiiArilF.R. — Tho lower part of your negative
being fogged whilst tho top part is (piito clear and clean suggests
that tho defect is duo to diffused light entering tho dark slide
through tho aperture at tho top when tho shutter is drawn uj).
Tho light in such ease would fog tho bottom part of tho negative,
which, whilst in tho dark slide, is of course uppermost. In taking
a portrait in a sitting-room tho window should not bo opposite your
lens. Tho best mode of proceeding is to plaeo tho sitter with his
sido-facc to tho window, tho front-face, perhaps, a little inclining
towards it. Tho sitter should bo placed about three feet from tho
window. The camera, then, being placed as clo.so as possible to
the wall in which the window is pierced, will bo slightly directed
from the light rather than towards it.

Piii.EooN. — Fir.st cloan.se the brass-work thcroughly, then apjily
what is called “ chemical bronze.” It consists of a solution of bi-
chloride of platinum 4 dnichms, and nitrate of silver 1 grain, in
G ounces of water. Apply with a camel-hair pencil. When the
rcMpiisite blackness is obtained, wash the brass with water, and,
after drying, polish with blackload. A preparation made of old
Daguerreotype plates, consisting of silver and copper, dissolved in
dilute nitric acid, and applied to tho brass, w'hich should first bo
cleaned and made very hot, is said to give a good black to brass.
2. Tho black precipitate in your toning bath is probably reduced
gold. Filter it out, and proservo it with your gold residues, to bo
reconverted into chloride of gold. Mor* than ten sheets of [laper
ought certainly to bo toned with 15 grains of chloride of gold.

T. W. M. — Tho general form of your studio seems good, and it
ought to give good results ; but you have less light than wo should
think desirable, especially as it scorns divided into narrow panes,
tho sash-frames in .such ca.so interrupting tho passage of a good
deal of tho light which should reach tho sitter. We should pre-
fer four foot more at tho top on tho north side, and a couple of feet
more side-light at tho north. This will probably enable you to
illumino your shadows bettor.

II. 11. S. — The card group is not bad, but it might have been belter.
It would have been better, in a group of three figures, to have
avoided giving the full-face of each ; if one had been in profile,
or nearly so, the effect would have been more plca.sing. Neither
should every face have been looking into the camera. If the little
one now silting on tho fhxir had been kneeling and reclining
against its sister the result would have been better, wo think. Tho
clicmical qualities arc not bad, but there is a little tendency to hani-
noss and chalkiness. On examining the grouji, and thinking over
these suggestions, you will agree with them.

W. L. S. — We have not met with a paper giving those singul.ir
transparent, greasy-looking spots when wet. Wo should think
tlie defect was in the originid paper. Can you let us have a sample

408

THE PHOTOGRAPHIC NEWS. [August 21, 1868.

of the Tinsensitized paper in which it occurs ? Have you noticed
the defect in the paper before printing ?

J. H. M. (Exeter).— The Copyright Act’forbids “copying” copy-
right picture.s as well as selling them. AVe do not .suppose that
the osvner of any cop>Tight would take proceedings against ;m
amateur copying for his own use ; but he could do it. 2. A trace
of iodine in an iron developer will tend to check fog. Such a chock
would not be required with the gclatino-iron developer, as the
gelatine generally effectually prevents fog. 3. The stain tosvhich
you refer is, if we rightly understand you, a matt silver stain, and
IS, in the case described, probably duo to contact with the inner
frame, from which some jiarticles, having a reducing action, have
been drawn on to the surface of the plate by cajiillary attraction.

■i. The prints enclosed lack a little vigour, but whether this is due
to a weak bath or a thin negative we cannot say. The lighting of
the figures is good. As prints, a little more wannth and vigour
would be an improvement. Thanks for the design, which we
shall carefully consider. AVe shall be glad to hear anything
further regarding it.

David Thom.is. — Marion’s transparent pellicle, to which wc referred
some time ago as ha\dng the characteristics of flexible glass, is
perfectly smooth, polished, and transparent, like glass.

A. Taylok. — AVhen a collodion is sold as prepared for iron develop-
ment, it is meant that the iron development should be employed in
the wet process. If the collodion be employed in a dry process,
then the most suitable development for the process must be em-
ployed, and in Mr. England’s process you must, of course, adopt
the kind of development he recommends. The collodion you men-
tion may be used for his process ; but it will be better for the pur-
pose if you add 1 grain per ounce of bromide of cadmium.

J. R. AVaite. — AVe have de.spatched the letter. Mr. Ilighley’s
address now is 10a, Great Portland Street.

F. AV. — 'Thanks for the interest you express. AVe do not, however,
agree with you as to the nece.ssity for answering the attacks. In
the first place, the game is not worth the candle, and few people
are deceived by persons notorious for mis-statement ; in the next
place, we have more important uses for our space, and having fully
discussed the matter once, we are content to rest in the verdict of
all whose opinion is worth consideration. You will find the matter
fully answered on pages 380 and 402 of our last Volume. To
yoiu" categorical questions we may reply th.at we never acknow-
ledged that the collodio-chloride process was not ours, or claimed
modifications. The statement that we did so is a simple falsehood.
The process had no e.xistence until we published it in 1864. M.
Gaudin never claimed the process; but, in the course of some
remarks on it soon after our first publication, said that, during
his experiments with iodide .and bromide of silver in collodion,
he had with the chloride “experimented very little,” and did
not proceed because he was convinced “ that there was no possi-
bility of succeeding.” 3. M. Gaudin’s experiments with haloid
salts of silver in collodion were published in 1861 ; we experi-
mented in the same direction at a date anterior to the publication of
M. Claudet’s experiments; and we exhibited negatives produced
without a nitrate bath at the North Tiondon Society. For fuller
details see articles already referred to, if you are sulliciently inte-
rested in the question. For our.selves, wo feel small concern in the
matter. Nothing so thoroughly induces indifiercnce to c.alumny
as supreme contempt for the calumniator.

AV. J. A. G. — AVe think it probable that you may apply without
disadvantage a spirit varnish to a negative whicli has been var-
nished with amber varnish, but as wo have not tried it we cannot
speak with certainty. We should recommend trying the experi-
ment on a worthless negative, and if all goes right you may then
treat valuable negatives the same way with advantage.

J. Pai.ethoupe. — The material used in Alarion’s preservative cases
is chloride of calcium. It may bo obtained of most chemists.

E. D. — AVe have no doubt that the marks are the rc.sult of the
action of hypo coming into contact in some way with the prints
before fixing. The most probable Ciiuse which we can suggest is
wa.shing the prints in the same dishes before fixing in which some
prints have been placed after fixing. AVe have known very simi-
lar-looking stains from such a cause. Some slight traces of hypo
robably cling round the ve.ssel in which the prints arc washed
cforo fixing, and probably before toning, and this will be suUi-
cient to produce those slight irregular-shaped yellow stains.
Novice. — Your discoloured sQver bath will not do any harm so long
as it does not cause any penimnent discoloured tint on the prints.
The addition of a little of a solution of chloride of sodium (common
salt) generally clears a bath well, Ciiusing a precipitate of chloride
of silver, which carries down with it the particles of discoloured
matter.

II. S. — So far as we can .see, you have made the best of the means of
lighting you possc.ss, and, without the facility for obtiiining more
side-light, we do not see how improvement can bo made. Send
us a head of about an inch, lighted in the studio, and wo can
possibly offer some suggestion. AV’e do not know of any capable
person who could advise you professionally on such a matter.

J. C. R. — AVe shall be glad to receive a bottle of the collodion in
question for examination. ■ Thanks.

T. II. Redin'. — The prints duly received. Nothing can bo better
than their appeifrance. AVe hope to have time, soon, to make some
experiments a.s to probable stability. 'Thanks.

J. AV. II. A. — Albuminized paixjr excited and blackened by expo-
sure, but unfixed, is an excellent thing for masks. 'Tinfoil has the
di.sadvantage of freijuently causing spots and stains. Thick
orange paper also answers well.

R. R. 'Taylok. — For interiors, nothing could bo better than the
lens you inejuiro about ; it will work much more rapidlv than that
vou have been trying, and will give straighter lines. I’or groups,
heads, ifcc., in the open air, it will answer well ; but it is scarcely
rapid enough for studio work. If you wish to combine fitne.ss for
studio work with suitability for interiors, the group lens of the
same maker wilt answer better.

L’Ouviuek. — You cannot alter your lenstomake it work quicker. If
you work it with open aperture you get all the rapidity of which
it is capable, unless it happen to bo dirty, and require cleaning,
which might, of course, make it a little more rapid. For what
kind of object, and under what circumstances, do you give a
thirty minutes’ exposure ? 2. del Clement is a preparation of
nitrate of silver for printing, which is stated to be more economical
than the ordinary nitrate.

Natuuai.. — Several articles on double printing, for introducing
natural b.ackgrounds to portraits, have appeared in the Photo-
GKAi’Hic News this year; and a few weel^ ago we published an
article on the production of double negatives for the same puqiose.
'There is no work devoted to double printing ; but our Yeau-Book
for 1864 contains a full article on the subject by -Mr. II. P.
Robinson.

Lytle’s Studio. — If the reticulation in your collodion film is pre-
sent before vami.shing, it is due to the presence of too much water
in the collodion — that i.s, tho alcohol hasnot been sullicicnlly highly
rectified ; but if, as its appearance indicates, tho ci'acking appears
after vami.shing, it is due to a slight tendency in tho film to dis-
solve under the varnish, which may arise from the ilso of very
strong alcohol in the varnish, or from tho quality of the pyroxy-
line. A weak solution of gum poiwod over the negative before it
is dried would prevent this. If you explain more fully wo can
more fully advise you. A negative packed in a box is not treated
as a book parcel, and eightpence additional postage had to be paid
at our office.

A. X. — 'The microscopic photographs to which you refer were pro-
duced by M. Dagron in Paris. AV'e do not know of any English
house which supplies them commercially, nor do we remember any
detailed account of M. Dagron’s mode of working. 'The kind of
paper, proportion of salt and albumen, Ac., all affect the colour of
the print in the printing-frame. A highly albuminized Rive
p.apcr will, as a rule, print of the foxy colour you ask for.

T. — 'To rectify alcohol it .should be distilled over carbomite of potash.
Agitating with carbonate of pota.sh and decanting would remove
water, but there is a risk of a little water holding the potash salt
in solution remaining. 'The iodized collodion remaining colourless
might be due to such a cause, but it may also be due to (ho pre-
senee of methyl, which combines with free iodine and iirevents the
colouration of the collodion. 'The proportion and strength of the
solvents are satisfactory. 'There is a patent method of purifying
methylated spirit, but wo believe its uso has been decLued illegal.
'The addition of alcoholic solution of iodine will produce a simibir
effect to that inoduced by tho liberation of iodine ; but at first (ho
iodine adde-d will probably bo absorbitd, and tho collodion i-emain
colourless. .\ collodion for copying prints shotild be made with a
cotton giving intensity, .should have jilcnty of the cotton, should be
chiefly iodized with salts of poDissium, and contain no more bro-
mide than is necessary to clean working — less than half a grain per
ounce. 'The object of using strong acids and adding water is to
gain an incre.ise of temperature by tho mixtiu-o of water with the
sulphuric acid.

G. G. (Stockton). — It is difficult to say why you shotild get fog in
performing precisely the same operations which, in other hands,
succeed well and yield good results, unless tho condition of your
chemicals is in .some way imperfect.. Let us know whose collo-
dion you used, and condition of bath ; also how long you left plate
in the bath first time, juid how long in tho distilled water. 'The
plate does not require long immersion in either before exposure.
AVas vour distilled water pure '{

Dk. Lieseoano. — 'The chloride of lithium received safe. 'Thanks.
Several Correspondents in our next.

IJfiotograpfis Ivrgistcrrir.

Mr. K. Downer, Watford,

Three Photographs of Lord Kokeby.
Mr. C, SiNDRRSoN, Preston,

Photograph of EeVi W. AV. MitchelL

THE PHOTOGRAPHIC NEWS.

Vci. XII. No. 521. — Axigust 28, 1868.

CONTENTS.

PAOR

The British Associstion for the Advancement of Science 409

Visits to Noteworthy Studios 410

Pictorial Eflcct in Photogri^hy. By 11. P. Robinson 412

Recent Experiments with Collodion. By Dr. VorcI 413

On Solphocyanide of Ammonium. By Dr. T. L.Phipson, F.C.S,, 4l4
On a Peculiar Action of Light upon the Salts of Silver. By
Professor Morren 416

Pi SB

On Actinometry. By L. Bing 416

Photophonography. By T. Skaife 418

Corrc-spondence — "Lux Oraphicus” on the Wing — Decomposi-
tion in the Acetate Bath : Paralysis among Photographers 418

Talk in the Studio 419

To Correspondents 420

THE BRITISH ASSOCLVIION FOR THE AD-
VA^XEMEXT OF SCIENCE.

The thirty-eighth meeting of the British Association for
the Advancement of Science was commenced in Norwich
on Wednesday, the 19th instant, under the presidency of
Hr. Hooker, Director of the Royal (l.ardeiisat Kew. The
presidential address, not so profound or so brilliant as
those of some preceding years, was able, comprehensive,
and practical. The most interesting part of the .address
related to recent researches among the indigenous popula-
tions of India. It would, he said, surprise many of his
hearers to learn th.at within three hundred miles of the
British capital of India there existed a tribe of semi-savages
which habitually erected dolmens, menhirs, cists, and
cromlechs, almost as gig.antic in their proportions, and
very similar in appearance and construction, to the so-
called Druidical remains of M’estern Europe. In dealing
with this subject he paid a pa.ssing tribute to the importance
of photography in such investigations, and stated that the
efforts of the Indian (Jovemment in obtaining photographs
of the native Indian tribes had been eminently successful,
the high value of the photographs rendering all the more
disappointing some literary matter which had been pub-
lished in connection with them. Some excellent remarks
followed on the government and use of niuscums of natural
history, in which Dr. Hooker enforced the importance of
giving them a specifically educational character, by the
suitable classific.ation of the contents, and demonstrations
to be given by the curator of each museum. Passing on
to his own especial subject, botany, the speaker paid a
high tribute to Darwin and his theory of the origin of
species. The speaker concluded by some I'emarks on religion
and science, pointing out that a positive, earnest, con-
scientious investigation was the projier attitude of man in
relation to both questions. “.Science,” he said, “has never
in this search hindered the religious aspirations of good
and earnest men ; nor have pulpit cautions, which are but
ill-disguised deterrents, ever turned inquiring minds from
the revelations of science.” To search out his “ whence
and ndiither ” must ever be an unquenchable instinct with
man. “ But,” he added : —

“ A sea of time spreads its waters between that period to which the
earlie.st traditions of our ancestors point, and that far earlier period,
when man first appeared upon the frlobe. For his track upon that
sea man vainly questions nis spiritual teachers. Along its hither
shore, if not across it, science now offers to pilot him. Each fresh
discovery concerning pro-historic man is as a pier built on some rock
its tide has exposed, and from these piers arches will one day spring,
that will carry him futther and further acro.ss its depth. Science,
it is true, may never sound the depths of that sea, may never buoy
its shallows, or span its narrowest creeks, but she will still build on
every tide-washed rock, nor will she deem her mission fulfilled till
she has sounded its profoundest depths and reached its further shore,
or proved the one to be unfathomable and the other unattainable, upon

evidence not yet revealed to mankind. And if in his track he bears
in mind that it is a common object of religion and of science to seek to
understand the infancy of his existence — that the laws of mind are
not yet relegated to the domain of the teachers of physical science,
and that the laws of matter are not within the religious teacher’s
province — those may then work together in harmony and vrtth good
will.”

On Tliursd.ay the business of the Association commenced
witli the Report of the Kew Committee. It recorded,
amongst other things, that aself-recordingmagnetograph for
the photographic registration of magnetic changes had been
supplied to the Colaba Observatory in Bombay, together
with a complete equipment of photographic .apparatus and
material. The photogi’aphic department at Kew, under
the charge of IMr. I’age, was stated to work satisfactorily.
The Ivew photo-heliograph, in charge of Mr. De la Rue,
continued to be worked in a satisfactory manner. During
the past year 224 neg.atives had been taken on 140 days.
Ninety pictures of the Pagoda in Kew Gardens had like-
wise been t.aken, in the hope of being able, by this means,
to determine accurately the angular diameter of the sun.

In Section A, devoted to mathematical and physical
science. Professor 'Fyndall presided, and opened the pro-
ceedings with an cloipient address, pointing out the j)ur-
pose and especial ailvantagcs of the British Association,
tiuoting Fichte, in his “Vocation of the Scholar,” to the
effect that the culture of a student should not be one-sided,
but all-sided, in order that his intellectual nature might
expand spherically, and not in a single direction, he jiro-
ceeded : —

Fichte’s idea is, to some extent, illustrated bj’ the constitution and
the labours of the British Association. We have here a body of men
engaged in the pursuit of natural knowledge, but variously engaged.
While sympathising with each of its departments, and supplementing
his culture by knowledge drawn from all of them, each student
amongst us selects one subject for the exercise of his own original
faculty — one line along which ho can carry the light of his private
intelligence a little way into the darkness by which all knowledge is
surrounded. Thus the geologist faces the rocks ; the biologist fronts
the conditions and phenomena of life ; the astronomer, stellar mas.ses
and motions ; the mathematician, the properties of space and number ;
the chemist pur.sues his atoms ; v hile the physical investigator has
his own large field in optical, thermal, electrical, acoustical, and other
phenomena. The British As.sociation, then, faces nature on all sides,
and pmshes knowledge cenh-ifugally outwards, while, through circum-
stance or natural bent, each of its working members takes up a cer-
t.ain line of research in which ho aspii’cs to be an origiiral producer,
being content in all other directions to accept instruction from his
fellow-men. The sum of oui' labours constitutes what Fichte might
call the uphere of natural knowledge. In the meetings of the Asso-
ciation it is found necessary to resolve this sphere into its component
parts, which take concrete form under the respective letters of our
Sections.

His concluding remarks are pregnant, and worth
quoting : —

The proce.ss of things upon this earth has been one of ameliora-
tion. It is a long way from the Iguanodon and his contemporaries

410

THE PHOTOGRAPHIC NEWS.

[August 28, 1868.

to the President and Members of the British Association. And
■whether we regard the improvement from the scicntilic or from the
theological point of view, as the result of progressive development or
as the result of successive exhibitions of creative energy, neither
view entitles us to assume that man’s pre.sent faculties end the
series — that the process of amelioration stops at him. A time may
therefore come wmen this ultra-scientific region by which wc are now
enfolded may offer it.sclf to terrestrial, if not to human investigation.
Two-thirds of tlio ravs emitted by the sun fail to arouse in the eye
the sense of vision. 'Iho rays exist, but the visual organ requisite
for their translation into light docs not exist. And so from this
region of darkness and mystery which surrounds us, rays may now
be darting which require but the development of the proper intellec-
tual organs to translate them into knowledge as far surpassing ours
as ours docs that of the wallowing reptiles which once held posses-
sion of this planet. Meanwhile the mystery is not without its uses.
It certainly may be made a power in the human soul ; but it is a
power which has feeling, not knowledge, for its base. It mav be,
and wll be, and wo hope is, turned to account, both in steadying
and strengthening the intellect, and in rescuing man from that little-
ness to which, in the struggle for existence, or for precedence in the
world, he is continually prone.

In the Chemical Section the first paper of interest to
photographers was one by Dr. I’hipson on Suljihocy.anide of
aVmmoniuni, which, iilthougli more rehiting to its uses in
agriculture than in photography, possesses sullicient
hiterest for reprinting, and will he found on another page.

In the evening a soiree was held in St. Andrew’s Hall,
at which fawer objects of scientific interest than we have
ever seen on a similar occasion were exhibited : a display of
models of artillery, &c., and of photographs of cannon,
and the effects of shot at Shoeburyness and elsewhere, all
under the charge of Mr. Spiller, together with some fine
photographs by !Mr. Sawyer, formed the chief feature
of the display.

On Friday, in the midst of sectional business, a telegram
from India was read, to the effect that the observation of
the solar eclipse had been mainly successful, although there
had been some light clouds. Subsequently a telegram was
received by the President of the Astronomical Society
from Dr. Janssen, of Paris, as follows : — “ Eclipse observed.
Protuberances’ spectrum very remarkable and unexpected.
Protuberances of a gaseous nature.”

In the Section A, on Friday, Col. Strange read an im-
portant paper on the importance of (iovernment aid in
securing the progress of science, upon which we shall have
something more to say hereafter. A paper on Actinometry,
by Mr. L. Ping, was also read: it will be found on
another page. A valuable report was presented by ^Ir.
Catton on his Synthetical Researches on (Irganic Acids. In
the evening Professor Fergusson lectured on Ancient
Buddhist Remains, using as illustrations some enlarged
drawings from photographs.

On Monday a paper was read by Professor !Morrcn on
a Peculiar Action of Light on Salts of Silver, pointingoutthat
if moist chloride of silver be blackened by light in a sealed
tube, and then placed in the dark, the chlorine still pre-
sent will again attack the reduced silver, and reproduce
chloride. We reprint the paper on another page.

In the limited space at our disposal we can only notice
such part of the extensive proceedings of the Association
as may be interesting to our readers as photographers.
Although not directly bearing on their art, we may men-
tion a curious contribution by Dr. Richardson, on the
Transmission of Light through Animal Substances, lie
exhibited a magnesium lamp, made for him by Mr. Solo-
mon, by which he was able to transmit light through the
semi-transparent substance forming the bodies of living
men. The structure the most diaphanous was the skin ;
after that, and singularly enough, bone ; then thick mem-
branes ; next, thin superficial muscles, lung tissue, fat, and
the dense tissues of the liver and the kidney. Various
lights had been tried — viz., the electric, the oxy-hydrogen,
the lime light, and the magnesium. For all practical pur-
poses the magnesium light Wius the best ; it was the most
convenient to use, and the light had the advantage of pene-
trating deeply. In the lantern which Dr. Richardson ex-
hibited the light was also unattended with heat at the

point of observation, so that the hand could be put in at
the brightest illuminating point. The structure to be ex-
amined was placed in a groove provided enclosed between
two discs of perforated wood, and the object was surveyed
from the further end of the tube. A thick piece of bone,
the flat rib of an ox, was placed in the lantern, and light
was distinctly transmitted through it by way of illustration.
Animals whose tissues were thin, such as fish, could be
placed in the lantern, and the condition of their circulation
and respiration could be carefully studied under the action
of various agents. In the human subject, especially in the
young, with fragile tissues, the thinner parts of the body
could be distinctly rendered transparent ; and in a child,
the bones, with a somewhat subdued light, could be seen
in the arm and wrist. A fracture in a bone could, in fact,
be easily made out, or growth from bone in these parts. In
a very thin, young subject the movements and outline of
the heart could also be faintly seen in the chest, but the
light he had as yet employed had not been sufficiently
powerful to render this demonstration all he could desire.
It would be possible, lastly, to see through some diseased
structures, so as to ascertain whether, within a cavity, there
was a fluid or a solid body.

On Monday, in the Department of Zoology and Botany
of Section I), Dr. Karl Koch read a paper in which he
called attention to the necessity of having photographs as
aids to the systematic comparison of living plants, for after
some were dried they gave a very imperfect idea of the
physiognomy whilst growing. He was making such a col-
lection of photographs of the plants in the Botanic Gardens
at Berlin, and he invited possessors of gardens and green-
houses to proiluce photographs of their contents, and so aid
to form complete collections. In the same Section, and in
some others, photographs were largely used to illustrate
the papers of the contributors.

On Tuesday evening. Dr. Odling delivered Jin interest-
ing lecUire on “ Reverse Chemical Action,” and a second
soiree was held in St. Andrew’s Hall. A somewhat better
collection of photographs was exhibited on the occasion.
In addition to the fine photographs by Mr. Sawyer, there
were some fine examples of the Eburneum process and
other photographs by Mr. Burgess. Mr. Henderson, of
London, sent down a frame of enamels by the process he
has recently worked out with so much skill and energy,
the details of which, however, are unknown. Many of the
specimens were e.xceedingly perfect, and left little to
desire. There were also some exjimples of Mr. Woodbury's
process, and some examples of the value of clouds in photo-
gra^ihic landscapes.

The Association was, as a whole, a less brilliant success
than it has been on some occasions, the total number of
members and associates present falling short of 2,000,
whilst on recent occasions it has exceeded that number by
some hundreds. There were fewer objects of interest at the
soirees, and generally less enthusiasm than we have seen at
many recent meetings. The photographic contributions
were fewer and of less interest than on many occasions.
One well-known face was missed in sections A and B,
always associated with one or more photographic papers
at these annual gatherings ; we refer to M. Claudet. Mr.
Joseph Ellis’s memoir of him, reprinted as a pamphlet from
the Scientific Review, was delivered amongst the members.

The next meeting will be held at Exeter, under the
presidency of Professor Stokes.

VISITS TO NOTEWORTHY STUDIOS.

Mk. Buroess's Studio at Norwich.

The pilgrim visiting photographic shrines meets with an
experience in England which is somewhat diverse from that
he encounters in most other countries. In France, for
instance, whilst he may occasionally meet in large pro-
vincial towns with fine examples of work, it is in Paris he will
find the concentration of excellence : photographs of the

AxrausT 28, 1868.]

THli PHOTOGRAPHIC NEWS.

411

highest qualities in the greatest profusion, and in the great-
est variety, spread broadcast over the city. Visitors are
apt to regard Parisian photography as typical of French
photography, a great mistake. In this, as in many other
respects, Paris absorbs the refinement of France. The same
fact, in relation to photography at least, is true of most
parts of Continental Europe. In America the visitor's ex-
perience will not be far different. The highest excellence
will be found concentrated in metropolitan towns, such as
Boston, New York, Philadelphia, Baltimore, Chicago, &c.,
whilst in provincial towns will be found men whose chief
business still consists of the collodion positive or “ Ambro-
type.”

All this may seem very simple and very natural ; pro-
bably it is so ; but the noticeable fact is, that it is not so in
England. Probably in no city in the world is there so
much commonplace and relatively bad photography pro-
duced as in London. There are, of course, first-rate photo-
graphers in the metropolis, a few of unsurpassed excellence
in their line, and a few more of high average excellence ;
but it is scarcely an exaggeration to say that the number of
portraitists of really first-class ability, photographic aud
artistic, might be counted on the fingers of one hand.
Foreigners for the first time visiting England notice this
fact ; provincial photographers visiting London are struck
with it. But on travelling through the provinces the ex-
perience is reversed : the observant traveller is perpetually
meeting in country towns with the works of some modest
photographer possessing photographic excellence and art
qualities far beyond the average. This is not unfrequently
the case in some comparatively unknown piovincial town ;
more frequently in a city of some fashionable or commercial
importance. We might easily, if it would not be invidious,
mention a score of illustrations of our position. The
reader will, however, readily recall to mind the multitude of
names distinguished in photography, whose reputation
belongs to the provinces and not to the metropolis.

We are led to these reflections by a brief sojourn in the
picturesque and ancient, but somewhat unprogressive, city of
Norwich, where we visited two studios : that of Mr. Sawyer,
and that of Mr. Burgess,* the latter a gentleman whose
name is known to our readers as the inventor of the Ebur-
neum process, and as the author of various ingenious and
useful suggestions which have appeared in our pages. We
propose to describe the studio of Mr. Burgess first.

As might have been anticipated, Eburneum pictures form
the speciality of his establishment, a good collection of ex-
cellent examples being displayed in his specimen room.
•These admirably illustrate the value of the process.
Here, from one negative, are half-a-dozen sizes of one
portrait, showing the effect of various gradations of enlarge-
ment, from a card size to a whole-plate or ten by eight
picture ; and the fact we have before mentioned was very
noteworthy here, that owing to the exquisite delicacy of the
material, everything like coarseness, commonly characteristic
of enlargements, was entirely absent, and, further, that in
some of the enlargements an amount of detail and gradation
was present altogether wanting or imperceptible in a paper
print from the original negative. Amongst the specimens
we find some illustrations of the fitness of Eburneum prints
for colouring, the effect being scarcely distinguishable from
that of an ivory miniature, the similarity to genuine ivory
in tint and transparency, of the fictile material, being of
especial value for colouring purposes.

Whilst we are examining the specimens we a-sk Mr.
Burgess’s opinion as to the question of stability as based
upon the four years’ experience he has had. There are two
possible sources of change in the materials of the finished
picture, in regard to which we are anxious to obtain the
results of experience. The possible elements of change are,
first, the presence of a trace of chloride of silver, formed

* The name of the firm is Burgess and Qrimwood, but we did not ascer-
tain that Mr. Burgess’s partner took any active part in the business.

when toning a silver print by means of chloride of gold I
and, second, the known tendency of gelatine to become
darker in colour. Mr. Burgess answered our question by
placing in our hands a most charming whole-plate Ebur-
neum portrait of a child, which had been for upwards of a
twelvemonth in his window exposed to a blaze of light, often
to direct sunlight. The picture was faultless in colour :
the lights were of a delicate warm-toned white, peculiarly
satisfying and pleasant to the eye ; the half-tints wore warm
and rosy, and the deep shadows a rich deep neutral black.
He then informed us that on removing the picture from the
mount, after the long exposure to light, ho found that the
blacks and half-tones were a little deeper in the exposed
portions than in those under the mount. The minute traces
of chloride of silver formed had doubtless been reduced ;
but this only served to give a slight increase of force to the
picture. The lights containing no silver were unaltered ;
but the various gradations of black had become, in just an
appreciable degree, more strongly marked. In some cases,
after long exposure to light, the whites acijuire a slight tone,
approximating to a delicate cream tinf ; but Mr. Burgess
has not in his experience met with any change which in-
volves deterioration.

In answer to questions as to the stability of the gelatine
itself, and its susceptibility to change from heat and
moisture, Mr. Burgess stated that if prints were kept
carelessly in a very moist place, and then changed to a
very hot or dry place, they would certainly manifest a ten-
dency to curl and cockle ; but with the ordinary care due
to a work of art, and which a water-colour drawing, say,
would receive, he had never had any trouble in preserving
the pictures in perfectly good condition.

Beside Eburneum pictures, we find in the reception room
a variety of excellent examples of paper portraiture, and
notably a fine collection of views of Norwich. A very
charming twelve by ten view of the Cathedral, seen
through a clear opening in foliage in the foreground, com-
posing admirably, is pointed out to us as an excellent ex-
ample of what may be done by using the front combination
of the rectilinear lens as a single landscape lens, just the
requisite amount of angle being secured, he stated, which
he could not readily have obtained with any other lens
in his possession. Another view of the Cathedral alone
is an admirable photograph, and, by the printing-in of clouds
from a second suitable negative, it becomes a charming
picture.

We will now ascend to the studio, which possesses many
capital properties, aud furnishes an e.xcellent example of
making the best of existing facilities. It is not a glass-
room built for the purpose, but is what may be termed a
converted studio. At the top of the building, which was
suitable for business, Mr. Burgess found a large room, 38
feet long by 17 feet wide, with a low ceiling less than 9 feet
high. On removing a portion of the ceiling, the ridge of
the outer roof is found to be very lofty. Accordingly, Mr.
Burgess had a portion of the ceiling removed, commencing
with 5 or 6 feet of one end of the room and extending
laterally about 12 feet. Into the roof thus laid bare he had
two large sky-lights placed, each sloping from the ridge about
15 feet high, to the eaves about 9 feet high, forming on each
side a space of glass about 12 feet square, placed at an angle
of about 45 degrees. These lights face north and south,
the latter, except for occasional purposes, being covered by
blinds. In the north side wall are two or three small win-
dows, of about 3 feet square, which for certain effects are
available in lighting, but for most purposes are ignored
and often covered up. The light of the room, it will b*
seen, is derived, in fact, from a skylight ; but is in effect,
from the steep pitch of the roof and the great width of the
room, a high side light. A large reflecting screen of tinfoil
in the frame-work of a pier-glass is made available in
various effects of lighting. It will be seen that the lighted
portion of the studio forms a room about 17 feet square,
with a couple of lofty skylights. Beyond is the portion of

412

THE PHOTOGRAPHIC NEWS.

[Augusi 28, 1868.

the original room with its low roof, and no light beyond
what might bo admitted through a couple of very small
windows on one side : the windows are kept covered, how-
ever, by blinds, this portion of the room providing the
obscurity for the photographer and the camera which is
sought by some in dark tunnels.

The studio is well supplied with good accessories : there
is a variety of tables and chairs of good design ; a rii.stic
stile, rails, and some similar properties ; a couple of shallow
trays, about 7 feet long, 20 inches wide, and 3 inches
deep, containing mould planted with natural foreground
consisting of weeds, flowers, and ferns, amongst which
we may mention, by-thc-way, that the common nettle
seemed most hardy. There is a variety of backgrounds, of
which the favourite one appears to be one of a greenish-blue
cloth, which, instead of being stretched on a frame or
roller, is simply suspended by rings on a cord or wire
stretched across the room, and kept stretched by two or three
rings at the bottom attached to hooks on the floor. There
is a capital contrivance for producing gradations of light
and shadow on the background. It consists of a light-
covered frame 7 or 8 feet long and 3 or 4 feet wide.
This is suspended by a centre at each end of the fiame,
just above the background, and between it and the sky-
light. A cord attached to one side runs through loops
along the ceiling, and hangs down beside the camera, within
reach of the operator’s hand. By pulling this cord the
hanging screen can be placed in any position, and may bo
made, by reflection, to throw an extra portion of light on
the background, or by intervening entirely, to cutoff much
of the light and produce tolerably deep shade.

That Mr. Burgess is an art student his work renders ap-
parent, and we find on a table in his studio the quaint old
quarto of Gerald de Lairesse. In the surroundings, gene-
rally, an artistic feeling is manifest. In his mode of ope-
rating and dealing with his sitter the same quality is
apparent — a fine taste, and quiet, unobtrusive demeanour, an
absence of fidgetty uncertainty in making his arrangements,
all conducing to a satisfactory result in portraiture.

We had the pleasure of watching the simple, certain, and
rapid manipulations in producing fine prints by the Ebur-
neum process, some further observations upon which, in re-
lation to points of practice, we must defer for a future
number.

PlCTOllIAL EFFECT IM PHOTOGIl.VPHY' ;

Beino Lessons in

Composition anb Cuiaroscuro for PiiorooRAPiiERs.

BY II. P. ROBINSON.

Chapter XXXI.

“ The same principles of uniformity and variety or variegated unity which
must be previously pursued in so arranging and constructing the'ligures
and general forms of a picture that they may serve as a proper substratum
for that chiaroscuro which brings them to the siglic as an iiarmonious
totality— these same principles, and these only, are the constituents of all
simii^ agreeable effects." — Bakrv.

Chiaroscuro — Portraiture — (continued).

Since the last chapter was in the hands of the printer I have
had the plea.sure of receiving a visit from M. Adam-Salomon,
the great master of photographic chiaroscuro, whose name
and works I have had occasion to mention frequently, and
we enjoyed a day’s work together in the studio, it was
gratifying to me to find that the direction that I gave in
Chap. XXX. for lighting a head very closely resembled the
arrangements employed by this famous photographer. The
secret of success depends not so much ou any given formula
for the adjustment of blinds and backgrounds as upon a
proper appreciation of what treatment is required to give
cfiarav/ter and individuality to heads that differ so much
from one another as those which come under the considera-
tion of professional photographers ; but it will be found in
practice that the four white blinds described, and tiro use of
the studio diagonally, will give a very wide range of effects.

It was an instruction from Queen Elizabeth to Zucchero,
when he was about to paint her portrait, that he should put

no shadow into her face. A similar story is told by Gatlin
of some Red Indians whom he painted. The Queen of Eng-
land— in that period which has been called the Augustan
age, when Shakespeare, Ben Jonson, and Spencer wrote — and
the noble savages were equally ignorant of art and its re-
quirements. The portrait photographer of the present day
will occasionally hear his sitter say, "One-half my face is
not black.’’ This is, no doubt, sometimes said, after the
fashion of the virgin queen, through ignorance ; but it will
be more often found that the lighting of the head is in fault,
that the light has been too violent, the exposure too short,
or the intensification carried too far ; and because of these
causes the gradations in the shadows, as well as the lights,
are lost, and there is no transparency in the shadows, or
balance of light and shade.

The light that illuminates the head will, of course, bo
that which lights the ligure ; it therefore follows — the light
being lixed — that the only other means of modifying the
chiaroscuro of a portrait is by the colour of the dress of the
sittci and accessories, and by the background. Of the light
and shade of the background I have suflieiently treated in
Chapter XXII. ; the degree of importance given to the acces-
sories will, in a great measure, both as regards lines and light
and shade, establish the degree of consequence to be given to
the head. In giving great prominence to the head, care must
be taken that it be not wholly isolated. The acce-sories
arc the media which act less as a foil to the head than as
aids which assist it to keep its place without impairiug its
force, as the middle tones find value and clearness only by
powei of the lights or the strength of the shades.

The accessories should be employed not only to repeat
forms, but also to repeat lights. If the head were left a
white space in the midst of a large mass of dark, the effect
would be that of a speck instead of a mass of light. The
light of the head should be seve'ul times echoed throughout
the picture in fainter tones. There must be no exact equality
in any of the repetitions, neither should there be many,
for if the lights are few and unequal, the result will be
breadth and repose; if many and scattered, there will be
confusion. To keep the chief mass of light clear and pure
should be the constant and earnest aim.

The outlines of the figure or of the accessories should not
bo everywhere visible. When this is the case the efiect is
thin, wiry, and flat, like carved work without the relief of
sculpture. Portions of the objects represented should melt
into the background and shadows, which method will be
found to produce rich, soft, and mellow effects.

The dress should be of that character best suited for pro-
ducing harmonious results. It has been the practice of photo-
graphers to set their faces against particular colours as unsuit-
able, such as white or light blue, and always to recommend
black silk. It is time this erroneous notion was done away
with, and photographers should learn that if they fail to find
white — especially silk or muslin — not only a possible, but a
quite delightful, colour to photograph, they have not learnt
all that it is possible for them to know of their art. What
can be more beautiful or picturesque— conducive not only to
light and shade, but to texture — than a muslin “Garibaldi ”
or jacket, worn with a silk skirt of any shade, so that it is
darker than white ? What can be better for a vignette than
the sketchy lightness that is produced by the white dresses
and light blue ribbons sometimes worn by children? And
yet white and blue are often tabooed !

It is a fault much too common that all subjects are treated
alike ; gentlemen, ladies, and children are tarred with the
same brush, and that often a very black one indeed, when they
should be separately studied and treated. Intense lights
and darks in conjunction (for instance, a black velvet coat
near the face), surrounded by middle tones into which the
highest lights and deepest darks arc carried, seems to be a
system very suitable to the portraiture of men. Ladies and
children should always, I think, be treated in a lighter
style, with more refinement and delicacy.

And this brings me to a subject which, I think, should

August 28, 1868.]

THE PHOTOGRAPHIC NEWS.

413

not be forgotten in a work on photographic chiaroscuro —
definition and diffusion of focus.

For the last few years some photographs by a lady — many
of them failures from every point of view, but some of them
very remarkable for their daring chiaroscuro, artistic ar-
rangement, and, in some few instances, delightful expression
— have been brought prominently before the public. These
pictures, for the qualities I have mentioned, have received the
most enthusiastic praise from artists and critics ignorant of
the capabilities of the art, and who, because of this want of
knowledge of photography, have attributed the excellences
which they undoubtedly, as masses of light and shade,
possess, to their defects. These defects arc, so little definition
that it is difficult to make out parts even in the lights ; in
the shadows it often happens that nothing exists but black
paper; so little care whether the sitter moved or not during
the enormous exposure which, I have been told, is given to
these pictures, that prints are exhibited containing so many
images that the most careless operator would have eft’aced
the negative as soon as visible under the developer ; and,
appaiently, so much contempt for what we may almost call
the proprieties of photography, that impressions from nega-
tives scratched and stained, and from which, in one or two
coses, the film has been partly torn away, are exhibited as
triumphs of art. The arguments of the admirers of these
productions are, that the excellences exist because of the
faults, and that if they were in focus, or more carefully
executed, their merit would be less. This is not true, and if
it were, 1 should certainly say. Let the merits go. it is not the
mission of photography to produce smudges. I think the
artist herself is beginning to feel this, for I have seen some
later productions much more carefully worked out. If
studies in light and slnade only are required, let them be
done in pigment or charcoal, with a mop, if necessary, but
photography is pre-eminently the art of definition, and
when an art departs from its function it is lost. I must not
be understood to mean that I object to that almost invisible
diffusion of focus produced by spherical aberration in a lens,
or by unscrewing the back lens, as arranged in Dallmeyer’s
group combinations ; tliis is a power of immense value to a
photographer, especially in large pictures ; for portraits
larger than 10 by 8 the lens should always bo unscrewed
at least one turn ; by this means all parts are brought into
focus without visibly injuring the definition in the usual
plane of focus.

Having stated sufficient to initiate the photographer into
the mysteries of chiaroscuro, and to induce him, I hope, to
a further study of art, I will conclude this portion of my
subject with an extract from Sir .Joshua Reynolds’s notes on
Fresnoy’s “Art of Painting,” in which he de.scribes his
method of study, and which may be followed with advan-
tage by the student : —

“ I shall here set down the result of the observations which
I have made on the works ot those artists who appear to have
beet understood the management of light and shade, and
who may be considered as examples for imitation in this
branch of the art.

“Titian, Paul \feronesc, and Tintoret were among the
first painters who reduced to a system what was before
practised without any fixed principle, and consequently
neglected occasionally. From the Venetian painters Rubens
extracted his scheme of composition, which was soon under-
stood and adopted by his countrymen, and extended even to
the minor painters of familiar life in the Dutch school.

“When I was at Venice, the method I took to avail
myself of their principles was this : when 1 observed an
extraordinary effect of light and shade in any picture, I took
a leaf of my pocket-book and darkened every part of it in
the same gradation of light and shade as the picture, leaving
the white paper untouched to represent the light, and this
without any attention to the subject or to the drawing of
the figures. A few trials of this kind will be sufficient to
give the method of their conduct in the management of their
lights. After a few experiments I found the paper blotted

nearly alike ; their general practice appeared to be to allow
not above a quarter of the picture for ttie light, including in
this portion both the principal and secondary lights ;
another quarter to be as dark as possible ; and the remaining
half kept in mezzotint or half-shadow.

“ Rubens appears to have admitted rather more light than
a quarter, and Rembrandt much less, scarce an eighth ; by
this conduct Rembrandt’s light is extremely brilliant, but
it costs too much ; the rest of the picture is sacrificed to this
one object. That light will certainly appear the brightest
which is surrounded with the greatest quantity of shade,
supposing equal skill in the artist.

“ By this means you may likewise remark the various
forms and shapes of those lights, as well as the objects on
which they are flung ; whether a figure, or the sky, a white
napkin, animals, or utensils, often introduced for this pur-
pose only. It may be observed, likewise, what portion is
strongly relieved, and how much is united with its ground ;
for it is necessary that some part (though a small one is
sufficient) should be sharp and cutting against its ground,
whether it be light on a dark, or datk on a light ground,
in order to give firmness and distinctness to the work ; if,
on the other hand, it is relieved on every side, it will appear
.as if inlaid on its ground. Such a blotted paper, held at a
distance from the eye, will strike the spectator as something
excellent for the disposition of light and shadow, though it
docs not distinguish whether it is a history, a portrait, a
landscape, dead game, or anything else ; for the same prin-
ciples extend to every branch of the art.

“ Whether I have given an ex.act account, or made a just
division, of the quantity of light admitted into the works of
those painters, is of no very great consequence ; let every
person examine and judge for himself ; it will be sufficient if
I have suggested a mode of examining pictures this way,
and one means, at lea.st, of acquiring the principles on which
they wrought.”

IIFCKNT EXPERIMENTS M’lTII COLLODION.

BY lU!. VOGEL.*

COMMUXICATEI) FIIOM THE PhOTOGRAFHIC StUDIO OF THE

Royal I.\i)Ustuial College at Beklin.

In my earlier experiments with collodion J showed that
the (piantity of sensitizing salt contained in a collodion
inrtueuces in general the sensitiveness of the latter : the
more sensitive a collodion is, the more s.alt it contains. 1
am now .about to consider wh.at influence is exerted by the
proi)ortion of bromine salt contained in collodion.

A few ye.ars back I described the working of bromine
s.alt in collodion, and gave an .account of .an experiment
with two collodions, both containing the same amount of
iodine salt, to one of which, however, a bromine salt h.ad
been added. The bromine collodion proved to be the more
sensitive for dark objects, and the compound containing
no bromine was better adapted to light ones, the first
giving a soft picture of a plaster cast surrounded by black
(Irapery, the latter a solarized representation of the white
c.ast and an under-exposed image of the black drapery.
The bromine salt Avas, therefore, proved to be the more
sensitive to dark rays, and from this fact the conclusion
has been deduced that an increase in the quantity of bro-
mine s.alt secures .an increase of sensitiveness in the collo-
dion for dark rays. This belief is very general, and we
often hear advice to the effect that in order to soften a
hard collodion more bromine s.alt should be .added.

I myself for some time participated in this belief, until,
after several observations, scruples arose in my mind as to
the correctness of the theory.

On one occasion I added to a collodion which gave too
hard results a little bromine salt, Avhen, to my astonish-
ment, the negatives produced thereavith became more hard.
A similar result Avas obtained on comparing Meynier’s

* FhotographUcht Mittheilun^tn.

414

THE PHOTOGRAPHIC NEWS.

[August 28, 1868

slightly bromized collodion with mine, containing a large
i^uantity of the salt.

'I’hese circumstances induced me to undertake a thorough
invcstigfition of the influence exerted by different propor-
tions of bromine salt contained in iodized collodion, and
with this view 1 compounded five different descriptions of
collodion. In i)repariug these samples J emjjloyed the
multiple proportions of the chemist, so that equivalent
mixtures of iodide of ca<lmium and bromide of cadmium
were present in each of the different collodions. 'I'he jire-
paration of collodions of this description is very sinqjle.
I dissolved 17 parts of bromide of cadmium on the one
hand and 18 parts of iodide of cadmium on the othci-, each
quantity in 270 parts of alcohol, and thus obtained two
solutions in which the amount of salt in each volume bore
the same projiortion to one another as the atomic weights
of the two compounds. If a collodion containing one
equivalent of bromine and one of iodine is required, equal
volumes of the two liquids are employed, and in this wise
I prepared all my equivalent collodions hereafter men-
tioned. After mixing the iodizing solutions, three times
their volume of normal collodion, containing two jier cent,
of gun-cotton, was added, .and the whole allowed to stand
and clarify. The whole of the collodion samples were at
first colourless, but after a l.apse of several weeks the
strongly iodized specimens began to a.ssuine a yellowish
tint. The collodions I jirep.ared were .as follows : —

No. 1. 3 eq. iod. cadmium -f- 1 eq. brom. cadmium
,, 2. 2 „ „ -P 1 „

I. 3. I „ „ ,, -j- I „ „ „

!> 4. 1 ,, „ ,, +2 „ „ „

)i 1 ). II II +3 „ „ ,,

After preseiwation for six months the collodions were
experimented with. For this purpose a white bust sur-
rounded by black drapery was em])loyed as the object to
be ])hotographed, .and a Dallmeyer's stereoscopic apparatus
.as the camera. Of each plate one h.alf w.as exposed for
fifteen and the other for thirty seconds ; the plates were
sensitized one immediately after the other in the same bath,
and .all brought together in the studio, where they were
exposed.

These comparative experiments were afterwards repeated
in reverse order, so as to detect any errors which might
possibly arise during the unequal perieds of dehay occur-
ring between the sensitizing .and exposure of the plates.
All the negatives were developed in exactly the same
manner, the result being .as follows : —

(A) . Nos. 1 .and 2. — Nos. 1 and 2 behaved in the same
manner, both yielding a soft, opaque, and at the same
time brilliant picture ; No. 1 appeared a little more in-
tense than No. 2.

(B) . Nos. 2 and 3. — No. 2 gave, as before, a brilliant,
opaque, and soft picture ; while No. 3 showed less details
in the darker parts, and appeared less opaque, and hai’der.

(C) . Nos. 3 and 4. — No. 3 was richer in detail in the
shadows than No. 4, but with this exception the results
were analogous to No. 3 above.

In all cases the strongly iodized plates were cleaner than
those containing more bromine.

(Z>). Nos. 4 and I*). — No. 4 w.os the same .as in experi-
ment C. No. 5 deviated totally from the others ; it was
fogged, but atthe s.ame time showed much more detail in the
darker parts of the jiicture than No. 4, and was softer,
although weaker in the lights.

A repetition of the experiments, sensitizing the plates in
the reverse order, gave similar results.

From this it will be seen thiit the strongly iodized collo-
dions, Nos. 1 and 2, yielded the most brilli.ant, most
opaque, softest, and most harmonious pictures, and that
the strongly bromized collodions, 3 and 4, worked less clean,
and harder ; also that the collodion containing most bro-
mine, No. 6, yielded a very soft picture, which was, how-
ever, weaker, and not so intense in the lights .as Nos 1. and
2. An increase in the i>roportion of bromine has therefore

at first the effect of rendering the collodion harder, and it
is only when the bromine is added to the extent of that in
No. o that softness is again secured, together with fogging
and weakness in the lights.

As the tendency of a negative to fog may always be
avoided by the use of an acid bath, the last named collo-
dion (No. o) possesses undeniable advantages for taking
cert.ain brilliantly-lighted objects, as, for instance, sun-lit
landscapes.

Of peculi.ar interest is the comparison between the
strongly iodized collodion. No. 2, which may be regarded
as the most practical of all, and the remarkable bromine
collodion, No. .b, which possesses such peculiar sensitive-
ness. I'lates were prepared with both collodions, and ex-
))0sed under similar conditions : the bromine collodion.
No. .b, yielded a fogged picture, while the iodine compound
worked perfectly clean. The lights, as also the shadows,
ajjpeared quite as elaborate in the strongly bromized as in
the strongly iodized collodion, but the latter gave a more
intense picture. On employing an older .and more acidi-
fied bath, the strongly bromized collodion yielded pictures
free from fog.

As I am at present prevented from continuing the pro-
secution of these interesting experiments, 1 publish the
results already obtiuned. The introduction of new sensi-
tizing salts in the place of c.admiiun compounds, and a
careful study of their action, as likewise the influence
exerted by different strong developers, and the employ-
ment of other sensitizing agents in lieu of nitrate of silver,
and the behaviour of the above iodizers in dry-plate photo-
graphy, are all open questionsof great practical importance,
in the solution of which many experiments will have to be
undertiiken.

A duty of a scientific nature, which promises to be of
some importance to i)hotography, calls me into the far
south, and compels me to relinquish, for the present, my
cherished researches. The reader is on this account
requested to excuse the fragmentary form in which tho
.above results have been made known.

ON SULPHOCYANIDE OF AAIMONIUM.

BY DR. T. L. PUIPSON, F.C.S., ETC.*

This Is a salt which can be obtained in large quantities from
the products of the distillation of coal. It accompanies the
other compounds of ammonia in the ammoniaual liquor of
gas works. In several manufactories it is made to yield its
ammonia for the production of sulphate of ammonia ; for
this purpose it is distilled with lime after the carbonate and
sulphide of ammonium have been separated.

For many years I have noticed that the sulphate of am-
monia supplied to commerce for agricultural and other pur-
poses often contains a small quantity of sulphocyanide —
say from 2 to 4 per cent. — but latterly a much larger quan-
tity, which increases its yield in nitrogen when submitted
to analysis, without bestowing upon the product a corres-
ponding value in an agricultural sense. For though the
nitrogen of the ammonium in the sulphocyanide can be
utilized like that in sulphate of ammonia, that contained in
the form of sulphocyanide escapes. In other terms, only
one-half of the nitrogen in sulphocyanide of ammonium is
available in the manufacture of artificial manures, since the
other half is partly volatilized as sulphocyanbydric acid,
and partly decomposed by the heat of the reaction, which is
sometimes great enough to ignite the bisulphide of carbon
resulting from the decomposition.

Within the last twelve months the quantity of sulpho-
cyanide of ammonium present in some kinds of commercial
sulphate of ammonia appears to have increased considerably,
and several samples which I have examined recently have
yielded upwards of 75 per cent, of this salt. In fact they
were not sulphate of ammonia at all, but impure sulpho-
cyanide of ammonium.

Head in Svetion B at the British Asiocialion.

Aijctist 28, 1868.]

THE PHOTOGKAPHIC NEWS.

415

I found it necessary some time ago to discover a means of
estimating rapidly, and with economy, the amount of this
product when mixed with sulphate and chloride of ammo-
nium and the various organic matters which usually accom-
pany the commercial product.

Sulphocyanideof ammonium can be separated with toler-
able accuracy from the sulphate by means of alcohol, in
which it is freely soluble ; but this method will not apply
when chloride of ammonium is present also, nor does it give
the sulphocyanide in a commercial form for weighing.

A method which I have satisfied myself gives very accu-
rate results, and is sufliciently rapid, consists in dissolving a
given weight of the product in water, filtering, rendering
the solution rather acid, and precipitating the sulpho-
cyanogen as an insoluble salt of copper by the addition of
equal equivalents of sulphate of protoxide of iron and sul-
phate of copper. The whole of the sulphocyanogeu is elimi-
nat'd in this maaner. The copper compound is received
upon a fared filter, washed, dried at 100^ C., and weighed.
It is anhydrous, and contains Cuj. C, NSj.

Having prepared a certain quantity of pure sulpho-
cyanide of ammonium, I took the opportunity of studying
some of its properties. Of these experiments I will mention
only those which appear not to have been made before.

Sulphocyanide of ammonium dissolves copiously in water
and in alcohol, and these solutions offer considerable Interest.
In the first place, in dissolving rapidly in water this salt
produces a greater degree of cold than any other com-
pound with which I am acquainted. About half a litre of
water being poured upon 500 grammes of the impure salt, I
was surprised, in stirring the whole together, to find that
hoar frost appeared immediately on the external surface of
the vessel. The temperature of the solution was found to be
between 2 and 3 degrees below zero, that of the hot water
used 9G“, showing that the temperature had sunk 98*^ or 99“
Centigrade in the space of a few seconds.

A substance which absorbs so much heat whilst dissolving
would be expected to give out again much caloric when it
crystallizes; and such is the case. With saturated solutions
the crystallization is accompanied, on this account, with
some curious phenomena ; as one large crystal forms, the
adj^ent crystals are dissolved again by the heat produced,
giving rise to a series of rapid movements in the liquid and
along its surface. Some of the.se vibrations spread along the
entire surface with the rapidity of lightning, and continue
at short intervals until the whole liquid suddenly solidifies.

From concentrated solutions sulphocyanide of ammonium
crystallizes in large transparent plates of a slightly pearly
aspect ; these plates appear to be formed of long prismatic
needles intimately united, and are best obtained in very
concentrated solutions ; when weaker solutions are caused to
crystallize, right rectangular prisms are formed ; they are
often of great length ; I have occasionally obtained them
two to three inches long.

ihe alcoholic solution of sulphocyanide of ammonium
presents in the highest degree the peculiar phenomenon of
supersaturation. A saturated hot solution, after cooling,
will remain liquid for hours, probably for days together ;
but if the liquid is stirred with a glass rod it is immediately
transformed into a mass of small crystalline plates. When,
instead of a glass rod, a minute crystal of the salt itself is
thrown into the supersaturated solution after it has become
quite cold, at the same instant magnificent rectangu-
lar plates, having the four faces of the octahedron, begin to
form rapidly upon the surface, and the vessel is soon filled
with splendid crystals. The supernatant liquid, separated
from these, can be made to deposit still a considerable quan-
tity of small crystalline plates, by being stirred rapidly for
a minute or two with a glass rod.

A concentrated aqueous solution of sulphocyanide of
ammonium has no action upon sulphur, but it dissolves a
considerable quantity of iodine, and when the dark-coloured
solution is diluted and heated, the yellow compound called
“sulphocyanogeu” is precipitated, and the liquid becomes

colourless. Bromine acts in a similar manner. Each drop of
bromine on falling into the warm solution produces a hissing
noise ; on boiling the liquid the sulphocyanogen compound is
precipitated. These two precipitates are insoluble in alcohol,
and soluble in sulphuric acid, like that which is produced
by chlorines. The action of chlorine gas upon solutions of
sulphocyanide of ammonium is very remarkable. If the
solution is dilute, the sulphur is gradually oxydized to
sulphuric acid, and no precipitate is formed, if concen-
trated, a dense precipitate of sulphocyanogen occurs after a
little time. It is difficult to obtain the whole of the
cyanogen in this form ev'en when the liquid is kept near its
boiling point the whole time. When the decomposition is
complete, and the liquid separated from the precipitate is
evaporated, it yields chloride of ammonium. The action of
chloriii} on this solution is yet incompletely known. The
composition of the so-called “sulphocyanogen” has been
inucfi discussed; for some time this precipitate was con-
sidered to be the radical of sulphocyanhydric acid, but it
was afterwards found to contain hydrogen and oxjgen.

The composition assigned to this substance by Laurent
and Gerhardt — namely, 3 eq. of cyanogen, I of hydrogen,
and 6 of sulphur — appear to be inadmissible. The results
of my analyses of this compound correspond with those of
Voelkel, not with those of Laurent and Gerhardt. It should
bo stated, however, that Charles Gerhardt, to whom organic
chemistry owes so many splendid investigations, whilst cri-
ticising Herr Voelkel’s labours on sulphocyanogen, based his
own opinion in this case upon an incomplete analysis of the
substance in question. The product can be completely
puriffed by washing with hot water and with alcohol should
it contain any persulphocyanhydric acid, which seldom
occurs, or, where it does happen to be present, is generally
in too small a quantity to affect the results of the analysis.
The dried precipitate is anhydrous. It has yielded me
numbers which agree with the formula; Cj IL Sg 0, as
admitted by Herr Voelkel, and not with that of Gerhardt,
which requires 24 per cent, of nitrogen (instead of 23T4)
and nearly 55 per cent, of sulphur (instead of 52-41) ; it
contains, then, the elements of 4 eq. of sulphocyanogen, 2 of
hydrogen, and 1 of oxygen ; thus —

4 Co N So )

2 H‘ ' I = Cs Ho N, Ss 0.

The insoluble copper salt above mentioned was suspended
in boiling water whilst a current of chlorine gas was passed
through the solution, with the expectation of obtaining
sulphocyanogeu itself, but little or no decomposition ensued,
Wlien iodine was substituted for chlorine, the copper com-
pound was partially decomposed, with production of some
iodide of copper and an odour of iodide of cyanogen.

In conclusion, I may add, that as the products derived
from sulphocyanide of ammonium are very numerous, it is
not improbable that some of them may eventually be applied
to some useful purpose ; if so. it will be satisfactory to know
that we possess a supply of this salt as inexhaustible as that
of coal itsedf.

Hr. Frankland (President of the Section), in proposing a
vote of thanks to Dr. Pliipson, remarked that the increased
degree of impurity of commercial samples of sulphate of
ammonia, at the same time that it prejudiced the interests
of the agriculturists, offered a promise of the sulphocyanide
of ammonium being supplied at a reduced cost for chemical
purposes, and, there were no doubt, many uses to which this
salt and other sulphocyanides could yet be applied.

^Ir. J. Spiller instanced the employment of sulphocyanide
of ammonium as a fixing agent in photography as one of
the cases where a reduceil cost would permit of its extended
application. For this purpose the salt would need to be
Very carelully purided from alkaline sulphides, since these
were liable to impart a yellow tinge to the high lights in
the photograph. The sulphocyanide of ammonium stood much
in the same condition as the hyposulphite of ammonia, which
required further development on the part of manufacturers.

416

THE PHOTOGRAPHIC NEWS,

[AuatJST 28, 1868.

ON A PECULIAR ACTION OF LIGHT UPON THE
SALTS OF SILVER,
nr PROFESSOR morren’.*

The molecular movements produced under the action of
light present special interest, and in order to show my sym-
pathy with this Association I present the results of some
experiments, .although they are at present not completed.
The facts are these : — If in a tube of white glass from 14 to
15 inches long, and from I to 2 inches in diameter, you
enclose moist chloride of silver freshly precipitated by means '
of a solution of chlorine in water, and expose it to the direct
.action of the solar rays, it will be observed thiit while the 1
chlorine solution is still yellow the chloride of silver remains
perfectly white ; but afterwards the chlorine solution be-
comes colourless and clear, and the chlorine decomposes the
water under the action of light. As soon as the chloride of
silver blackens at the surface it should be agitated from time
to time, and left exposed for a few days to direct light until
the whole becomes of a fine black colour.

Now take the tube into a dark pl.ace, and you will see
the blackness disappear by degrees, chloride of silver be-
comes reformed, and the contents of the tube become per-
fectly white, although its structure is evidently different to
what it was previous to its exposure to light. Then we m.ay
expose it afresh to the sun, and after it has again become
black we can make it white .again, and this experiment
can be repeated indefinitely, and is an evidence that in
those successive reactions the chlorine, oxygen, hydrogen,
&c., preserve their properties of combination and recombina-
tion. These gases manifest the properties which we, in
France, call the nascent condition — properties certainly
electric, and which only in certain circumstances become
evident, but which, without doubt, exist in all bodies when
the circumstances are favourable. \Vc have plenty of ex-
amples in connection with oxygen, hydrogen, and similar
bodies. There is one special and striking examjde in the
experiment which ought to be mentioned. If we place
chloride of silver in a thin and fine tube, one millimetre in-
ternal diameter, and close it atone end, this little tube being
placed in the larger one, its chloride becomes dark under
the action of light, but once dark it remains always black,
whilst its neighbour, under the alternate action of light and
darkness, blackens and bleaches, a manifest evidence of the
molecular movements induced by the light upon the chlo-
ride of silver when surrounded by a suitable liquid.

It is easy to comprehend the value of the knowlerlgc of
this property in photography. \Ve see with what care we
ought to get rid of our enemy, hydrochloric acid, from our
sensitive p.apers ; to dry them perfectly, and to deprive them
of all hygrometric salts, for without doubt the image, espe-
cially the darker portions, will be liable to (he decomposi-
tion and recomposition above described.

Bromide of silver presents the same properties and the
same effects ; but it is necessary, in order for the bromide s.alt
to become colourless, that a longer exposure should be given.
With respect to the iodide of silver, there are special condi-
tions requisite, and 1 have only been able to cause this salt
to blacken in the sun after having sensitized it by means of
pyrogallic acid. It does not blacken visibly witbout a re-
ducing agent. It would be especially interesting to know
if the cyanide of silver would behave in a similar manner in
the presence of cyanogen ; but I have not luad time to make
this experiment, but I hope to bo able to record it at
another meeting of the Association.

♦

ON ACTINOMETRY.

BY L. BINO.t

Havino made a few experiments for the purpose of ascertaining
the actinic power of light, which I considered miglit not be
uninteresting to science, I beg to submit the following com-
munication to your notice : —

* Rea.l at the British Association, in Section A .

t Read in Section A at the .Meeting of the British Association.

Permit me. in the tirst instance, to speak briefly of an
instrument of my construction for actinometric purposes, which
is already known. It consists of layers of mica, and upon
each number of layers of mica is placed a figure corresponding
with such number by means of an opaque pigment. This
instrument, being charged with sensitive paper and exposed
to the action of light, yields a gr.aduated series of tints upon
such paper, presenting white figures surrounded by darkened
surfaces. The highest visible figure is always surrounded by
the palest tint.

This instrument has, however, several defects, the chief of
which is, that according to the varying intensities of light
its action will vary, as will bo explained by the following
experiment : —

You might come to the conclusion that, if the intensity of
light transmitted through one layer of mica be equal to one,
the intensity transmitted through two layers equal one-fourth,
through three layers equal one-ninth, &c. ; or that the inten-
sities transmitted vary inversely as the squares of the numbers
of layers of mica. It does, however, by no means appear
that actinism is transmitted through a medium in the same
harmonic progression.

From a rather thin negative print a positive, firstly in the
direct r.ays of the sun, exposing at the same time a mica
actiuometer charged with sensitive standard paper also to
the direct rays of the sun. Examine the positive picture
from time to time in a so-called photographic dark room, or
in any room lighted artificially by a non-actinic light, but re-
move also, or screen from the light, the actinoraeter during
the time of the examination of tho positive. When you con-
sider the positive so far printed as to bo fit for photographic
toning, remove the papers both from the negative and from
the actiuometer, and write with a pencil upon the back of tho
one taken from tho latter the word “ sun.”

Next print a positive from the same negative in diffused
light in the open air, exposing at tho same time the actino-
meter, charged anew, to the same light. Pursue the same
course as before, and examine your positive from time to time
in the dark room, having tho first positive at hand for com-
parison vvith tho second. It is best to fix upon some dark, yet
not black, tint in your first picture for comparison with the
second ; also to hold tho first picture by tho side of tho half of
the second picture which you are examining in your printing-
frame. Thus make frequent comparisons with tho tint you
have fixed upon until the two tints appear to be alike in depth
of printing. Then remove again tho papers from the negative
and from tho actinometer, and upon the one taken from the
latter write the word “ shade.”

Print now a third positive from the same negative inside a
window where daylight is but feebly diffused, exposing again
simultaneously the newly-charged actinometer by the side of
the negative. Pursue again tho same plan as before. After
this third positive has been found to be printed equally deep
as the two former, place tho three papers which have been
printed under the actinometer side by side for examination in
your dark room.

The paper which has been printed in the direct rays of the
sun will present tho largest number of figures ; next comes
that which has been printed by diffused light in the open air;
and the least number of figures will appear upon the paper
printed inside the window, although tho three pictures might
be pronounced alike.

The positives would, however, appear not to be quite equal
in tone on a more exact examination of the extreme tints in
each picture with one another. Their inequality would con-
sist in this ; — The positive printed in the feeblest light presents
the deepest tint in tho darkest shades, and tho palest tints in the
lightest parts ; next comes tho positive which has been printed
in the more bright diffused light ; and the positive printed in
tho direct rays of the sun exhibits the least contrast between
its palest and darkest tints ; and its darkest tints, compared
with tho darkest tints in tho other two positives, presents tho
least depth, just as its palest tint, compared with the palest
tints ill the other two jiositives, is decidedly tho darkest of the
three. Indeed, it does not seem possible to print three positives
in three lights of strongly-varying intensities to bo exactly
alike in all their tints.

if you examine now the tints, instead of the figures, in the
three papers printed under the actinometer, they agree with
tho results presented in the pictures . Tho first tint of the
paper printed in the feeblest light, which paper shows the

August 28, 1868.]

THE PHOTOGRAPHIC NEWS.

417

smallest number of figures, is tlie darkest ; next in order
comes that which was exposed to the next brightest light ;
and the first tint of the paper that was exposed to the direct
rays of the sun, and which exliibits tlio largest number of
figures, is the palest on comparison with the first tints of the
other two papers.

I once constructed an actinometer of only seven figures by
means of a rather opaque medium. In tlio direct rays of the
sun the printing of a positive from a certain negative required
No. 5 ; in a diffused light in the open air, wliilst the snn was
shining, a positive from the same negative required only No. 3 ;
and printing one dull winter’s day from the same negative, and
under the same actinometer, the positive was finished, and not
the faintest trace of a figure presented itself upon the paper
taken from the actinometer. The margins of tlio paper, pro-
jecting beyond the actinometer, had arrived at the stage of
strong bronzing.

This instrument would tlms appear to possess but small
value, both for the scientific measurement of the actinic power
of light, as well as for photographic purposes. It almost seems
as if it had no other value but that of verifying, a fact with
which most photographers are familiar, namely, that in order
to produce good positives from thin negatives they ought to bo
printed in feebly-diffused light, because the feebler light will
readily act through the more transparent parts of the negative,
and but very slowly through the semi-opaque parts, thus yield-
ing good contrasts between the tints of the picture ; and, in
accordance with this fact, the feebler light acts^readily through
the first few layers of mica, until, after passing through a cer-
tain number of layers, it seems to possess but very slow power
to affect the sensitive paper.

I hope, however, to show presently some important uses to
which this instrument can be applied, and would now beg to
describe another instrument of iny construction.

This instrument consists of a single tube, open at one end,
where light for measurement is admitted, and closed at the
other. This tube is constructed of three strips of yellow non-
actinic glass, and the fourth side of the tube, where sensitive
paper is applied, may either consist of a strip of pure glass,
with a scale marked thereon, or of a narrow scale made of
metal or any other material, in which case light affects the
sensitive paper quite freely.

In this state the instrument can only bo used for the measure-
ment of the actinic power of diffused light. By applying, how-
ever, a small convex mirror or a small lens at the aperture of
the instrument, the direct rays of the sun can also be measured
on being received in a divergent direction within the tube.
The action of light upon sensitive paper is hero seen through
the yellow non-actinic glass, and it can be watched without
removal of the instrument or of the sensitive paper therefrom.
The action of light can also at any moment bo stopped, with-
out removal of the instrument, by shutting the aperture with
an opaque shutter, and thus excluding actinic light.

The principles upon which this instrument are founded
are —

1st. That diffused light, on entering a tube at one end only,
varies in intensity within the tube inversely as the square of
the distances from the aperture where light enters,

2nd. That any number of tubes, whatever their magnitude,
contain the same intensity of light if the ratios of their dia-
meters to their lengths are equal, and if wo absorb the light
that may be reflected from their sides.

I would now beg to call your attention to the following ex-
periments : —

Construct a series of tubes of cardboard, open at one end,
and provided with a cover at the other, of the same diameter

isay of two inches) and varying in length by a serai-diameter,
.et the first tube be of two inches length, the second = three
inches, the third = four inches, up to ten inches, or more, il
you like ; but these nine tubes will suitice. The inside of the
tubes must be blackened, in order to absorb the light that would
otherwise bo reflected from their sides.

Next construct a number of small mica-actinometers of
twenty or thirty figures, and of such dimensions that they can
be placed within those tubes. For the sake of convenience,
let each actinometer have a letter of the alphabet, whereby to
name it, placed upon its first layer of mica instead of figure 1.
Charge each instrument with a strip of sensitive standard
paper, and insert one at the base within each tube, and secure
each base against the entrance of light from without. Let the
actinometer named A bo situated at the base of the shortest

tube of two inches, B in that of three inches, C in that of four
iuciies, &c.. each succeeding letter in the next longer tube.

Expose now all the tubes which are open at the ends opposite
their bases simultaneously to tlie same difl'used daylight five,
ten, or fifteen minutes, more or less ; then take all the tubes p.t
the same time into your dark room. Withdraw the actino-
meters from the tubes, and the papers from the actinometer.

Please to remember now that each letter of the alphabet will
be surrounded by the darkest tint upon the paper removed from
the actinometer which such letter represents, because such
letter is placed upon the first layer of mica, and let now each
papfr also bo named by such letter.

On comparing the papers with one another, the following re-
sults will appear : —

1. Compare with paper A, which was printed within the
shortest tube, all the otlier papers.

The tint around letter B = the tint around No. 3 of paper A.

:: :: :: ? :

Thus, tlirough the whole series the tint around each succeeding
letter printed within tho corresponding longer tuho being paler
by two tints.

2. Take any paper of the series (say p.aper D), and compare
the following papers with it : —

The tint around letter E = tho tint around No. 3 of paper D.

„ .. 5

M M It ^ It tl II ^ II

&c., as before.

3. Compare the papers successively with one another ; —

The tint around letter B =: the tint around No, 3 of paper A.

C= „ „ „ 3 „ B,

„ .. ... = ., ,. „ 3 „ C.

each first tint equalling tho third tint of tho paper printed in
tho next preceding shorter tube.

4. Compare all the figures which each paper presents with
one another. Let, for instance, paper A show twenty-five
figures.

Paper A shows 25 figures.

Then „ B „ 23 „

C „ 21 „

.. U ,. 19 „

each succeeding paper printed within tho next succeeding
longer tube exhibiting two figures less than the preceding one.

The defect which has, in a former part of this memoir, been
shown to exist in the transmission of tho actinic power of light
through a medium ought to become apparent in tho above
experiment. On account of tho comparative shortness of expo-
sure given, it can only bo traced to a small extent in the fourth
comparison of the papers. This does not, however, affect tho
general character of tho experiment.

We may now draw from tho above experiment tho general
conclusion that there is a decrease of two figures and of two
tints in each succeeding paper, beginning with that which was
printed within the shortest tube ; or, if the paper printed within
the longest tube bo represented by 1, tho paper taken from the
next shortest tube would equal 3, and, thus continuing, we shall
have tho numbers 1, 3, 6, 7, &c. On adding these figures from
the beginning, wo produce the following series ; — 4, 9, 16,
25, &c., equalling the squares of the lengths of tho tubes.

Without further analysis of the above experiment, I think it
may be stated now that the power of actinism, as well as tho
intensity of light, within a tube, varies inversely as the squares
of the distances.

Construct, next, two tubes, blackened within, of different
diameters, and let the length of each tube bo equal to (say)
twice its diameter. Let one tube have a diameter (say) of
two inches, and tho other of six inches ; then their respective
lengths must be equal to four inches and twelve inches. Place
at the base within each tube a mica actinometer charged with
sensitive standard paper. Close each base, .and expose both
tubes simultaneously to the same diffused light for the same
period of time. On examining tho printed papers no difference
whatever is exhibited in their appearance, either with regard
to tint or to number of figures. You might make several such
expeiiments, with any number of tubes of various diameters,
and with the same results.

Thus the intensity of light as well as the power of actinism
is the same in tubes of various magnitudes, if the ratios of
their diameters to their lengths are equal.

It will be readily seen that instruments might be constructed
by means of tubes of various lengths but of equal diameters, or

418

THE PHOTOGRAPHIC NEWS.

[August 28, 1868.

by means of tubes varying in diameter and of equal length,
in order to produce gradations of light for actinomctric pur-
poses.

On account of its greater convenience, I have, liowever,
chosen the single square tube, and of such tube one side, as
already stated.

Tlie power of actinism and the intensity of light at any
given distance on this side of the tube are, however, by no
means equal to the power of actinism and tlie intensity of
light at such given distance within the tube. Ilut the investi-
gation of the powers of tliis side-light would bo too lengthy
for tliis paper.

I beg, finally, to state that, for scientific purposes, I use a
tube one inch in width and four inches in length ; for photo-
graphic purposes, such as the timing of photographic prints, a
tube of half an inch in width by four indies in length.

The instrument is self-registeri.ag, and, by means of a con-
tinuous strip of paper and a simple clockwork, can bo
made to register the aclinic power of light throughout
the day, per minute or per hour, or any other chosen division
of time.

l!y combining several instruments with one clockwork, the
powers of actinism during each successive minute, successive
lionr, and during the whole day, could bo registered sepa-
rately.

PHOTOPHONOGRAPIIY

BY T. SKAIFE.

A PAPER and some photographs were sent by Afr. Skaife for the
inspection of the members of Section A, hut were not, for some
reason not stated, brought before the section. These were three
prints, described as ‘‘photophonograms.” Nos. 1 and 2 consisted
of photographs of a cup of tea, the surfare of the liquid being
agitated in harmony with the tones yiebled by the ptiotophone
when emitting the note B fiat. The third was described as “ a
jihotophonogram representing an octave of the musical gamut,
obtained by rubbing the tip of the thumb on a piece of glass
chemically prepared to give out any note in the gamut on the
surface being rubbed with either finger or thumb, which loaves
impressions on the surface corresponding to the notes’ vibra-
tions sufficiently dense to print from photographically.”

In further explanation, he said these waves were produced by
the tip ot the thumb coming into frictional contact with the
glassy surface ol the photophono on which the cup ot tea rested,
all the nine waves appearing simultaneously and coincidently
with the emission of the tone, and remaining, as it were, rigidly
fixed, so long as the same tone continued to bo emitted. The
slightest depression or elevation of tone was instantly lictrayed
by a corresponding enlargement or contraction of the intervals
which separated the waves.

The photophone, on the glassy surface of which the exciting
tone was produced, was a wooden box 2 feet long by 1| foot broad
and 9 inches deep, especially constructed to propagate the vibra-
tions of a thin glass plate covering the upper surface when
excited by the frictional rubbings of the tips of the fingers
moistened with certain chemical solutions, such as protosul-
phate ofiron combined with acetic acid, tincture of horchound.
watery collodion, or a saturated solution of bichromate of
potash, the sounds emitted by the instrument resembling more
or less those produced by the violin or violoncello. Tho photo-
phone, in common with the violin, possesses tho faculty of
exciting into sympathetic action anv fluid within tho current
ot its vibration, tho action of tho fluid indicating optically the
tone emitted acoustically.

The paper then proceeded to describe the mode employed
in producing the negatives by means of the instantaneous com-
bustion of C grains ot “ actinic powder,” consisting of a mixture
of powdered magnesium, chlorate of potash, anU other ingre-
dients.

He concluded with an apology for any imperfection in the
illustrations by stating that only one week had elapsed since
the cup of tea had betrayed its taste for the photophone’s
music. Nevertheless, he had thought that, time nut allowing
for further experiment, it might interest those experienced in
the phenomena of light and sound to see results which photo-
graphically confirmed the ingenious discoveries previously
made in optical acoustics by Helmholtz, Kanig, and
Tyndall.

®orrcsgon&iace.

"LUX GKAPHICUS” ON THE WING.

The Exhibition of National Portraits— The Tintype op

America — The Spirit of Photoouaphy in Canada -

The " Wise Week,” and the Total Eclipse of the Sun.

Dear Mr. Editor, — From various causes I have been
absent from your columns as a contributor for some time, but
not as a reader. The chief reason for this was the weather,
which of late has been so hot and prostrating as to dry up
both my ink and my energies. Now that the atmosphere
is more cool, moist, and pleasant, my ink and my thoughts
may flow together, and the resulting epistle may find a place
on some page of the Photooraphic News; if not, I shall
not be angry. I know that the world — and photography
is my world — is not always mindful of its atoms. The great
and immortal Cicero discovered that even he could be absent
from Rome, and all Rome not know it. How much easier,
then, for your readers not to discover ray absence from your
pages. But my inability to write and attend to other duties
entailed more serious losses to myself. Amon^t others I
missed seeing the Royal Academy Exhibition, but found a
compensating pleasure in going to see the Exhibition of
National Portraits at South Kensington. What a school it
is for photographers ! What a variety of pose, arrangement,
management of light and shade, is to be seen in that
glorious collection of Vandykes, Hogarths, Gainsboroughs,
Reynolds, Opies, Wilkies, Raeburns, Northcotes, Lawrences,
Phillips, Shees, Richmonds, Grants, and many others
of tlie present day ! I hope many photographers have
seen the collection. None ought to have missed the
opportunity. All that saw must have profited by the sight.
Portraits of great men that have been familiar to me in
black and white for years were there before me in the rich
mellow colouring of Vandyke, Reynolds, Wilkie, and Law-
rence, and the mind seemed carried back into the past while
looking at the works of those great artists.

The exhibition will soon close, and all that have not seen
it should endeavour to do so at once. There may never
again be seen such a gathering together of the great of
England, painted by England’s greatest portrait painters.
The Manchester Art Treasures Exhibition was a great
assemblage of the glory of England, but it was not
so complete, nor so instructive, nor so comfortable to
view as that now open at South Kensington. In addition
to the paintings there is a large and valuable collection of
rare engravings, both in mezzotints and in line. The latter
collection alone would make a visit highly pleasing and, in
a sense, remunerative to every photographer. Art is begin-
ning to take root in the minds of those who follow photo-
graphy, either professionally or for amusement, and those
exhibitions are the salt that “ savouretli tho earth,” which
in due time will bring forth rich fruits.

The “Tintype ” is now being largely practised in America,
and is fitted into an envelope or slip, carte-ce visite size.
The slip is formed of paper, with an aperture to show the
picture, and a flap to fall over it as a protector. I had some
of these shown to me a short time ago. The tintype is only
another name for the ferrotype or inelainotype, which is a
collodion positive picture taken on a piece of tin or iron,
coated with black Japan on the front, and a varnish on tho
back, to prevent the metal from acting on the bath. The
carte-de-visite form of the tintype fitted in the envelope or
holder is a very good and ready way of supplying all por-
traits wanted in a hurry, and its adoption might be found
very serviceable to many photographers in England. The
American examples that I have seen are very brilliant and
beautiful, and, to my mind, next in delicacy of detail and
richness of colour to the long discarded but ever beautiful
Daguerreotype. J must admit, en passant, that the
Americans always excelled in producing fine, brilliant
Daguerreotypes, and it is much the same with them in the
production of glass positives, ferrotypes, or tintypes.

AuansT 28, 1868.]

THE PHOTOGRAPHIC NEWS.

419

The spirit of photography in America and Canada is
admirable. Mr. Notman, of Montreal, lias long been doing
some excellent cabinet pictures representing out-of-door life,
pleasures, and pastimes. Now Mr. luglis, of Montreal,
also produces most beautiful carte-de-visite and cabinet pic-
tures of indoor and out-of-door scenes, such as drawing-
rooms, libraries, &c., with suitably arranged and occupied
figures in the former, and boating, bathing, and fishing
parties in the latter. Some of these pictures have recently
been shown to me. They arc all very fine examples of
photography. The tone and quality of some arc beautiful.
Many of them are admirably arranged, and e.xhibit con-
siderable knowledge of composition; but some of them,
particularly the interiors, arc sadly at fault in their chiaro-
scuro. They possess no dominant light, or, if they do, it 's in
the wrong place, leading the eye away from the principal
object. In most cases the lights are too scattered,
giving a spotty and flickering effect to the picture
which is painful to look at. With his out-of-door
scenes Mr. Inglis is more happy, and probably, from
his antecedents, more at home. For example, the “ Boating
Party ” is very happily composed, embracing the double
form of angular composition — the triangle and the
lozenge — and just a little more skill or care would
have made it perfect in its lines. The whole scene is
well lighted and got up. The boat, foreground of
pebbles, stones, shrubs, and trees are all real ; the water is
represented by tin-foil, wet black oil-cloth, or something of
the kind, which reflects the forms and colours of objects

laced upon or above it. The reflections seem too sharp to

0 those of water. The plan adopted by Mr. Ross, of Edin-
burgh, is the best. That gentleman has a large shallow
trough fitted up in his studio with water in it.

Surely such pictures of groups of friends and families
would take in London and the provinces if people only
knew where to get them. At present I know there is not a
place in London where photographic pictures possessing
such a variety and interest can be obtained. Mr. Faulkner,
of Kingston Gardens Square, is the only photographer that
has yet attempted to produce such rural subjects in London,
but I am not aware that he has }'et introduced “ the boat ’’
into his studio.

This is the “ Wise Week,” and it is to be hoped that the
gathering together of the wisdom of the world at Norwich
will in some way be beneficial to photography. You, Mr.
Editor, I presume, will attend the meetings, and I shall look
forward with considerable interest to your gleaningo from
the harvest of science that will this year be garnered in the
transactions of the British Association.

As I think of the date to affix to my letter, I am reminded
that this is the day of the great total eclipse, visible in
India, and that several expeditions are engaged in taking
observations. The photographic arrangements, I notice, are
more than usually complete, and I most sincerely hope that
the astronomical photographers are favoured with bright and
calm weather, so that they may succeed in obtaining the
best photographic representations of the phenomenon. In
this 1 am not influenced by the mere photographic idea of
getting a picture, but rather with the hope that photo-
graphy may be the legitimate and honourable handmaiden
to the savants, astronomers, and mathematicians in enabling
them to ascertain the constitutional condition, mode of sus-
tenance, and interminable length of life of the great source
of all our labours and achievements. Then would the sun
write his autobiography, and his amanuensis would be bis
favoured child, photography. — Yours, very truly,

August \%th, 1868. Lex Graphicus.

DECOMPOSITION IN THE ACETATE BATH.—
PARALYSIS AMONG PHOTOGRAPHERS.

Dear Sir, — A good deal has been written lately about the
uncertainty of the acetate bath. A curious affair that has
just happened with me may possibly throw light on some
of the difficulties. I do not use the ordinary bath, but

generally a mixture of acetic and carbonate of magnesia,
not neutral, but alkaline. The bath in question had been in
frequent use for many weeks in conjunction with deep red
gold, made so neutral by means of heat that an addition of
a carbonate gave no perceptible effervescence. This morning
I added some of a fresh sample of gold decidedly acid, and
was much surprised in a quarter of an hour by finding the
bath 4/ae^•. It was clean, though slightly yellow when the
gold was added, as it is always filtered after use. I thought
that by an accident, which seemed impossible, some iron
must have got into it, but on testing some more of the filtered
solution with gold or silver and acid (either nitric or hydro-
chloric), I found strong evidence of /om/c acid. Before the
acid was added it would bear boiling with gold without
change. Silver was reduced by the alkalinity and organic
matter. Unless I am in error — and I do not think I am —
this shows the advisability of neutralizing the gold before
adding to the bath, and not in it. The bath showed signs of
being overworked, and roughened the fingers to an unusual
degree.

This suggests the much-talked-of question of health.
I do not think toning with the hands with an alkaline
bath injurious to general health, though a carbonate of
soda bath may chap the hands badly. A neutral or acid
bath may, perhaps, be dangerous. But it seems to mo
a much greater evil consists in a careless use of iron
solution. The almost impossibility of washing the hands
free from smell after iron suggests its power over the skin,
and the occasional after sensations, more than skin deep,
suggest the chance of still greater evil.

I think it has been mentioned in the News that iron may
cause paralysis, but the fact that so many photographers lay
the blame anywhere else, no matter how absurd, must be my
excuse for drawing attention to it again. — Yours, truly,

Ed. Seelet.

P.8. — Does not iron make a gaseous compound with
hydiogen ? I think 1 have met with it, or it and others,
for the smell varies.

in the Stubia.

The Quekett Microscopical Club.— The third Annual
Report of the Quekett Club presents a satisfactory record of
progress. Amongst many other evidences of the increased
interest and success of the Club, the fact that 133 members
have joined during the year stands prominent and convincing.

Keeping Properties of Gum Plates. — Owing to a clerical
error in our last, Mr. Gordon is said to have found that gum
plates would keep six months without deterioration ; it should
have been six weeks, as that period is the limit to which Mr.
Gordon has tried them. Mr. Gordon states that he has no
doubt wliatever that they would keep for that number of
months, as the results at the end of six weeks were, if anything,
better tliau those developed on the day of exposure. The
limit of his actual experience at the present time proves that
no deterioration whatever is found in plates kept four months
before exposure, and six weeks after exposure.

Another Substitute for Nitrate of Silver. — M. Lacan,
in Le Moniteur, speaks of a new sensitive salt styled Sel Dube~
laroix, intended as a substitute for nitrate of silver in printing.
The paper for use with this salt, whether plain or albuminized,
is prepared without a chloride. The sheets of paper aro
plunged into a solution of the new salt several at a time. After
printing, the proofs aro placed in a solution of citric or acetic
acid, washed, and then toned, fixed, and washed as usual. The
prints aro said to be very fine, the paper very sensitive, and
the salt one-third cheaper than nitrate of silver. The nature
of the salt is, of course, a secret, but from the description of the
operation it occurs to us as that possibly it may be a double
salt of silver and uranium.

The Great Solar Eclipse. — Various telegrams give some
brief details of the eclipse. At Bombay the eclipse was nearly
total, as predicted, but the weather was very unfavourable for
observation, and rain fell at the time of greatest obscuration.
The eclipse has been successfully observed, however, by two

420

THE PHOTOGRAPHIC NEWS,

[August 28, 1868.

expeditions at least, though little is known as yet respecting
the results which have been arrived at by the observers. Major
Tennant states that light fleecy clouds covered the sky, but
that the eclipse has been in the main successfully observed.
The news is very promising, because his party had undertaken
the duty of photographing the eclipse. The Government of
India had obtained from England a Newtonian reflector,
specially constructed for the occasion, and arrangements had
been made by moans of which six photographic pictures could
bo taken during the totality. From the careful manner in which
Major Tennant’s party had been trained in astronomical photo-
graphy it is assumed that the photographs they have taken
will be eminently valuable and instructive. The communica-
tion of M. Janssen states that the eclipse has been successfully
observed. The spectrum of the red protuberances which are
seen around the black disc of the moon during totality, and
which have long since been proved to belong to the sun, has
been found to present a very remarkable and unexpected
appearance, and a conclusion drawn from the nature of the
spectrum is that the protuberances themselves are gaseous.

Oxidation of Potassiu.m and Sodiu.m.— The oxidation of
potassium and sodium, when exposed with a clean surface to
the air, is accompanied, according to II. Beaumhauer, with
evolution of light. — {Journ. 2)r. Chem. cii. 123).

■ o-

®orresyoa&£ttts.

R. R. (New Brunswick). — There are v.ii ious prooes.sos for producing
blocks to print by moans of ordinary type by means of jihotography ;
some are secret, others have been made public ; all, or most of
them, depend, we believe, upon the reaction of light on gelatine, &c.,
mixed with a salt of chromic aoid, and in all cases the image iimst
be a reproduction from a subject in lino or stipple. thick film
of gelatine on glass, impregnated with bichromate of jxjtash, is
exposed under a negative to the aedion of light, and afterwards
treated with warm water. This washes away the portions which,
having been protected from light, remain soluble, and, at the same
time, swells up the portions which, by exposure to light, have be-
come insoluble. The lights of the jiicture will now bo represented
by bare glass, and the dark portions by the swollen gelatine in re-
lief. From this a cast is taken in plaster of Paris, in which the
lights are in relief and the dark portions are in intaglio. From
this plaster cast a stereotype or an electro plate may be taken,
which will serve as a block to print from, in the same manner as
ordinary typo. In some cases — as, for instance, in that of which
we recently gave an example by Mr. Fruwirth — the processes are
multiplied, in order to produce a higher degree of perfection. In
some processes the surface is pro iuced by galvanic etching. The
metal plates are, of course, as you suppose, mounted on wood like
ordinary stereotypes in order to print.tVom. There are several pro-
cessc.s of this kind patented, both in this country and in .Vmcrica.
Attempts have been made to produce such printing surfaces from
negatives taken direct from nature ; but, as yet, none have reached
sulficient perfection for practical application.

W. J. A. G. — We do not, unfortunately, know of any method of
arresting the cracking of a negative when it has once commenced.
Revarnishing may do something, but we arc uncertain ; careful
application of the method which Mr. Spiller has described more
than once in our pages often restores the cracked film. 2. We
shall have pleasure in showing you the Salomon prints.

George Vince. — We have never seen any of Mr. Wilson’s stereos
printed as transparencies on glass, and believe that he has not
issued them in that form. 2. We do not know of any views of
the Holy Land on glass. Messrs. Negrotti and Zambra will most
probably have them, if any one. 3. We believe that Mr. Broese
has not yet disposed of his stock and plant. So far as we know,
he has upwards of a hundred subjects, and a still greater
number of negatives, as a great many of his are, as you doubtless
know, from two or three negatives.

Lytle’s Studio. — We fear from your description that the defect of
your collodion is due to the solvent not being sufficiently highly
rectified; that is, the alcohol | has contained too much water.
This is a defect ditficult to remedy. Possibly you can work the
collodion off by mixing with some made with anhydrous solvents.
In working with a collodion containing much water, you may mend
matters n little by allowing the film to set very thoroughly before
immersion in the nitrsito bath. The reticulation and the white
opacity in the shadows are both duo to the same cause. The white
effect and opacity in the shadows may generally bo removed by
varnishing.

J. A. Clarke. — Your collodion giving a thin image will doubtless
improve by age, and give you density enough ; but, in the mean-
time, you perhaps might get rid of immediate trouble by mixing

with another old collodion. The makers you mention will serve
if you get it old. The tendency to get lumpy after working a few
plates from a bottle will also disappear somewhat with age, the
collodion becoming more limpid throughout. You can secure an
immediate remedy by the addition of a little ether to the collodion
when lumpy. Tne print enclosed is an excellent illustnition of the
sensitiveness of the collodion you made after our formula. We
shall have pleasure in trying the new sample if you require further
advice uiwn it.

Juvenis. — A well-educated young man, who is a fair draughtsman
and has a practical knowledge of chemistrj’, if he odds to these
qualities a good knowledge of ])hotography, ought to be able
to obtain a respectable living by the practice of photography. It
is right, however, to point out to you that photography has, during
the last two or three years, been suffering from depression, chiefly
in consequence of over-competition. Really .skilful men as artistic
photograjihcrs, if they i)os.sess ordinary business tact, will, however,
make a respectable living by the practice of the art. We do not
recommend you to give up anything else by which you can make
a good living, but at present gain ns much practice as you can as
amateur, employing your leisure time in ditferent branches. If
you ultimately make* sufficient jirogress, you might, if you still
wished to become a professional jihotographer, get an engagement
in an establishment where you will obtain further experience.
Belmont. — We have received a letter from “ Belmont” enclosing a
piece of sensitive paper, referring to some former letter, which,
however, we have not received. The paper enclo.sed exhibits ex-
amples of a well-known stain, catLsed by the silver solution remain-
ing in drops upon the surface, instead of draining and drjdng off
evenly and regularly. Tuo chief cause of this tendency is the use
of the paper in an extremely dry state. If it be kept in a damp
place for a few hours before sensitizing, the defect will not occur.
The use of an extremely strong bath is said to conduce to the same
result. When the paper is found to drj’ thus unevenly, leaving
drops standing upon its surface, it is best to blot it oft' at once, which
will prevent the stains occurring without injuring the paper.

J. H. Underwood. — The anew is vciy charming. Thanks.

J. C. S. — The collodion has arrived safe. Our absence at the
British Association meetings has prevented any trial at present,
but we hope to make one shortly.

B. M. R. — The sample of pyrexyline is not suitable for a negative
collodion. It forms a glutinous collodion, giving a lumpy film with
less than 3 grains to the ounce of solvents. It has been made,
apparently, with acids at a very low temperature. 2. The proper
paper to employ for paper pyroxylinc is known as Vapier Joxeph.
3. Excess of ether makes a limpid collodion ; excess of alcohol
tends to give .a somewhat thicker collodion, which flows like oil.

M. I). — For small negative.s, flatted crown glass may be used with
great advantage; we prefer it, indeed, to plate glass. No surface
is finer and harder than the natural vitreous .surface produced with
the manufacture. It is important, however, to notice that the
flatted crown has two i ides, one of which is excellent, and the other
somewhat roiurh and imperfect, often causing pinholes. You will
easily distinguish the rough side by drawing the finger-nail over
the surface.

X. — It is possible avith some varnishes to work on the varnished sur-
face of the negative with a B B pencil ; but if the surface be glossy,
likethiit given by a spirit varnish of good body, it will not present
a tooth to the pencil. The best plan is to treat the negative, after
fixing and wa.^ing, avith a dilute solution of gum, which will pre-
sent a tooth to the pencil when dry. A little care is ncceasary, of
course, not to scratch it by careless use of the jicncil, and also to
produce the right result, as the negative must be varnished over
the pencil marks before printing. Of course a little skill in draw-
ing— or, at least, in using a pencil with precision — is necessary. It
you have little skill in this way, you must venture little in retouch-
ing negatives.

F. L. — X metre is a little more than .39 inches ; a centimetre is one-
hundredth part of a metro ; 2J centimetres are about equal to an
inch.

B. T. R. — It is difficult to give an an.swer to your question as to
“which is best, black or brown tones I'” It is muen a matter of
taste. Black tones arc best for some subjects, and brown for others.
We generally prefer warm tones. The question as to how to get
rich deep tones is more easily answered. If you have a really good
negative, clean in shadows, and dense enough in the lights, you
can obtain rich deep tones, of cither black or brown, with almost
any toning.

Erratum. — In Mr. Lea’s article on Testing for llj-posulphito, on
page 321, at the end of the eighth paraaraph, the word “ sulphy-
dric” has been printed “ sulphuric,” thus destroying the sense of
the sentence.

Articles by Mr. Woodburv, Mr. Robinson, Mr. Werge, and several
otW winters are compiled, by the demand made on our space by
papers read at the British Association, to stand over.

Several Correspndents in our next.'

NEWS.

CONTENTS.

nets

Double Salt for Printing without Chloride of Silver 421

Mr. Bing’s New Actinometer 422

Visits to Noteworthy Studios 422

Short Essays on Photography and Art. By H. P. Robinsou ... 424

On Transferring Negatives. By IValtcr B. Woodbury 425

Pictorial EQect in Photography. By H. P. Robinson 425

Remarks upon the Retouching of Negatives. By Dr. W.

Reissig 423

PAOB

Photography and the Immured Pompeiians. By .1. Werg* ... 427
Hints Respecting the Production of Clean Negatives in Hot

Weather. By L. Q. Kledel 429

Proceedings of Societies — French Photographic Society 439

Correspondence — Photographic Notes on the Continent — The

Photographer’s Future — Sponging Waxed Prints 430

Talk in the Studio 432

To Correspondents 432

DOUBLE SALT FOR PRINTING WITHOUT
CHLORIDE OF SILVER.

Wk Lave during the last few days been expc»iaietitlng with
a printing process, without chloride of silver, which presents
points of interest and promise of advantages sufficient to
warrant the further attention of experimentalists. The salt
employed is a double-nitrate of uranium and silver, and the
process does not differ in principle from some of the uranium
printing processes which received attention a few years ago ;
out it varies essentially in some details of practice.

The first claim of the process to attention Is its extreme
simplicity ; and, second, its great economy. The results
which are present, the crude products of early experiment,
are not inferior to those usually obtained on plain salted
paper. As yet we have not tried a paper coated with albu-
men of a similar body giving a glazed surface ; but we
have reason to believe that where fine definition and great
gloss are required, a paper so treated would give e.xcellent
results by this piocess.

A very weak solution of double-nitrate of uranium and
silver in water forms the printing bath. Plain paper, with-
out any previous salting, is immersed in or floated on the
solution tor a few minutes, and, when dry, exposed under a
negative in the ordinary manner. It is somewhat less sensi-
tive than excited albuminized paper, and requires longer
exposure. It yields a very vigourous image of a brown
tint, the precise colour varying with the sizing material in
the paper employed, some .samples yielding in the printing-
frame prints of a bistre tint, and others of a purple brown ;
but all readily toning to a warm or neutral-black under
suitable treatment, to which we shall presently refer.

One of the most noteworthy circumstances in our opera-
tions was the extremely dilute bath with which we obtained
good prints. With a solution containing 5 grams of the
double salt — practically less than two grains of nitrate of
silver — in an ounce of water, we obtained vigorous images;
and, so far as we can judge at present, not more than a
lO-grrin bath of the double salt would be required under any
circumstances. With this solution we tried both floating
and immersion ; but wo prefer the results of immersion.
The image was, it is true, more completely in the body
of the paper, but it possessed more richue.ss than the
surface image obtained by floating only. Flain Saxe
paper gave a light brown image lacking depth ; Itive
paper, re-sized with a preparation of arrowroot, assumed a
light brown tint, but gave a more vigorous image. Paper
repared with a solution of gum lac in borax, for Air. Wood-
ury’s piocess, gave a rich warm brown print. Turner’s
Calotype paper gave rich, warm, purple brown prints of great
vigour. A sample of toned paper very slightly sized, such
as is frequently used for letter-press printing of illustrated
books, the texture being fine, although somewhat soft, gave

prints of a rich purple brown, with a tendency to bronze in
the shadows. In all these cases it must be borne in mind
that we are describing the tone assumed in the printing
frame ; and iu this process, as in ordinary silver printing,
the richer the quality of the image in this stage, the more
easy it became to secure a fine, deep-toned print in the sub-
sequent operation of toning and fixing.

The toning operations are important, our first experi-
ments having yielded some curious results. The first prints
produced we proceeded to tone in the usual manner, first
trying a print with a bath made after Mr. Bovey’s formula —
that is, chloride of gold, a little chloride of sodium, and hot
water — the bath being used the following day. The print,
on being immersed in the bath, very rapidly began to dis-
appear, leaving finally a faint purple trace of the deep
shadows. Another batli was made of chloride of gold, a
little chalk, and hot water, and used in the course of an
hour, and this gave precisely the same result, as did also
another bath made with half-a-grain of carbonate of soda
to a grain of chloride of gold in six ounces of water.

In each case the minute portion of silver which formed
the image was attacked by the chlorine which was liberated
by the chloride of gold in the process of toning, and con-
verted into chloride of silver. It was clear that the ordinary
toning baths were not available, nor any toning bath in
which chlorine was liberated. We therefore tried the toning
bath of sulphocyanide of gold, and this answered admirably,
the prints toning readily and satisfactorily, assuming any
desired tint, from a purple brown to a deep black ; and
this answered alike with all the samples of paper. After
toning, the prints were fi.\ed in an ordinary fixing solution,
losing little if any depth in the process of toning and
fixing. As no insoluble salt of silver is present, theo-
retically, washing well with pure water ought to remove any
traces of the unreduced silver salt ; but, for safety, a bath of
sulphocyanide or hyposulphite is desirable; but it is
probable that, from the exceedingly minute trace of silver
present, an exceedingly weak fixing bath would answer every
purpose.

When finished, the pictures have much the appearance
of good plain paper prints. It is probable that paper
re-sized with gelatine, or coated with a dilute solution of
albumen without salt, would give vigorous images with fine
surface definition, and such degree of glaze as might bo
desired.

The double nitrate of silver and uranium which we used
consisted of a small sample placed in our hands for experi-
ment by Mr. Henry Cooper some years ago, which he had
prepared with a view to try iu collodion for the Wothlytypo
process, with which the process we have been describing has,
as wo have said, analogies. To form the double nitrate,
concentrated solutions, of nitrate of silver and nitrate of
urauium, in the atomic proportions cf the two salts, it should

4‘22

THE PHOTOGRAPHIC NEWS,

[September 4, 1868.

be mixed, and the double salt obtained by crystallization
from the mixed solution. The crystals resemble those of
nitrate of silver in form, and are of a lemon or citrine tint.
To save trouble, those of our readers who wish to make ex-
j)eriments may prepare a solution by mixing the salts in
their equivalent proportions in distilled water, and use it
without .taking the trouble to form the crystalr. The
atomic weight of nitrate of uranium is 252, that of nitrate
of silver 170 grains. If nitrate of silver be dissolved in a
quart of water a suitable bath will be obtained.

How far this very simple and economical uranium and
silver printing process may be found available for practical
purposes we cannot at present say; but it presents, at least,
some very interesting poiuts for the amateur and experi-
mentalist.

o

MR. Bi:^GS NEW ACTINOMETER.

I.x our last we published Mr. Bing’s paper on Actinometry,
read in a meeting of Section A of the British Association at
Norwich. We have since been favoured with a call from
^Ir. Bing for the purpose of showing us the new actiuomcter
which he has recently patented. It appears to work per-
fectly, and to be free from the sources of error which have
been found in the actinometers formed of progressive layer.?
of a translucent medium. Jlr. Bing, who has experimented
considerably with actinometry, .states that in all instruments
formed on the latter plan the resistance to light by an in-
creasing nnnibcr of layers of the translucent substance
increases much more rapidly than, according to calculation,
the increase in the thickness of the translucent substance
would ?varrant. There may be various reasons for this, into
the discussion of which ?ve do not, however, now enter.

The new instrument is based upon another principle. It
consists mainly of a rectangular tube of non-actinic glass,
with an arrangement to bring a strip of sensitive r)ap(^r into
contact with one side of the interior. This tube is jilaced in
dift'used light, with its open aperture towards the sky.
Light entering the tube and falling upon the sensitive paper
commences at once to blacken it, but its power of so black-
enin.g is, of course, only in the ratio of the quantity of light
which enters, and which necessarily diminishes as it pro-
ceeds further into the tube. To make the matter clear, we
may here repeat, in Mr. Bing’s words, the prineiples upon
which this instrument is founued : —

“ 1st. That dift'used light, on entering a tube at one end
only, varies in intensity within the tube inversely as the
square of the distanees from the aperture where light enters.

“2nd. That any number of tubes, whatever their mag-
nitude, contain the same intensity of light if the ratios of
their diameters to their lengths are equal, and if we absorb
the light that may be reflected from their sides.’’

A carefully-calculated scale is fixed inside the tube at the
side where the sensitive paper is fixed, the divisions being
marked by a portion of a faint standard tint. When the
sensitive paper in the instrument has been exposed for (say)
ten minutes, the upper portion is darkened, and the first two
or three tinted marks on the scale look white in contrast
with the darkened paper : as the darkening further down
the tube gradually becomes less, the sensitive paper and
standard tint appear of the same colour, and below that th;
paper is seen to i)e white by contrast with the standard tint.

The principle seems simple and true, and is capable of
easy demonstration, as may be seen on carefully reading ilr.
Bing’s paper. 'I'he mode of application is also very elegant.
When the specification is published we shall be at liberty to
describe more fully the simple and convenient mechanical
arrangements of the instrument.

«

VISITS TO NOTEWORTHY STTDIOS.
WoUKIXGTlIE EmUFINEOI 1’KOCE.S.S IK Ml! BuliGESS’.S STUDIO
'I ENKY.soK tells us, ill liis “ Enoch Arden,” that “ things seen
are mightier than things heard.” Notwithstanding the
lucid statements in reference to his operations in the Ebur-

neuni process with which Mr. Burgess has from time to time
favoured us, having now seen the aetual working of each
part of the process, we have a more complete knowledge
than before of the minor details, upon attention to which
much of success depends. A circumstantial rehearsal of
the operiitions from the beginning to the end of the process
will, we doubt not, prove interesting to many of our
readers, and enable those who are disposed, to work out
satisfactorily a process yielding results of rare beauty, and
one by which we are satisfied both credit and profit may be
obtained. AVe will deal with the operations seriatim.

The Xegative docs not require special treatment, nor
does it require to be used unvarnished. The more perfect
it is, of course, the better ; but a good negative sueh as
gives good results on albuminized paper answers here.
Indeed, in Mr. Burgess’s experience, a large number of
sitters, after ordering a dozen ordinary cards, also order
some Eburneum prints from the same negative. The price
.Mr. Burgess charges for Eburneum prints, card size, is
half-a-guinea for three, and this, as it will be seen, is
generally an absolute adilition to the amount of business
done, which, whilst it is a boon to the customer to obtain
a few such choice jiictures for special purposes, yields also
a considerable increase of profits at the same time that it
cements a connection.

The (Hass Plates. — Mr. Burgess emjiloys flatted crown
as the temporary support for the Eburneum picture, using
whole-plates, and jiroducing four impressions on each.
The glass is carefully cleaned with rouge and water, the
solution being suffered to dry on the plate, and is polished
off when dry. Formerly he treated the surface with a
solution of wax in ether, in order to facilitate the final
removal of the collodion film ; but this treatment he has
since found unnecessary. If the glass be clean, the collo-
dion suitable, and the operations properly conducted, the
film leaves the gla.ss without difficulty.

The Collodion. — The selection of the collodion is of some
importance, as it must give an image at once delicate and
vigorous, and possess the toughness which renders the
final transfer easy and certain. The right qualities are
most easily learnt by experience. 'I'he collodion must be
tough, and it must yield a clean, bright, vigorous image,
without any trace of fog. Air. Burgess uses Blanchard's,
which he finds answers pcrfeetly.

The Nitrate Path is an ordinary negative bath, .’b')
grains to the ounce, very slightly acid with nitric acid, and
in good condition.

The Copying Camera. — .Vny good copying camera suit-
able for taking transparencies will serve ; hut it may be
useful to some readers if we reproduce a description of that
designeil by Mr. Burgess for enlarging as well as copying.
It is made of deal, black cloth, and strong elastic, costs
about .£d, and is so simple that any carpenter can con-
struct one from the accompanying diagrams.

Fig. 1 shows the camera extended to its full length,
being fiO inches from the lens to ground glass. A is 24
inches square, slides from one end of the base to the other,
and has a projection of half-an-inch at the bottom, which

Fig. 1.

slides in a groove, and serves to keep it square. It is held
by two screws at the back, which will be seen in the dia-
gram ; these simply screw down into the bottom board

TilE tHOtOGRAPHIC NEWS.

September 4, 1868,]

428

without entering it. B is the ground glass. C the exten-
ding body made of black doeskin, and is supported by
strips of strong elastic, running from e.ach corner. It will
be observed that the bottom of the camera consists of two
pieces, one sliding into the centre of the other. 1) is the
box for the negative or transparent positive. It is screwed
on to two pieces of wood having grooves to fit the smaller
part of the bottom of the camera. The grooves may be seen
in fig. 2. E is the slide carrying the negative or transparent

Fig. 2.

positive. B is a hood for the lens ; if this is made of black
lining (black cotton twill) it will not require any supports.
The letters in each figure refer to the same parts.

The negative, generally with an oval mask of black
paper in contact, is placed in the slide E, and directeil
towards the northern sky. A repeating back is employed,
so as to produce four images in succession on the plate.

Thr Exposure depends much, of cour.se, on the negative,
the liglit, and the chemicals. ’I'hose we saw exposed
varieil between ten and twenty seconds. But here is a
very notewortliy jioint to be observed ; each successive
image is found to require increased exjxisure. If ten
seconds were found to be suHicient for the first, and each
succeeding one of the four were al.so exposed ten seconds,
the following three would present indications of under-
exposure in increasing degree, the last being hopelessly
under-exposed. It is found necessary, therefore, to give
each succeeding image about two seconds’ additional expo-
sure ; the first having had ten seconds, the second receives
twelve, the third fourteen, and the la.st sixteen ; and this
equalizes the exposure. Some interesting speculations are
suggested by this circuin.stancc, but we must here confine
ourselves to noting the i)iactical fact. It is well to <‘idd
that the finest toned pictures are always obtained in a good
light

The Development is effected by means of a d-grain solu-
tion of j)yrogallic acid, to which is added :i grains of citric
acid and from 12 to 20 minims of acetic acid. In a recent
notice of this developer we omitted to mention the acetic
acid ; but the image has a tendency to acipiire too blue a
black tone if the acetic acid be omitted. 'I'he extent to
which development should be carried in order to secure the
desired amount of detail and vigour, and at the same time
to avoid burying the image, is most important ; but expe-
rience is the best guide. 'I'lie practised eye Can distinguish
the right stage by looking at it with something dark under-
neath, better than by looking through it in the mode a
negative is examined. If the development be stopped too
soon, the image lacks detail, and the blacks are not
vigorous ; if it be carried on too long, much of the detail
becomes buried in the blacks, and is not visible by reflected
light. As a rule, the development is more rapidly con-
ducted with the transparent positive than is necessary
with a negative. It is imperative that the transparent
parts be free from foggy deposit, ilr. Burgess fixes in
cyanide.

Toning. — After well washing the fixed image it is toned
with a neutral solution of chloride of gold, or rather of the
double chloride of gold and sodium, which is the salt Mr.
Burgess employs. He uses a solution containing a grain
of the gold salt in a drachm of water, without any addi-
tion. This is poured on to the plate, and in less than a
minute the surplus is poured back into the bottle, the

toning action having generally passed quite through the
image in that time. To examine the picture thoroughly a
very convenient jjlan is now adopted. A sheet of white
paper is made wet and brought into contact with the wet
film. On examining the back of the glass, through which
the image is seen against the white paper, it is easy to
ascertain if the toning process has been carried far enough,
and also whether the print is in all respects sulliciently
perfect for finishing.

Varnishing. — .Vfter rinsing and drying the i)icture it is
varnished with Sadinee varnish. 'I'liis part of the process
was at one time omitted, but Mr. Burgess has found that
the image is more brilliant and perfect if varni.shed at this
stage, 'i'he operation involves a little risk, for if an un-
suitable varnish be employed, it permeates the film and
causes it to adhere to the glass, rendering the final removal
ilitficult. Mr. Burgess luus found this occur with some
varnishes, but never when the Sadinee varnish is em-
])loye(l.

Retouching. — Defects may now be removed by retouch-
ing delicately with a little suitable water colour. Matt
silver stains, or other opa(pie spots or markings, may bo
scraped away, and so rendered impercei)tible in the finished
print.

Applying the Eburncum Preparation. — The varnished
picture is now ready for the Eburncum coating. Strips of
jiaper an inch wide are coated with a stiff i)aste (Mr.
Burge.ss uses gum tragacanth). 'I'he j)aper he emj)loys is
that which is silvered on one side, ami is usually sohl by
fancy stationers for ornamental uses. It is selected be-
cause, whilst it is very pliant, it is al.so tough, and not
readily j)crmeable to moisture. .Vn ordinary ]iai)er, j>liant
enough for easy working, is often st> soft and permeable
that it bursts away on contact with the hot gelatine solu-
tion. It is attached to the back of thej)late, leaving about
a quarter of an inch to turn uj> round the edges, and so
form a kind of dish of about one-eighth of an inch deep, of
which the film forms the bottom. It is then carefully
adjusted on a levelling-stand to receive the solution.

Although we have before published the recij>e for the
preparation, we will, for the purpose of giving coiiq»lete-
ness to this article, repeat the formula (precisely as it is
now used : —

French gelatine ... ... ... o ounces

Water ... ... ... ... 20 ,,

(llycerine ... ... ... ... ^ ounce

Oxide of zinc ... ... ... 1 ,.

'i'he French gelatine is sold in thin, nearly colourless
sheets, and is found tougher and better for this pnrpo.se
than Nelson’s, whilst it is about half the price. It is
soaked in the water, di.ssolved by gentle heat, and tiltei'cd
through flannel. 'The oxide of zinc is placed in a mortar
with the glycerine and a little of the water, and thoroughly
incorporated. It is then well mixed with the warm gela-
tine. It is desirable to keej) the j)reparation warm and
licpiid for some hours — s.ay six or eight — in order to permit
the complete subsidence of the coarser particles of the
zinc white. Il'hen this is done, and the gelatine has been
suffered to cool, the mass may be lifted out of the jar, and
the bottom cut off, which will remove all the coarse i)oi -
tion at once. If sufficient time for this subsidence is not
allowed, the layer of Eburneum will appear coarse and
granulated. If the solution be kej)t warm too long, too
much of the zinc white will be deposited, leaving the
Eburneum too transparent ; it will lack the solidity and
brilliant whiteness which should characterize it.

'I'his preparation is kept in stock, and a portion warmed
by j)lacing it in a jar in a pan of water over a fire when
required. It is best used at a temperature of about
100° Fall. About two ounces are sufficient to cover a
whole-plate to the proper depth. When the solution is
fluid, about two ounces and a-half are placed in a cup and
set aside for a few minutes. 'I’his is an important point.
IVhcnever a gelatinous solution is poured from one vessel

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pgfaeaaod r: lit hatzem. »r».f ai? j ibt Bi so aa v

ptTPET a exjTtaz x air to iias«s Txrcirxi h azid carry cS

mrz.z bas kelpei ikose trao b*tc eskdearoarel to carry tbeii
fcToczite an a step ia ike oavard diiecsiaA.

Tertirx to ocke; t>ra:^:ktf. it is kere vt £ai oocasaotiallj.
bu ito: weariiw'T — sc- as to sri; all tasres, crea tkt dtytst
— tkofte sixrts aad stbIxus tTbirh doebties laeaa more thaa
tkey appear to dj a: a rnt glance, aad vkicb. I bare
keud. asoed •azmsi.ii o: iaiettse rapesre to ike fa roared
ita — ibtKisss aad opticrans piibcipailr — ako caa dedpher
tktaa. bn vkicb sin.; be u> the aaiaitiaied as dificalt to

zraer is traced a: tkt j read aad aadesstacid as tkt Copdc alpaabtt or tkai caiioes

' ai»:iET aa irieb ’ cacjirnag book af Mtilia's akich ke described to the wily
bm=rr- Tbs t * TcCtx*tiarnrt cf aboin Tiriea, area skt aattei to eigcy a £ea kocis' Ug^bt re*d-

7 FaL Wsik a Ten^ieniicrr rtrei ilirtisr lit rrlasinf ir^: —

*- Fm re^ ibe ko^ ay }n(TT Trriea!

Aye, arc. it is bar lataar b«?.

trezy *•» aa aa.sie reuze,

Kiti eror srere e3kd;Ksr ia ikt Eiass

acidd iT3_ Torsre art difrea ike -ddfs cf •

ben. xpeo. abii -an jUxtr* are placed. Vaxirag agan.-a xtir
adcL. fact oui wards. Fr;ct ratiTr-f^cr tc ikirrr-^

bcnca. or Bcaiieizi&es »»t. art rwjrsrtd to dry ike Ebncr-
xitaDt jierforfr. It is cf rhaf irtporatict ibai ii akoaid bt
dry. or ii wiZ a-ajTi. aai tIk six^ot aiE btcGKit <bnT^ aad
tkt ^TTtagt li«ci it* dtlicaTt- "WThtsc ii is dry. tkt l«act of
ikt l.Ti if -ramEsiitd airi cfi5>5-3E_ t : p«riT<tc: h freoa

mt jarvzrt irent ike ^daa*. arrtT afpJyrt.
at&cBBary *:• renert ii to- ikt t

Tki xraoe <f aaaer it Tkt »olTfx.TS cc t

A ncsart i.f tec Thar Ix^ a Ihzit bhc,

Tbf tEC a:- Idtet ibn ikt ieeabs cf deaa.

And eicy aqaare <f tas aa aafal ehaim.

< • * • Fm r^ai tic boab i

And trtey resort sezihUed. ovas'd, aaf <T.-,.-i*d
tTiifi ouatuiaiL. oaiaest ocooessstka, bed
T: -acai aad ty?-~

10 re«o>rt Ij 5s iiejc tkai the lass aea iklag ia §la.« boTises L» oom-
coflo&B. k is • Baaicaitd. or akere ike reader is ittrudaoed to sxsiios adl-
X a skm limt. , kx,c»an by caiat. bsi diSmlt to er-ier ; abere tkt professioAal
- erflo&B is af pk aeograpkess are recosateadrd atai “leading article ” to
aksord^ by ik» rsdazint. "^bseb s5gkil» recaenmeti tkeir egstoa^nt ; it was in tke Xtas inat the

ssafttii^^agasE. and rtqTdrts a Birlt rrriliiir 'iryitg. Wkea , cakiiel pmrail. abki seems destined u rerire poWic
•yekeiy a perkrift i m r:«pji ikt e-dge. xxA tke sackt || jatcrest in tkt an. was created ; it is kere aktre ike cbarla-
cfEbumtT!* coBCOBstg tkt jirzzjfs^c sans away j y abipped. aad ti= imposter exposed ; ii is kcre aktre

le^ts ikt grafis_ *-'-ke« dLiin-ix. _0^ g>x«l j csnespaedeatE are aHiaad to itate ik»r panicalar
■a&aajam cf dtsaceasaoB bang ptneci c:psnsTS ia tkt £hn gT5tTaneF»i grtxal at tkings ia general, disensa processea. or
kaainx tit ^asi qMwtanecwily ia i»c€Tic!fcS before srtps i adrice. akick they always get, eitker from tbe Editor or

eogresponderrta ; aad it is ken akere the pbotographic j

hart tiee*. tabti t-> reajort it.

Tkt tke«t of paexares is rwt vfL asad iraA psiat triraatol
aiii a pair cf -ktara. whack ac^^ tirotrfx ikt pTXpuBt
ihaa a kxdfe.

It is aorrh -aoting ikaa ikt frisktd jdtTart when rt-
rec/rtvi frcK the xxas is always a briV- detper. neher. azid
fa£sr <f dtsail than h appeared abUst attached to tht
and iLis ^:njd be benz: ia awnd threegbeen tkt
<yy*baai We bare jm eaitred iarto a asiBaie deacrip-
taoB of the beatnies cf tbts-t pdctcres— cf ibt Tmaifarnr^
«qie?«tedfTifland deficaer. aadirory-Iix tefien — ^
as ae a£»s»t that <m readen are- ahh their

yai Sties Tboae who art not ikoild not iaO
examples c» tit ferss o^portaaiiT.

sHOBT ESSAYS OX PH0T0GEAJ»HT AXD ABT.
y«L i— “W^xm^A Ma*.-
*T M_ t. aoacaaox.

0»i of tis moR drrertinr. and. a: tit cct* tiiB» cue of tkt
aaddest pages of the Xrwi. k tkai aback erttainf the areal]

adrertasexbtsta : ^kat^ k. the rtxtaoa of tk* paper derated added if tke p-archaser aa*

lame. Lain and blind are I>;>1<L in tbe oolnma dercitd to
aasaec. abst is ike fpecific beR sniirl to tkeir panktdar
diyaaec.

But it was not of tke llienxj partaoa cf tke X'zas I in-
tsded to write, bet tke small adrritiseme&u. It is here
aktre tke great eoatzast is foand to tke rest of tke paper ; it
is here akere ike tmtk is departed from In tke most nn-
tlTsbing manner. Ereryihing is “ nist claai.'' If all the
adrertisttaents are tne. tkere are ia this ooaatiy aomt
tkoesand-^ of ~ gestlemen operaton ~ of ** Em-dare ability."
It k. perhaps, ooly fair to inquire abere are tke pictam
ppdnc^ by tkeae great artists, and akj do not they exkibit ?
Tney aoald find it mneh more proiiable. if not immediatelj.
at least ereatcally. or indirectly, to exkibit niat-iate work,
tbas to let it be kid in tke sk oa- rooms of tkeir emplojen.
BcssneiBeB. I notiee, are lately giing ckcap; tkere was a
“ frst-das " one, capable of great improremeat (or tke
acTerdscT skordd hare said. ** aiik raare fur great impnrre-
iaez.1 to be had for tire lidimlcm* aoia of £o. Perhaps,
aken tke largain was cxreclsded. a pot of ^rter aoald be

liber^ Otoeia iro in for

fc- tki a^i* of tbs pbotograpnic oorearoairy. In tke body ' reapectabilixy arid hendnds. and I dare aay tke one a*!!* as
trf tke Xrat •»» hare epitoeais^ lor ns tke whole knoakdgs I aeu re the atha. Perhaps in no other art is tkere so mock
the acrid re far re regards am art and thoK acacacaa | peifrcnoo re oor own. if ae are to jndge from adrertiaaneiUa,

THE PHOTOGRAPHIC NEWS.

425

September 4, 1868.]

except in patent medicines. EverylKKiy's enlargements are
the most perfect ever prodneed ; everybody’s collodion is
perfect; but one maker, who does not appear in the News,
advertises collodion which is more perfect than the most per-
fect ; but then the maker is an exceedingly clever and honest
man, who would not mislead his brother photographers for
the world, more especially when he was selling thvm. The
advertising colourists are philanthropists in their poly-
chroraic way ; they will supply you with “ most exquisite
finish, ivorj’-like and brilliant, by first-rate talent.” for the
small price of sixpence a carte. But I am off the rails again.
Let us resume, as poor Arteraus Ward used to say.

In turning over the advertisements of the News, announce-
ments similar to this will often be found : —

To Operatou*.

"I T ’'-\.NTED, a Youn? Man ; must be a comps tent Arti>t, of crentie-
\ V manlv manners, a prood Poser, and be able to take a fruitless
negative. Will be exj>ect^ to make himself generallv useful. Send
carte of self, Acc. None but the most competent need apply, as this
is a permanency. Wages, £1 5s. jx'r week. Apply, Acc.

For twenty-five shillings a week a competent artist and a
gentleman is expected to make himself generally useful !
r’or this miserable sum the man who, if he answered the
terms of the advertisement, should have great chemical
knowledge added to careful artistic culture, and, perhaps, a
college education, is expected to be the drudge of, possibly —
even probably — some ignorant fellow who has, let u* say. a
little bazaar for fancy goods and toys, or a tobacco shop, to
which he wishes to add a photographic “ gallery,” managed,
under his superior direction, by five-and-twenty shillings’
worth of gentlemanly manners, good posing, and general
usefulness. And is this what the noble art of photography
is coming to? Is it come so low that perfection in its prac-
tice, added to other virtues, are expected to be obtained for
a porter’s wages? I do not object that five-and-twenty
shillings are not enough for a vast quantity of those who
have taken up photography ; there are, or were, plenty of
“doorsmen” of photographic dens who only got ten or twelve
shillings a week, which was as much as they were worth ;
and there are many respectable men who are only worth a
small salary ; but advertisers of thecla^s I have named have
so singular a notion of photography, that when they insert
such advertisements in the papers they actually think that
they will procure what they advertise for, and are content to
suppose that the results produced are the finest in creation,
and that the pictures turned out of their establishments re-
present photography in its highest phase.

I strongly condemn the operation of trades unions ; but
surely, if anywhere, a standard of ability' and a standard of
remuneration are required at present in photography !

1

(

i

I

ON TRANSFERRING NEG.VTIVES.

BY W.\LTEP. B. WOODm,'RY.

It is now a considerable time since, at a meeting of the
Manchester Photographic Society, I explained in detail a
complete method of taking the negative from the glass on
which it had been taken by means of a stout leathery
collodion. Since that time I think I may safely say that
few have thought it worth while to trouble themselves to
try it. I see, however, that M. Marion is again describing
the same method as new, and hope that attention will be
more fully called to its importance. How many thousand
pounds worth of plate glass is now lying idly by 1 I am
told of one large house in France that reckon their stock
of negatives — or, rather, the plate glass on which they are
taken — at a value of £6.000 ; and the storage and care of
these negatives is not by any means an inexpensive matter.
Now, were these negatives transferred to collodion, the
space they would require would be nothing, and the
photographer would not have his £6,000 lying useless.

Since writing the paper mentioned above on the subject.

I have made some rather important modifications ; I
found that the coating of india-rubber u.sed to prevent
dissolution of the negative by the leather collodion was not
always sutiicient to do so. and. besides, that we introduce a
changeable, uncertain body into the film, which might after-
wards tend to destroy it. Having had varied experiences
with the use of india-rubber. I am led to believe that for
any permanent work the less we have to do with it the
better. What I have found to answer much better for the
purpose mider consideration is a weak solution of gum. as
the smallest proportion seems sufficient to prevent the sol-
vents from acting on the film beneath. When the nega-
tive is taken, and after the final washing, the gum- water
should be poured on and run over, and then thrown off.
and again a second lot applied. It should now be allowed
to dry. and then placed on a stand truly levelled, and the
transfer collodion poured on. When dry the whole is left
to soak in water till the negative detacnes itself from the
glass. To facilitate this I formerly recommended a coat-
ing of wax to be applied before t^iug the negative, but
this I find unnecessary, as. sooner or later, the action of the
water will separate the double film from the glass. Some
care will be necessary in drying the film when it has left
the glass, otherwise it will cockle and assume a shape
difficult to flatten again. The best way will be to place it
between sheets of blotting-paper under pressure until dry.
when it will always after remain flat. Apart from these
transferred negatives having the advantage of lightness,
the saving of glass. &c.. there are others of sufficient im-
ponance. With such negatives we can print from back or
front with equal sharpness, which, for most engraving and
other like processes, is of great value. For decorative work,
beautiful designs may be made by photographing a leaf or
group of leaves, or of flowers, and printing the im;^
double, one side being reversed : some very useful studies
for designers may by this means be produced : kaleidoscopic
designs may also be made by extending this principle.

Of the use of transferred dry-plate films for convenience
of travel. I shall have something to say on a future occa-
sion.

PICTORIAL EFFECT IN PHOTOGR.YPHY ;

Beixo Lessors ix

CoMPOsmoK AXD CutAROsctiao for Photographers.

BY H. P. ROBiySOX.

Chapter XXXII.

The principles of composition and chiarosenro having been
stated, it will be of use to the student to have {minted out to
him how these rules have been observed or neglected in
various examples ; I. therefore, in this and the following
; chapters intend to give illostiations from pictures or draw-
: ings, as widely diversified in character as possible, with
I critical remarks on their construction.

I My first example is one of those clever book illustrations
' which have done so much to iamiliarize the present genera-
! tion with good art. and which give ns enormous advantages
I over our fathers — who had to give a great price for inferior
I artistic work — in our opportunities of study. The great ad-
■ vance in the practice of wood engraving has done more than
I anything else to bring true art home to the people.

I The present example is a somewhat hard and formal illus-
, tration of angular composition, and shows much clever
mechanical arrangement without any subtlety. In this the
I art is shown almost boastfully, when it should have been
I the artist's endeavour to suppress too great a parade of
knowledge. But it is better to have too much art than none
at all, and this example is better for our purpose than one
more delicately arranged, because the arrangement is more
visible to the student.

W e will now proceed to analyte the construction of the
lines of this picture.

426

THE PHOTOGRAPHIC NEWS,

[September 4, 186S,

First, then, observe that the leading lines and points of
all the figures run into one another so as to form a series of
jryramids or parts of pyramids. The central head — that of
the old lady — forms the apex of the first pyramid, which is
supported by the two little girls on each side of her ; the

diagonal lines of this group, crossing at the top of the
grandmother’s head, run on the one side to the old man's
hat, which crowns the group, and on the other is continued
by the figures coming through the door. The pyramid
capped by the old man is formed on the right hand side by

the arm of ti'C child he is holding, who reaches down fo
liur brotlier s head. The <lark dress of this boy forms an
important mass in supporting the composition ; this mass
is repeated on the otlier side by the velvet jacket of the
girl looking up. It will be observed that some trouble has
been taken to form another diagonal line here with the
three children’* heads. The arm of the boy in the black
velvet dross, cut oft' as it is by the side of the picture,

appears to me to be a very serious defect in the composition.
The upright lines of the door contrast with the flowing
lines of the figures, and give stability to the whole. It may
be taken os a rule that a few straight lines in a composition,
by contrasting with the curves, always add to the general
effect.

The smallerillustration, from a drawing by F. W. Topham,
belongs to a much higher order of art than the larger

September 4, 1868.]

THK PHOTOGRAPHIC NEWS.

427

example. This also is constructed on the pyramidal form
of grouping, and is so arranged as to admit of very effec-
tive chiaroscuro. It will be noticed that the deepest dark
is brought into immediate contact with the highest light,

while the other portion of the picture is kept in varying
but intermediate tones, thus securing the greatest amount
of brilliancy and breadth. It is probable that in the
original drawing the sky seen through the open door was

more subdued in tone. There is a sentimei^t in the com-
position and chiaroscuro quite apart from, yet very suitable
to, the sulrject.

o —

rilOTOGRAPIlY AND THE IMMURED
POMPEIIANS.

BY J. WEROE.

Every one must be sensible of the many and varied applica-
tions of photography. Even photographers themselves,
familiar as they are with the capabilities of the art they
practise, must necessarily have their wonder e.xcited occa-
sionally at the scope of their art-science, especially when
they consider that the process as practised at the present
day is not more than seventeen years old. That it should
be the historian of the life and manners of the present period
more fully and faithfully than any written account is not
so much a matter of surprise. Appealing, as it does, to the
vanity and aft'ectlons of the people, it is at once a recorder of
the changes of fashion, a registrar of marriages, births, and
deaths, and a truthful illustrator of the times in which we
live. But that it should be brought to bear upon the past,
and make the inhabitants of the world in the nineteenth
century familiar with the forms, fashions, manners, life, and
death of the people of the first century of the Christian era,
is something to be marvelled at, and at first seems an im-
possibility. Y^et such is the fact ; and photography has
been made the cheap and ea.sy means of informing the pre-
sent generation of the manner in which the ancients behaved,
suffered, and died in the midst of one of the most appalling
catastrophes that ever overtook the inhabitants of any part
of the world, ancient or modern, as vividly and undeniably
as if the calamity had occurred but yesterday.

The foregoing reflections were excited by seeing very
recently some photographs from plaster casts of the forms
of human beings as they had fallen and died when Pompeii
and Herculaneum were destroyed by the first known and
terrible eruption of Mount Vesuvius. The photographs
alluded to reveal with a fearful fidelity the dreadful agonies
of some of those who perished at Pompeii, and, while look-
ing at the pictures, it is very difficult to divest the mind of
the idea that they are not the works of some ancient photo-
grapher who plied his lens and camera immediately after the
eruption had ceased, so forcibly do they carry the mind
back to the time and place of the awful immurement of both
a town and its people.

That these photographs were not obtained from the lifeless
forms of the Pompeiians the reader will readily understand,
for their bodies have not been preserved entire from that

day to this. The question then naturally arises, “ How
could plaster casts be obtained from which the photographs
were produced ?" To answer that question I must briefly
explain that Pompeii was not, as is generally understood,
destroyed by an overflow of red hot lava, which would have
burnt up every particle of human flesh with which it camo
in contact almost instantly, without leaving a mould or
impress of the form which it surrounded. The black mud
which flowed from Vesuvius into the doomed town of Pom-
peii entombed the houses and inhabitants — covered them
up and formed a thick crust over them, which gradually
hardened, and as the bodies crumbled away to dust a mould
or matrix was left, from which plaster casts of great beauty
and finish might have been obtained of almost everything
that was destroyed. Unfortunately, this was not discovered
until very recently, after many of the beautiful moulds had
been destroyed by the process of hurried, thoughtless, and
unsystematic excavation. It was only a short time ago,
since Naples was united to Italy, that careful and intelligent
excavation secured to future generations impressions from
those matrices made by the most terrible process of natural
mould making.

Big. Fiorclli, who was appointed superintendent of exca-
vations at Pompeii, happily thought of obtaining casts from
these natural moulds by pouring in so t plaster of Paris, and
thus secure more useful mementoes than by preserving the
moulds themselves. Amongst the first casts thus obtained
were the forms of four iiumau beings, described as follows in
the Quarterly Review for 1804; —

“These four persons had perished in the streets. Driven
from their homes, they sought to flee when it was too late.
These victims of the eruption wore not found together,
and they do not appear to have belonged to the same
family or household. The most interesting of the casts is
that of two women, probably mother and daughter, lying
feet to feet ; they appear from their garb to have been people
of poor condition. The elder seems to lie tranquilly on
her side, overcome by the noxious gases. She probably fell
and died without a struggle. Her limbs are extended, and
her left arm drops loosely. On one finger is still seen her
coarse iron ring. Her child was a girl of fifteen ; she
seems, poor thing, to have struggled hard for life. Her
legs are drawn up convulsively. Her little hands are
clenched in agony. In one she holds her veil or part of
her dress, with which she had covered her head, burying
her face in her arm, to shield herself from the falling ashes
and from the foul sulphurous smoke. The form of her head
is perfectly preserved. The texture of her coarse linen gar-
ments may be traced, and even the fashion of her dress

428

THE PHOTOGRAPHIC NEWS.

[September 4, 1868.

with its long sleeves reaching to her wrists. Here and
there it is torn, and the smooth young skin appeai-s in the
plaster like polished marble. On her tiny feet may still
be seen her embroidered sandals. At some distance from
this group lay a third woman, apparently about the ago of
twenty-five, and belonging to a better class. Silver rings
were on her fingers. She lay on her side, and bad died in
great agony. Her garments had been gathered up on one
side, leaving e.\posed a limb of the most beautiful form.
She had fled with her little treasure, two silver cups, a few
jewels, and some silver coins, and her keys, like a careful
matron. The fourth cast is that of a man of the people,
perhaps a common soldier. He is almost of colossal size.
He lies on his back, his arms extended by his side, and his
feet stretched out, as if, finding escape impo.ssible, he had
laid himself down to meet death like a brave man. His
dre.ss consists of a short coat or jerkin aud tight-litting
breeches of some coarse stuff, perhaps leather; heavy sandals,
with soles studded with nails, are laced tightly round his
ankles. On one finger is seen his iron ring. His features
are strongly marked, his mouth open, as in death. Some
of his teeth still remain, and even part of the moustache
adheres to the plaster.”

Such is the description of the plaster casts ; and the photo-
graphs which I possess of those casts convey to the mind
atone glance all that is there written. Wonderful photo-
graphy! How eloquent in their silence are thy ])ictures ! To
what more dignified and sublime uses could any art be put?
Only a few can look upon those casts of the dead Pompeiians
in the Museum at Naples, but the whole world may view the
photographs taken from them, and look upon the Pom-
peiians in their forms and habits as they died, and read a
page from the unwritten histories of those terrible death-
struggles, when the strong man, the tender placid mothei,
and the young and delicate maiden were all entombed in
that fearful sea of mud, amidst darkness and horrors that
can never be adequately described.

Such an awful catastrophe will never cease to interest the
student of ancient history, and photography will now be
the means of deepening his interest, and revealing to his
mind with greater force and lucidity many scenes that
actually occurred at the very moment of the appalling
destruction of Pompeii, on the 24th of August, A.n. 79.

o

llEMARKS UPON THE RETOUCHING OF
NEGATIVES.

BY DB. W. REIS3IG.*

The retouching of negatives is a subject which is every-
where regarded ns of the greatest importance, and already
in the Photographische Correspondez, as likewise at the
meetings of the Viennese Photographic Society, the various
technical methods which have been propo.scd have been
widely discussed. It is my intention here not to go farther
into the technical portion of the subject, but to content
myself with briefly considering the suitableness and perman-
ence of the materials employed in the process of retouching.

In printing from several negativ'es which have been pro-
duced with the same collodion, silver hath, exposure, &c.,
but which have been developed in the fimt ca.se with iron
and silver, secondly with pyrogallic acid and silver, thirdly
with corrosive sublimate,']' fourthly with corrosive sublimate
and subsequent treatment with ammonia or sulphide of
ammonium, and fifthly with Selle’s intensifier, it will be
found that the plate developed with silver alone will yield the
softest pictures. This indisputable fact is, in my opinion,
accounted for in the following manner: — The very finely-
divided silver particles composing the negative are spread over
the plate in several more or less dense layers, and not only
does a certain amount of white light make its way between
the different particles, but, through the latter themselves, a

• PhotOffraphischf. Correspondent.

t Bichloride of mercury.— Ed, P. N.

small quantity of blue light penetrates. That this is the
case may be proved by taking on extraordinarily thin
beaten leaf of silver, or a sheet of glass iipon which a thin
film of silver has been attached, and holding them against
the light, when objects may be easily seen through the same,
but surrounded by a blue light ; .sensitive paper may also be
blackened by light transmitted through thin layers of silver
of this description, though naturally with more or less diffi-
culty. If through the more dense portions of a negative no
light is able to penetrate on account of their intensity, it is,
nevertheless, not to be doubted that, in the half-tones, not
only does light make its way between the particles, but the
latter likewise allows blue light to pass, the powerful chemical
action of which upon sensitized silver paper is well known.

If corrosive sublimate alone is used for intensifying, a
violet subchloride of silver is formed, together with calomel,
which — so it appears to me — allows less light to pass between
the particles, and, although white, is less transparent than
the varnish. The brownish-black sulphide of mercury, the
perfectly opaque suhoxide of mercury, carmine, &c., all allow
either none or but very little light to pass, and this of no —
or, in the case of carmine, very little — actinic power.

As before stated, I attribute to the particular behaviour of
the silver the fact that the softest and most harmonious pic-
tures are obtainable from negatives which have been deve-
loped with silver only. Thi.s, therefore, points to the con-
clusion that, theoretically, very finely divided silver is the
most suitable material to be employed for retouching.
Precipitated silver is, however, of different kinds, according
to whether it has been reduced from nitrate of silver by a
solution of iron, or ))yrogallic acid, the difference being
easily discoverable with the naked eye. That prepared by
treatment with a solution of iron is of a whitish colour, the
whiter and more metallic it appears the more acid (acetic acid,
nitric acid, &c.) having been used in its reduction ; the pre-
cipitate induced by pyrogallic acid is of a bluish-black tone
when viewed in large quantities. The precipitates are not
only different in appearance, but likewise different in their
chemical constitution, for they are by no means allotropic
forms of the pure metal. The first almost always contaims
sulphate of iron, if only in minute quantities; and the
second consists of an organic body in combination with the
metallic silver.

Of the presence of this organic body one may easily be
convinced. If a dilute solution of nitrate of silver containing
actually an appreciable quantity of nitric acid is preci-
pitated by means of a pyrogallic acid solution containing
acetic and citric acids, it is very diificult to obtain the warm
water which runs oft’ on wa.shing the precipitate of a per-
fectly colourless description. It may now be thought that
the silver is perfectly pure. That this is far from being the
case may be proved by digesting some of the silver powder
in a warm and very dilute solution of cyanide of potassium,
when the fluid a.ssumes a very appreciable wine-colour, and
the silver itself becomes of a lighter hue ; this operation
must, in fact, be repeated several times before the cyanide
solution remains perfectly colourless. As silver dis.solved in
cyanide of pota-ssium yields a colourles.^ solution it is clearly
shown that another body of organic origin must be in com-
bination with precipitated silver, reduced by means of pyro-
gallic acid. A cyanide of potassium solution, even of a very
dilute description, is capable of taking up finely-divided
silver, and, therefore, determination by means of analysis is
impracticable.

'i'he presence of an organic body in the silver film of a
negative which has been intensified with pyrogallic acid, is,
I may mention, no doubt the principal reason why such
negatives become darkened by time, aud do not retain their
original intensity, as is the case with those treated with an
iron developer only. The organic body doubtless sufl'ers
modification as the influence of the varnish becomes exerted
u[on the silver, and those negatives run the most risk that
have been developed by means of pyrogallic solution and
the liqu id from old sensitizing baths, inasmuch as the latter

THE PHOTOGRAPHIC NEWS.

429

September 4, 1868.]

contains iodide of silver ; thus, beside an organic body, an
iodide comes upon plate, which, being precipitated by the
pyrogallic solution and decomposed by the action of light,
causes a profound change to take place in the silver film.
Every one of my readers hiis, no doubt, observed that in in-
tensifying a negative of which some of the parts have not
been properly fixed (the edges and corners of a plate, for in-
stance), and are, therefore, covered with iodide of silver, such
portions darken in the liglit, forming deep black marks ujion
the negative. In the same manner, but, of course, in a less
degree, this decomposition of the iodide takes place upon
negatives covercil with silver in contact with an organic
body, and thus, in time, the black marks we observe upon
most plates are producetl by the action of light. For this
rea.son I would warn photographers not to employ old nega-
tive baths for the purpo.se of intensifying; it is best first of
ail to pr-‘cipitate the iodide of silver l>y adding a large
quantity of water, and then to filter and concentrate the
solution again by evaporation. Better still, take pure
nitrate of silver solution for the purpose. Unfortunately, all
negatives intensified with pyrogallic acid will darken by
time, for treatment of the same with a warm solution pf
cyanide of potassium is impracticable, becau.se, in the first
place, the negative is thereby rendered much weaker, and,
secondly, because it is difficult to treat the collodion film
with a warm liquid without running considerable risk of
tearing it. ^

By submitting the plates to the action of great heat the
object would, no doubt, be accomplished, as a high tempera-
ture would have the effect of decomposing an organic body ;
but there would always be formed upon the negative, where
the silver adheres to the glass after the destruction of the
collodion, a silicate of silver, which would influence the
strength of the negative. In practice it would scarcely
answer to treat all negatives in this manner, and the
encaustic method as at present employed is certainly more
advisable, as the original picture cannot then be destroyed.

But to return to the subject of retouching. When the
finely-precipitated silver has been mixed with gum and ap-
plied to the plate, there need be no fear of any cliange taking
place if the negative remains perfectly dry. At the s.ame
time, the variations of temperature to which a negative is
exposed during the process of printing in damp and cold
weather, being taken from a warm locality into a cold one,
or vice versa, causes a deposit of moisture upon the surface
of the gum and varnish. Once moist, a decomposition of
the gum and incorporated silver powder takes phace, and if
the latter has been obtained by precipitation with a solution
of iron, the trace of sulphite of iron becomes basic by giving
off sulphuric acid, which soon destroys the cementing mate-
rials ; besides, the moist gum upon the surface of the nega-
tives may likewise suffer decomposition by coming into
contact with the nitrate of silver upon the sensitized paper.
These experiences, referred to by il. II. Benque and others,
have caused me to investigate the matter, to obtain, if pos-
sible, in the first place, absolutely pure metallic silver in
the finest state of division, and, secondly, another cementing
material in the place of gum.

With regard to the silver, I fimt endeavoured to obtain
the metal by means of the electrotype process ; the method
is a good one, but very laborious. It led me to the idea of
using the silver powder which is manufactured in bronze
factories, and which is of a very fine description, and styled
" genuine silver powder.” By beating the metal into thin
sheets, and afterwards grinding it between large stone
rollers (a concentrated solution of gum being added during
the process), a powder of extraordinary fineness is obtained,
from which the coarser particles have been separated by
careful levigation. With this so-called silver-bronze,
retouching may be carried on. I possess negatives which
were thus retouched with gum four years ago, and which
are still quite perfect, although they have, of course, been
subjected to but little usage. At the same time, the pur-
chase of this description of bronze is often open to question

if the source whence it comes is doubtful and it is not
oljtaincd direct from the manufacturer. Sometimes the
powder is prepared by boiling chloride of silver in an alka-
line solution of cane sugar, and in this case the silver pro-
duct contains traces of undocomposed chloride of silver* It
is obvious that a silver of this de.scription should not be
used. If it is desired to use powdered silver, of the purity
of which one is convinced, it is best to precipitate a very
dilute solution of nitrate of silver (free from iodide of
silver) with the well-known pyrogallic acid solution ; the
latter should be used in excess, and the mixture well shaken,
and, finally, the precipitated powder carefully washed, and
afterwards digested in a lukewarm three to five per cent
solution of the purest cyanide of potassium. The last
operation is continued until the cyanide solution remains
perfectly colourle.ss, when the same is poured off, and the
powder well washed with water. The proce.ss is somewhat
laborious and elaborate, but by its means a very pure and
reliable product is obtained.

That the employment of gum as a means of retouching is
injurious we have already mentioned. Fortunately, the
silver powder may be applied with oil of turpentine in the
same manner as it is with gum, excepting that with the
formir its manipulation is somewhat more difficult, and its
odour less agreeable ; the oil of turpentine, which evaporates
and becomes resinous, is unquestionably the best cementing
material, but alterations and removals are by its means
somewhat difficult of execution. Whether it is owing to
these facts or not, I do not know, but in most of the studios
photographers prefer to work with carmine, a substance
easily obtained, and one which allows of easy removal in
the case of bad workmanship, and is safely protected from
alteration by moisture by the application of another coating
of varnish.

Of special importance is the process of M. A. Angerer,
which is mentioned in M. Benque's work, but which I my-
self had independently become acquainted with — viz., the
process of retouching with graphite. A pencil, Faber No. 1,
is rubbed upon a stone, and the powder thus obtained (con-
taining either gum or resin) is applied to the negative by
means of purified oil of turpentine. This process I have
simplified considerably by employing the very fine
powdered graphite, such as is used in the electrotyping
process. It is impossible to prepare a finer or more uni-
form product than the powder 1 employ, and which, through
the influence of a friend, I have been enabled to obtain
direct from the manufactory of ^I. Faber in Nuremberg ; 1
have no doubt that photographers would experience no
difficulty in obtaining such supplies of the material as they
may require for retouching purposes from the same source.

HINTS UESl’ECTING THE PRODUCTION OP
CLEAN NEGATIVES IN HOT WEATHER.

IlY L. G. KLEFFEL.*

Duluxo hot wc.ather we are accustomed to hear from all sides
complaints of irregulaiities which constantly occur in the
production of negatives, and these defects, which generally
take the form of streaks, fog, and dark spots in the shadows,
are not unfrequcntly attributed to the inferior quality of the
collodion. That this is, however, far from being the case,
may be proved by the fact that if the collodion is changed
these imperfections still remain, and their production is,
therefore, shown to be due merely to the association of certain
causes arising from the great heat of the weather.

Fortunately, there are several methods whereby these
failures and cares of the photographer may be removed, and
I trust that the mode of proceeding here indicated may
prove welcome. One of the most important preventions
against unclean working is to place the collodion, sensi-
tizing bath, and developer in a metal refrigerator, or metal
vessel filled with ice or cold water, and to allow them to re-

* PholographUche Mitlheilungen.

TfiE PHOTOGRAPHIC NEWS.

430

[September 4, 186S

inain tliereln for some time previously to their employment.
But another, more reliable, and at the same time more con-
tenient method, is that indicated in an earlier edition of
my manual, and which is as follows : —

When the coated plate is withdrawn from the sensitizing
bath, it is placed in a porcelain dish filled with distilled
water, and washed in the same for a period of from thirty to
sixty seconds, to remove all trace of the silver solution from
its surface. When this is accomplished, the plate is again
dipped into the silver bath for the period of one minute,
in order to re-sensitize it, and then exposed. On pouring
on the developer it will be seen that the liquid flows easily
and with great regularity over the whole picture, and also
that the negative, if properly expo.sed, is developed very
evenly, and does not become evident by fits and starts, espe-
cially in the background or in the sky of the landscape. A
more certain result even will be obtained if the plates are
not dipped a second time into the same bath, but are treated
in a different one.

The same distilled water may bo used for several dozen
plates without any fear of injury ; the film of iodide of
silver gains in sensitiveness by the use of the second bath.

grorcfbhtg.'; of genetics.

Frencu PiiOTOGUA?mc Society.

A MEETixo of the Society was held on the 3rd ult., M. Balard,
President, in the chair.

M. Despaquis presented the Society with a sealed packet
containing specimens ofliis now sensitive material ilenominated
collodion ctiir, wliicli ho requested might be kept in the custody
of the Society for the period of a year, to ascertain its capacity
for being preserved in good order for a lengtheneil time.

Tlie PitESiDEXT thanked M. Uespaquis, and stated that tlie
material should be preserved as proposed.

M. Romain-Talbot suliniitted to the inspection of members
spe'dinens of vertical and horizontal batlis, manufactured at
Berlin, of moulde<l glass ; they are le; s weighty than those at
pre.sent made, and likewise more perfect in shape.

M. Lherisel presented the Society with a new description
of portable dark frame for dry plates of his own invention.

M. CLOUZAKn read a communication respecting certain im-
proved ap))aratus which he used in conjunction with his port-
able laboratory, when pliotographing in the open air. Among
otlier apparatus, he described a batli for sensitizing plates in
full dayliglit. and also a bath and dark frame comldueil.

M. le Colonel Avet exhibited a collection of jihoto-
engravings of views taken from nature, and likewise ot maps
reduced ami enlarged. They were produced by a process re-
cently patented by the Colonel.

M. Placet stated that on examining two or three negatives
which accompanied the collection, it appeared to him that the
jirocess consisted of jiouring upon the negative itself a layer ot
bichromated gelatine, wtiicli, on exposure to light, furnished
the necessary relief required for engraving, if this were so,
the process was not new, having been published as far back as
Isr.O or 18C1.

M. Antiioni communicated to the Society some improve-
ments which he had effected in his iiortable laboratory, and by
means of which he was able to carry on the processes of develop-
ment and intensifying while regarding the negative as a trans-
parency, and also to wash the same without exposing it to the
action of light.

The Society thanked M. Anthoni for his communication.

The proceedings then termiuated.

®0rr£spattb£uu.

PHOTOGRAPHIC NOTES ON THE CONTINENT.
[from a special correspondent.]

Munich, 20lh August, 1868.

After a fortnight's tramp over hill and dale, among glaciers,
mountain torrents, rocky gorges, and lofty peaks, sleeping now
in some chalot or simple village inn, and now in a roughly-built

auberge on some elevated mountain-top, it is not unpleasant to
indulge again in the comparative luxuriousness of a well-
furnislicd room and a comfortable hotel, and to partake of fare
somewhat more palatable than that furnished in these remote
districts. Mountain life in the Tyrol is certainly very delight-
ful, and the people to bo met with are, on the whole, intelligent
and pleasing, but of course one cannot expect a journey under-
taken iu a foreign country to be absolutely free from slight
troubles and annoyances ; everything one encounters does not
always appear coitleur de rose, and one’s resting places are rarely
so soft and sweet-smelling as to be comparable to a bed ol roses,
except as regards the fact of both being generally aiHicted with
specimens of entomology. The bread is one of the most serious
discomforts in the Tyrol and its vicinity ; rye broad I can eat,
even when the same contains a good third of vetch-flour ; and
the veritable black pumpernickel of the Thuringian iieasaut I
have lived upon for months together ; but the nauseous compo-
sition sometimes met with in these regions, invariably flavoured
either with a large quantity of carraway seeds, aniseed, or
fennell, becomes, after a few days, simply an intolerable abomi-
nation.

Ever since leaving Ileiligenblut the climate has been much
warmer, and in some of the valleys the heat is very intense.
Maize is grown to an enormous extent in the lowlands, and the
roads are often bordered with Spanish chesnuts, while other
evidences of a warm sun are apparent. The scenery of the
Upper Pusterthal, with its noted Dolomite mountains, is very
fine, and of a totally different description to that of the Salz-
kammergut. Then there is the Taufers Valley, with the
magnificent Taufers glacier at its head ; and beautiful Enner-
berger vale, which is but three German miles long, and in
which three different languages are spoken, viz., German,
Italian, and Romansch. At Franzesl'oste, a largo fortification
at the foot of the Brenner, built by the Austrians to defend the
pass, our journery on loot came to an end, and we availed our-
selves of the railway, which has been recently opened, to bring
us over the Brenner to liinsjiruch, and afterwards on liere.

The Brenner railway passes over a height of more than 1 000
feet, and is worked, even at the steci>est inclines, which amount
to one in forty, with locomotives and carriages of the ordinary
construction lilted with suitable breaks. Since the rails have
been laid down over the pass the traffic has increased almost
beyond credence. Twelve months ago one diligence was suf-
ficient to carry the whole number of passengers to their destina-
tion ; and now three trains, of eight or twelve carriages, pass
daily from one side to the other. The line is worked with
great ease and regularity, and is without doubt a very successful
unilertaking.

After Vienna, Munich is the most important town of Soutli
Germany ; it is the capital of Bavaria ami residence of the king.
A very beautiful city it is, with some very line palaces and
churches, and a gallery of paintings wliich is considered one of
the most important in Europe. The late king was a great art
student, and made it one of the duties of his life to organise an
extensive collection ot artistic productions ; and it is these
museums and galleries that have rendered Munich one of
the most popular and remarkable cities on the continent.

Permission has been accorded to copy by photography any
of the royal or public paintings. Many photographers have
availed themselves of this privilege, and reproductions of the
most celebrated pictures in the galleries are lo bo seen in
printsellers’ shops. These copies are, however, for the most
part very small, the majority being only carte-de-visite size,
and the details are, therefore, so small as to render the photo-
graphs in some cases perfectly useless. Some large copies,
measuring about 12 by 15, which 1 saw, were everything that
could be desired, and were very good substitutes for the
originals.

In regard to portraiture, Munich enjoys some considerable
reimtation. The town includes at least half-a-dozen artists of
first-rate order, their productions being, in general, quite equal
to those of the best Viennese photographers. Cartes-de-visite
are still the favourite formula, but cabinets seem to be coming
into fashion grauually and surely. Among other specimens I
noted some very beautiful pictures by M. Possenbacher, whose
large heads are remarkably fine. Some of the latter appeared
to have been taken by the camera direct, while those of extra-
ordinary size were, of course, enlargements. M. Reitmayer’s
specimens were, for the most part, also very good, consisting
chiefly of pictures of smaller size.

The prices asked at the different studios are reraarkabl

September 4, 1868.]

THE PHOTOGRAPHIC NEWS.

431

reasonable, seeing that in most cases the work turned out is of
a superior quality. They are 1 jwer even than at Vienna, where
the charges asked were, as I mentioned in a previous letter,
much less than those of Paris or London artists. This can only
bo accounted for on the score of cheaper hihour and materials,
for there does not appear to he so much — or, any rate, more —
competition existing among photographers as there is in this
country. Of course our friends over here know their own busi-
ness bettor than strangers, but yet 1 certainly think that the
prices are much lower than they need or ought to bo, and that
the good work turned out should bo made to bear a larger pro-
fit than that at present realized, which, in some cases, must be
very small indeed.

Cologne, August 22nd, 18G8.

If anything has done good service to photographers in the
capacity of a model it is certainly Cologne Cathedral. The
two compulsory things — and the only two— to bo done by
visitors to Cologne, is to see the I?om, and to buj' eait de Cologne ;
and as half of the inhabitants of the town appear to be ticket
porters and touts, the stranger who wishes to fulfil neither of
these duties runs a very fair chance of being hunted down and
lynched. Never was there such a nuisanco as the Cologne
commissionaires. If you do not want an hotel, ho volunteers to
show you the Uom ; or, failing that, will at once insist upon
leading you off to one of the innumerable shops where the only
veritable eau is. Under these circumstances it is somewhat
monotonous to observe in the shops pictures and photographs
of the Dom of every size, taken from every point of the com-
pass. The Dom from the north, from the west, froth the front,
back, north front, west front ; the Dom as it was ; the Dom as it
will be, &c., &c., and so on ad nauseam.

I was glad to se'' a large quantity of Braun’s carbon prints
on sale, both of largo and small size. The prices wore in
every case as low is, or even lower than, chose of silver prints,
many of the smaller carbon pictures being obtainable at the
small charge of sixpence. Some of H. Braun’s views of the
Rhine are very good, and are the only series that can at alt
compete with the pictures of Mr. England.

The portraiture in Cologne cannot compare with the larger
towns of South Germany, but is nevertheless of very fair merit.
T.he cabinets are much in favour here, and seem to have beaten
cartes quite out of the field. Some pictures by M. Haase were
very soft and brilliant, and much above the average of photo-
graphic productions ; the work of M. Raps was likewise good,
and worthy of mention. Other specimens shown were of
mediocre quality, although it should bo mentioned that the
prices asked were in every case very reasonable.

At Coblenz the specimens shown were on a par with those
at Cologne, but the number of photographers is not nearly so
great. At Neuwied, a small town north of Coblenz, M. Koch
does some very good work, especially in cartes ; his grouping
and posing, particularly of female figures, is remarkably
natural and effective, while the photography itself is of first-
rate order.

In reference to the question of retouching, a subject at pre-
sent commanding much attention, 1 may say that throughout
Germany I noticed that in the majority of instances the plioto-
graphs were freely retouched. In many cases, and by first-
rate artists, this retouching appeared to have been done direct
upon the negative, a method much more effective and even in
its results than that of manipulating the paper positive. Each
photographer has his own particular way of modifying the
negative, which is worked over to a more or less extent,
according to the artist’s taste, and he is in general very loath
to divulge his mode of manipulation.

THE PHOTOGRAPHER’S FUTURE.

SiK, — “ Make hay while the sun shines !” was an old adage
at one time ; but, instead of hay, photographers usually make
pictures — at least, so they call thorn.

Now, did it ever occur to the ingenious minds of your nume-
rous readers that the above adage had an intimate companion :
“ Look out for a rainy day ”? And if it ever did strike their
imagination, I fear it was unheeded. What provision have
they made for the wet, or rather “ old age,” when cyanide has
secretly underminded the constitution, when disasters occur?

You photographers are like the butterfly race— all life for
a season, all show and display. Yet think for a moment ;
even in the midst of your career misfortune may overtake you,
not waiting until tho time your frivolous lite has had its

natural run, but nip 3'ou up in the midst of all your glorious
excess, as a frost does your insect similar.

I will own that a woman has but a poor, weakly voice to
rouse men from the deep lethargy into which they have fallen
concerning a topic so essential to all well-meaning, intelligent
classes. To enforce my views, permit me to call attention to
the societies which have been formed by different sections of
our busy fellow-creatures, and for a moment consider tho vast
amount of real good and benefit they have done. The fish-
mongers, for example, by their pretty almshouses, and amount
of pensions received, show how the many may help tho
few. Lot me not bo misunderstood. I do not imagine photo-
graphers have only to say the word, and it can be dono without
a struggle, or the work completed without trouble and patience,
but they could strivo to imitate, and even excel. Everything
must have a beginning, and, however small at the commence-
ment, may one day stand proudly forth and speak volumes in
praise of its founders ; and oven should success not attend their
labours, it wilt not be the first time in their lives that photo-
graphers have failed, and often in less creditable objects.

AV’ould to goodness men who have striven and worked so nobly
for the art, fearing nothing of contradiction and shameful abuse,
asserting that which they think of benefit to their fellow-
workers — would to goodness, I say, they could be brought to
interest themselves in behalf of the widows and children of
those belonging to their profession. In this matter I would ask
them to leave aside all dissension which is so often indulged in
at their scientific meetings, for unity is strength. Who knows
but what those who exert themselves now may, in some future
time, bo glad of the provision made, though they may little
imagine such a coming change ; but they must not forget that
fortune is a fickle jade.

Let mo, before closing this appeal, mention that I have
searched thocolumns of your valuable paperiu tliehopoof finding
some one who would bring this subject into consideration, but
not finding any one, I, a woman, have ventured to plead for my
sex in this instance, and have actually the audacity to solicit
your favour and support.

In conclusion, allow mo to add that although at present I am
not in need of aid or support (except your own in inserting
this), yet misfortune may overtake the strongest of us, and I
cannot help feeling something ought to bo done. Trusting you
will pardon my trespassing so long on your valuable space, I
remain, yours, &c.. Hopeful.

September lit, I8G8.

[Our fair correspondent may bo sure of our sympathy and aid
in such a project. Five years ago we mooted such a question,
and on page 589 of our Seventh Volume she will find tho first
article which .appeared on this subject. In tho next and subse-
quent volumes many articles have appeared, urging tho same
idea. It requires a little band of workers to initiate such a
scheme : men who are indifferent to tho abuse of malignant
pursons who will impugn their motives and calumniate them
for their best efforts. — Ed.]

SPONGING WAXED PRINTS.

SiK, — It is perhaps worth while to sot many well-meaning,
and some ill-meaning, persons right on the .action of an en-
caustic paste in protecting tho water colour used in retouching
albuminized prints from the action of moisture. I have re-
centlj' had a curious experience in this matter. Having
retouched some prints with that valuable pigment, charcoal
grey, mixed with a little gum, I was startled to find that no
subsequent application of wax or encaustic paste served to give
tho retouched spots a glazed surface like the rest. Do what I
would, they remained obstinately dead or flat, giving tho print
a very unpleasant eflect. It occurred to me to try to remove
them, and on applying a sponge filled with water, notwithstand-
ing that a very thick coat of wax had been applied, the whole of
the colour was easily removed. I have repeated this operation
since on waxed prints in which spots had been touched out
with other pigments and gum, and in all cases I find that
sponging will remove tho colour. I do not protend to enter
into cxplan.ations as to the cause, but any one can test and
prove the result. It seems jjrobable that the thin coating of
wax is easily disturbed by a little friction, and that the water,
being quickly absorbed by the gum or pigment, causes it to be
easily removed. — Yours truly, R.

t

432 THE PHOTOGRAPHIC NEWS. [September 4, 1868.

Ealk in tbe Stnbia.

Rectifying Alcohol by Means of Gelatine. — Whilst
■witnessing the manipulations of the Eburneura process in the
studio of Mr. Burgess, at Norwich, Mr. Burgess mentioned a
curious circumstance. When the gelatine and pigment forming
the layer of eburneum is quite dry, it is coated with collodion
to render it impervious to moisture. This operation ho noticed
always rendered the eburneum soft and limp, so that it required
placing in the drying-box again. The greediness of the gela-
tine for moisture causes it to absorb the trace of water in the
solvents of the collodion, and so become damp. This suggested
to us a possible use for rectifying small quuntities of alcoliol, or
removing water from collodion in which the use of imperfectly-
rectified solvents has caused a tendency to give crapy films.
Place a little pure gelatine in the spirit to bo lectitied. There
is no danger ot any portion of it dissolving, but it will absorb
the water and gradually swell ; it may then be removed, carry-
ing the water with it. This will bo found more convenient
than the plan sometimes recommended of agitating with car-
bonate of potash, and after subsidence decanting.

Portraits of M. Adam-Salomon.— We have just received
proofs of the portraits taken by Messrs. Robinson and Cherrill
of M. Adum-Salomon, one IG by 12, and two 12 by 10 inches
in size. We have never had the good fortune to meet with
anything in photographic jiortraituro to surpass the examples
before us, very rarely with anything to aj>proacli them in
photographic perfectness and art excellence. The treatment
is similar to that generally adopted by M. Salomon himself,
distinguished by singular luminousness and force, and not less
marked by delicacy, modelling, and fulness of gradation from
pearly-white to rich, deep, velvety, transparent blacks. The
portraiture in each is exceedingly good ; but one in which the
model is nearly in profile, sitting with folded arras, and acute
but meditative expression, is a portrait possessing rare em-
bodiment of character as well as technical perfectness, giving a
grandeur to the head not often seen in photography. We hope
that Messrs. Robinson and Cherrill may be induced to publish
this portrait, which, as an example of art photography, as well
as for the interest of the subject, many persons would bo glad to
possess.

Natural Accessories. — Our occasional contributor, “A
I’ractical Man,” referring to our mention of natural, rustic, aud
ether accessories in the studio of Mr. Burgess, calls atten-
tion to his prior suggestion of their use in various articles in
the early volumes of the News. No question of priority,
however, arises in the matter. Such accessories have been
used by some persons as early almost as the introduction of
photography as an art.

Cabinet Portraits with Natural Backgrounds. We
have received from Mr. Durrant, of Torquay, some examples of
cabinet portraiture — groups and single figures — with charac-
teristic natural backgrounds of far more than average excellence.
The photography is perfect — at once rich, forcible, and delicate
— and the art qualities are of a high order. Some of the groups
are engaged in fishing, and both foreground objects and the
distant landscape are in admirable keeping with the occupation.
Other natural accessories and scenery are alike jileasiug and
characteristic, and manifest a line feeling for pictorial etlect.
Mr. Durrant is a young photographer, and, if ws are not mis-
taken, a pupil of -Mr. H. P. Robiuson, to whose tuition he does
much credit. His early eft'orts give promise of a high position
amongst those who endeavour to use photography as a tine art.

Corresponbents.

A. H. — Your toning bath containing graims of chloride of gold
ought to tone about from twelve to twenty sheets of ])apcr. It
has doubtless become inactive, cither from some impurity in the
materials used, or from some contamination. Some samples of
acetate of soda are impure, carbonate of .soda being present, and a
toning bath made with such a .sample would s*x>n becfnne inert.
If, in the process of toning, you touch the solution with fingers
which have been in contact with hypo, the bath will <iuiekly lose
its toning qualities. As a beginner, you will do wi.selv not to
make so largo a quantity of toning bath'at oi.ee, without ascertain-
ing by experiment that the materials are pure. You can now add
protosulphate of iron to the solution, which will throw down tho
gold as a black powder, and this may be reconverted into chloride
of gold by means of aqua-regia. 2. Tho “ want of clearness in
the transparent parts” is the result of fog. It may arise from a
variety of causes. Try adding a little more acid to your developer.

Tc.st your bath, and if it is not acid, addi» drop or t'wo of nitric acid.
As a general rule, acid is the great preventive of fog. Read an ,
article on the Causes of Fogging, by ^Ir. Hughes, which appeared
in our pages a few weeks ago. 3. A verv simple and emcient
toning bath consists of 1 grain of chloride of gold, 1 grain of
carbonate of lime, and 6 ounces of water. This should be made
twenty-four hours before it is used. d. There is no especial collo-
dion made for copying prints ; but almost any sample which is
ripe, that is sufficiently old, will answer.

Arthur '\Vintertox scuds us an interesting print from a negative
taken from one of the set pieces in a di.splay of fireworks. The
design is brilliantly and perfectly made out, tho artificial light
having been h-utlicient to impress the sensitive plate and produce a
negative in an exjiosure of eight seconds. The result is very good
and novel.

J. C. fS. — We have tried the collodion, which, in our hands, worked
well and without any abnormal characteri.stics, the only peculiarity
being some slight symptoms of over-iodizing. Wo suspect that
you had tried it in a somewhat weak bath, in which case, the collo-
dion being very fully iodized, a superficial layer ot iodide of silver
would be formed, wliich easily breaks up and is Wiushed away.
Young. — If Marion .and Co. arc not prepared yet to supply their
transparent pellicle, we do not know of any one else who is. Mr.
Woodbury has not anything of the kind' ready for the market.
You can easily make such a pellicle for your own purpose. Coat
a j)late of glass with a thick collodion containing 10 per cent, of
castor oil ; when dry, coat it with dilute albumen, then coat with
sensitive collodion, and proceed to produce your positives in the
usual way, and finish as may he rciiuired. Then remove tho
whole from the glass. If a suitable tough collodion have been used
for the basis, this will be easily done.

Y'ouxtiSTER. — Zinc would not be suitable for a waste trough or
sink in the dark room, as it would readily corrode ; varnished wood
will answer better.

T. M. (Manchester). — There is no work published on photo-litho-
graphy. The fullest details which have been published will be
found in Lieut. Waterhouse's recent articles on the subject in our
pages. An excellent article w.is contributed by Mr. Butter to our
Year-Book for 1867.

A. X., who recently inquired of us where microscopic photographs
can be obtained in this country, is informed that Mr. J. Beard, of
Old Bond Street, Bath, can supply him.

20, Kent Road. — Various materials have been recommended for
retouching negatives ; but it is difficult to find anvthing but water
colour suitable, if you wish to remove it at will. Old negative
films ground up with turpentine and strained tlmmgh muslin have,
been recommended ; blacklead ground up with turpentine in the
.same way has been recommended by some, and we have heard
very good accounts of the material recommended by Mr. Bell.
Sec an article by Dr. Reissig in the present number.

C. E. F. — In order to add gelatine to a developer you must add it
first to the water, and dissolve by heat. In the small proportion
necessary after it has once been dissolved by heat, it will remain
in solution. One grain in a pint of a developer will often prove
sufficient. Gelatine is never dissolved by cold water if it be of
good quality. If you wish to add some to a developed in existence,
make a .solution in hot water, and then add a little to your developer.
W. J. A. G. — Wo have not had suttii ient ex]ierience with the plates
in question to form an opinion. We have occasionally used them,
and have nut found them blister. Try moistening with a mixture
of alcohol and water.

E. Jennings. — Mr. II. C. Jennings first sent a letter to the First
Volume of the PiioTOou.iriiic News, and has continued to .send
us occasional letters at intervals since. The first was, we believe,
in the number for January 7th, 18-)S). The volume is out of print,
but copies can occasionally be obtainetl.

Mr. Maycock. — We can scarcely undertake to say which is the
most portable tent in the market. Blanchard’s, sold by C. E.
Elliott, is very portable ; so is Meagher’s; soisRouch's. Ihumas’s
is exceedingly complete, but it is not intiuidixl to be carried by one
jierson. ^Iurray and Heath’s is similar. We do not remember
their respective jiriccs. \ bromide docs not produce crapiness in
collodion. Crapiness is generally due to excess of water in
the solvents.

J. W. — You will find a good process of jirinting on muslin and
similar fabrics on p. 98 of our last Ye.vr-Book.

F. W. — We have not seen the work issued by Virtue and Co. ; but
such of Caldesi’s photographs of the pictures in the National
Gallery as we have seen are very excellent. The mode of cojiying
them employeil was, we Iwlieve, first to secure a good facsimile in
charcoal by a clever artist, and from this monochrome copy a nega-
tive was obtained. 2. Tlie nxluction of the imago in the hypo
bath is due to various causes. Sometimes it is due to the original
preparation of the paper, excess of cldoride being used. It is
more frequently due to the action of the toning bath, which, if
used new ;ind containing much free chlorine, converts part of tho
image into chloride of silver, and this is dissolvcxl by the hypo-
sulphite solution.

Several Articles in type are again compelled to stand over until our
next. ScA-eral Correspondents in our next.

THE PHOT(j©Il|»HIC NEWS.

Vci. XII. No. 523. — September 11, 1868.

CONTENTS.

Pi os

Encaastic PastM ; M. \dam Salomon’s Formula 433

Uranium and Nickel Printing Process 434

Echoes of the Month. By an Old Photographer 434

Foreign Miscellanea 436

Method of Obtaining Intense Negatives 436

Practical Hints in Operating. By Fritz Uaugk 436

Pictorial Eflect in Photography. By II. P. Robinson 437

On the Empioyment of Blue Gla.ss in Photographic Studios. By

M. Alois Nigg 409

Sel Clement 439

PAO«

Phosphorcsacnt Photographs 440

Communications on Photography. By M. Carey Lea 441

On the Preparation of Iodic Acid and lodate of Potassium. By

Professor J. S. Stas 441

Con-Elliptical Vignette. By Professor Towler, M.D 443

On Pure White Gutta-Percha 442

Talk in the Studio 443

To Correspondents 443

Photographs Registered 441

ENCAUSTIC PASTES.— M. ADAM-SALOMON’S
FORMULA.

The value of an encaustic paste in improving ^he effect
of photographic prints is becoming very generally recog-
nized amongst photographers. A good encaustic confers
three special benefits on the print : it gives depth, richness,
and transparency to the deep shadows ; it renders apparent
delicate detail in the lights which would otherwise remain
imperceptible ; and it aids in protecting the surface, and so
tends to permanency.

The first and last of these three advantages are generally
appreciated, but it is not so well known — or, at least, we be-
lieve that it has not been so specially noted — that the appli-
cation of a wax or of an encaustic preparation practically
brings out minute detail not before apparent. But on
careful observation it will be found that this is so. A fami-
liar and palpable illustration of the kind of effect produced
is furnished by the process of varnishing or French polishing
a piece of fine-grained wood. When its surface is rough
the character of its graining is scarcely perceptible, but is
rendered partially visible by planing, scraping, or rubbing
smooth. However perfectly smooth it may be made, how-
ever, much of the most delicate part of the grain remains
invisible until it is polished or varnished, giving it a slightly
diaphanous surface. So it is with the photographic print.
Photographers know th.at when it is rolled, and so made
smooth, the definition and detail look finer than they did
before. But the effect of an encaustic paste is to make detail
bear out which was not seen before. The delicate pearly
gradations which surround the high lights, which were
buried in the texture of the paper, are, when the surface is
made diaphanous, perfectly visible, and the bringing out of
such gradation has the effect of giving a singularly delicate
quality of modelling, and a rare brilliancy in the lighter
portions of the picture. We have heard it remarked of some
photographs finished in this way, that the faces have the
appearance of being ^modelled in white marble. This is
scarcely true or good'criticism, by the way, for flesh should
not look like marble. But the idea has been suggested by
the diaphanous surface lendering visible a great deal of very
delicate detail which gave an effect of roundness and model-
ling without the aid of deep shadows, an effect very similar
to that of a white marble statue, in which the diaphanous
surface shows every dimple, and undulation, and gradation,
which would be lost in a coarser or more perfectly opaque
substance.

Various formulas for the preparation of encaustic pastes
have been published, and many of them very excellent.
The qualities required are, easiness of application and the
capacity of giving richness and depth without too much
gloss, and of yielding a hard, firm, permanent surface.
The exceedingly fine surface and the great richness in the

.shadows of the pictures of M. Adam-Salomon naturally
renders it a matter of interest to learn the especial formula
of the preparation he employs in finishing his prints. On
his recent visit to London, in answer to inquiry, he gave us,
from memory, the recipe, stating a doubt as to its exact-
ness, and promising to send us the precise details of an im-
proved formula on his return. Experimenting with the
formula he left ns, we produced, by a very slight modifica-
tion, an encaustic paste of exceeding excellence, which gave
us admirably satisfactorj results. It stands as follows : —

Pure white wax ...

Gum elemi
Turpentine

Essential oil of lavender...
Essential oil of spike

5 drachms

1 drachm

2 drachms
1 drachm
1 drachm.

The wax is cut into shreds, and melted in a capsule over a
water bath. Placing it in ajar, and the latter in a pan of
hot water, will serve. Powder the elemi, and dissolve it in
the turpentine and essential oils, using gentle heat. Some
samples of elemi are soft and tough, and will not admit of
powdering, in which case it may be roughly divided into
small portions and placed in a bottle with the solvents.
Elemi is generally a tough gum,, of a mottled-looking,
mixed character, containing a good deal of impurity. It
will invariably need straining through muslin to remove
impurities and insoluble matter. The clear solution is then
added to the melted wax, and well stirred. It is then
poured into a wide-mouthed bottle and suffered to cool. It
forms a firm paste, very easy to apply, and yielding a fine,
hard, rich surface.

To Messrs. Robinson and Cherrill, M. Salomon stated the
materials without proportions. They have favoured us with
an example of a formula worked out by experiment, and
with some prints treated with it. Mr. Robinson writes to
the effect that the trouble they had experienced in getting
good results with encaustic pastes on large pictures had
induced them to give up its use ; but that all difficulties
seem to be removed by the preparation the formula of
which we subjoin : —

Pure white wax ...
Gum elemi
Turpentine, about
Oil of spike

2J ounces
1 ounce
5 ounces
1 ounce.

Mix as above, and then add 1 drachm of essence of lavender.
This paste is much thinner than that made by the formula
preceding it, and Messrs. Robinson and Cherrill prefer it
on that account. It has the disadvantage, however, in some
cases, where the surface of the paper is soft and absorbent,
that it permeates the whites, and leaves a slight discoloura-
tion like grease, which is very slow to disappear, notwith-
standing that the solvents are volatile.

434

THE PHOTOGRAPHIC NEWS.

[September 11, 186 8.

Within the last few days we have received the improved

Formula of M. Adam-Salomon.
It stands as follows: —

Pure virgin wax

... 500 grammes

Gum elemi

... 10 ,.

Benzole

... 200 ,.

Essence of lavender ...

... 300

Oil of spike ...

... 15

Those who wish to try a small sample can substitute
grains for grammes. Melt the whole on a water bath, mix
thoroughly, and strain through muslin. A simpler plan
will bo to dissolve the elemi in the solvents, as described
above, and, after filtering, mix with the melted wax, as the
filtration, which is chiefly intended for the gum elemi, is
more easily managed before the wax is present. This, when
finished, forms a stiff paste, not differing much in quality
from that produced by the formula we have first given ;
but better, we think, in the fact that it dispenses with
turpentine, which we regard as an advantage. In each case
it will be seen that, as in all such preparations, wax is of
course the principal ingredient ; but the gum elemi serves
to give firmness, toughness, and hardness to the surface ob-
tained by its application.

The encaustic paste is put on the print in patches in
three or four parts, and then rubbed with a light, quick
motion, with a piece of clean flannel, until a firm, fine sur-
face is obtained. If a rich thick coating of the encaustic be
desired, a very light pressure in rubbing is necessary, so
that a polish may be acquired without rubbing oft' the paste
in the operation. If a print be retouched, more especial
care is required to use a light hand in applying the en-
caustic paste.

We add to these formula} for preparations for finishing
positives one which M. Biennert gives in the Archiv, which,
despite the curious mixture it seems, is said to give good
results ; —

White wax
Ether

Plain collodion

White shellac varnish ...
Alcohol

.. II
... 32
... 24
... IG
... 8

grammes

This is to be applied with a pledget of cotton wool, rubbing
rapidly until a polish is acquired.

URANIUM AND NICKEL PRINTING PROCESS.
Si.scB the publication of our last, we have heard of another
economical printing process possessing much promise. A
few weeks ago wo received from Dr. Liesegang, amongst
some other novelties, a very fine albuminized print, at once
solt and brilliant, with the simple inscription at the back
running thus, — “ Albumen, nitrate uranium, nitrate nickel.”
On inquiry as to the mode of using the materials mentioned,
and whether they are the only agents used in producing the
process, we learn that the print is produced by a process
suggested by Dr. Liesegang three years ago, and which, it
seems, Herr Wothly has recently been working out with
some success.

So far as we can learn at present from the details kindly
furnished by Dr. Liesegang in a private letter, as in
the process upon which we have recently experimented,
described in our last, silver is the colourific agent of which
the print is formed, but uranium and nickel play an im-
portant part in the process. The solution contains nitrate
of uranium, nitrate of nickel, and a verj’ small portion of
nitrate of silver. Albuminized paper, without any chloride,
is floated on this bath, which is sufficiently charged with
ether and alcohol to prevent solution of the albumen, not-
withstanding the small quantity of the silver salt present.
The especial part played by nitrate of nickel in this pro-

cess appears to be that of an accelerator, and, like most
accelerators, it also tends to produce softness, expess pro-
ducing weakness. The greatest advantage of the process is
obtained when the paper is exposed wet from the solution.
This can only be done, of course, in solar camera printing,
but for this purpose it is found very valuable. Dr. Liese-
gang has tried keeping the paper moist by means of steam
during the progress of printing, and has found that the ex-
posure was reduced one-half by such treatment.

The precise formula} and details of this process have not
yet reached us, but are promised shortly, when we shall lay
them before our readers. Any printing process which mini-
mises the use of silver possesses a two-told advantage — first,
economy ; and, second, greater probability of permanency.
The last claim may require explanation, which will, how-
ever, be readily understood. It is this; the smaller the
proportion of a silver salt in the paper, the less the propor-
tion of any fixing agent necessary to remove the unchanged
salt ; and the less fixing a print rec^uires, the less risk there
is of forming unstable compounds in the fixing bath, and
the less trouble there is in removing from the print traces
of the fixing agent, which, if left in, endangers its per-
manency.

■o

ECHOES OF THE MONTH.*

nr AN OLD PUOTOGBAPHER.

Discoveries, Printing Processes, and Patents — Dry

Processes— British Association Meeting — Sale of Poi-
sons Bill — American Bromide Patent — Sohonbein—

Mr. Fruwirtii’s Process.

Reohning lazily under the cool shelter of a rock, listening
to the wondrous philosophy murmured out by the sad sea
waves, I have been led to speculate on the curious fact that
invention or discovery in connection with photography
seems to flow in tidal waves, one pressing rapidly upon
another for a time, to be followed by a period of “ slack-
water." At one time the tide of invention sets in with
printing processes, and a flood of new and valuable methods
of producing fine prints from the negative overwhelms
photographers, who, perhaps, embarrassed by the wealth of
choice, neglect to work out any of the new methods proposed
for their advantage. In 1864 we had Swan’s caroon pro-
cess, the Wothlytype process, and your own collodio-chloride
process. The carbon process, being undoubtedly the most
important of these, has been steadily making its way, and
must, in the end, be the prevalent, if not the only, mode of
printing photographs. The Wothlytype process, as I have
always believed, deserved more attention than it received,
but it was unfortunate, both in the time and in the manner
of its introduction, and there were uncertainties and vaga-
ries in the action of the materials employed which were
never well understood or explained. The collodio-chloride
also suft’ered by forming one of a crowd of printing processes,
having to divide the attention of the photographic public
with the new uranium and carbon processes. But it
sufi'ered most from being a free gift to the public, and
having become everybody’s property, it became nobody’s
business. If it had passed into the hands of some individual
or firm whose interest it would have been to work out its
applications, to prepare and supply suitable materials, and
feel a special interest in its commercial success, I am satis-
fied that its adoption would have been more general, and the
interests of photographers and of proprietors more perfectly
served. Monopoly of some kind seems to be necessary to
repay inventors, or they have little stimulas to exertion.
The Leptographic Company, who have appropriated your
collodio-chloride process, endeavour to protect themselves bv
affecting secresy as to the exact mode of application. But
surely the Patent system is better than secrecy? By the
latter, knowledge is buried ; by the former it is published,

* The "Old Photographer’s ” copy did not arrive in time for Insertion in
oiu last. — Ed.

TH}=i PHOTOGRAPHIC NEWS.

485

Sbptember 11, 1868.]

but its originator has secured the profits of such knowledge
for a few years. Without the certainty of the possession of
these profits it would often be impossible to work out inven-
tions.

Thio is an aspect of the Patent question too often over-
looked. Take two especial examples : the carbon process
and the photo-relief process. U nless Mr. Swan had possessed
an absolute property for a time in his labours he could
never have worked out the carbon process to the degree
of perfection it at present possesses ; and without the con-
stant experiment and pereevering labours of a capable
person, who must bo in a position to spend much time,
much money, and much brain-power on the work, it would
never have attained the practieal and perfect character it
now bolds. So with the photo-relief process. The dis-
covery made by two gentlmen, independently, of the original
principle of printing in semi-transparent ink from intaglios,
in which shadow was represented by variation of depth in
the recesses, was valuable enough ; but the working-out
of that principle has involved an amount of labour and cost
which would have been literally impossible to a person
without an absolute property in the results. Every piece of
apparatus, every material employed, has involved some
novelty, and has required its conditions of success to be deter-
mined by costly and protracted experiment. And^ if these
labours had not presented a prospect of eventual commercial
success, it is more than probable that the process would
have been relegated to the limbo of ingenious possibilities.

My speculations by tlie sea-side, however, referred to
dry plates; but having referred to printing proces-ies as an
illustration of the tidal character of invention, these reflec-
tions on one phase of Patent law, which have often passed
through my mind, found a chance of expression which I
had not the energy to resist. Last year wo had a high tide of
dry processes: England’s collodio-albumen process, the

morphine proces,s, the coffee process, the gum process, and
some others. This summer there has not been a single new
process proposed, and only one or two slight moditications
of existing methods, a circumstance which, having in view
the number of excellent processes already in existence, I re-
gard as a matter for contratulation, as it affords time, with-
out the distraction of new suggestions, to appropriate, work
out, and master properly the novelties of last year. I have
had but little time or energy as yet for this work, but I
have done a little. The morphine process, with its delight-
ful simplicity, I find I can only rely on within a few days
after the plates are prepared. 1 have found them good at
the end of three weeks, but I cannot rely upon a repetition
of the experiment, having found them both insensitive and
inclined to fog at the end of a week. England’s process I
find capital. The plates keep two or three weeks, and the
negatives are very satisfactory. Nothing, however, exceeds
in my experience the coffee process ; it is simple and certain,
less sensitive than morphine piates, but not slow. The
plates keep well, and the negatives arc excellent. Gum 1
have not yet tried ; but from the negatives I have seen, and
the afccounts I have seen, it certainly seems to be the ne plus
ultra of dry processes.

The British Association meetings at Norwich scarcely
seem to have been very successful, judging from what has
appeared in the reports, and from the private account of a
friend. With the exception of some portion of Dr. Phipson’s
paper, and Mr. Bing’s paper on " Actinometry,” no matter
of special photographic interest seems to have been brought
before the sections. Professor Morren’s description of a new
action of light on chloride of silver seems to contain nothing
which Mr, Spiller’s papers on the same subject, published
ears ago, did not contain. I understand that the inn-
eepers of the ancient town distinguished themselves by
Heecing members to a serious extent ; and it was reported
that at the entertainment or fete given by Mr. Harvey to
the members of the Association, eighty pounds’ worth of
silver plate was stolen. As, however the company included —

surreptitiously, I am told — many hundreds of persons not in
any way connected with the Association, and of a class
clearly not accustomed to “ sit at good men’s feasts,” the
philosophers can scarcely be held accountable for the loss.

The new Pharmacy Act, doubtless well intended, will be
the source of some annoyance to dealers in photographic
materials, or such of them as are not at the same time phar-
maceutical chemists. The more stringent the conditions
under which the sale of poisons is permitted, the more re-
stricted, of course, will become the chances of accidental
poisoning. Suicide will not be much affected by a difficulty
of procuring poison — seeing that the avenues from life are so
numerous — except in so far as ready facilities sometimes
create temptation. King John exclaims, —

“ How oft the sight of means to do ill deeds
Make ill deed.s done !”

But if the precautions now made binding upon the phar-
maceutical chemist had been made binding upon tvll who
had occasion to vend poisons in the regular transaction of
their business, surely the end would have been gained. If
I send up to the dealer in London who supplies me with all
my photographic requisites, for a case of goods, surely it is
hard that ho cannot send me a bottle of chloroform varnish,
or a little cyanide or bichloride of mercury, articles neces-
sary in my studio for occasional use, although abandoned
in my general practice. It is an ill wind, however, that
blows nobody good. I suspect that the dealers who are also
chemists will frequently gain by this arrangement; for if it
be absolutely necessary to send to them for a few things, it
will often be found convenient to order other things at tin;
same time. Your advice to lay in stocks of the prohibited
articles is good in two ways : it will, if carried out, clear out
the stock in the dealers’ hands, and rid them of a difficulty,
and will save, possibly, some little trouble to the consumer
in getting a furthci supply.

All photographers of cosmopolitan spirit must congratu-
late their brethren of the United States on their emancipation
from the iniquitous bromide patent, which was not only a
tax upon their pockets, but a perpetual outrage upon their
common sense. Intelligent American photographers who
had for a score of years past used bromine in protographic
processes, aud who would so natunally employ abroniidein the
collodion proce.ss in their earliest experiments with it, just as
we did in this country, must have felt themselves terribly
outraged in having to pay a constant tax for permission to
use bromine because some one contrived to secure a patent
for its use in 1854, three or four years after its use in collo-
dion was known in this country, and fourteen years after its
use in equivalent processes was common throughout the
world.

I notice the death of Schonbein is just announced, in his
G9th year. He little thought when he discovered gun-cotton
that it would form the basis of such a revolution of the pho-
tographic. art as it has proved ! Photographers owe him a
tribute of grateful remembrance for rendering so much pos-
sible in their art — so much already accomplished — so much
to be accomplished by the collodion process.

I am glad to recognize in the examples of Mr. Fruwirth’s
process I have seen, indications of unusual excellence in a
phototype process. One of the difficulties which such pro-
cesses have to encounter is the necessity of having to repro-
duce subjects in mechanical gradation. To do this they
must reproduce engravings which have been already pub-
lished, or original drawings expressly produced for the pur-
pose. The temptation to do something original often makes
the inventor choose the latter, and it so rarely happens that
capable draughtsmen are obtained to prepare the original
drawings. Hard, scratchy, ill-drawn things in conception,
and execution of the feeblest kind, are too often produced -,
and the conclusion which follows is, however unreasonably
attained, that the process is unsatisfactory. It is to be hoped
thatiMr. Fruwirth will avoid splitting upon this rock.

436

THP] PPIOTOGKAPHIC NEWS.

The societies have only met in the fields, and then less for
photography than for social enjoyment. In another month
many of them will commence the winter session, and the*
discuss, it is to be hoped, the materials won during a
summer’s campaign.

In the Bulletin de la Societe Francaise is an account of the
method of photo-engraving recently patented by M. Henri
Avet, a colonel on the staff' of the Italian army. The pi-o-
cess consists in pouring upon the collodionized side of a
negative a sensitive mixture — as, for instance, gelatine and
bichromate — and exposing the layer, when dry, to the light
under the negative. The gelatine is then washed in the
dark, and a relief is thus formed, adhering to the negative,
from which a metallic fac-simile may be obtained by the
electrotype process, or, if preferred, an impression from the
relief may first be obtained in wax, and this afterwards
electrotyped. A very deep relief may be produced by re-
peating the process of coating the negative with gelatine,
and exposing it. A mould of this kind is proposed by the
inventor for stamping porcelains and other transparent
materials, while the less deep metallic intaglios are for print-
ing reproductions of engravings, drawings, maps, &c. If
an artificial grain is necessary for printing a picture, the
inventor produces the same by exposing his negative first of
all in front of a black cloth screen covered with white net
lace, and afterwards at the object to reproduce, or vice versa,
the fine markings not prejudicing the image upon the plate
in any way. Tlie same effect may be produced by placing
two negatives together — one having an object depicted on
its surface, while the other has the line lines — and producing
a gelatine relief from both at the same time.

Dr. Krippendorf, of Aarau, describes in the Photo-
yraphisches Archiv his method of operating out of doors.
As a tent he uses his tripod camera-stand, the legs of which
are but twelve decimetres in length. By enveloping the
stand in a large black cloth cover made for the purpose, and
using as a resting-place a small foot-stool, he is enabled to
conduct his operations with ease and comfort, the space
afforded being amply sufficient for his wants. A vessel of
water placed a slight elevation above the tent, and fitted
with a flexible tube, supplies the means of washing, and a
small aperture cut into the side of the black cover and fitted
with yellow calico provides for light and ventilation. Care
must be taken that one of the three legs is facing the direc-
tion in which the camera is pointed, so that the whole affair
may be as rigid as possible.

A photographer in Freiberg is making seals upon which
photographic portraits are engraved. He exposes a film of
bichromated gelatine under a glass positive, and then
places the same in water. The film swells out in parts, and
a picture in relief is thus obtained, from which an impres-
sion is taken in plaster of Paris, a metal cast of the latter
being afterwards produced by the electrotype process. The
seals thus obtained are sold at the rate of six shillings
each.

M. Siogwart, of Elberfeld, in making a few remarks
upon the carbon process, recommends the employment of a
solution of gutta-percha in chloroform instead of the india-
rubber solution generally employed. He states that the
gutta-percha may be applied with the same facility, and
possesses the advantage of drying within a few minutes after
its application, forming a film of the most adherent cha-
racter, which clings with especial tenacity to india-rubber
paper, il. Siegwart states tbat he has experimented with
several kinds of carbon material, and affirms that he obtains
the same result on a sheet of American paper in five minutes
as that produced upon Swan’s material in fifteen minutes ;
at the same time, for the development of pictures on the
American paper, a lengthened manipulation was necessary
in water of 70° to 80° 0., while the English paper developed

[September 11, 1868.

much more easily, and required treatment with luke-warm
water only.

General Count Nostitz, of St. Pctersburgli, communicates
to the Archiv the satisfaction he has found in using
dry plates prepared by Mr. Gordon’s gum process. So
sensitive has he found them that he has been able to secure
instantaneous negatives by their aid, the exposure required
being about one-third longer than that necessary for wet
plates. They remained in good order for months, and
might be kept for some time after having been exposed,
without being found to suffer. As a modification to the
process, the Count approves the employment of an iron deve-
loper instead of the alkaline treatment formerly used by
Mr. Gordon. The exposed plate is fiist moistened with
distilled water, and then the developer, to which a trace of
silver solution is added, is poured on ; a few more drops of
silver solution may afterwards be supplemented. If by this
means sufficient density is not obtained, the plate is care-
fully washed, and intensified with 1 gramme of pyrogallic
acid, 1 gramme of citric acid, and 240 grammes of water to
which a few drops of silver solution are added immediately
before employment.

METHOD OF OBTAINING INTENSE NEGATIVES.

A CORRESPONDENT sends US the following in the form of a
printed slip, which has apparently been supplied by some
process vendor." We may remark that it is very similar
to the method which Col. Stuart Wortley used to employ
in intensifying the very thin images he obtained in his in-
stantaneous process. If this method be employed upon a
negative already possessing some degree of vigour there is a
risk of over-intensifying. For reproductions, or any subject
requiring great density, this process answers well : —

“ The novelty of this process consists in applying the
pyro and silver last, instead of the usual way, which is
before the fixiug. Greater intensity is obtained without
injury to the half-tones if the process is conducted with care
and taste. With views the chemicals should be poured upon
the skies, aud worked principally upon that part to avoid
chalking the lights and half-tones.

“ The negative, after being developed with iron, fixed
with cyanide, and washed, is, while wet, flooded with
bicoloride of mercury, 10 grains to the ounce of water ; well
washed, and again flooded with iodide of potassium, 3 grains
to an ounce of water ; again washed ; then with pyrogallic
2 or 3 grains, acetic acid 5 drops, water 1 ounce, commence
the intensifying by first pouring on the pyro alone to
equalize the flow, then with the addition of 3 or 4 drops of
nitrate of silver 5 or 10 grains, water 1 ounce, pour on and
off’ four or five times, watching the picture carefully as it
increases in depth ; wash well the instant sufficient intensity
is obtained. If the picture does not come up to the mark
after a few applications of the pyro, do not continue its use,
but wash it well and commence again with the bichloride
and iodide, or iodide alone, taking care to wash well as at
first : this will probably complete the picture ; if it does
not, pyro and silver must be applied again, increasing the
proportion of silver. Should a brown stain occur in the
deep shadows, it can be removed when the intensifying is
finished by pouring the bichloride on and off until it
changes to an opalescent hue, which will be no impediment
to the printing. The operations are to be carried on in open
daylight.”

nUCTICAL HINTS IN OPERATING.

BT FRITZ IIAOOK.*

I. — Saltpetre in Nitrate of Silver.

Some time since, while engaged in operating, I found that
one of my negatives had been so vigorously acted upon by
the fixing solution that no vestige of a photographic image
remained upon its surface, and nothing was visible but a

• PholographUeJia Archiv.

Skptbmbbr 11, 1868.]

THE PHOTOGRAPHIC NEWS.

487

transparent film. According to Ilardwich, a result of this
description is caused by a collodion compounded of pyroxyline
which has been prepared with acids of insufficient strength,
the product formed being incapable of furnishing a film of
the required hardness ; moreover, in such a collodion the
iodide of silver is stated to be formed more upon the surface
of the film than actually inside the same. In the present
case I was convineed of the faultless composition of the collo-
dion, and it was necessary, therefore, to seek the cause of
failure elsewhere.

My suspicion at once fell upon the nitrate of silver which
had been used for compounding the sensitizing bath. It
had been freshly made up on the day of its employment,
and experiment which I hereupon instituted with the nitrate
of silver in question at once proved the same to contain an
appreciable quantity of saltpetre. The bath was on this
account, therefore, comparatively weak, a circumstance which
rendered the cause of failure evident, for after the solution
had been evaporated to two-thirds its original bulk, the
fixing agent ceased to exert any deteriorating effect upon
the negative.

According to my knowledge, I believe no one has yet
pointed out this particular source of failure, and as in my
early days of photography a similar instance came under
my notice, I think it but right to make known the same for
the benefit of my less experienced colleagues.

Generally speaking, it is by no means so rare a circum-
stance to jeceive nitrate of silver adulterated with saltpetre
tis one is apt to suppose, and every photographer who does
not draw his supply direct from firms of well-known reputa-
tion should make it his business to ascertain the purity of
the article delivered to him, if only for the purpose of esti-
mating its value. To do this a small quantity of the nitrate
is dissolved in a little distilled water, and so much chemi-
cally-purc hydrochloric acid added, drop by drop, until no
more chloride of silver is formed. The clear liquid is then
filtered off into a dial glass and evaporated by a gentle heat.
Does the nitrate of silver contain saltpetre, there remains,
after the liquid has completely evaporated, a network of
crystals upon the surface of the dial-glass ; if no saltpetre is
present, no deposit of any kind will be perceptible.

That failures from the cause in question are of seldom
occurrence is accounted for by the fact that sensitizing baths
are generally prepared in the proportion of one to ten, and
possess, therefore, a concentration which conceals’ the pre-
sence of saltpetre ; if, however, a bath in the proportion of
one to sixteen is prepared, it will bo found that, out of an
average of twelve samples of so-called chemically-pure
nitrate of silver, at least two will betray the presence of
saltpetre, and yield results similar to the one I have
described.

II. — The Intensifying op Negatives.

Many of my colleagues, when making professional tours,
practise the custom of simply developing their plates at the
moment of their production, and postpone the operations of
intensifying and fixing until they have more leisure to
devote to the purpose. I myself have also practised this
method of operating, but have always remarked that the
film of precipitated silver formed upon negatives produced
in this manner is of a much coarser description than in
those which are perfectly white in a moist condition. From
such coarse-grained plates as these it is, of course, impossible
to obtain delicate prints, and I would therefore recommend
that, whenever practicable, the process of intensifying should
immediately succeed that of developing. When this is
impossible the negatives should not be allowed to become
dry, but should be kept moist by constant pouring over of
water.

III. — Tearing of the Collodion Film in Varnishing.

Now and then the question arises as to the cause of injury
sometimes inflicted by the varnish upon the film, and as the
subject has again been discussed very recently, I here make
known my own experience in the matter. It is usual to

ascribe the evil to the too-concentrated condition of the
alcohol used in the manufacture of the varnish, and this is,
no doubt, in most cases, the case; but even with the employ-
ment of a dilute alcohol the unpleasant result may be
brought about ; when, namely, the plate is rendered too Lot
previously to its being varnished. Everything depends,
however, upon the description of collodion used, for with
some kinds I have purposely overheated the plate to a con-
siderable extent, and the latter has sustained no injury,
while with negatives prepared with other, materials a slight
excess of temperature was sufficient to bring about their
destruction.

IV. — Stains and Streaks.

Inexperienced photographers are greatly troubled with
these evils, the majority of which arc due to the manner of
pouring on the developer. Even with skilful treatment of
the developing solution, however, strains are sometimes un-
avoidable ; for instance, when the different photographic
compounds have not been carefully prepared. The silver
bath maj’' have been made too strong in comparison with
the iodizing of the collodion, or vice versa, and in such a
case stains must inevitably be produced, even if the developer
is poured upon and spread over the plate in the most
accomplished manner.

Another disagreeable phenomenon which causes some of
our colleagues much uneasiness is, the dark streak which
commences at the upper end of the plate and continues down
to the middle of the same, or even lower. This is the result
of a freshly-prepared bath and too much alcohol in the
developer. In almost every photographic manual it is stated
that the addition of alcohol to the developer is only neces-
sary when the bath has become somewhat alcoholic by the
sensitizing of several plates. This warning is, however,
generally disregarded, and an alcoholic developer is
frequently used with a fresh bath ; the result is, that as soon
as the developer is allowed to run off the plate, in order that
the picture may be examined by transparency, these streaks
are at once formed. Many obviate the same by carefully
washing the plate and removing the developer prior to an
inspection of the negative, but by this means it is impossible
to watch properly the gradual appearance of the picture, a
very necessary part of the operation of developing. For
this reason, therefore, no alcohol should be used in the
developer when a new bath is employed, a little being added
only when the bath has been some time in use, and the
quantity afterwards increased when the bath has become
appreciably alcoholic. If this precaution is properly
attended to, the developer may be poured on and off, and
the picture inspected from time to time, without any risk
of staining.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Chiaroscuro for Photographers.

BY II. P. ROBINSON.

Chapter XXXIII.

The landscape photographer could not improve himself in
the esthetics of his art more thoroughly and easily than by
an exhaustive study of Turner’s Liber Studiorum, more
especially if he had opportunity of comparing the original
drawings with the engravings and the various states of the
plates showing the many corrections find alterations of the
artist in his endeavour to reach perfection. Fortunately,
this study is possible to those within reach of the South
Kensington Museum, where a large proportion of the draw-
ings, as well as the engravings — either in the originals or
by photographic copies — are exhibited. Many of the
engravings were etched by Turner himself, who seemed so
fond of some of the plates that he found it impossible to let
them go, but kept retouching and finishing until they
eventually were almost transformed into different subjects
to the first sketch. These alterations are of extreme value

438

THE PHOTOGRAPHIC NEWS,

[September 11, 1868.

to the gtudent, showing, as they do, the progress of artistic
thought, lluskin has said that one of the original etchings
is a drawing-master in itself.

This famous work, which consisted of seventy-one draw-
ings in sepia, fifty-one of which are at South Kensington, and
in tine condition, originated in rivalry with Claude’s Liber
Veritas, a book in which this famous painter registered a
sketch of every picture he painted, in order to authenticate
his works, lii the Liber Studioniin Turner intended to show
his command of tire whole compass of landscape art. The
c'omprehensiveness of the scheme will be understoo<l by a
glance at the list of si.x heads into which the engravings are
divided ; viz., historical, pastoral, elegant piistoral, moun-
tain, marine, and architectural. Turner never did anything
in a fragmentary manner, lie used the only method of
attaining success, he did what he had to do with all his
might. While on the subject of this great work of our
greatest master, I may incidentally allude to the enormous

increase in value of works of art of late years : the subscrip-
tion price for the “ Liber” series was £17 18s., but a good
copy now sells for 200 guineas. Mr. Stokes formed a com-
plete collection, consisting of etchings, proofs, and duplicates
of each plate in its various states. This collection was offered
to the authorities of South Kensington Museum for £2,5<X),
and refused ; it afterwards sold in detail for more than £3,000.
But expensive proofs are not necessary for the student.
I’hotography has unlocked this treasure-house of art, that
all who care may enter. Three or four years ago the late
Mr. Thurston Thompson made two magnificent sets of
photographs from the original drawings, which were very
widely circulated, and are as valuable for study a.s the
originals. The Autotype Company also are, 1 believe,
about reproducing these pictures in carbon, which will be a
great boon to the lovers of art.

Lessons may be learnt from every drawing in the series,
but 1 have selected “ The Stackyard ” for illustration.

because of its simplicity, and because it shows how interest
may be imparted to the poorest matcriahs, when in the
hands of a true artist, by judicious selection of the point of
view, so that the objects may compose picturesquely and
artistically, and by skilful distribution of light and shade.

I of couiw do not suggest that the photographer has equal
power with the painter in arrangement, and light and
shade, but he possesses these (jualifications, a.s I have re-
peatedly stated, in a much greater degree than is generally
supposed. Ihe enormous power, for instance, pos.sesscd by
the photographer in the possibility of partial or local
development for regulating light and shade is seldom
thought of, much less used. In the “ [Stackyard ” the
general form is wedge-shaped, repeated by smaller forms of i
the same kind within the general form. Tlie thin ends of
the wedges are always supported or acc(mted. Sec the |
general outline supported by the man with the barrow and
the willow trees ; also notice how the pool in the foreground
assists in forming the wedge. The point of the wedge

formed by the rick, the two men, the ladder, &c., is sup-
ported by the white horse, while the group is balanced by
the horse lying down in the foreground. It will be noticed
in this picture, as in the sketch by Topham in the last
chapter, that the principal dark, the interior of the barn, is
in close contrast with the chief light, the white horse.
This is an arrangement which, if it can be secured in a
composition, always gives brilliancy and vigour.

The illustration is from a block reduced by Mr. Fruwirth’s
ptoce.s3 from an admirable wood engraving by W. J. Linton,
in the Illustrated London Xcivs. It rarely occurs that the
touch of the master is .so faithfully reprocluced in an en-
graving as we see it here ; this fidelity of reproduction may
be especially noticed in the trees behind the barn, and in the
sharp touches of shadow throughout the picture. This
example affords a good illustration of the capacity of Mr.
Fruwirth’s process for yielding with success reduced copies of
any subject produced in mechanical gradation.

September 11, 18(>8.]

THE PHOTOGRAPHIC NEWS.

439

ON THE EMPLOYMENT OP BLUE GLASS IN
PHOTOGRAPHIC STUDIOS.

BY H. ALOIS NIOG.*

The employment of blue glass for thj first time in this
country oy M. LutLvIg Angerer, who has glazed the entire
front of his new studio with that material, has led to many
discussions as to its practical value, and the various opinions
expressed by competent authorities in its favour and against
sufficiently prove nosv unprepared we are at present to form a
definite judgment of its merits. On this account I do not feel
myself called upon to defend my own ideas on the subject,
the more so from the fact that Professor Pisko, in his last
lecture upon “ Light in Relation to Photography,” explained
in a most convincing manner the action of blue glass from a
scientific point of view, the opinions expressed by the Pro-
fessor agreeing perfectly with those entertained by myself.

To the remarks of the above-mentioned interesting lecture,
I would supplement the opinion of another gentleman, whose
experience has been gained by practical tests. Dr. Pohl, a
Professor of the Imperial Polytechnic Institute of this town,
instituted experiments witli blue glass as far back as fifteen
years ago, and arrived at the conclusion tliat the cliemical
action of the light was by its means accelerated, and that
the glazing contrast of several colours was thereby softened
and rendered more harmonious.

Without admitting in any way the theory based upon his
observations, it is, nevertheless, certain, that not only do the
active blue rays penetrate light blue and other glass of a
similar description, but many of the other light rays like-
wise make their way tbriuigli ; and on this account he be-
lieves it probable tliat tlie latter have the efiect of placing
the blue rays in sucli a condition as to facilitate their trans-
mission.

The opinion expressed by Professor P.>hl, of great im-
portance to photographers, goes so far as to presume that
the same effects as those produced by the employment of
blue windows, curtains, walls. &o., m ly b.: obtained in the
most simple anil perfect manner by using a small disc of
light-blue glass ground with parallel plane.s, and placed
either in the central diaphram of the lens, or in front of the
inner portion of the same. It is ceitaiuly desirable that the
correctness of this statement should be substantiated .as early
as possible, and no greater incentive ought to be necessary
for the prosecution of experiments of this description on all
sides. For if it should be found that the action of the blue
gl.ass posses.ses a decided advantage, it will then be a further
([Ucstioii whether it is nece.ssary to employ large quantities
of the material in glazing a studio — a very costly, and, at the
same tini’. on account of the difficulty in obtaining the re-
(]uisite colour, very laborious undertaking — >r whether a
two to four inch disc of blue glass, co.stiug a mere trille,
would be sufficient to bring about identically the same effect ;
the latter contrivance pos.se.ssing, besides, the feasibility of
employment outside the studio, and more particularly in
the taking of landscape view.s. Should the disc of blue glass
be found to answer all requirements, then the same cannot
be regarded in any other light than that of a simple and
useful improvement in photographic apparatus.

I have instituted a series ot practical experiments with a
view to obtaining the requisite results, but have abstained
from regarding the conclusions at which I have arrived as
convincing arguments, or inviolable proofs, until I have hail
more experience in the matter. Nevertheles.-s, a detailed
description of the manner in which I am conducting thc.se
experiments may not be out of place. The following are the
questions required to be solved ; —

1. Is it really possible to obtain a softer blending
together of antagonistic colours by the employment of blue
glass?

2. Is it possible to produce the same effects by means of a
disc of blue glass fitted to the lens, as that obtained by illu-
mination through blue windows?

• Read before the Vienna Photographic Society.

3. Is the photographic process accelerated by the use of
blue glass ?

If WC refer to the circumstance of people with weak eyes,
who are unable to bear the glare of a strong light, and there-
fore have recourse to blue spectacles, by means of which all
objects are seen in precisely the same way as if they were
illuminated through blue windows, we should feel disposed
to answer the first two que.<>tious at once in the affirmative.
As, however, we have no means of proving that photo-
chemical .agents are endowed with exactly the same kind of
sensitiveness as the retina of the eye, we must leave the
questions at present undecided.

In my experiments conducted in this direction I have
made use of a porcelain statuette about twelve inches in
height, which I photographed first of all in the ordinary
manner, and afterwards through a sheet of blue glass placed
before it; finally, I removed the blue glass screen, and took
a third picture of the statuette with a small disc of light-
blue glass fitted into the central diaphram of the lens. This
mode of operating I repeated with a portrait, employing
first the blue disc placed in the central diaphram of the
lens, and afterwards in front of the inner part of the same.

The las! -named operation I likewise observed by means of
an orthoscope.

In another more careful and reliable experiment I em-
ployed an ordinary stereoscopic apparatus, furnished with
two perfectly-identical lenses, and used the disc of blue glass
in the manner before alluded to alternately with the right
and the left lens. By this means it was po.ssible to obtain
upon one plate two pictures produced in the same light, by
the same exposure, and under the same conditions, and
calculated, therefore, to yield the most convincing results.

The ])iix:es of blue glass, ground with parallel planes,
which I employ, were purchased from M. Stettinger, an
optician of this town, at the very reasonable cost of one
riorin each, and fulfil their object satisfactorily. A piece of
blackened cardboard, maile into the siiape of a large pill-box
lid, has an opening cut into the centre, .against which the
blue glass is gummed, and the whole may then be fitted on
to the tube of the lens. I should also mention, that the
term grounil with parallel planes must not be taken in its
strictly mathematical sense, as such glasses would be of a
very expensive kind, and are, moreover, not needed, those
employed by me answering the purpose perfectly, and not
causing any malformation of the image to be reproduced ;
this, however, would by no means be the c.ase with ordinary
coloured glass obtained' in the regular way from tradesmen.

After this explanation of the subject it is hoped that no
objection will be made upon the part of photoi^raphers to
undertake a few exp-rim iits in this ilireetion. which may
be carried on without inconvenience, and with very little
trouble; an I I would ask those ge.i'.lem :ii present to give
the matter an early consideration, and to communicate
any results they may obtain, in order that a correct and
unanimous decision upon the merits of blue gla.ss may be
arrived at.

It can in no w.ay be denied, that by using blue glass as a
means of illumination, not only are obnoxious sun-rays con-
siderably toned down, aud disagreeable reflections from
neighbouring buildings avoided, but the objects in the
studio are lighted up in a softer and pleasanter manner ; to
obtain this same description of illumination, M. Ludwig
Angerer coated his glass studio with starch-paste as long
ago as 1861. Whether there is any other beneficial action
besides to be derived in photography by the employment of
blue glass remains yet a disputed point.

SEL CLEMENT.

Those of our readers who may be disposed to give further
trial to the Set Clement for printing will do well to follow
the recent directions issued in regard to it, some of which
may, by the way, be useful in relation to the ordinary silver

440

THE PHOTOGRAPHIC NEWS.

[September 11, 1868.

printinff process. A commission appointed by the Mar"
seilles Photographic Society to make trial of this substitute
for the ordinary nitrate report favourably, and express a
conviction that it is more economical than pure nitrate of
silver.

DIRECTIONS FOR USE OF SEL CLEMENT.

1. Dissolve the Sol Clement (60 ffrains per ounce water) in dis-
tilled water. Filter the solution (which will turn the litmus paper
light red). If the colour is too deep, add some drops of ammonia,
taking care not to exceed the above mentioned light red colour,

2. Float the albuminized paper two minutes only.

3. Dry; print a little deeper than wanted ; tone, fix, and wash as
usual.

r If a quicker printing is required, use a bath of 30 grains Sel
Clement per ounce distilled water with ammoniacal fumigations.

The following is a good toning formula, used for the present
specimen.

(A) Half ounce acetate soda in 1 quart of water.

(B) Ten grains chloride of calcium in 1 pint of water: after
filtering thissolution (B), nii.x it with (A).

(C) Add 15 fluid ounces of a solution made with 15 grains chlorid
of gold in 30 fluid ounces of water.

(D) Add to the whole : 30 fluid ounces of the toning bath used
the day before (for beginning, water will do). If bluish black tones
are wanted, a mixture of 10 grains chloride gold and 5 grains
chloride platinum should bo used.

4. Tlie silver bath (marking 43 degrees English wlien containing
15 per cent. Set Clement) must be strengtliened witli a fresh
quantity of the salt when it descends bidow 40 degrees ; the
silver bath should be kept supplied according to tlie quantity
used.

5. When the silver bath becomes too deeply coloured, filter twice
consecutively through a filter-paper containing one-third of its
weight of powdered charooal.

6. Keep the sensitized paper (whicli will remain white for many
days) protected from light, dam]), and alkaline vapours, enveloped
in common paper, without any other precaution.

PHOSPHORESCENT PHOTOGRAPHS.

The Scientific Amencan has some remarks on anew kind of
photograph, made on the so-called phosphorescent surface,
of which absolutely nothing can be seen in the daylight,
but which is distinctly visible in the dark. “ Many years
ago,” it remarks, “ compounds were invented which had the
property of shining in the dark many hours, and even days
or weeks, after an exposure to sunlight for only a few
seconds. These phosphoric compounds, called after their
inventors Canton’s, Baldwin’s, Bolognian phosphorus, &c.,
were formerly of no use whatever, but it was hoped that
they might eventually reveal something concerning the
nature of light ; and such has indeed been the case, as the
phenomena connected with these experiments are a strong
argument in favour of the undulatory theory, and the corre-
lation of forces.

“ An English photographer* lately conceived the idea of
covering a sheet of paper or glass with a layer of such a
phosphorescent substance, and then treating it in a similar
manner to paper or glass sensitized in the ordinary way for
taking a photograph. Pictures taken in this way seem by
daylight to have no existence, but the places where the light
has acted upon become phosphorescent or luminous in the
dark, the shadows remaining invisible, the semi-tints slightly
luminous ; and the result is such a change in the surface that
the picture is only perceptible in a dark room by an un-
earthly glow of a greenish, blue, red, or purplish tint, accord-
ing to the preparation used.

“We notice this invention only by reason of its oddity, and
not for its utility. The only practical use we see for it would
be to terrify the uninitiated by the exhibition of luminous
images of skulls, skeletons, demons, and similarly cheerful
subjects suddenly appearing on the walls, window panes,
curtains, or other unexpected localities at the moment the
lights are extinguished. It is very easy to make such pic-
tures. A sheet of albumen paper io moistened to make it
sticky, and then equally covered with a thin layer of the

* Ur. J. T. Taylor, we believe

finely-powdered phosphorescent substance, or a pane of glass
is covered with a thin coating of paraffine, to which also,
when warmed, the powder will stick ; then the prepared sur-
face is treated as in taking an ordinary photograph, either
by placing it in the camera, or exposing it for a few seconds
under a positive to the rays of the sun or the magnesium
or electric light.

“ The only thing remaining to state is the preparation of
these phosphorescent substances. One of the cheapest is
Canton’s phosphorus, and it is made by burning oyster shells
for half an hour, powdering and mixing with an equal weight
of sulphur, and heating again for one hour in a covered
crucible. The produced substance must, of course, be pre-
served in the dark, and protected from moisture in a well-
closed bottle. Wach found that the luminosity is much in-
creased by moistening the mixture of shells and sulphur,
before the second heating, with a solution of sulphide of
arsenic in liquid ammonia. The powder thus obtained emits
so strong a light of blue colour that it does not require per-
fect darkness to perceive its glow.

“ Baldwin’s phosphorus, mentioned above, is prepared by
dissolving chalk in nitric acid, then heating and grinding
it to powder. The Bolognian phosphorus is made by simply
heating a mixture of powdered heavy spar with the white of
egg.s, gum-water, or a solution of tragacanth. Fluor spar is
naturally such a phosphorescent substance, some specimens,
however, more than others, and diamond appears to be the
best ; but the expense of the powder would hardly admit of
its employment for the above-mentioned purpose. Experi-
ments have proved this property, in some degree, to exist in
a great number of substances not suspected to possess such
a singular quality ; for instance, many natural compounds
of lime, baryta, strontia, and magnesia, besides corals, fossil
bones, and teeth, the shells of eggs, oriental pearls, dry
bleached linen, white paper, and even the stones extracted
from the human bladder.

“ Grott has found that the same luminous rays — the blue
and violet — which produce the photographic pictures, also
produce this effect, and that the rays which have no photo-
graphic powers — red and orange — not only do not produce
it, but extinguish the existing luminosity. However, this
is not because it is easily extinguished, as handling, and even
immersion in water, will have no effect upon it, neither
plunging the body in different gases. Groszer found that the
luminosity was not even in the least impaired in a perfect
vacuum.

” Some philosophers have already, and with apparent good
grounds, mentioned their suspicion that in nature the same
phosphorescence may take place on a larger scale that we
see in different minerals, fossils, and preparations on a small
scale ; and if so, planets and comets are luminous paitly by
light reflected from the sun, and partly by phosphorescence
of their own. That comets po.s.sess such a light of their own
has been proved by Arago’s conclusive observations by means
of polarized light ; and perhaps the peculiar appearance of
the moon during its eclipse is due, besides the refraction and
ab.sorption of light in our atmosphere, to such a phospho-
rescence ; even ice shows luminosity in the dark for several
hours, when suddenly withdrawn from sunlight exposure to
a dark room. The periodical obscuration taking place during
the moons pha.ses is so slow that no phosphorescence can
show itself, but on the occasion of an eclipse the obscuration
is so rapid that any phosphorescence on its surface persisting
for an hour or half an hour must become visible.”

In a subsequent number it remarks : —

“ The foreign journals report that an American has taken
out a patent in France for a style of printing which may be
read in absolute darkness. We have not seen an account of
the details of this invention, but have no doubt that the pro-
cess is similar to that of certain photographs which we
recently described. Nothing is easier than to print with an
ink made of powdered phosphorescent substance mixed with
some gum or varnish. Suen a print may be either visible
or entirely invisible by daylight, according as the colour of

September 11, 1868.]

THE PHOTOGRAPHIC NEWS.

441

the ink differs from or resembles the colour of the paper upon
which the print is made; but in order to render it visible
in the dark, all that is required is simply to expose it for a
few seconds to the sun, strong daylight, or to electric, calcium,
or magnesium light ; and when, after some time, it becomes
invisible, a renewed exposure to light will make it again
visible. In this respect it has a great advantage over the
luminous photographs, which cannot be exposed to daylight
except under the glass positive, as the whole surface of the
paper is covered with the phosphorescent substance, and
must therefore be preserved in the da^'k. The printing here
described, however, improves and becomes more luminous
the more it is exposed to light, as only the letters consist of
the strongly phosphorescent substance, and the rest of the
paper is in its natural condition ; that is, it requires a very
strong light to make it feebly phosphorescent.

COMMUNICATIONS ON P1IOTOGRA.PIIY.

BY M. CAREY LEA.

I HAVE receivod communications from various parts of the
country that furnish points of interest that seem to deserve
publication.

Mr. Joseph Voyle writes me from Tuscaloosa, Alabama,
that he has obtained considerably increased sensitiveness
from the use of carbolic acid in collodion, but still better
in the negative bath. This latter assumed a violet colour,
and gave plates that worked faster and better than another
bath, exactly similar, without the addition.

The use of carbolic acid is not new, having been suggested
by Dr. Kaiser in the Bulletin Beige. That photographer,
however, looked rather to preserving the bath from change,
and does not apeak of the sensitiveness being increased.
This last observation, if confirmed, will be due to Mr,
Voyle. Carbolic acid is a reducing agent, and reduces
silver at the boiling point of water. The violet colour
assumed by the bath is doubtless due to the reduction of
small quantities of silver.

Mr. Charles Kneeland writes me from Pittsburg, that he
has tried the application of pyrogallic acid to a plate before
placing it in the camera, and found a fully-expo.sed plate
in the slide. This mode of operating was proposed in Paris
some time back, with the idea, that by a proper arrange-
ment the development might be watched through yellow
glass, and the exposure stopped at the right moment. It
will be observed that this method differs essentially from
the self-developing plates that I lately published in this,
that here all the usual manipulations are uecessary, the
difference being that the developing agent is applied before
instead of after exposure ; whereas, in mine, the plate is
simply coated with a peculiar mixture, and the sensitizing
and application of developing fluid are entirely suppressed.
It seems doubtful, however, if the matter will be more than
one of curiosity.

Mr. Kneeland thinks that plates that have received a
treatment with pyrogallic acid before exposure are pecu-
liarly sensible to weak radiations, and thinks that this
principle ought to be made the foundation of a method for
instantaneous expo.sures. He got the best results by using
as a developer, water, 1 ounce ; acetic acid, 1 drachm ;
pyro and citric acid, 1 grain each. If the citric acid was
less, the exposure was increased ; if mors was used, the ex-
posure was shortened, but the image almost disappeared in
fixing.

Paper sensitized and treated with this last solution, and
exposed under a negative for a minute or two to the light
of a lamp, gave a bold and vigorous picture. Mr. Kneeland
tried this for enlargements, and succeeded very well, except
that after five or six minutes the paper began to stain on
the back, and went on till the back turned quite black.

ON THE PREPARATION OF IODIC ACID AND
lODATE OF POTASSIUM.

BY PROFESSOR J. S. ST.AS.*

Iodic Acid. — I prepare this acid by the action of pure iodine
on normal nitric acid. To effect this I operate on four litres
at a time of pure nitric acid, to which I add a tenth of its
weight of iodine. The yield of iodic acid given by this
method has been much exaggerated ; the quantity produced
only represents one quarter of the weight of the iodine em-
ployed. In order to remove with certainty the nitric acid
which the iodic acid always contains, I dissolve in water
the solid yellowish residue obtained on evaporating to dry-
ness the liquid resulting from the reaction of iodine on
fuming nitric acid. The solution of this crude acid, when
introduced into a vessel made of glass unaltacked by acids,
is evaporated to dryness ; the whole residue is heated
to 200“, and kept at this temperature to bring it to the
state of iodic anhydride, and to remove with the water the
last trace of nitric acid which it contains.

As the action of nitric acid on iodine took place in a large
retort of ordinary glass, the iodic acid obtained contains
traces of iodates of sodium and calcium, which I have not
been able to remove.

I hoped to have been able to employ iodic acid in the de-
termination of the atomic weight of iodine ; with this object
I prepared more than 2 kilogrammes of crystallized iodic
acid by the action of boiling dilute sulphuric acid on iodate
of barium ; but, in spite of all precautions, I found it im-
possible to prepare in this manner either iodic acid or iodic
anhydride free from barium, the greater part of which
existed in the state of sulphate. After the efforts I made to
remove the barium, I believe I may affirm that it is impos-
sible to prepare pure iodic acid in this manner.

Iodate of Potassium. — Requiring large quantities of this
salt, I tried many methods of preparing it. Only two fur-
nished me with a product which was unalterable in the air.
One consisted in transforming an aqueous solution of hydrate
of potash into iodide and iodate, by acting on it with puri-
fied iodine ; the other was based upon the formation of iodate
by the action of heat on a mixture of equal molecular
weights of iodide and chlorate of potassium. This is how I
prepared the iodate by the latter method. I mixed inti-
mately the iodide and chlorate of potassium previously pur-
fied from foreign metals by means of a solution of sulphide
of potassium. The well-dried mixture was introduced into
retorts till they were about two-thirds full, and they were
then placed in sand-baths. In the same bath I inserted
rather deeply a small retort containing pure chlorate of
potash. Each retort had connected with it a curved tube
dipping into water. I elevated the temperature of the bath
until the chlorate of potash in the small retort fused, and
oxygen commenced to be evolved. When I had succeeded
in well graduating the temperature so as not to overstep the
temperature of decomposition of iodate of potash by heat (a
temperature which is sensibly higher for iodate than for
chlorate), I had completely transformed the iodide into
iodate, and the chlorate into chloride, without any disen-
gagement of oxygen.

To separate the iodate from the chloride I added to the
mass, after cooling, cold water in sufficient quantity to dis-
integrate the mixture. The saline mass was then ground
up, and, after being introduced into a displacement appa-
ratus, was lixiviated with cold water until almost all the
chloride was removed. The iodate was then submitted to
three successive crystallizations. After each crystallization,
which was effected rapidly, the salt was submitted to a
methodical washing. After the first crystallization I was
unable to discover a trace of chloride or iodide.

The iodate thus prepared remains indefinitely without
becoming yellow in the presence of air. This cannot be
said of the salt which is obtained by attacking chlorate of

* Chemical Ifevii.

442

THE PHOTOGRAPHIC NEWS.

[September 11, 1868

potassium by means of iodine. Even when the terchloride
of iodine which is always formed along with the iodate of
potassium is decomposed by carbonate of potash, the salt so
produced becomes very appreciably yellow in the air, even
after it has undergone five successive crystallizations, each
time followed by methodical washing. I have not been
able to ascertain what is the substance which communicates
to this iodate of potassium the property of becoming yellow,
but the fact has always been so.

CON-ELLIPI'ICAL VIGNETTE,
nv raoF. joii.s towler, m d.*

A VERY interesting vignette for the cabinet picture is (lie
con-elliptical, which consists of a white elliptical space be-
tween two elliptical surfaces, which are printed whilst the
space is protected.

Many of our readers may not be acquainted witli the
practical mode of making an ellipse, and, on this account,
those who have the knowledge mast not criticise us for
being unnecessarily minute. The cut will help to illustrate
whut I mean.

situated within the elliptical curve ; this can be done quite
easily with a sharp-pointed penknife. Now place the tin-
foil with the opening in the middle over the negative, in
the proper position as to the figure, so as to obtain a uniform
vignette ; over this lay the sensitive paper, and expose to
the action of light until the picture is sufficiently printed.
The next operation requires a piece of tinfoil or cardboard
one-eighth of an inch larger than that cut out from the first
tinfoil. Drive the pins as before, on a straight line, and two
inches apart, through a piece of cardboard, for instance, and
with a thread knotted as before, but whose length, when
iloubled, from the middle to the knot, is two inches and five-
eighths, draw an elliptical curve. The space comprehended
within this curve must be carefully cut and preserved.

Lay this piece of cardboard upon the print in such a
manner as to overlap the print equally all round, and again
expose to light until the colour of the parts exposed is the
same as that under the elliptical shield. Now tone and fix
in the ordinary way. You will find the majority of your
customers will like this novel vignette, which costs but little
extra trouble.

ON PURE WHITE GUTTA-PERCHA.

Ill the first place, in order to make the vignette, you re-
quire an elliptical opening in a piece of tinfoil which is of
the same size as the negative. This opening must be so
jilacud as to comprelieuil the head an 1 bust of the picture
(the head being about one inch and a half in length from
the crown to the chin). 'I’ake the liiifod and flatten out
all the creases and irregularities, and then draw a line with
a bla.’klead pencil through the middle of each end, and find
the centre of this line. Measure off one inch from this
centre on either side, and drive a pin through either point
through the foil into the fable beneath. Now take a piece
of strong thread, six inches long, double it, and make a
knot, so that the length from the middle up to the knot is
exactly two inches and one-half. Open this so as to com-
prehend the two pins within the knotted thread. Take a
sharp-pointed blacklead pencil, and. placing the point on
the inner side of the thread, and keeping the thread tense
all the time, proceed round the thread, and make a mark
on the tinfoil ; this mark will be an ellipse, sufficiently large
for the vignette in question. The size ot the ellipse can be
varied at pleasure, taking care always to make the double
thread longer than the distance between the two pins, which
may be placed at any distance apart desired. The next
operation is to cut out (and throw away) the part of tinfoil

PMi<tdelphia PhologratAer.

.V PAPER on this subject, read by Mr. F. Baden Benger, at the
recent meeting of the Pharmaceutic.il Conference, contains
some remarks of interest to photographers. “ I have ex-
amined,” he remarked, “ specimens of the so called ‘ pure
white gutta-percha ’ now commonly sold, and find that for
the most part they may have been designated almost as
correctly * pure white oxide of zinc,’ being m.ade up with
this substance in very large projiortions, and, I believe,
thereby rendered less tough, durable, and fit for the purpose.
This opinion has been strengthened by the fact that per-sons
to whom the pure and afterwards the commercial article
have been supplied have frequently complained of the in-
efficiency of the latter. 1 am further induced to describe
the process I use, by the very high price required by makers
of the really pure substance.

“ A good sample of crude gutta-percha will yield at least
75 per cent of the pure resin. Some care should be taken
to obtain a specimen with as little impurity as ])os.sible.
The bottle marked No. 1 [exhibited to membei-s] contains
some of the kind 1 find best; it is imported in roundish
blocks, which are exceedingly hard and difficult to cut, but
any of the large gutta-percha manufacturers will supply
the same torn into fragments similar to the accompanying
specimen. Four ounces of this digested with five pounds of
methylated chloroform for a few days will form a solution
sufficiently fluid to filter through ordinary bibulous paper.
This should be conducted in such a manner as to allow little
or no loss of chloroform by evaporation, the apparatus for
filtering volatile liipiids described in Mohr and Redwood’s
‘ Pharmacy ’ answering the purpose ; the addition of another
pound of chloroform rendering the filtration more expedi-
tious. To the filtered solution, which should be bright and
nearly colourless, add an equal bulk, or a sufficient quantity,
of spirit of wine to precipitate the gutta-percha, which will
separate from its solvent as a white bulky mass; this should
be rinsed with spirit, pres.sed in a cloth, and dried by ex-
posure to the air ; its condition is then that of the accom-
panying specimen, marked ‘No. 2,' perfectly white, but too
porous for dental use. It should then be boiled for half-an-
hour in a porcelain capsule, and rolled in sticks whilst hot,
as specimen ‘ No. 3.’ The chlorol'oim can now be seperated
from the spirit by the addition of water ; and, lastly, the
spirit from the water by distillation, at the leisure of the
operator.

“ There is, therefore, no rea.son why the chemist should
not prepare this substance himself, and if he is careful to
prevent the loss of’ chloroform and spirit in the process,
its reduced cost and greater purity will compensate him for
the trouble.

September 11, 1868.]

THE PHOTOGRAPHIC NEWS.

443

Stalk- in tbf ^tubw.

Out-Door Meeting. — Oa Saturday last the South London
Society held an out-door meeting at Hampton Court. Some
members brought cameras, but the majority contented them-
selves by examining the fine palace which Cardinal SVolsey
built, and the pictures, &c., it contains, and by rambling and
enjoying the picturesque country. Alt met together to “ high
tea ” at The Mitre at 5 o’clock, to chat over photography — its
processes and prospects.

Mr. Blair’s Carbon Experiments. — Mr. Blatr, of Perth,
has favoured us with two interesting examples of carbon print-
ing, by processes with which he has been experimenting lately —
one with good half tone, without transfer, which is excellent,
and derives additional value from being a portrait at all, and
another of himself, with one transfer only. More particulars
shortly.

Toning Bath of Sulphocyanide and Hyposulphite of
Gold. — Our friend Dr. Liesegang writes to the etfect that since
we published his formula for a toning bath containing sulpho-
cyanide of gold and hypo, ho understands that some English
photographers have not succeeded in obtaining good results
with it, and encloses us some fine toned prints to illustrate its
capabilities. Wo may add that wo have ourselves tried it, with
— so far as the tones are concerned — the most perfect success.
Dr. Liesegang adds ; — “ At present I do not say anything about
the permanence of the prints ; but since I have worked this
method I have not had one which has changed. About throe
thousand have been treated in this way in my studio. I shall
keep them until they are one year old, and if then they are
good I shall present them to the readers of my journal.”

Photographic Exhibition in Hamburg. — A photographic
exhibition will be hold in Hamburg in November, to which
English photographers are invited to contribute. Dr. Liese-
gang kindly offers, if our best men will send examples of their
work to him, unmounted, by book post, to get them mounted
suitably, and exhibit them collectively. Wo hope that photo-
graphers who can worthily represent English photography will
avail themselves of this courteous offer.

Liquid Glue, by M. Knaffl. — This useful article, which
is employed for a variety of purposes — as mending porcelain,
glass, mother-of-pearl, &c. — is not nearly so good when pre-
pared with vinegar and nitric acid as that obtained by the
following process: — Throe parts of glue broken into small
pieces should be covered with 8 parts of water, and loft to stand
for some hours ; one-half of chlorhydric acid and three-fourths
of sulphide of zinc must then be added, and the whole exposed
to a temperature of from 81° to 89° C. during ton or twelve
hours. The compound thus obtained does not gelatinize ; it
only needs to bo allowed to settle, and will bo found a most
useful agent for joining purposes.— ( irocAenscAri/< dei Niedcr-
oeter resckicihen Oewerbe-verems). — [It is scarcely necessary to
say that this glue must not be used for mounting photographs. —
Ed. P. N.]

The German Observations of the Eclipse. — A corre-
spondent of the Times gives a short account of the operations in
photographing the eclipse at Aden. He says : — “ On the evening
of the 17th almost all the rank and fashion of Aden made an
exodus to Marshag-hill, the eastern promontory of Aden, where
the German party were established with all their instruments.
The night was very cloudy, and much anxiety was felt by all
interested in the success of the observations. At grey dawn,
however, and just before first contact, the banks of clouds sepa-
rated into broad bands, occasionally shutting out a view of the
eclipse. Totality commenced at fill. 29m. 28s. a.m., and lasted
2m. 55s., during which interval a most magnificent view of the
phenomena was obtained, and four most successful photographs
were taken. The only planets and stars observed during the
totality were Venus, Jupiter, and Sirius, which at once shows
that the darkness was not groat. At the lime of totality the
height of the tide was 7i feet, or for Aden a good average spring
tide. The preceding spring tides (about a fortnight before)
were very bad, the rise and fall not being more than 4 feet.
On first separation a most beautifully soft light stole out from
behind the moon, lighting up the sea and rocks of Aden in an
indescribably beautiful manner. The sun was, unfortunately,
behind a cloud at the final separation, which coifld not be,

therefore, determined within a second of time. The times
were, of

Totality a 29 28

First separation S 32 23

ToUlity 0 2 55

The Gorman party were delighted with all their experiments,
and consider themselves amply repaid for their trouble. They
had most superb instruments, and were particularly civil and
obliging in explaining their use, mechanism, &c. Among the
most interesting was a photographing telescope, which is made
self-acting by means of a most ingenious clock-work raachan-
ism, which, with the help of a simple pendulum and endless
wheels, is so delicately adjusted as to counteract the motion
of the earth, and to keep the telescope rigidly fixed on the star
or planet during the ten or fifteen seconds required to receive
the impression.

The Inventor of Gun-Cotton. — tPaiiVynani announces the
death of Schonboin, the inventor of gun-cotton, and, as it is
believed, of collodion also, for it is assorted that he was aware
ot the solubility of gun-cotton in ether. His name is also
associated with the discovery of ozone. He was 69 years of
age.

Accident in Boiling Down a Bath. — A correspondent
sends the following account of a singular accident in boiling
down a bath : — “ I have just met with rather a curious accident
whilst boiling down an old silver bath. It was in an evapo-
rating dish over a gas boiler ; I had just raised the gas slightly,
the more readily to fuse the nitrate of silver, as the water had
quite evaporated ; the dish split, the silver poured down
through the wire gauge of the boiler, which it consumed like so
much paper, and a most furious combustion took place upon the
bench, which lasted about twenty seconds. At the end of that
time there was a deep hole burnt in the bench, and all that
remained of the silver was a very little light-coloured ashes,
which, as far as I have been enabled to examine it, is perfectly
valueless.”

3i0 ®0rrc3]|ffnk£ttts.

P. F. P., referring to the Ebumeum process, asks whether the
pictures arc reversed, adding: “I think it is the wrong side of
the picture which is seen, and consequently, with all its beauty,
I do not think the process worth the trouble.” Now a very little
reflection might have satisfied our correspondent thiit in a process
of camera printing ho could either produce the image in its proper
osition as in a paper print, or in its inverted position as in a
irect collodion positive. It depends upon whether the negative
is placed in its groove in the copying camera with the film facing
the light or facing the lens. He should also remember, however,
that he requires to produce a reversed image on the glass, because
when the picture is finished it is the back of the collodion film which
meets the eye, and the image which appeared inverted when on
the glass is non-inverted when on its Ebumeum support.

\V. G. — Your microscope will furnish the chief necessities. Wo
cannot describe the operations at length hero ; but you will find
8,atisfactory instructions by Mr. Cherrill on page 66 of our Year-
Book for 1866. 2. You have probably u.scd the acids too strong,
or the temperature too low. Agitation M-ith a litde carbonate of
soda or potash may now help you. The presence of methylated
spirit often tends to prevent the liberation of free iodine. 3. Wo
shall have pleasure in examining the results to which you refer.

SiLEX. — Gelatine docs not form an insoluble compound with silver,
like albumen ; on the contrary, gelatine may be dissolved in a
solution of nitrate of silver. 2. The accident you met with is
very- singular. We print the statement in another column.

A Dilemma. — The milky appearance assumed by your solution of
pyrogallic acid in distilled water when a few drops of silver arc
added may arise from a variety of causes. Sometimes the acetic
acid contains a trace of hydrochloric acid, and this w-ould cause a
slight turbidity from the formation of chloride of silver. Possibly
the silver solution is taken from the nitrate bath, in which case
turbidity would be caused by the precipitation of iodide of silver.
Do you find any special inconvenience follow this turbid
appearance ?

A. Lady. — Unless our fair correspondent is familiar with the various
modes of intensifying, or is prepared to experiment a little, so as
to master their peculiarities — in which case almost any of them

444

THE PHOTOGRAPHIC NEWS.

[September 11, 1868.

would !?lve good results — we can recommend nothing simpler and
safer for intensifying a fixed negative than pyro and silver. Try
3 grains of pyro and 3 grains of citric .acid in an ounce of water.
Flood the plate with this until it flows e:vsily, then pour it back
into the developing cup and add a tew drops of a 20-grain solution
of nitrate of silver, and apply it again to the plate. This, as a
rule, will intensify satisfactorily. W.ishing the film first with
the solution of iodine, rinsing, and then applying the pyro and
silver, sometimes makes the oparation .still iimre satisfactory. Let
us know if you succeed with this.

W. G. O. — We have not had tiino for fully an 1 c ireful ly testing
your collodion, but have mide on; or two trials. It is somewhat
thin and limpid, an 1 when applied to tho i)lite so as to secure a
thicker film gives a much more creamy coitiug in the nitrate bath.
This suggests thit probibly a little more cotton would bo an im-
rovement, although, as a rule, 6 grviiis should bo enough. We
ave used s.amples of which 10 gr.iins were nocessiry to give a
satisfactory body. Having a large proportion of a bromide, a
strong bath or long immersion will generally be noce.ssary to sen-
sitize the plate properly. Probably, moreover, another gr.ain of
iodide of cadmium per ounce might be an improvement. It is very
probable that the collodion in its present state would work well in
a dry process.

W. J. A. G. — Mr. England in his last year’s campaign did not
use distilled w.iter at all, but ho had generally access to pure rain
water. As a rule, wa recommend distilled water for the first w.ish
after leaving the nitrate bath; after that it is of le.ss importance.
The chief object of using distilled water is to avoid contact between
silver solution and any of the salts in common w.iter, such :us
chlorides, carbonates, lie., by which traces of insoluble silver salts
might be formed on the film. Very thorough washing after
applying the albumen is not necessary. We should regard “ a few
drops” as meaning .six or eight. In no cuse is the .silver solution
to be added to the albumen, but in all cases applied separately, as
directed. For winter use, first white of egg, and after that a
30-grain silver solution ; for summer use, dilute albumen, followed,
in like manner, by dilute silver solution.

G. K. W. (Massachusetts). — We believe that arrangement* arc in
progress for a sale of Mr. Woodbury’s American Patent to Mr.
Pollock, with whom then all arrangements for licenses, &c., would
rest ; and he will, doubtless, make the matter known to American
photographers. Thanks for the photographs, which are very ex-
cellent, both portraits and landscapes. The group is very
successful. What a pity none of them has any name written
underneath ! Avoid using a tint of a decided sulphur yellow on
your mounting boards. A true India-tint is much more neutral,
and much more satisfactory in its effects on the picture.

W. H. W. (Ros.s). — Thanks for your friendly letter. We will bear
in mind the suggestions in further experiment.

J. M. (Bath). — AVe cannot state with absolute accuracy the relative
distances between the component lenses forming the triple com-
bination ; but the distance of the back leus from the back surface
of the central negative lens is about twice the distance between
the front surface of the central lens and the front lens of the com-
bination. 2. Wo should not use as much bromide or iodide as you
propose ; from 4 to 5 grains of an iodide, and about 1 grain of a
bromide, is a good jiroportion for collodion for the wet process.
The proportion of .salts docs not usually aftect the collodion as to
crapincss, excep* so far as it sometimes happens that water is used
in assisting to dissolve them, and water will produce crapincss.
3. Mr. Breese does not get instantaneous pictures by moonlight, nor
asserts that ho docs. The moon, and sometimes light clouds
immediately in contact, are, of course, genuine moonlight pictures,
but the land.scapcs into which they are printed are, of course,
taken by sunlight. Wo believe that Mr. Breese once produced a
photograph of a white statue by moonlight, with a very long ex-
posure. 4. We are glad that you find the albumen and ale process
so satisfactory. Mr. Davies, of Edinburgh, was, we believe, the in-
ventor. 5. The composition of Sel Clement is a secret. It is said
to consist of nitrate of silver and nitrate of magnesia.

J. II. (Birmfhgham). — It is probable that you have added too much
water, and possibly too much salt. If too much water be employed,
the chloride of silver precipitates very slowly ; and if too much salt
be added, the chloride of silver becomes partially dissolved again.
Add a little nitric acid, and agitate the water ; this will assist the
chloride in falling. 2. Your statement and question as to your
prints are rather too indefinite to enable us to help you. “ Some
days,” you sav, “ my prints arc very dull, as if on badly albumin-
ize paper; other days they are brilliant and full of gloss’ : will you
tell me the reason and remedy!'” It may be that the albuminized
paper does vary in quality ; i't may be that the negatives are not
always go^ ; it may be that the silver bath gets too weak, or that
the paper is floated too short a time ; it may be that the prints arc
at times washed excessively before toning ; it may be that the
toning bath is not in good order, being possibly newly made and
bleaching considerably ; it may be that at times the printing is

done in the sun instead of in diffused light ; or it may bo that other
reasons exist. You must be a little more precise in the statement
of your operations and conditions before we can give you efficient
advice. 3. To obtain highly glazed prints use highly albuminized
thick ijii'c paper, a 60*grain bath, and a good negative. To obtain
black tones, use the lime bath, made a couple of days before
use.

B. A. G. (FulhamJ. — .\sa rule, the smaller the amount of light, the
more difficult it is to obtain intensity in a negative, and, therefore,
when producing an enlarged image with a lens considerably stopped
down, it is more difficult to get a vigorous negative than when
working with a large aporturo upon a well-lighted subject ; the
ordinary gelatino-iron developer will, however, generally suffice,
when sufficient exposure is given to produce a deusc image. We
have not tried the nitro-gelatino-iron developer, but as nitric acid
docs not generally tend to density, we should scarcely use it in
such a case. If the collodion and bath are in good order, a full
exposure and gelatino-iron developer ought to give sufficient
intensity. Should it fail to do so, it will not be difficult to get any
amount of intensity after fixing, by first applying mercury and
iodide, and then following with pyro and silver. 2. The deve-
loned print is somewhat a .sad affiair, but .scarcely surprisingly so.
AVhen you try again, do not attach the paper to glass by wetting
it, which is a tolerably sure means of staining the back of the
paper. Next, rcineinber that to attempt to get a print on paper by
exposure in the camera with diffu.scd light is a comparatively
hopeless operation. Instead of an exposure of 10 seconds to a
minute, it is probable that half an hour would not be more than
sufficient. F urther, until you are very familiar with printing by
development, do not use hot gallic acid solution. Both in ex-
posure and development take care to keep the back of the print
dry.

John M.ick. — Your lighting .appears .satisfactorj-, and the work
generally is very excellent indeed. AVc hope that you will find
the new premises answer in every way.

J. II. UNDEiiwoon. — Mr. Thompson, 48, Pall Mall, is the person,
we believe, about whom you imiuired in reference to the is.sue of
coloured photograjihic landscapes.

AV. Dur.\nt. — We shall be glad to see examples of your continued
progress.

Clifton. — AA'c have received a portion of a letter dated “ Clifton,”
without the conclusion or signature. AA’hcn wo receive Uie name
of the writer we will answer by post.

L. B. — AA'e have seen the theory ns to the part played by organic
matter to which you refer, and we agree considerably with the
writer. 2. AA'e have no objection to theoretical contributions;
but, as a rule, we reject speculative articles. They may be at
times interesting, and even occa.sionally useful ; but much depends
on the quality of the mind which speculates. The speculations of
tho writer in question are generally interesting, and often useful.
2. AV'e have had occasion more than once to refer to the presence
of a visible image on a wet plate before development, and to
point to its bearing on the chemical theory of the latent image.
The subject is not of sufficient importance to rc-discuss at proscut.
You will find an allusion to the fact that a visible image Ls some-
times visible on the wet plate, and the re:isons why it is not gene-
rally the case, on p. 423 of our Ninth A’olumc. Thanks for your
kinil remarks and good wishes.

H. S. — Received too late for attention this week.

Several correspondents in our next.

{)5oto9rapf|9 Krgistrrcli.

Mr. A. Bbittii, Preston,

Tvo Photographs of Rev. Father Bctham.

Mr. T. M. Bikd, Cheltenham,

Three Photographs of Mr. II. B. Bamuelsoo,

Mr. W. V. Mexao, Edinbro',

Three Photographs of Rev. Sir H. AV. Moncriffe.

Mr. S. IIocoiKD, Redcar,

Photograph of Joseph Dodds, Esq.

Mr. Tbos. BiaNAOD, Cirencester,

Three Photographs of Sir F. Qoldsmid’s Seat at Rendcombe.

Mr. T. Piraicx, Penroaenmaur,

Four Photographs of Right lion. AV. £. Gladstone.

Mr. AV. H. Fox, AA’ejmouth,

Photograph of Congregational Chapel, Qloster Street, AVey-
month.

Mr. J. D. AVitmocth, Nailsea, near Bristol,

Photograph of Rer. John Philp.

THE P

NEWS

\V' '

VcL. XII. No. 52€^^pfember 18, 1868.

CONTENTS.

India-Rubber as a Protection for Negatives

Paraffine in Encaustic Pastes

Uncertainties in Dry Processes

Is Photographic Apparatus “ Personal Luggage

Oritical Notices

Carlwlic Acid in the Silver Bath

Visits to Noteworthy Studios

Photographic Observation of the Eclipse

Pictorial Eflect in Photography. By 11. P. Robinson.
Dr. Towleron the Coffee Process

Pi OE
. 445
. 445
. 446
. 447
. 447
. 448
. 448
. 449
. 451
. ibi

PAGE

Solar Printing by Development 458

Reactions of llyi>osulphites and Sulphocyanides upon Albumen

Prints. By M. Carey Lea 453

Proceedings of Societies— Liverpool Amateur Photographic

Association 4.54

Correspondence — Sugar in Printing Bath — Automatic Syphon... 4.54

Talk in the Studio 455

To Correspondents 455

Photographs Registered .' 456

INDIA-RUBBER AS A PROTECTION FOR
NEGATIVES.

It is somewhat singular that in almost every photographic
purpose to which india-rubber has been applied, it has
turued out a disappointment and a failure. About a twelve-
month ago considerable attention was called to its use as an
adhesive medium for mounting photogiapLic prints, and
sanguine persons saw in the tvaterproof layer it interposed
between the picture and the mounting board not only im-
munity from the dangerous decomposition whi-h such
materials as gum, paste, and glue are supposed to undergo,
but a protection from hyposulphites or other injurious
materials in the cards themselves. After a few months’ trial,
the issue has been in a large number of cases, as we feared
it would, that the prints have curled up and left the mounts,
the adhesive quality of the elastic gum having been insuffi-
cient to preserve the attachment between the print aud the
mount. We have heard of many such cases, and, as time
progresses and the india-rubber undergoes its inevitable
change into a pliable resin, we fear that many more dis-
appointments will be experienced.

We have recently had our attention called by a corre-
spondent of very extensive experience to another very serious
failure in india-rubber to subserve the purpose for which it
was proposed. A few yearn ago its use was suggested by a
gentleman of high repute and large practical skill as a
means of preserving negative films from cracking. The
negative was to be treated with a coating of india-rubber
previous to varnishing with the ordinary spirit varnish. It
was not unnatuial to suppose that two valuable ends would
be gained by this treatment : first, it would give a water-
proof coating to the film, which would effectually protect
it from moisture ; and second, by interposing an elastic
layer between the film and varnish, it would protect
both from the effect of unequal contraction and ex-
pansion. This seemed probable in theory, and was said
to be borne out by practice. Our present correspondent
calls our attention, however, to a disastrous and unexpected
result. A large number of negatives have been so treated,
and in .almost every one the film has cracked ; whilst others,
produced and kept under the same conditions, but treated
Avith less care, inasmuch as the india-rubber was omitted, in
every instance remained without injury.

Another difficulty was also experienced, in some cases,
with the india-rubber coated negatives. The soft nature of
the india-rubber layer, even after it was coated with the
spirit varnish, was found to militate materially against the
protection of the negative. Instead of the hard, glassy sur-

face which a good varnish should yield, permitting the
negative to be submitted to any reasonable kind of treat-
ment in printing, it ivas found that the triple film remained
soft, and very easily scratched and abraded, so that almost
as much care was necessary to prevent injury as if the nega-
tive were unprotected altogether.

These are important facts to be noted, and we shall be
glad to learn the experience of others in the same direction.
Mr. Woodbury has recently found that the perishable or
changeable nature of india-rubber renders it a very undesir-
able adjunct in I'orming a layer to act as a support instead
of glass for transferred negatives, and finds gum-arabic a
more suitable material. Has any one found any disadvan-
tage from the use of gum as a preliminary coating? We
I have no doubt that cases may be cited in which india-rubber
1 has not disappointed its votaries. Single failures may be
exceptional, and still a few such destroy certainty, and it is
only by a careful and extended collation of cases, with pre-
cise conditions stated, that rve can hope to arrive at certain
and satisfactory conclusions.

PARAFFINE IN ENCAUSTIC PASTES.

A CORRESPONDENT who has had some difficulty in procuring
pure white ivax — the sample he has obtained being con-
siderably contaminated, apparently, with fatty matter —
reminds us of our former suggestion that paraffine may be
substituted for the rvax, and asks if it can be employed in
the formula; given in our last.

We may say at once that paraffine, we fear, cannot be
substituted for wax in these formulae, or in the preparation
of encaustic pastes generally, and that its value for applic.a-
tiou to photographs will be much more limited than we at
one time — after some early experiments — hoped. Since avo
last called attention to it we have experimented pretty con-
siderably Avith its various preparations, treating photo-
graphic prints Avith decreasing satisfaction, and a gro'viug
conviction that the end desired in applying it to photo-
graphs could only be obtained by the use of pure Avax.

It is, in the first place, a difficult thing to make and keep
an encaustic paste of paraffine, from its singular tendency to
crystallize out of its solvents, whether the proportion added
have been sufficient to form a paste or a solution. If a solu-
tion containing fifty grains (say) of paraffine in an ounce
of benzole be prepared at a temperature of 70° Fah., it is
probable that if the temperature fall to 60®, much of the
paraffine will be found to have crystallized out of the solution.
If a thick paste be prepared by shredding the paraffine fine,
melting it, and then adding sufficient benzole to make the
consistency requited, it is probable that in a few d.ays the
solvent will be found to have partially separated, and the
paraffine will shoiv a tendency to crystallize. When this

446

THE niOTOGRAPHlC NEWS,

[September 18, 1868.

j)aste is .'ipplicd to the albuminized print — especially if the
weather be cold — instead of assuming that soft, unctuous
quality which characterizes wax, and which finally yields,
on continued rubbinsc, a hard, polished surface, it behaves
(^uite differently. When the solvent has evaporated, the
paraffine begins to assume the form of dry scales, which rub
off the print instead of adhering to its surface, so that it is
difficult to obtain more than a very slight coating of the
material on the surface of the print, and therefore impossible
to secure the same depth and richness which can be obtained
with a paste of which wax is the chief constituent.

Pure white wax can generally be obtained of retail chem-
ists. It is supplied in round cakes at a few pence per ounce,
and is in this form, as a rule, tolerably pure. Unfortunately,
when contaminated with other fatty bodies, it is very diffi-
cult to separate the two, as most of the solvents of the one
are also solvents of the other, and it is not less difficult,
except to persons accustomed to chemical manipulations, to
test the wax for fatty adulteration. Where difficulty in
obtaining a pure sample exists, it may not be equally difiS-
cult to obtain honeycomb from which the honey has been
removed. This, after well cleansing with boiling water,
may be safely employed in preparing encaustic paste for
photographs.

We may add here, for the information of those who have
difficulty in procuring pure materials, that Mr. Newman, of
Soho Square, is preparing encaustic paste made after M.
Adam -Salomon’s recipe, for commercial supply, and a sample
of it forwarded to us answers admirably.

UNCERTAINTIES OF DRY PROCESSES.

O.vE of the greatest boons which a trustworthy experi-
mentalist can confer on the photographic community, or at
least of the amateur portion of it, will be the accurate
determination of the causes of uncertainty and discrepancy
of results in the dry processes generally. It is of less im-
portance to produce a rapid dry process than it is to produce
a certain one. There are at least a dozen dry processes in
existence with which those au fait At their practice produce
charming pictures, but there is scarcely one in regard to
which most contradictory experience is not described, and
with which, instead of successes, a large number of experi-
mentalists make woeful failures.

The discrepancy of result desciibed docs not occur simjdy
in the hands of novices or bunglers, but often in the practice
of men of approved ability. It is no uncommon thing to
us, it is true, to receive communications from readers, who,
having read the account, carefully stated by a practical man,
write, saying ; “ I have tried the process most carefully,
following the instructions precisely as they are given, and
after exposure and development, do not find the ghost of an
image.” Sometimes we can trace such failures to some
gross error, as when a correspondent trying a very rapid
plate on a bright open subject, which should have required
lifteen seconds, explains that he gave it eight minutes, and
was surprised to find the film blacken all over immediately the
developer wasapplied. At othertirnes we can gain noclue to
the source of failure, and having carefully gone through the
operations ourselves and succeeded, we can only recommend
the novice to overhaul his materials carefully, begin de novo,
and try again and again until he succeed.

But it is not to the uncertainties experienced by novices
that we refer, but to those of practical and thoroughly
trustworthy men. Take an illustration : some weeks ago
we published an extract from a letter from Mr. Russell
Planners Gordon, in which ho stated that ho found gum
plates keep four months before, and six weeks after e.xpo-
sure, without the slightest deterioration, the plates deve-
loped six weeks after exposure being, if anything, finer
than those developed on the same day. Almost contempo-
raneously we find M.Constant-Delessert, of Lausanne, writing
to the effect, that having been, during the hot weather.

testing the relative keeping powers of coffee and gum plates,
he finds the coffee plates keep well, but not the gum
plates, the latter reddening all over in six or eight days.
We have scarcely read these remarks before we meet with
the experiences of Dr. Towler with coffee plates, which ho
prefers to any other, where the plates have to be used with-
in a day or two ; but adds tliat he would not have con-
fidence enough in these or other dry plates of a month old
in a case where success was of importance.

This is by no means an exceptional illustration of the
discrepancy in experience to which we have refericd in the
hands of cipable men. Mr. Gordon is, perhaps, the most
extensive and skilful experimentalist of any we know, lie
has tried almost every dry proc.’ss in existence, not in a
merely desultory or casual manner, but comparatively with
other processe.s, and under varying conditions, and has
tabulated carefully all the results with the qualifying con-
ditions. He is, moreover, a man of most fastidiously
faultless taste, and to satisfy him a negative must possess
all the technical perfectness upon which the capacity of
pictorial excellence so much depends. In his judgment,
which possesses the highest value, the gum process is the
most perfect he knows for keeping, as well as for the
e.xcellence of its results. ^I. Constant is a gentleman well
known to photographers as an ardent experimentalist, espe-
cially ill dry processes, writing with evident knowledge and
judgment, and, from the examples of his work which we
have seen, we believe him to be a highly skilful as well as
an enthusiastic amateur. He finds that gum plates give
him more charming results than any other, but, instead of
keeping months, they are spoiled in a week, whilst coffee
plates keep. Dr. Towler, whose name has been known for
years to photographers as that of a constant experimentalist
and able writer on photography, and whose dry plate work
we have often seen, likes coffee plates best, when kept
only a day or two. but loses faith in them afterwards.

No such uncertainty as this prevails in the wet collodion
process. Varying degrees of excellence are found in results,
generally clearly traceable to varying degrees of care and
ability, or differences in material facilities. Dr. Towler
.says, in terminating some remarks which we quote on
another page : “Finally, I think I can get a good negative
with almost any of the dry piates in vogue, and I start for
Niagara Falls, in a few days, to work with the wet process ! ”

In what, then, consists the elements of uncertainty in dry
processes? We cannot tell. There is but one dry process
in which we ever heard of auy approximation to general
certainty — indeed, in relation to which we do not remember
to have heard of any case of absolute failure — and that is the
collodio-albumen process. It does not, indeed, possess
nearly the rapidity, except pushed with hot developers, of
some other processes; nor is it so rapid or simple in manipu-
lation ; nor, without the final wash of gallic acid,_will the
plates keep indefinitely. But it <loes seem tolerably certain.
Few, if any, fail with it. Mr. Mudd has more confidence
in a collodio-albumen plate than a wet plate. Mr. England,
with his process, which is but a simplified collodio-albumen
process, produced last summer three hundred negatives,
never once unpacking his wet plate appliances, which ho
carried with him as a dernier rcssort. An achievement like
this is a tolerably close approximation to certainty ; but we
wait to see it repeated in other hands.

We conclude by repeating our first remark, that one of
the greatest boons which can be conferred upon photo-
graphic amateurs will be a knowledge of the causes of un-
certainty in dry processes. To determine this absolutely
a more perfect understanding of their theory than has yet
been attained will be necessary. This part of the subject
we do not propo-e to treat here, but shall probably have
something to say on it shortly. We have, however, one or
two hints to offer on the (juestion of pr-acticu. As in the dry
processes the operations are more numerous, whilst the con-
ditions of success appear to be coinpri.sed within narrower
limits, c'o inliness and neatness in manipulation, and pre-

THE PIIOTOGRAPIIIO NEWS.

447

Septbmber 18, 18G8.]

cision in carrying out prescribed fortnulaj, become more
absolutely imperative than in the wet process, which permits
some licence, both in manipulation and formula, without
risk of failure. Next as to keeping properties. In our
observation the keeping properties of plates are quite as
much affected by the mode of keeping as the mode of
preparing them. The bo.xes should be quite dry, and
absolutely air-tight. The latter condition may be secured
by placing gold-beaters’ skin over the joint formed by the
lid of the box. Damp and foul air will prove fatal to the
keeping of the best plates, prepared by any process.

IS PHOTOGRAPHIC APPARATUS “PERSONAL
LUGGAGE ’’ ■?

A QUBSTio.v of .some importance to photographers, both pro-
fessional and amateur, is at the present moment sub Jiidice.
Is photographic apparatus “ personal luggage ’’ ? That is,
can a photographer pack up his apparatus in a box for
transit during a tour, short or long, and require that it shall
be conveyed by the trains by which he may travel under the
same conditions as the portmanteau containing his ward-
robe ? At the first glance it would appear so perfectly a
matter of course that he should do so, providing that it'did
not exceed the proper weight, or require an especial treat-
ment during carriage, that one would not dream of asking
the question. The question has been raised, however, by a
company declaring that photographic apparatus conveyed
under such circumstances was not “personal luggage,” and
not, therefore, subject to the conditions obtaining in regard
to personal luggage. The following are the facts as stated
by a correspondent : —

“ Mr. Owen Angel, the well-known photographer, of
Exeter, lately brought an action against the South Devon
Railway Company for the recovery of jC2 14s. 9<1., the
claim arising under the following circumstances. He was
engaged to go to Bovey, to do some work for a gentleman
residing at that place. He left Exeter by the morning
train, and took with him a box containing his photographic
apparatus, which was duly placed in the luggage van. On
arriving at Newton, where a change of carriages takes place,
it was discovered that the box was missing, having been
taken out by the Company’s servants at Teignmouth in
mistake for Bovey. Inconsequence of this the photographer
had to return to Exeter. On the following day he posted
to Bovey, and he now claimed the sum named for travelling
expenses and loss of time. The Company disputed their
liability, on the ground that ‘ photographic apparatus ’ was
not ‘personal luggage.’ His Honour the Judge said he
would take time to consider, and give his judgment at the
next meeting of the Court.”

The question must of courae be decided by law, and shpuld
the decision of the Judge in the County Court be in favour of
the dictum of the Company, we hope acasc will arise in which
the decision of a higher Court may be obtained. We are
assuming for a moment, however, as a possibility, a decision
which is scarcely probable. Presuming that no definition
of personal luggage is found in any of the railway statutes
in existence, or in the Standing Orders, or Bye-laws, the
decision must be left to precedent and common sense. The
latter certainly suggests that, provided a box doet not
exceed the proper weight allowed to the passenger, nor
require facilities for conveyance other than are common to
luggage, it cannot possibly concern the Company what that
box contains. It cannot possibly concern the railway
authorities whether it contain a black calico tent in which
the photographer chooses to enshroud himself, or a black
domino as his costume for a ma.squerade. It cannot be a
matter of interest to them whether the box contains a
camera or dressing case, if both are within the proper weight.
We believe that precedents already exist in which a similar
estimate of the ca.se is taken. We are assuming, of course,
that no qualifying circumstances beyond those stated exist

in this instance. If so, little doubt can be entertained as to
the issue ; nevertheless, photographers will look with some
interest for the decision.

C-vitic'dl lloticfh’.

“RETURNING HOJIE A Pictori.u, Composition,

Photographed from Nature by II. P. Robinson.

As Thomson is the poet of the seasons, so may Mr. Robin-
son be regarded as their photographer. He is evidently a
lover of nature : a keen observer of her varied phases,
and a lover of English rural life and its varied episodes.
We have had from his camera “ Early Spring,” and
“Autumn,” and “May Gatherers,” and “Gleaners,” and
many other pictorial photographs of similar subjects.
Whilst others have discussed the art powers of photography,
he has demonstrated that power by producing pictures, the
true art and beauty of which have won the recognition and
praise of the most cultivated artists and art critics.

In his last attempt to demonstrate the capacity of photo-
graphy as a fit vehicle for art expression — a composition
twenty-four inches by seventeen inches in size, produced
from five negatives — we have another autumnal aspect of
nature. “ Returning Home ” represents a scene and incident
common enough during autumnal months, and very
beautiful in effect, but almost as difticult to render by
photography as they are beautiful : A broad stretch of cham-
paign country, not absolutely flat, but with sufficient undula-
tions to give a picturesque character without interrupting the
range of vision over many miles, until the plain meets the
sky. The foreground is rich with clumps of underwood :
the bramble teeming with wealth of rich blackberries ; the
twisted wild briar red with hips instead of roses; furze,
and bracken, and grasses, all give a most inviting charm to
the near landscape. The middle distance is in part the
same, and part more pcriectly wooded ; the tender far distance
appears to be of the same character, but there is no effect of
tameness or monotony.

The time is manifestly towards evening, and there seems
to be a dewy, moist feeling in the atmosphere and on the
landscape, as when —

“ The western .sun withdraws the .shortened day,

.Vnd humid evening, gliding o’er the sky
In her chill progress, to the ground condensed
The vapour throws.”

But the sun is not yet withdrawn ; two-thirds of the picture
are bright with sunlight which glints on rock, and stone,
and leaf, each sparkling as they catch the direct ray ; light,
bright, feathery wreaths of cloud spreading the light in this
portion of the picture, and producing a rare sunniness. The
other portion of the picture, sky and land.scape, are wrapt in
gloom. A sudden squall has arisen, obscuring the heaven
and overshadowing the earth :

“ a burst of rain.

Swept from the black horizon, broad dcsccnd.s
In one continuous flood.”

The flood of rain descends like a broad grey wall, a strange
contrast with the sunny sky it is rapidly sweeping over,
shutting out its brightness and dimming the horizon.
Hastening from the rain, though scarcely likely to escape
it entirely, is the one figure in tlie landscape, a rustic lass
with a sheaf of “ gleanings ” under her arm, her head and
eyes half turned round towards the dark shower which seems
rushing on as if resolved to overtake her. This figure gives
the name to the picture ; she is “ Returning Home ” from
the wheat field.

The scene, as we have said, is one somewhat difficult to
render. It is closely studied from nature, or rather it is
nature absolutely produced from the actual phases repre-
sented. But it is no ea.sy task to render by photography, in
one picture a sunlit landscape with only delicate, light cloud

448

THE PHOTOGRAPHIC NEWS.

LSkptkmuer 18, 1868

shadows flitting over one portion, and the grey gloom of a
rain-squall ovei-shadowing another. Few j)hotographers
would have dared to attempt such a scene, still fewer would
have so far succeeded. In many respects this is one of Mr.
Kobinsou’s most successful pictures ; it is wonderfully full
of tone and harmony ; wonderfully full of light and atmo-
sphere ; and it possesses a singular technical perfectness as
a photograph. The figure is admirably placed, and is full
of “ go,” and the landscape is charming, both in detail and
as a composition.

The open Kent scenery is essentially different from the
heavily -wooded character of the Warwickshire, which has
furnished the scenes from which Jlr. Kobinsou’s pictures
have hitherto been elaborated. With fresh scenes often
comes fresh zest, and we hope for many more similar photo-
graphic triumphs in the field of pictorial art from Mr.
Kobinson’s hands.

CARBOLIC ACID IN THE SILVER BATH.

Tub use of carbolic acid in the silver bath, suggested some
time ago by Ur. Kaiser, has not received the attention which
it will probably be found to deserve. Mr. Voyle, a corre-
spondent of our Philadelphia contemporary, describes the
beneficial results of some experiments of a purely empirical
character, but no one seems to have examined the subject
with a special regard to the known peculiar reactions of
carbolic acid. One of the common sources of trouble to the
photographer is the tendency in old baths to fog, caused by
the decomposition, or of the alcohol and other organic sub-
stances which accumulate in his bath giving rise to alde-
hyde or bodies of similar constitution, from the presence of
which fog must inevitably follow. Carbolic acid has the
especial peculiarity of arresting decomposition and fermenta-
tion, and it is reasonable to believe that in the nitrate bath
it would prevent the fermentation change which alcohol
undergoes in the bath, and so check the troubles which
follow.

In preventing the decomposition of albumen, this sub-
stance should be invaluable to preparers of paper, and to
dry-plate men its use in preventing fermentation in preser-
vative preparations should not be overlooked. We have
already pointed out its value in preventing putrefaction or
fermentation in adhesive materials, such as gum, paste,
glue, &c.

Mr. Voyle says that by adding a trace to his negative
bath he gains the following advantages : —

“ Increased sensitiveness.

“ Less liability to change or go out of order, allowing the
bath to be kept nearer neutral, mine being but slightly
acid.

*• A developer can be used with less acid ; often with none.

“ 1 have repeatedly developed pictures with no acid in the
developer (simple iron and water). They come up just as
with the acid developer. There was no tendency to crawl.
But sometimes this result was not obtained ; why, I have
not yet discovered. One thing, however, 1 have noticed :
the bath solution must flow evenly over the plate before it is
removed and exposed.

“ The colour of the bath is pink, deepening into red. I do
not attribute the colour to silver in a reduced state, for it
will not settle or filter out. I am inclined to the belief that
it is of the nature of the aniline colours. I can, as yet,
neither precipitate, change, or destroy it. Sometimes it
becomes slightly turbid. It is cleared by shaking with
kaolin, and subsequent filtering.

“ily reason for first trying it was its action when com-
bined with iodine for medical purpo.ses. Supposing it might
have some action on iodides I tried it first in collodion ; the
bath became so much discoloured that I abandoned it, notwith-
standing its evident advantages. Each plate added more
acid to the bath. A constant quantity in the bath nroving
itself to be of the same bcnefii, I used it thus, and am still
using it."

VISITS TO NOTEWORTHY STUDIOS.

M. Reutlixger’s Studio i.n Paris.

Durixo the last three or four years English photographers
have become familiar with certain card portraits — of actresses,
chiefly — published in Paris and sold in this country,
posse.ssing specific qualities which have won general ad-
miration. For the most pait they consisted of a large head
and bust vignetted. The arrangement of a head and bust
for vignetting is not supposed generally to give much scope
for skilful and artistic posing; but in these pictures the
turn of the head iind the point of view selected were always
graceful and striking. The lighting of the pictures was
always admirable, and they possessed a degree of relief and
modelling seldom attained. Notably a three-quarter face, or
rather, five-eighths, of Adelina Patti, pos.sessed these qualities
in rare perfection, and excited universal admiration. Eng-
lish photographers became familiar through these pictures
with the name of M. Keutlinger as that of an art photo-
grapher of unusual skill and capacity.

iM. Reutlinger’s studio is situated in one of the most fre-
quented thoroughfares of Paris, the Boulevard Montmartre.
Ascending many flights of steps to reach the top of a very
lofty building, we find the reception-room and studio, both
on one floor, and both somewhat smaller in size than is quite
convenient for the transaction of a large amount of business
in portraiture. At the time of our visit we find the salon
crowded, and the prominent feature of interest in the shape
of specimens are cabinet portraits, which are displayed in
profusion. Here, as in his cards, we find fine taste in posing,
admirable lighting, and great delicacy, richness, and vigour.
The photography wa.s, in short, excellent, and in most re-
spects the artistic qualities were very fine ; there was but one
drawback in our estimation, aud that consisted in the use, in
some cases, of scenic backgrounds in which painted columns,
painted vases, and painted curtains wei-e found in odd and
incongruous juxtaposition. It is true that tlie objects were
not sharply pronounced, the whole of the background being
kepttolerably quietand unobtrusive. When we first examined
these backgrounds we consoled ourselves with the notion
that want of skill and taste in the production of such things
was not confined to England. In the course of con7ersation
with M. Reutlinger subsequently we were disillusionized in
this respect, as we learnt that the backgrounds in question
had been received from London ! In the later examples of
his work which we have seen they have been abandoned.
Recently in cabinets, as formerly in card portraits, M.
Reutlinger has devoted himself considerably to the produc-
tion of vignette heads, a style in which he is very successful
in securing singularly fine modelling and relief, and great
brilliancy and vigour without sacrifice of delicacy.

On introducing ourselves to JI. Reutlinger, we meet with
a very kindly aud cordial reception. After a few minutes’
conversation, the demands upon him by sitters compel him
to leave us, with a request that we will occupy ourselves for
a few minutes with the specimens, and he will then show us
his studio.

M. Reutlinger is a German by birth, and has not been
many years, wo believe, iu Paris ; but he has rapidly made
his mark there. Of a bright, active, genial temperament,
he is quick, impulsive, and courteous in manner, rapidly
going through all his work. He poses and arranges every
sitter himself, and seems, moieover, to keep an eye upon
all other departments. Now he is for a moment in the
reception-room answering a question ; then iu the dark-
room examining a negative — filling up the brief intervals
between one sitter leaving the atelier and another being
ready to sit ; but never neglecting the principal occupation
of attending to the sitter. A clever photographer and
skilled artist, M. Reutlinger is also, we conceive, a prompt,
active man of business, a circumstance of no light im-
portance where large transactions in publishing portraits are
carried on.

We now enter the studio, which is of the pent-house or

September 18, 18G8.]

THE PHOTOGRAPHIC NEWS.

449

managed with great skill ; no ehalkiness, no masses of
white without detail and texture, ever being present.

In the cabinets a variety of scenic backgrounds were used,
half-a-dozen different kinds being at hand in his studio, and
readily changed for use. The examples of English scenic
background were, as we have said, the least satisfactory
things in his establishment, and have since, we believe, been
discarded.

JI. lleutlinger, besides a large practice in private por-
traiture, publishes largely, and was one of the first to see the
advantages of the cabinet picture, which he has done much
to jjopularize. He is, we believe, very successful, and well
deserves his success.

PIIOTOGU.VPIIIC OBSERVATION OP THE
ECLIPSE.

Ouii readers are aware that amongst other expeilitions fot
observing the late total eclipse, and obtaining ])hotographs
Iroin favourable positions, one was sent out by the Prussian
Government — or rather that of the North German States —

lean-to foun, lighted from the north side only. The room
is about thirty feet long, and less than twelve feet wide.
The roof, like that of Adam-Salomon’s studio, is of ground
glass, the side light, which is eight feet high, descending
to within two feet of the floor. Three feet and a half
of the lower portion of the side light are of ground or
stippled glass, and four feet and a half of the upper portion
clear glass. This is the only clear glass in the studio, and
when wo were present only a space of ten feet laterally of
this Wiis uncovered by curtains. The lower portion of the
side-light being partially obscured was a matter of necessity
rather than choice, the intense reflection of sunlight from
windows at the opposite side of the street entering the studio
and proving troublesome until a portion of the side-light
was obscured. Although the studio is lighted from one side
only, no reflecting screens are used, the expanse of soft top-
light through ground glass sufficiently relieving the shaded
side of the face from blackness.

Whilst we are looking on, M. Reutlinger proceeds to pose
and arrange a group of two persons, for which, by the w.ay,
his studio is not so well suited as for single figures. Tlie
group consists of a tall English gentleman and a lady, and
the task is not an easy one. The gentleman is a little
angular and stiff, as well as tall, and he has bright-red -hair
and whiskers. He manifests evident di.staste to the applica-
tion of powder to his whiskers, which JI. Reutlinger feels it
necessary to make. The lady being petite and the gentle-
man tall, of course the latter desires to stand and allow the
lady to sit, and h.' is with difficulty persuaded to seat him-
self and allow the lady to lean upon his shoulder. M. Reut-
linger perseveres, however, with good-humoured tact, and
succeeds in getting a tolerably easy pose. His perceptions
are quick, and all his actions rapid and lively, and pervaded
by a pleasant, cheery manner. He manifestly feels the neces-
sity of getting through his work, as there are several sitters
waiting ; but this induces no slovenliness or lack of fastidious
care. Two canl negatives of the group having been ob-
tained, one of which is pronounced satisfactory, a gentleman
next sits for a cabinet, and two good negatives are rapidly
secured. M. Reutlinger, who has maintained a lively con-
versation at intervals between each exposure, now requests us
to sit for a card vignette. The arrangement is rapidly made,
and four exposures in succession are made on one plate.
The negative does not quite satisfy M. Reutlinger, but we
decline to trespass longer upon his time on that occasion.
His chemicals are not working quite satisfactorily, a tendency
to pinholes and hardness being present, which occasions
some anxious communications between JI. Reutlinger and
the assistant operator in a very small dark-room opening out
of the studio. We note that the exposures seem long — we
sat thirty-five minutes. M. Reutlinger remarks that the
chemicals are not in the best order ; that with the very
excellent lens he was then working — the No. 2 B of an
English maker — his exposures were generally rapid ; but
that he, as well as photographers generally in Paris, usually
gave fuller exposures than English portraitists seemed to
think necessary.

M. Reutlinger believes it to be the duty of the portraitist
to make the best of his work, and he generally works upon
the negative, sometimes slightly, sometimes to a great extent.
All the negatives we saw were more or less retouched, a lead-
pencil having been used, deep shadows being softened,
wrinkles modified, &c. The negative was treated with a
solution of gum whilst wet, and the surface so obtained
afl'ords an excellent “tooth” to the pencil when dry, and
renders effective retouching readily possible. After re-
touching the negative is varnished.

The work chiefly in hand whilst we were present consisted
chiefly of cabinet partraits ; but amongst the specimens in
the reception-room were many e.xceedingly fine large por-
traits, some of which were apparently from negatives
elaborately stippled, the delicacy, modelling, and rich
chiaroscuro of which were very effective indeed. White
draperies were common amongst the specimens, and always

to Aden, of which the photographic arrangements were
under tlie charge of our friend Dr. Vogel. His letter
describing the operations will be read with much interest.

Oil Board the Steamer “ Carnatic" in the lied Sea, 20 deif. V. lat.

2'ird Aiiguet, 1868.

My Dear Sir, — I am now enabled to give you an account of
the results of our expedition. Our voyage proceeded without
any danger, and the weather being extraordinarily favourable,
wo had a calm soa ; but nevertheless, wo wore not spared the
sufferings generally imposed on the traveller who passes
through the Red Sea at that hot time of the year. This
soa, enclosed on both sides by deserts, and connected with
the Indian Ocean only by a very narrow channel, forms an
isolated bay, where, in consequence of the customary calms
and want of currents in the water, the temperature increases
in the same degree as you advance towards the south. The
perspiration flows down your body just as if you were in a steam
bath ; the whole of the skin is heated and irritated, and happy
is ho who finds a spot on deck where a slight breeze cools
him for a moment. Wo were glad to reach the more airy
ocean, and anchor near Aden on the 2nd of August.

The aspect of this town is not in the least an agreeable one.
You see a quite bare, savage mass of rocks, interrupted by
some works of fortification, warehouses, shops, and coal sheds.
This was the exterior of the town, where we were obliged to
stay for about a fortnight. There was not a bit of green
colour in the whole nature. Among the screaming and roaring
Arabian crowd, our baggage and wo ourselves were put on
shore. Here wo learnt that the English Government had
received our friends who had arrived before us in a most obliging
manner. Wo were shown to their station on the east side of
the peninsula, where they occupied two Indian huts, called
“ pungaloes,” which are general in that climate. There wo
found them, together with the members of the Austrian expe-
dition (Messrs. Oppalzer, liiha, and Dr. Weiss), established
with as much comfort as may be expected on that bare shore.
The English Government proved a very generous host. A
whole attendance, cook, &c., waited upon us ; cars, camels, and
asses were placed at our service. Wo were quite at ease. The
temperature (‘26° R.) was low in comparison to that of the Red
Sea. A fresh breeze was to be felt at the summit of Marshag-
hill, where our piingalo was situ.ated.

In the above-named members of the Austrian Expedition I
found three gentlemen of the most amiable character, and of
great scientific knowledge. One of them. Dr. Weiss, is the
first who called the attention of scientific Europe to the groat
importance of this eclipse of the sun, and has therefore induced
the governments to despatch expeditions.

The heat was supportable as long as wo were not at work ;
but ns soon as we began the slightest exertions, the discomfort
was very great.

Wo had still ten days for our preparations for taking the
eclipse. They were spent by fixing our photographical
telescopes, placing them, and taking exact informations. Our
observatory was a pungalo, the roof of which had been partly
removed in order to give way to the telescope. The remainder
of the cottage served for studio, store, and cleansing-room.

450

THE PHOTOGRAPHIC NEWS.

[September 18, 1808

This bird-cage of reed (for nothing else it was) afforded suffi-
cient protection from the wind, but not from the dust. Water
was carried up to us in leather bags. Two tents, which we had
carried along from Europe, were employed as dark rooms.
Some apparatus for landscape and portraits served for taking
some landscape and anthropolian views, and offered at the same
time an apt means for trying our chemicals. Some slight faults
of the latter were soon mended, but it was difficult to protect
them from the iulluence of dust and evaporation. The least
exertion drew forth perspiration in currents ; it was flowing
down from the fingers and faces, and it often happened that a
newly-polished and prepared plate was spoiled by a drop
falling down upon it. Experience, however, taught us
liow to avoid even this.

We tried successfully to take some views of the sun, and
could expect the day of the eclipse without fear. Only one
thing was not quite sure — the weather. Alt accounts about
Aden had induced us to expect a serene sky ; we had been told
that rain very seldom fell, and that clouds scarcely ever appeared .
vVe were therefore utterly disappointed when, on our arrival,
the summits of the volcanic rocks were covered with clouds, and
a shower of rain fell down the next morning. Our disappoint-
ment increased when, day after day, the sunrise was concealed
by clouds, and the weather became worse and worse instead of
better. Our prospects were bad enough, and soon all hope
vanished.

At the day of the eclipse we rose at four o’clock in the
morning. Nine-tenths of the sky were clouded, and resignedly
we began our work. It was the task of the North German ex-
pedition to take a photographic view of the eclipse during its
totality. For this purpose we had a long telescope with a lens
of six inches, without difference of focus, and with a focal dis-
tance of six feet. This lens, constructed by Steiuheil, afforded
a solar imago of three-quarters of an inch in diameter, which
was taken upon a photographic plate by means of an ordinary
sliding chest for two images. As sun and moon appear to be
in motion, such an instrument would naturally afford images of
no sufficient sharpness if it were motionless. Therefore the
telescope was moved by a rackwork exactly in the same mea-
sure as the stars. In order to avoid shaking the telescope, the
trap-door of the objective was not in immediate connection with
the telescope, but supported by a separate loot, and communi-
cated with the telescope through an elastic coupling hose.

Thgr totality of the eclipse at Aden was about three minutes
long (in India five minutes) ; nevertheless, wo had chosen
Aden for our station because there were already photographic
observers in India, and because the totality appeared at Aden
about an hour earlier than in India. Therefore a com-
parison of the different results would enable us to decide the
question, if the protuberances appearing at a total eclipse of
the sun were changing in the course of time or not.

Our task was now to get within these three minutes as many
views of the phenomenon as possible. For this purpose we had
exercised ourselves in the employment of the photographic
telescope, like artillerymen with their guns.

Dr. Fritsche prepared the plates in the first tent. Dr. .Zenker
put the sliding chests into the telescope. Dr. Thiell exposed, and
I myself developed in the second tent.

We stated that it was possible in this way to get six images
(three plates of two images) during three minutes.

When the decisive moment was fast advancing, the sky,
hitherto covered with clouds, showed some openings, through
which the sun, already covered partially by the moon, was to
be seen. The landscape around w.as illuminated by the
strangest light, a medium between moon and sunlight.

The chemical strength of light was exceedingly weak. A
proof plate gave a wholly exposed image of the clouil after
tiftccii seconds. The sun crescent became smaller and smaller,
and the opening in the clouds seemed to increase.

The last minutes before the totality (which began at twenty
minutes past six o’clock) went rapidly away. Dr. Fritsche
and myself crept into the tents, where wo remained, consequently
we have seen nothing of the totality. Our work began ; wo
exposed the first plate five and ten seconds, in order to know
what was the just time.

Muhammed, our black servant, brought the first attempt into
my tent. I poured the iron developer over the plate, eager to
know what was to come. At this moment my light was
extinguished. I called for light, but nobody heard me, as all
were about their task. I stretched my right hand out of the
lent, holding the chest in the left, and happily caught a small

oil lamp, which I had previously prepared at all events. And
now I saw the image of the sun appearing on the plate. The
dark margin of the sun was surrounded by a series of peculiar
elevations, the other side showed a strange hook ; the pheno-
menon being exactly the same in both views. My joy was great,
but there was no time for enjoyment. I soon received the
second, and, after another minute, the third plate. “ The sun
is coming forth! ” exclaimed Dr. Zenker. The totality was
over. All this seemed to have been done in a moment.

When 1 developed the second plate I perceived only very
weak traces of an image. The clouds had veiled the sun at
the very moment of the exposure. The third plate gave two
brilliant views, with protuberances at the lower margin. Glad
to have reached so much, wo washed, fixed, and varnished the
plates, and immediately took some copies on glass, which were
to bo despatched to Europe separately.

I here give you a design of the plate ; a more exact drawing
will bo published afterwards. Over the margin of the sun we
see the protuberances (a h) ; on the opposite side we perceive

the strange hook already mentioned. Its height was about
one-fourteenth of the sun’s diameter, and it would therefore in
reality be 12,000 miles high. On the third plate we got the
protuberances {d e) at the lower margin. After soma time a
more special description of the views, a comparison with those
of the French and English expedition, and the results drawn
from them, will be published.

How much we were favoured by fortune in our work is to bo
seen in the circumstance that at another point, situated at a
distance of half a hour from our station, there was noihing to
be seen of the total eclipse, the clouds hiding the sun during
the eclipse.

Having thus performed our chief task, wo had no cause for
longer staying at Aden. Therefore we packed the telescope,
watch, and other innumerable instruments and chemicals,
loaded them on camels, and got them transported to the port.
On the 21st of August we bade farewell to the bare shore, and
set oft' for Suez.

I close my account with some photographic experiences which
I made at Aden, in regard to the rapid eva[>oration of the ether,
and the difficulty of managing etlierial collodions in a high tem-
perature, in further regard to their easily decomposing. In con-
nection with iodides, I liad prepared a collodion containing only
cadmium salts, by dissolving —

Mann’s gun-cotton 2 parts

Alcohol ... ... ... ... ... 80 „

Ether 20 „

' Alter three weeks’ settling, the bulk was ilecanted,
immediately combined with the iodides, consisting of —

(a) loilide of cadmium ...
Alcohol

(A) Bromide of cadmium
Alcohol

... 18 parts

... 270 „

... 17 „

... 270 „

and

' Two measured parts of the first solution were mixed with 1
part of the second solution and 9 parts of plain collodion. A
plate prepared with this collodion immediately after settling
showed streaks and a weak veil. A collodion prepared at the
same lime, and containing more ether — according to ray
ordinary formula — gave plates without any fault. Therefore I
added 2 ounces of ether to the collodion. It was so rapidly
absorbed, that in consequence of the a'usorption of the very
vapours of the ether there was a vacuum after shaking the
bottle. The additional ether gave very lino results, since after
twenty-four hours we got plates without any streak or veil.

The bottles containing the collodion were luted by a mixture
of sulphur and brick powder ; a cement which prevents etherial
fluid from evaporation in high temperature. There was, how-

September 18, 1868.]

TIIL PHOTOGRAPHIC NEWS.

4:')!

ever, the drawback that some portion got into the bottles when
they were opened, and that, in consequence of this, new
decanting was necessary.

The English collodions brought to Aden by Dr. Frittcho were
closcil by india-rubber, which proved to bo much better. They
contained excessively more ether, and soon became yellow, and
gave streaks very readily, and, what was worse still, dry spots.

The above-mentioned collodion proved to bo free from any
of these drawbacks. I developed somo plates a whole quarter
of an hour after exposure, and, in spite of the high temperature,
I received faultless images free from dry spots. Even after
weeks, the collodion was colourless. Tho opinion that collo-
dions with cadmium salts give dry spots seems therefore, to bo
erroneous. Tho chief c.ause of that j)henomenon is perhaps to
1)0 found in tho amount of ether and in tho quality of tho gun-
cotton. Tho above-mentioned collodion was not only employed
for our astronomical views, but also for landscapes and por-
traits, and always proved equally good. In order to prevent
the collodion from being spoiled by tho dust, tho collodion
flowing from tho plates was received into sundry bottles.

The silver bath employed w.as an 8 per cent, solution, con
tainiug some nitric acid.

Tho developer consisted of —

Sulphate of iron and ammonia 7 parts

Acetic acid 5 ,,

Plain water 100 „

Tho intensifying bath contained —

Nitrate of silver

Citric acid

Water

2 parts
CO „

which, when used, were mixed with some parts of the above
developer.

In the torrid zone we are obliged to employ an acid silver
bath, an acid developer, and an acid intensifying bath, if we
want to get good results.

I will shortly send you tho account of somo other experi-
ences.— Yours, Hermann Vogel.

o-

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Chiaroscuro for Piiotograpuers.

BY II. I>. ROBINSON.

JClIAPTER XXXIV.

The ai vangement of a family group is certainly one of the
most diflicult things to succeed well in accomplishing per-
fectly in photography, more diflicult even than the compo-
sition of a picture that would take a much higher rank in
art, hut of which the materials were more under the com-
mand of the artist as regards selection and disposition. In
a portrait group every face must be prominent, no figure
must he sacrificed for the sake of pictorial effect, and, there-
fore, there can be little or no subordination, one of tho
chief elements of success in art. This difficulty is felt by
painters who can devote time and particular attention to
each figure, and who, moreover, can place his figures on dif-
ferent planes ; but the photographer has still less opportunity
of taking artistic liberties with this kind of subject, and it
is only by double-printing that he can hope, in some

measure, to succeed ; even then he has difticulties to contend
with that will often cause him to despair of success.

West’s groups of portraits of his own family, which afl'ords
this week’s illustration, is a capital example of a family
group. This was a favourite picture with Le.slie, who says
of it : “ We undervalue that which costs us least effort, and

West, while engaged on a small picture of his own family,
little thought how much it w’ould surpass in interest many
of his more ambitious works. Its subject is the first visit of
his father and elder brother to his young wife, after the birth
of her second child. They are Quakers, and the venerable
old man and his eldest son wear their hats, according to the

1

452

THE PHOTOGRAPHIC NEWS.

[September 18, 1868.

Custom of their sect. Nothing can be more beautifully con-
ceived than the motlier bending over the babe sleeping in
her lap. She is wrapped in a white dressing gown, and her
other son, a boy si.x years old, is leaning on the arm of her
chair. West stands behind his father, with his palette and
brushes in his hand, and the silence that reigns over the
whole is that of religious meditation, which will probably
end, according to the Quaker custom, in a prayer from tlie
patriarch of the family. The picture is a very small one, the
engraving from it being of the same size. It has no e.\cel-
lence of colour, but the masses of light and shadow are im-
pressive and simple, and I know not a more original illus-
tration of the often-painted subject, the ages of man. In-
fancy, childhood, youth, middle life, and extreme age are
beautifully brought together in the quiet chamber of the
painter's wife. Had he been employed to paint tliese live
ages he would have given himself a great deal of trouble to
produce a woidc that would have been classical, but, com-
pared with this, common-place ; while he has succeeded in
making a picture which, being intended only for himself, is
for that reason a picture for the whole world ; and if painters
could always thus put their hearts into their work, how much
would the general interest of the art be increased !”

The student will by this time be able to analyse for him-
self the composition of this picture ; 1 only introduce it to
show what beautiful results arise from extreme simplicity
of treatment. The object of the visit is the new-born chibl.
Notice how everything is made to lead the eye to the “ little
stranger," especially the chiaroscuro. Observe, also, the very
simple yet effective background, and the manner in which
it is used to relieve the groups, the dark portion supporting
the light mass formed by the mother and child, and the
light, even-tinted wall throwing out the darker forms of
the men. The black shoes of the grandfather and uncle
play no inconsiderable part in the composition, and help
to join the two groups and emphasise the whole.

Good as this picture is as an example of grouping, I would
not advise the photographer to try to imitate it exactly in
any group he may have to photograph, but he may allow it
to guide him in the composition of a similar group. I have
repeatedly insisted, and I again recommend, that the stu-
dent should not attempt to imitate the works of others until
he has thoroughly grounded himself in the principles of
art, and knows the causes of the beauties of line and tone in
good works, and these I would not have him imitate ser-
vilely. To one who has mastered the grammar of his art,
and is able to originate fine thoughts, suggestions from the
works of others are often useful. A notable instance of this
I had the pleasure of seeing lately. When M. Adam-Salo-
mon visited England a few weeks ago he brought with him
one of the most delightful things 1 have seen by him: a
noble boy, partly reclining on a chair, with his head sup-
ported on his hand, and with the face turned upwards.
This charming portrait, of which words cannot give an idea,
the artist informed me was suggested by a print after Sir
Thomas Lawrence’s “ Master Lambton but although the
idea was suggested by the engraving, the working out was
very different, and the beauty of the photograph w;vs the
result of M. Salomon’s knowledge of art and his skill in
adaptation, and did not consist in the fact that he had
taken this picture for imitation. In the hands of one who
had no acquaintance with the rules of composition and
chiaroscuro the attempt must have ended in failure as great
as the abortive results of those photographers who collect a
set of poses prepared for tliem by persons as ignorant as
themselves, and fit their sitters to them haphazard.

the process, believed would have been produced by the
process as first proposed, he protested against the ex-
periments as examples of the results of his process,
ilr. Jex Bard well, an American photographer, also
offered a similar protest, and as extracts from the remarks
of both gentlemen were published in our pages, wo now give
the rcspon.se of Dr. Towler, and the record of some further
valuable experiments, which he publishes in our Philadelphia
contemporary. Dr. Towler says: —

“ The experiments that 1 made last winter in Albany, on dry
plates, were executed with care, in order, as I said, to ascertain
the comparative merits of three well-known dry plates, when
treated with an iron developer. Now, the authors of the three
processes had recommended an iron developer, and I, therefore,
took no liberty with either process, excepting to substitute my
favorite nitro-gelatine iron developer for any other that might
have been rocoramendod. Mr. Bardwell looks upon pyrogallic
acid ns the proper developer for a dry plate. This point I will
not contest here, because it is irrelevant to the question ; but I
do not see how he can complain of me for making the experi-
ments, and stating explicitly why 1 made them. The results
were certainly those which I recorded, i wish Mr. Bardwell
and others would make similar and more extensive comparative
experiments on different dry plates, with the developer peculiar
to the process, as well as with the same developer, for each
process, both in winter and summer, but especially in winter,
when the temperature is too cold to admit any operations with
the wet process.”

After some further remarks Dr. Towler proceeds : —

“ I feel inclined to prefer the coffee process, when the plates
are to be used within a day or two. to any other dry process ;
and this jireferenco is founded on the simplicity of the process ;
but Col. Baratti says ‘ his process is much more complex.’ The
Colonel objects to my formula, because it is not the same as
his. After all, the difference is very slight. It is my habit to
transcribe all foreign forraulm into American weights and
measures, because our practical photographers have no
acquaintance with grammes, litres, &c.

“ My transcribed formula is as follows :

Water ...

Coffee, roasted and ground
Loaf sugar

8 ounces, or C4 drachms

6

3 „

300 grammes
30

15 ..

DR. TOWLER ON THE COFFEE PROCESS.

Some months ago Dr. Towler published the results of some
interesting experiments with dry plates developed with the
nitro-gelatine developer. As the results were less favourable
with the coffee plates tried than Col. Baratti, the inventor or

Now multiply each of these numbers by five, which will
not change the ratio, and we have —

Water ... ... ... ... .. 3'20 drachms

Coflee, &c. 30 „

Sugar, &c 15 „

But Colonel Baratti’s formula is —

AVater ...

Ground coffee ...

Refined sugar

Thus the difference is very slight ; that is, I uso one
fifteenth part more water than he does. But the Colonel wants
to know why I boil the mixture.

“ I boil the mixture in order to got a better decoction of
coffee : and, by boiling, the extra twenty parts of water are
evaporated, and then the two formulae coincide. But the two
solutions, I admit, are different : my decoction is more con-
sistent than the Colonel’s infusion, and it remains to be proved
whether it is better or worse than his for practical purposes.
We take it for granted, there can be no objection to the use of
loaf sugar, for this is refined sugar.

“ The Colonel totally misunderstands my meaning when he
supposes that, by moisturo retained in the film, I mean damp-
ness condensed on tho plate. The plates I used wore smooth
and highly polished ; they wore thoroughly dried according to
the common acceptation of tho term, and there was no visible
dampness on the film.

*• The developer, it is admitted, is quite different.

“ There w.as no alternative but to test the matter, in order to
see whether I had so egregiously errod by making tho above
changes.

" I mixed tho coffee solution and developers according to tho
two formul®, and went to work and prepared plates secundum
artem. When exposed, I cut each plate in two, and developed
one-half with tho nitro-gelatine developer,and Iho other with

September 18, 1868,]

THR photographic NEWS.

45S

the Colonel’s developer. There is quite a difference of colour
between the two sets of negatives ; with the nitro-gelatine the
colour is grey-black, with the other it resembles that of a taniiiu
plato developed with aceto-pyrogallic acid. Tire former
develops more intensely than the latter, but, upon the whole,

I should prefer the Colonel’s developer ; its action is e.'cccei|ingly
smooth and uniform, whilst that of the former is slightly
granular, a condition not occurring on wet plates with the same
developer. The negatives prepared with the decoction of
coffee are in all cases more vigorous than those prepared
with the infusion, so that I have no hesitation in recommeding
the coffee to bo boiled.

" 1 next compared results with aceto-pyrogallic acid aud the
Colonel's developer. These are so similar in every respect
that it becomes impossible to descry any difference ; therefore,
since the results are the same, I certainly give preference to
the iron developer.

“ Finally, 1 compared result with a sulpho-gelatine iron
developer and the uitro-gelatine, aud found the granulation
absent in the former. The negatives are grey-black in colour
with the sulpho-gelatine, and the iilm is smooth aud uniform
in the development.

“ All the plates used in these experiments were previously
coated with a thin film of albumen ; I tried some without a
substratum, and invariably had trouble in retaining the film on
the glass during development and fixing, and they werejill
dried spontaneously at a temperature of about ninety degrees
Fahrenheit. It is possible that artificial drying may ne bena-
ficial, and, as the Colonel states, a sine quit non, I will test
this point, and give my experience.

“ Finally, I think I can get a good negative with almost any
of the dry plates in vogue, and I start for Niagara Falls in a
few days, to work with the wet process.

“ Since writing the above, I thought I would try a few plates
that were prepared thirteen months ago — collodio-albumeu
plates. I exposed the first plato two minutes, and developed
with the sulpho-gelatino developer (iron). After much coaxing
and patience, I obtained an intense negative. This is a proof
that the collodio-ablumon plates retain sensitiveness for at least
thirteen months ; probably, in winter, I might have had to
expose the same plate half an hour or more, to produce the
same result. I exposed two more similar plates, each three
minutes, and got no pictures, for the film fogged all over, and
gave but a faint outline of the view in the general fog. It may
bo that I exposed too long, or got too much nitrate of silver in
the developer, omitted something, or did something too much.
Uncertainty is fatal to tho dry process ; the practical photo-
grapher cannot afford tho slightest probability or chance of un-
certainty ; he must see the picture before he leaves the ground,
or, at least, tho neighbourhood.

SOLAR PRINTING BY DEVELOPMENT.

The Editor of tho Philadelphia Photographer describes a
recent visit to the establishment of Mr. A. Marshall, of
Boston, to witness his operations in producing solar prints
by developni'-nt, which was done at the rate of about six per
hour. Mr. Marshall, he states, contrives, on a clear day, to
rint his solar prints in the morning, having a lad to assist
im, before his studio becomes thronged with visitors. The
following is the formula : —

Take of condensed milk 12 ounces, and about 40 ounces
of water ; put them into an evaporating dish, and heat over
the fire until brought to the boiling point; drop in glacial
acetic acid until the milk is thoroughly curdled ; strain off
the liquid through a coarse cloth or fine wire strainer; mix
up the white of one egg well with the filtrate, put over the
fire, and boll once more. By the use of the egg tho whole
becomes perfectly clear, and can be readily put through
filtering p.apcr.

After filtering dissolve 10 grains of iodide and 5 grains of
bromide of potassium in the liquid.

Silver Solution.

Of silver, 30 grains in summer, and 40 grains in winter,
made quite acid with glacial acetic acid.

Doceloping Solution.

Pyrogallic acid ... ... ... 15 grains

Acetic acid... ... ... ... H ounces

Water 10 „

Mode of iVorking.

The serum of milk is applied in the same manner as
silver to plain paper ; then let it dry (yet not too dry) ; after
which tack to the solar printing-board, and silver the same
as it is iodized (carefully excluding all white light). Now
print until the shades of tho picture are plainly seen, then
brush the developing solution smartly over it. When it is
as dark as desired, immerse it quickly in hyposulphite of
soda, and let it remain long enough to stay the action of the
developer; then take it out, rinse well in water, and immei’se
it in a second solution hypo, sufficiently strong to fix tho
picture thoroughly (say) from five to ten minutes. Sufficient
carbonate of ammonia should be added to give a strong
alkaline reaction. Care should be given that the pictures
are taken out just as soon as fixed, and then thoroughly
washed.

RE.'VCTIONS OF HYPOSULPHITES AND SULPHO-
CYANIDES UPON ALBU.MEN PRINTS.

MY M. CAREY LEA.*

Although very much has been written upon this subject,
yet, nevertheless, its extreme importance may excuse a few
words more upon it. There is no greater reproach to photo-
graphy than the insecurity always felt as to the permanency
of its productions ; and this doubtful permanence we all
know to be due to some action of tlie fixing bath. Without
undertaking to find decisive solutions to any unsolved pro-
blems, it is, perhaps, worth while to put on record the result
of the following experiments.

And, first, I may remind my readers that it is a well-ascer-
tained fact that albumen is capable of entering into distinct
chemical combinations with certain metallic oxides, and,
amongst these, with oxide of silver. When, therefore, a
sheet of paper coated with albumen mi.xed with an alkaline
chloride is floated upon a bath containing an abundant
quantity of nitrate of silver, there is formed both chloride
and albuminate of silver.

Suppose, then, the fixing to have been performed in the
usual manner, and most thoroughly, and also that the print
has been thoroughly washed, tho question arises. Is any
silver left in the whites? and, if so, why? and how much?

Tho first of these questions has already been decisively
settled. There docs certainly remain silver in the whites.
To obtain an answer to the other questions, the following
experiments were made.

Some albuminized paper was sensitized in a 50-grain
bath of plain nitrate, and was w.ashcd and fixed without ex-
posure. Different pieces were left in the hypo.sulphite bath,
which was a perfecfly fresh one, consisting of 1 part of hypo
to 4 parts of water, for different periods of time, varying
from a few minutes to half an hour.

These pieces were then tested with hydrosulphate of
ammonia, applied with a clean quill, and in sufficient
quantity to fully produce whatever effect it was capable of.
The result found was this : that although, even from the
pieces left the shortest time in the fixing bath, the silver
compound sensitive to light had been perfectly removed, so
that the hyposulphite had in five minutes perfectly done
that portion of its work, there was another insensitive com-
pound left, which continued regularly to diminish in quan-
tity by continuation of the action of hypo. That is,
whilst the portion of paper which had been in the hypo-
sulphite but five minutes stood a severe test of soushine
under a negative absolutely as well as a piece fixed for
half-an-hour, nevertheless, the piece which had been in ten

• Philadelphia, Fholographer.

454

THE PHOTOGKAPinC NEWS.

[SfiPtEMBER 18, 1868.

minutes gave a less brown streak with hydrosulphate of
ammonia than oue treated for five minutes ; one treated for
half-an-hour showed less indications than one treated for
twenty minutes ; and so on.

A prolonged exposure to the action of hyposulphite,
where allowable, has therefore a very plain advantage.
For that this silver in the whites has something to do with
fading seems pretty clear ; it would at most appear that the
chemical action connected with fading starts with it.

A comparison of these results was extended to sulpho-
cyanide of ammonium. Paper immersed in a solution of
that substance (sulphocyanid ?, 1 ; water, 2) for different
periods — from five minutes up to twenty — were tested in the
manner just described. The result was altogether different
from that obtained with hyposulphite. The brown stains
produced by the hydrosulphate of ammonia were all equally
strong, and without reference to the time of action ; the
stain on paper left for twenty minutes was no lighter than
on that left in but five.

It appears, then, that this substance is not soluble in sul-
phocyanide. As the pieces which had been immersed in
sulphocyanide exhibited about the same strength of colour
under the hydrosulphate test as the piece which had been
acted upon b)' the hypo for five minutes, it would seem that
not very much of this substance had been removed by
the hypo in the first five minutes, and that the whole
quantity of this compound originally in the paper was but
small.

Finally, I may remrrk, that the extended series of experi-
ments which I have made upon the properties and perma-
nence of paper positives seem only to place in a stronger
light the great uncertainties connected with silver printing.
The solutions in use are continually undergoing changes
which, whilst they are of paramount importance to the
keeping qualities of the print, are invisible to the eye, and
can with difficulty be guessed at. Such considerations
enhance the importance of those processes which avoid the
use of silver, and give the unstable compounds which silver
renders it ii'jeessary to employ.

Since the above was written, I have noticed a fact which
sesms of interest in eonnection with the fading of positives.

A portion of a print was subjected, more than a year ago,
to a simple sulphur toning — that is, hyposulphite of soda
and chloride of lead, without any admixture of gold. This
was marked and put away. About the same time a line was
drawn with hydrosulphate of ammonia across the whites,
which produced a brownish stain. The stain, though a
decided light brown, was, of course, much lighter than the
dark portion of the print. Now, after the lapse of about
sixteen months, matters have materially changed. The
sulphur-toned print has nearly faded out, so that the streak
of sulphide is now much darker than the print.

This is an interesting fact, and one which seems fully to
confirm the vierv which I expressed long since — that the
popular idea that the fading of a print depended upon the
production of sulphide of silver was erroneous. Here the
print had almost faded out ; whereas the sulphide of silver
alongside had not (so far as could be noticed) suffered any
alteration. Sulphide of silver is, in its chemical relations,
rather a stable substance, and not one from which we should
expect such changes.

Again, there seems another very strong reason : In a
fiuled print the whites generally turn yellowish. If a con-
version of silver into sulphide is taking place, why should
that darken the light parts whilst it lightens the dark parts?

Again, in the prints in question, although the whites are
fairly yellowish, they are not nearly so dark — not the tenth
part — as the stain left by the sulphohydrate of ammonium.
If a complete conversion into sulphide has taken place, and
if such a conversion can almost efface the print, it ought to
have completely affected the white also. For the reasons
above given, 1 do not conceive that faded prints are con-
verted into sulphide, but rather into some much less coloured
silver compound.

grofcfMng.? of Socktus.

Liverpool Amateur Photographic Association.

The ordinary monthly meeting of this Association was held on
Tuesday evening, the 25th ult., the President, the Rev. G. J.
Banner, in the ch.air.

The minutes of the previous meeting were read and
confirmed.

Mr. Forrest said that at a recent meeting he had pro-
mised to bring forward a new kind of dull glass suitable for
focussing. He had placed a piece of the glass in question in
the hands of the Secretary, and would be glad to liear his
report.

Mr. Bolton said he had tried the glass, which, in appearance,
was very similar to fine ground-glass, and found that the image
formed upon it would bear magnifying to a greater degree than
upon ground-glass of the finest grain.

In answer to an inquiry, Mr. Fokre.st stated that the dull
surface was obtained by the action of vapour of fluoric acid.

Mr. Sleddon passed round a number of pictures by the
quassia process, some of them taken under very unfavourablq
circumstances ; and gave a resume of the process, which, how-
ever, did not difler from the details already published.

The pictures entered in competition for Mr. Green s prize
were then given in for adjudication, Messrs. A. and R. Cooke
being chosen judges. The prize was awarded to Mr. Hender-
son, for a dozen stereos by the collodio-bromide process .
Indeed, the whole of the pictures entered were taken by the same
process.

Several prizes were announced for future meetings, and there
is every hope that the admirable system instituted by Mr.
Green will, by giving birth to a spirit of emulation amongst
the members, tend to raise not only the number of workers,
but also the standard of qu.ality ot results produced. In addi-
tion to Mr. Green’s prize for the best year’s work, there are
others promised by Mr. Hughes, for the best picture not
exceeding 25 square inches, aud by Mr. Henderson and others,
object not announced.

A discussion arose as to the advisability of having another
excursion. Several rather remote localities having been named
without finding favour, it was finally decided, in consequence
of the unfavourable weather experienced on the occasion of the
last Saturday afternoon excursion to the “ Old Hut,” to repeat
that excursion on Saturday, the 5th of September.

The meeting was then adjourned.

(£0rr«jj0H&furf.

SUGAR IN THE BRINTING B.A.TH.

My Dear Sir. — Enclose! are two photographs from the
same negative ; they are of no account except in illustrating a
little matter.

When Bovey’s formula for printing-baths appeared in your
Year-Book last winter, I thought it would bo a considerable
benefit to me if I could prepare sensitized paper to keep for a
few days. I had always been in the habit of using it imme-
diately on preparation. Accordingly, I added the quantity of
sugar recommended to my 80-graiu bath, and have been using
it during tho spring and summer, and been well pleased with it.
About seven weeks ago I left my studio for my summer ramble.
On my return lately, and beginning to print, 1 found some
sensitized paper left from my last printing. It was not a good
colour by any means, but I printed, toned, and fixed a few
cartes, and No. 1, enclosed, is one of them. Forty-five days
elapsed between the sensitizing and tho printing and toning.
Tho colour is not good — the negative will not give that under
any circurastauces. No. 2 is a carte from the same negative,
the sensitizing, printing, and toning done on the same day ;
and the colour is very little better.

Another point I may mention in connection with this. Your
contemporary, the B. J., in No. 423. deprecates the use of sugar
in the printing bath. He says, in winter it may be allowable, but

September 18, 18G8.]

THE PIIOTOGRAPJIIC NEWS.

455

in summer the chances are that it decomposes and becomes
useless. All through this hot summer I have used sugar in
this bath, having it slightly acid, as ho also recommends; but
my experience leads me to consider it perfectly reliable, and by
no means subject to change. At the end of last week I
printed six dozen cartes in the printing bath made in winter
last, with the quantity of sugar recommended, and in no way
can I see any difference between tlie cartes printed then and
now.

No. 2 is one of those last printed.

September l4</i, 1868. Yours very sincerel}’, Kent.

[The cards sent admirably illustfato the value of sugar in
the printing bath in permitting the paper to bo kept, without
yielding discoloured prints. Our correspondent speaks modestly
of his ]>ictures when he says the colour is not good. They are
l)oth above the average in general qualities, and aro of a rich
warm sepia tint — that on paper upwards of six weeks sensi-
tized scarcely appreciably loss pure in the lights than tlio
other. — Ed.]

AUTOMATIC SYPHON.

Sir, — I had not longbeon employed in photographic manipu-
lations before 1 became convinced tliat an automatic syphon
would be of the greatest service to photograpliers and all otheVs
using corrosive fluids or valuable metallic solutions.

At the first glance tho construction of such a thing as a
really automatic syphon appeared to mo (as it perhaps may,
sir, to you) an impossibility ; but four years persistent
endeavours have enabled me to surmount tho difficulty, and to
produce a syphon so perfectly automatic that it may be used to
transfer prussic or boiling nitric acid, and so simple that it can
be made more cheaply than a syphon of ordinary construction.

Photographic apparatus makers to whom 1 have offered tho
invention are some of them of opinion that such a thing would
not bo of any use to photographers, whilst others express their
belief that, however useful it might bo, the greater number of
photographers would be “ too mean ” to purchase it.

Some of these gentlemen, however, appear to bo getting so
good a living out of their “ moan” patrons that I am induced
to appeal from the makers of apparatus to tho users thereof,
and to beg of you, sir, to allow your readers an opportunity of
judging lor themselves as to the probability of their finding a
use for such an article, and of expressing for themselves their
unwillingness to invest a sixpence in its purchase.

Judging from ray own experience, there are, I believe, many
assistants who would, if necessary, spend such a sum from their
own pockets to possess the means of emptying a largo positive
bath without risk or trouble. — I am, sir, yours truly,

John Smith.

9, Rue Royale, Bouloyne-sur-Mer, France, Sept. \0tk, 1868.

in tbc ^tubio.

The Abyssinian Expedition. — Wo aro glad to learn that
Serjeant John Harrold, lato chief photographer to the Abys-
sinian expedition, was one of tho six non-commissioned officers
of tho Royal Engineers to whom was awarded silver medals
for “ distinguished services in the field ” before Magdala.
General Simmons, C.B., distributod the decorations at a full-
dress parade of the corps at Chatham on Saturday last, and in
his speech made special mention of Serjeant Harrold, whom he
complimented on the efficient manner in which he had dis-
charged his photographic duties.

Portraits of the Abyssinian Prince.— We have received
from Mr. Jabcz Hughes, of Ryde, a series of very admirable
portraits of Alamayou, tho young Abyssinian Prince, and of his
attendant, Kassa ; also of Captain Speedy, in his Abyssinian
costume, to whom the little Prince has especially attached him-
self. All tho portraits are technically tine, and where groups
l)avo been taken we have someexceeiliiigly line pictorial effects.
We have tho little Prince in various forms of native costume,
and also in European costume, alt good, and admirably ren-
dering tho semi-Egyptian, semi-negro type of features. The

attendant, Kassa, although black, possesses features of a fine,
straight, European type.

Haunecker’s Dry Collodion. — We learn from M. Romain-
Talbot that Mr. Solomon, of Red Lion Square, has been ap-
pointed London Agent for Haruecker’s Dry Collodion, to tho
v.aluo of which reference has recently been made in our columns.
We hope shortly to have something to say on the subject. Mr.
Solomon is also agent for the Carrier Sensitive Albuminized
Paper, which has, wo aro informed, been reduced in price and
improved in quality.

Temporary Varnish for Negatives. — Many negatives
only require to be used once or twice. In ordei to protect
them, they may be coated with a temporary varnish, made, viz.:
Take 4 ounces of white gluo and dissolve it in 4 ounces of
acetic acid, add a pint of water, and, when properly mixed, it
is ready for use. Coat tho plate as with collodion. It is easily
washed off, and saves much time and trouble. — Philadelphia
Photographer.

The American Bromide Patent.— It is estimated that if
a renewal of the bromide patent had been obtained, the
photographers in the United States would have been taxed
during tho seven years of its continuance to the extent of
1,750,000 dollars, or nearly £350,000 sterling. It is estimated
that there are 5,000 photographers in tho States. It was the
intention of tho patentees to impose a licence, costing ICO
dollars a year (.about £20), upon such studios as they considered
first class, and 50 dollars on those regarded as second class.
Tho above estimate of taxation is calculated in tho second class
rate for tho whole.

Waxing the Plate-holder, &c. — A correspondent of the
Philadelphia Photographer says: ” 1 use pure beeswax to pro-
tect my plate-holders from tho action of the silver solution.
Warm them, and rub it in with a piece of wash leather. For
mounting photographs I dissolve equal parts of bonnet gluo and
gum arabic in enough water to secure tho consistency of mucil-
age ; strain through muslin, and, when cool, it will bo about
right for hot weather, but in cold weather it Tnust be warmed .
A few drops of alcohol will keep it from changing. It sticks,
dries quickly, and leaves the cards elastic, and not apt to curl.”
[This mixture has already been described in our pages by Mr.
Spiller.— Ed.]

®orrts}|on&£ttts.

G. II. M. — There are two French photographio journal,-;, “ Lo
Moniteur dc la Photographie,” edited by Mon.s. Ernest Lacan,
published fortnightly by M. Liebcr, 13, Rue do Seine, Pari.-;.
You can obtain it direct from tho publisher for twenty francs per
annum. The “ Bulletin do la Photographic” is tho organ of tho
French Society, and is issued monthly to members of the Society.
1 1 contains tho proceedings of the Society, and other matters; the
subscription is fifteen francs a year ; the ])ublisher, M. Gauthier
Villars, 5.5, Quai des Grands-Augustin.s, Paris.

Yenuis. — Tho plan of your studio seems to bo very good indeed,
and we do not see any need for modification of the plan already
laid down. It is probable that you will not suffer inconvenience
from the hou.ses, painted white, at fifteen feet distance ; neverthe-
less, if the distance can, without inconvenience, bo made greater,
it will bo \vi.se to increase it. If the walls of the passage which
turns at right angles be made black, or some very dark colour, sous
to reflect no light, there will be no need to have a door to the dark
room. The position of the door of the studio is more a matter of
convenience than of anything else ; we see no objection to its pre-
sent position.

AV. J. A. G. — Mc.ssrs. Robinson and Cherrill’s address is 1, Grove
Villa.s, Upper Grosvenor Road, Tunbridge Wells. AV'o have no
doubt that Mr. Robinson will supply you with studies on the terms
you name. Tho portrait of M. Salomon was not taken for publi-
cation ; its excellence and interest have suggested that course
since. Is your copy of the News scut direct from our Publishing
Olfice?

E. L. (Cambridge Heath). — Various formula; for printing enlarge-
ments on canvas by development have appeared in our piiges.
Perhaps the most enmplete formuhe and instructions for manipu-
lation appear on page 138 of our Nintli Volume. We regret that
tho pre.ss of our imperative engagements does not leave us time for
writing private answers to questions of this kind.

J. H. R. — AVe have not heard of or met with any tendency in the
gclatino-iron developer to cause the film to split from tho plate,

456

THE PHOTOGRAPHIC NEWS.

[SfirTEMBER 18, 1868.

nor can wc ace any necessary reason -why it should do so ; except,
indeed, that as a rule a little longer exposure is generally necessary
with a gelatino-dcveloper, and, when there is any trace of under-
exposure, and the development requires pushing, there is always a
greater tendency in the film to split up on drying. The best
remedy, when the tendency is, from some unknown cause, mani-
festly present, is to treat the film before drying with a dilute solu-
tion of gum-water, which will generally cheek the tendency to
split.

Adkift. — AVe can sugge.st but one of two reasons for your gelatine
solution not a.s.suming the condition of a jolly on cooling. Either
the gelatine is at fault, or you have boiled it too long, and it has
assumed the character of meta-gelatine. AVe are assimiing, of
course, that you were careful to add only the proper quantity of
■water. To test whether the gelatine is good, soak a little in cold
water. If it be good, it will swell up without di.s,solving ; if it
show any tendency to dissolve in the cold water, it is bad, and
unfit for the purpose.

II. S. — A\'e will examine the varnish and collodion at our earliest
convenience. We have recently been closely engaged, and have
not had much time for experimental examinations of the kind.

2. It is a somewhat dangerous expedient to endeavour to get rid of
the dark sliadows arising from the use of vertical light, by
reflectors placed underneath. The unnatural reflection is apt to
produce unpleasing effect on the eyes. Tiy it by means of sheets
of white paper or calico before taking any definite steps. It is
only by experimental essays that you can hope satisfactorily to
modify your difficulties.

B. L. notices that we commend Mons. Adam-Salomon for appro-
priating an idea from Sir Thomas Lawrence ; whereas, if ho had
imderstood the art teachings in our pages, he would have noticed
that imitation of the works of others is condemned ns a pernicious
practice. B. L. seems to have arrived at a curiously erroneous con-
clusion, indicating veiy imperfect knowledge of the subject. The
kind of imitation -which has been denounced in the art articles in our
pages consists in the sla^^sh coj.ying of common-place models, merely
because they save the photographer the necessity of thinking for
himself. Such a practice never leads to excellence. But we have
constantly urged upon our readers the careful study of the works of
great masters as afl'oiding the best possible art culture. One of the
chief aims of Mr. Kobinson, in his lessons on Pictorial Effect, is,
besides teaching some principles, to bring under the attention of tho
student good models, imd to point out in what their excellence
consists. AMierever you see a good idea in a great master, sieze
upon it, and make it your ouni by understanding it perfectly. Any
reproduction of it will then be your own embodiment of that idea,
and not a slari.sh copy of it. Bear in mind that there is an
enormous difference between adopting the idea of a great master,
and imitating the work of unknown photographers, bad, good, and
commonplace, selected and rendered by an incompetent man
working with an imperfect process.

Thomas Lewis. — See answer above to E. L. 2. The canvas is not
sold ready for photographic use. 3. If the operations are care-
fully conducted, we do not see much reason to doubt the pennan-
cncy of the results. 4. The simplest method of printing on ivoi'y
which we know, is by using our collodio-chloride process; the
formula;, &c., given in our last Yeak-Book, answer well.

J. T. B. (Lydd). — The chloride of silver mav be removed by filtra-
tion. 2. If your bath does not decrea.se in bulk in such ratio as to
render necessary the addition proposed, only add half the amount,
or only add it every other day ; but, in making the addition, keep the
proportions of gold and of water indicated. 3. It is always well
to keep prints mo^'ing whilst in cither toning or fixing bath.
4. The method you adopt with vour washing waters is right. AVe
cannot tell you with certainty tlie price you will obtain for chloride
of silver ; if pure, you unll probably obtain about a similar weight
of nitrate of silver. .5. The chief advantage in obtaining the N e ws
direct from tho Office is a saving of time. If you get it in good
time, there is no reason for changing. 6. AA'e cannot suggest any
leason why you found it required such long exposure to get an
image on Isiello paper, except some imperfection in the sample
you used. AA'e are glad that you find Mr. Bovey’s formula so
satisfactory.

Dkteumined. — It is scarcely possible that you should add to any
solid substance its own weight of a solvent, and that after mixture
it should remain as firm and solid as before. It is almost equiva-
lent to sajnng that you jHiured an ounce of water on an ounce of
salt, and that the salt remained as dry as at first. Nevertheless,
after the solvents have been added to the melted wax, it may, on
cooling, form a firmer paste than you desire ; in which case again
melt it, and add such proportion of the solvents as you may think
requisite to produce the result you wish. .Add (say) one-fourth of
the original (juantity of solvcut.s, mixed in the due proportions as
stated in the recipe. Eor our own use we prefer a somewhat firm
paste ; others like it in the consistency of a soft pomade. In either
case, place a few patches of it over the surface of tho print — say

in half-a-dozen places. Rapid friction with clean flannel will
quickly siiread it all over, .and continued friction will produce tho
rich depth and polish desired.

Amateur. — It is somewhat difficult to make a paper print quite
tr.ansparent and free from any mottled effect, because the paper
itself is not quite free from mottled inequalities in texture. It is
de.sirable, however, to soak the print well in boiling -water to
remove the size first of all. They may then be treated with -wax,
ora mixture of a wax and a resin (such as dammar) applied warm.

It is I ossible that one of the encaustic pivstes we gave last week,
applied warm, so ns to thoroughly saturate the print, may answer.
The effect, if properly managed, is pretty. It has often been
done.

Swam River. — Of tho lenses you quote 3 B is the quickest with
open aperture. 2. It will cover the size plate named for most sub-
jects without stopping down. It is of the same quality and cha-
racteras the No. 2 by the s.ame maker, which you possess. 3. AA'e
cannot give you the absolute ratio of exiiosure between 2 B and
6 1), but the latter would require much longer — probably four times
ns long. 4. Eor a full-length standing figure of good proportions
in a cabinet picture about 30 feet between sitter and camera would
bo required by 6 D. o. A'ou can best judge of the relative cheap-
ness of the lenses yourself. If the I) lens suit your purpose, it is
undoubtedly a cheap lens ; but if j ou require rapid work, you mu.st
rememlicr that it is least rapid of those you quote. The (jualify
of pictures it gives is adnnniblc ; and whore tho studio is well
lighted it answers well. If you wish to use it for cabinets. No. 3
or 4 of the .same series will answer better, and they all cover more
than the catalogued size. AA'e are glad that you find the News
so useful to you in your far distant home.

II. A'. C. — .Any of those you mention will serve, probably No. 1 or
3 best ; but each will be better for the purpose after the addition
of from half a grain to a grain of bromide of cadmium per ounce.
2. Spring water cannot be depended on for wa-shing without a
preliuiinarj' rin.se in distilled water after the plate first leaves the
silver bath. 3. The method described is better than redipping.
4. Much depends on the weather, and care in storing. Mr.
England has kept them upwards of a month, whilst some persona
do not find them keep much more than a week. n. Unless there is
mismanagement, such plates have not a tendency to crack or peel.
The albumen checks such tendency, even if otherwise present.

A'ematou. — If you, as you state, carefully follow instructions
whereby others succeed, and you altogether fail, it is a somewhat
difficult thing to say why you fail, or to point out a remedy. Any
good bromo-i(xlized collodion generally succeeds ; but most com-
mercial samples are better for diy plates after the addition of a little
extra bromide. 2. The Liverpool Dry Plate Company’s plates
are exceedingly good, and may be used for interiors if
they are not very dark ; but some interiors require an
hour or two of exposure with wet plates. You could not
hope in such case to succeed -with dry plates requiring at least
three or four times that exposure. 3. Mr. Bovey states that he
uses the double chloride of gold and sodium ; an ordinary com-
mercial .sample will serve. If you follow his instructions you can-
not fad. Alany photographers have written to say that it is tho
most sati.sfactoiy formuli they have used. If, from some jieeu-
liarity in your manipulation, you find the chloride of calcium
formula answer better, stick to its use. 4. N<>. 3 wall probably
answer your purpose best. The rapid is the ino.st valuable lens.

AV. II. M. (Bristol). — Oil of spike is the brief or familiar tenn for
the essential oil of spikenard, a plant of the hivcnder family, but
different. The essential oil slightly differs frcni that of lavender,
and is generally cheaper. It is well known in enmmerce, and is
generally kept by chemists. If you cannot procure it, another
essential oil — such ns that of lavender or rosemary — will serv e.

Several Correspondents in our next.

{I^otograpfis Ivrgtstrrrli.

Mr. A. Hzattik, Prc.«ton,

Photograph of Rev. D. F. Chapman.

Photograph of Rev. Edmund Lee.

Mr. Thomas Tkvixo, Cockermouth.

Tiro Photographs of Lord .Mayo.

Miss Harriett Rylakds, Ardsley,

Photograph of .Miss U. Rylands and .Mr. Fearnehougb.

Mr. J. D. AVatmocth, Nailsea.

Photograph of Rev. II. J. Cummins.

Messrs. Apfletok and Co., Rradford,

Photograph of Rev. William Clowes.

Mr. D. B. Eva.ns, Newport,

Two Photographs of Archdeacon Sleeman.

THE

PHOT

Vot. XII. No.

NEWS.

C 0 N T £ N T S '.

PiOB

^V«t Collodion without Water -157 ^

Obernetter’s Application of the Collodio-chloride Process 457

Short Essays on Photography and Art. By Nelson K. Cherrill 458
Sketches of Trayel from a Sun-Pai=tcr’a Portfolio. By S.

Thompson 459

A Rapid Enlarging Process. By M. C. Sternberg 46U

Practical Hints'in Working Tannin Plates. By M. P. J. Oraus 461
Reproductions of Works of Art of all Countries 461

PAGB

Pictorial Eflect in Photography. By II. P. Robinson 46'A

Observations on the Carbon Process. By M. Jeanr«n.aud 463

The Coffee Process 464

Proceedings of Societies— French Photograi'hic Society 465

Correspondence — ‘‘Lu.x Graphicus ” on the Wing — Carbolic

Acid— What is Passenger's Luggage ? 466

Talk in the Studio 467

To Correspondents 468

WET COLLODION WITHOUT WATER.

In speaking of wet collodion without water we do not, of
course, mean without the use of aqueous solutions of the
various chemicals employed, but of the practice of the wet
collodion process in the field without the use of washing
water, leaving the negative in a state for further intensify-
ing if, on deliberate examination after returning borne, it be
found necessary.

Every photographer who lias worked the wet process in
the field, especially if he have worked large plates, is
familiar with the fact that the necessity of procuring
and carrying washing water is often one of his most serious
troubles, and that carrying hypo amongst his chemicals
forms one of his most serious risks. And he is further
familiar with the fact that even if water bo at hand, and the
negative have been finished, he has often, when examining
the negative at leisure, felt that the only thing some charm-
ing subject required was the development carrying a little
further to obtain harmony. A multitude of other reasons
might be adduced to show the advantages of intensifying if
necessary, and of fixing certainly, at home instead of in the
field ; but it is unnecessary to multiply arguments to en-
force a position which the landscape photographer will
admit without question.

Many photographers have for years adopted the custom
of finishing at home wet plate negatives. Glycerine, or
glycerine diluted with water, has generally been emnloyed
to keep the film moist, and in many cases with great success.
But it is necessary here, generally, to use a little water to
remove the developer of mixed iron and silver solution,
otherwise fog would often bo the result. One of the most
common objections, indeed, to the use of glycerine in this
way has been the frequent tendency to fog which plates so
treated have shown, if any further development or intensifica-
tion were necessary ; nevertheless, the use of glycerine in
skilful hands has minimised the amount of water which
might be employed, and materially diminished the trouble
of field-work with the wet process.

The method to which we are about to refer will, we
believe, remove all risks and troubles, and will permit the
photographer to dispense with washing his negative in the
held altogether, whilst it will preserve the image in a con-
dition for further development or intensification without
risk. For the thorough working out of this method wo are
indebted to Mr. H. P. Robinson, who has worked plates
16 inches by 12 inches in the field during the exceedingly
hot weather without a drop of water, in every instance with
perfect success, and without in any instance having a trace
of fog. The material employed is a mixture of golden syrup
and distilled water in equal parts. Such a preparation for
such a purpose is not entirely new ; it has been used before ;
but in the same manner as glycerine, after slight washing, in

order to tninimize the amount of water necessary, not to dis-
pense with it altogether. A few words of explanation will be
necessary to indicate the difference between the action of
glycerine and that of golden syrup, and why the latter may
be employed without washing the negative at all, and with
perfect immunity from the risk of fog.

About three years ago, when the subject of organico-iron
developers was receiving special attention, we made a series
of experiments, in conjunction with Mr. Robinson, with
various substances added to the developer, a record of whiJi
will be found in our Ninth Volume, on the 517th page. We
then found that when the development was prolonged with
an iron developer to which glycerine had been added, a
tendency to fog was the general result. But when golden
syrup was added, even in very minute proportions, it had a
singular tendency to arrest development, the shadows being
remarkably clean and transparent. The glycerine slightly
aided reduction, the golden syrup retarded it. It will bo
readily seen, then, that if glycerine be applied to the film
whilst it still contains traces of the iron solution and of the
silver solution present in development, a tendency to fog
will be the natural result. If, on the contrary, golden syrup
be applied, development is arrested at once, and all tendency
to fog prevented. Both preparations preserve the film moist,
and permit the negative to be kept in that state, but the
action on the image is widely dift'erent.

It is only necessary, then, in operating in the field, to
develop the image as fully as appears necessary, and then
apply the mixture of golden syrup and ivater without wash-
ing at all. Development is at once arrested, the iron and
silver producing no further action. The negative is then
placed in the box, where it will remain moist for hours or
days. It can then be thoroughly washed and examined at
leisure. If further development or intensification be required,
it can be effected without any risk of fog ; or, if no further
treatment be necessary, it can be fixed with, in either case —
other conditions being right — a tolerable certainty of an
especially bright negative.

We shall be glad to learn the experience of landscape
photographers with this preparation, which promises a con-
siderable relief in field operations. Our own experiments
have not been very extended, but perfectly satisfactory ;
those of Mr. Robinson, with very large plates under trying
conditions, have been numerous as well as satisfactory,
results fully confirming what theory had suggested.

OBERNETTER’S APPLICATION OF THE COLLO-
DIO-CHLORIDE PROCESS.

We have recently devoted some time to further experiments
with our collodio-chloride process, and to Herr Obernetter’s
commercial application of it. in his sensitive-prepared paper.
We are indebted to the courtesy of our friend Dr. Liesegang

458

THE PHOTO GKAPHIC NEWS.

for some examples of the materials, and details of the mani-
pulation and formula, employed by Herr Obernetter, which
have given additional interest to the experiments.

The paper employed by Herr Obernetter is described in a
letter to Dr. Liesegang as follows; — “ I take fine porcelain
paper, coat it with glue, and, after drying, make the glue
in.soluble by dipping the paper in a certain solution. Then
I dip this paper in a very dilute solution of gutta-percha
in a mixture of chloroform and ether. This is a very dis-
agreeable preparation, but I cannot use any other substance
but gutta-percha, nor any other solvent than chloroform, or
that and ether. The paper is then coated with collodio-
chloride of silver.”

Porcelain paper is that known in this country as enamelled
or surface-paper. Collodio-chloridc of silver applied on
such a paper gives an exceedingly smooth, glazed, and
delicate surface. The reason for the preparations it under-
goes before receiving the coating of collodio-chloride is
found in the fact that if it be applied to the paper in its
ordinary state a number of minute bubbles arc formed in the
film which mar the picture. The solvents of the collodion
are absorbed by the layer of pigment which coats the paper,
and air being displaced in tire operation causes the bubbles.
The solution of glue — or, property, gelatine — subsecpiently
made insoluble by alum or some similar substance, w'ill tend
to make the surface non- absorbent, and will thus keep the
image perfectly on the surface, and prevent the formation of
air-bubbles. The object of the second coating of gutta-
percha is not stated, but its intention is probably to secure
adhesion of the collodion film to the paper.

Dr. Liesegang favoured us with a sample of the paper pre-
jiared for the reception of the collodio-chloride, which we
tried, both with a sample of the sensitive preparation made
by our own formula, as given in our lact Year-Book, and
by the formula employed by Herr Obernetter, of which we
have yet to speak. In the prints produced on this paper as
prepared with collodio-chloride by ourselves, we have found
none of the difficulties which some have found with the
Obernetter paper, and to which we found a tendency in the
sample we tried. We refer to a disposition in the film to leave
the paper during the manipulations, or in drying, or a dispo-
sition in the film when dry to crack. The prints produced on
the sample of paper we tried were all good. The formula for
collodio-chloride with which Dr. Liesegang has favoured us,
and with which in the letter to which we have referred Herr
Obernetter expresses his .satisfaction, stands as follows : —
Alcohol ... ... 200 cubic centimetres

Ether... ... ... 250 ,,

Soluble cotton ... 12 grammes

Nitrate of silver ... 8 „

(dissolved iu water, 4 grammes.)

To this is added a chloride solution as follows : —

Chloride of lithium... 1 gramme

Alcohol ... ... 50 cubic centimetres

Glycerine G „

This may be roundly stated as follows : plain collodion con-
taining nearly equal parts of ether and alcohol, with 1 2 grains
per ounce of soluble cotton. The cotton should be good,
and not too horny in character, or this proportion will be too
much. We used some soluble paper prepared by Mr.
Blatichard, which answered well. To the collodion, nitrate
of silver must be added at the rate of eight grains per
ounce, dissolved in half its own weight of water. Unless
the temperature of the water is raised a little, it is difficult
to dissolve nitrate of silver in half its own weight of water;
but it will readily dissolve in an equal weight, and if the
solvents of the collodion are tolerably free from water, this
quantity will not produce any injurious result. Dr. Lie.se-
gang^tecommends chloride of lithium in preference to other
chlorides, on account of the low atomic weight of lithium,
which is 0 aO, a sufficient proportion of chlorine being thug
introduced to form chloride of silver by the use of a very
small proportion of the lithium salt, which is also very

[September 25, 1868.

readily soluble in alcohol. It is added to the collodion in
the ratio of one grain to an ounce, which is one grain of the
chloride salt to eight grains of nitrate of silver. About
seven minims of pure glycerine are to be added to each
ounce, with the object of giving pliancy and toughness to
the film.

W e made some collodio-chloride by this formula, using a
sample of chloride of lithium for which we are also in-
debted to Dr. Liesegang. The lithium salts are extensively
used in photograpliy in Germany, but as yet they have*
been used but very little in this country. The collodio-
chloride gave us exceedingly fine pictures, inclining, how-
ever, with soft negatives, to excess of softness in the prints.
With very vigorous negatives, it gave good harmonious
prints. It will be observed, however, that no organic body
readily combining with the silver is added, so that no
organic salt of silver — commonly desirable as an element of
vigour — is present ; and by the addition of such a substance
we at once gain greater depth, richness, and contrast.

We tried, therefore, a portion of the same collodio-chloride,
to which we added citric acid in the proportion of 1 gram to
each ounce, and coated one half of a piece of paper with
this, aud the other half with the collodio-chloride as first
made. On exposing the paper to light, the difference^ in
behaviour of the two samples was well marked. At first
the^int acquired by each was similar — a lavender tint — but
that containing the citric acid darkened most rapidly. _As
the tints grew deeper, that with acid acquired a reddish
purple colour, whilst the other continued of a lavender tint ;
and finally, that with the acid rapidly bronzed, acquiring
a decided green tint, whilst that without acid slowly
acquired a slightly bronzed olive tint. On toning and fixing
this piece of paper, the half containing acid acr^uired a rich
deep black in the same time in which the other half assumed
a somewhat weak greyish black tone.

The advantage of this citric acid was most marked, both
in the increased sensitiveness and the increased vigour and
rich colour of the print ; but the dried collodion film, it is
worth noticing, was of a somewhat more horny and brittle
film then the other, although both wore identical in com-
position, with the exception of the addition of the acid to
one of them. It is probable, therefore, that where citric
acid is used, a still larger proportion of glycerine might
have a beneficial effect.

We have not tried a sufficiently extended series of experi-
ments as yet in the keeping qualities of the prepared paper
to enter into the question at present. As we have already
recorded, the paper sent out by Herr Obernetter appears to
keep well.

SHORT ESSAYS ON PHOTOGRAPHY AND ART.

No. 3. — “ North or South.”

BT NELSON K. CHERRILL.

I REME.MBER, a long time ago, reading an account of a
very scientific experiment, to be made with an empty pill-
box. It was somewhat as follows. Procure a pill-box of
small dimensions, and having disposed of its contents in
any manner which may seem desirable, paint it black inside ;
now with a red hot needle make a very small hole on one
side, and with a blunt skewer make a somewhat larger one
on the other side ; stick a pin through the bottom of the
box, and upon the point of it impale any small animal, such
as a flea (humanity suggests that the victim should firet be
slain or rendered insensible) ; the lid is now to be placed on
the box, and then comes the point. Carefully holding the
box in one hand, apply the eye to the small hole, you will
probably see nothing ; but now approach a candle very
carefully till the flame is quite close to the larger hole (it
is exceedingly difficult to do this without .setting lire to
one’s hair, eyebrows, &c., but that is a trifle), and when the
light is “ well arranged,” you will see the small animal im-
paled on the pin in a “ singularly beautiful manner.” For

Skptember 25, 1868.]

THli' PHOTOGRAPHIC NEWS.

459

my own part, I prefer to think that the “ singular beauty ”
of the animal in question would be quite as advantageously
examined in ordinary daylight, omitting the blackened pill-
box. Now whenever a photographer begins to assure me of
his faith in south light for a photographic studio I am
always reminded of the blackened pill-box and the attend-
ant horrom of a half stupitied little animal on the point of
a pin. Can anything be more exact than the parallel
between the two cases? The enthusiastic south-light gentle-
man says, “ I close all the windows with dark curtains the
medicinal experimenter says, “ Paint the inside of the pill-
box black.” “ But then,” says the photographer, “ I leave one
small space through which I get a beam of intense light
that is represented in the experiment by bringing the flame
of the candle close to the big hole in the side of the box.
Also the sufferings of the wretched flea while roasting in
such close proximity to the candle, in the pill-box episode,
are an exact type of the horrors of a sunlit studio, where an
almost unbearable temperature reigns throughout the
summer months, to the untold discomfort of the unhappy
sitters. But mark, I pray you, the conclusion ot the whole
matter. It must be left to each person’s j udgment to decide
whether, under these distressing circumstances, the poor
little wretch under examination looks really more “singu-
larly beautiful ” than when viewed in the way in which
ordinary men would view such a creature. For my own
part, as 1 have already mentioned, I do not like the pill-
box plan of examining insects, and still less do I like the
pill-box plan of taking portraits. No doubt it is very
scientific, much more so than any other plan ; but then
science is not the foundation for portrait photography, but
art is, or — perhaps more accurately — should bo.

There is no worse plan of aping to be great than being
mysterious ; and there is certainly no worse plan of being
mysterious than that of pretending to do something grand
when there should be in fact nothing at all to do. A well-
arranged studio should have the light always right; iu fact,
it shouM be quite impossible to have it wrong at any time ;
the skill of the photographer should consist, not in arrang-
ing window blinds, but in posing the sitter; not that .some
slight alteration of light may not be of advantage sometimes,
especially when turning from one style of picture to another,
as from vignettes to whole-plate pictures, for instance. The
amount of attention which the light requires should occupy
only the fraction of a minute, while the sitter should he
ever in the chief thought of the operator; ami that is the
very worst form of studio in which every square inch of
gl.ass surface needs to be as much thought of as the sitter.
But few photographers as yet know how to manage their
sitters, much less their light and their sitters.

r do not, of course, wish for a moment to deny that very
clever men may' jrroduce excellent work in the studio when
it faces the south instead of the north. But what clever
men can do, and what ordinal)' men do, are — perhaps
fortunately — two very difl’erent things.

“ .S'omc effects, however,” it may be said, “can be produced
by south light better than by north.” What a charm
there is in that word “some” ; change it rather, and tlie word
is sun, for — only excepting the effect of direct sunlight —
there is emphatically no effect of lighting which cannot be
produced by north light ; an«l as to the comparative com-
fort of two studios, one in which the sun strikes direct on
the glas.s, and the other in which glass is only presented to
the north sky, it is only necessary to try ; “ One trial proves
the fact ” that the north light will win the day.

If, then, comfort, convenience, and common sense are in
favour of the north light being used, why are not all studios
made so as to give this most desirable arrangement? It is
pleasing to find that where so much is to be said in favour
of the northern aspect of the studio, so many of the best
photographers, both at home and abroad, have adopted it
in favour of any other. If Salomon's force and Reutlinger’s
softness can both be done with a north light, what else can-
not be done that is worth the doing?

SKETCHES OF TRAVEL FROM A SUN-
PAINTER’S PORTFOLIO.

BY S. TIIOSU’SON.

No. 4. — Flemish Cities.

“ In the inarket-piaco of Bruges
Stands the belfry old and brovra.”

— Longfellow.

Bruges and its Belfry. — Time has dealt hardly with the
Liverpool of the middle ages. Its harbour is no longer
crowded with richly laden argosies from Venice, Greuoa, and
the far East. Time was when chartered companies of mer-
chant princes from seventeen kingdoms dwelt within the
walls of Bruges, and its court was crowded with foreign
ministers, and men of eminence in science and art from all
parts of Europe. Its river is now no longer navigable, be-
ing almost absorbed by can<als for small craft, appropriate
to its fallen fortunes. Its population is less than one-sixth
in number to what it oace was ; consequently good dwell-
ings may be had for almost nothing, and not a house has
been built in Bruges for more than a hundred years. Yet
there is no air of ruiu or decay about Bruges. Speculative
builders were not in those days. The public buildings are
well preserved, and afford, like all the chief towns in the
Low Countries, fine subjects for the camera. Belgium
Gothic retained its purity to a very late period — with one
exception, later than any other. It has also peculiar claims.
Belgium Gothic exhibits, more than any other variety, the
Gothic style applied to other purposes than ecclesiastical or
sacred buildings. The town halls or hotel de villes, and
other civil or domestic edifices, in which Belgium is richer
than any Continental state, are subjects specially adapted
for successf ul photographic rendering. The clean well-kept
streets of Bruges and its pleasant walks only indicate, by the
sparseness of the population, the absence of all commercial
activity. Southey's lines embody an accurate word-picture
of Bruges as it now is —

“ Fair city, worthy of her ancient fame !

The season of her splendour is gone by.

Yet everywhere its monuments remain :

Temples whicli rear their stately heads on high,

(finals that intersect the fertile plain—

Wide streets and sejuares and many a court and hall
Spacious and undefaced — but ancient all,

AVhen I may read of tilts in days of old.

Of tournays graced by chieftains of renown.

Fair dames, grave citizens, and warriors bold —

Which of such ixmips tit theatre may bo
h'air Bruges ! I shall then remember thee.”

The heffroi, or belfry, makes a good photograph from the
Grande Place, but the view of it from the canal, taken earlier
in the day, about noon, when the light is “on the turn ” (with
a wide-angle lens), makes a picture. Associations blenclcd
with our own past, ami memories of surpassing interest, are
crowded around ami beneath the shadow of that old Gothic
tower, ami lend an additional zest to tin- quiet beauty of the
scene. The chimes (carillons) are the finest in Europe, and
their music recorded the flight of the hours with the same
dreamy, unobtrusive melody, while the Van Ecks were
painting their imperishable works, as long ago as the four-
teenth century, as they do to-d.ay. Those w.alks around
emee glittered with the splendid costumes of the courts of
Charles the Bold and the jiowerfnl Dukes of Burgundy,
the ancient Counts of I'^lamlcrs, the swarthy cavaliers of
Medieval Spain, and the knights of the once-famous order
of the Golden Fleece, established at Bruges in the fifteenth
century by Philip the Good. We must fain pa.ss over all
this, and much more than this. Is it not to be found in the
chronicles of Froissart and the book of Murray? One
episode only which helps to fill up a gap in our own history
may I linger over and attempt to broadly sketch.

Time — the great scene-shifter to the world’s drama — pre-
sents many spectacles on the same stage. The accessories
are somewhat altered — new dresses and differently-fashioned
costumes provided, as well as fresh actors and a new star —

460

THE PHOTOGRAPHIC NEWS.

[Septembbe 25, 1868

but the background is often substantially the same. Before
it they come and fret their brief hour, and give place in their
turn to others. Now it is a comedy, now a heavy piece, and,
not unfrequently, a terrible tragedy that is enacted. After
long periods the scene ot action generally altogether
changes : the old arena decays, and is deserted. The scene
changes in locality as well as in events, and heretofore un-
important places grow up to be the stage of great things in
the world’s history.

The waves of time had cngulphed two centuries since
Charles the Bold was laid in the aisle of the choir of the
Church of Notre Dame ; the old beffroi still rings out its
carillons with wildering sweetness in the clear night air,
when the curtain rolls up once more. This time the back-
ground is Flemish, but the figures are English. From a
house (which still bears the Royal Arms of England, and is
little altered) in the Grande Place, or Market Square, almost
beneath the shadow of the old tower, might be heard snatches
of roystering cavalier songs, the noise and chink of glasses,
the loud jest and louder applause, floating out oa the still-
ness of night. This was tire residence of the Merrie Monarch
Charles II., not yet enjoying his own. This was the “ Over
the water to Charlie,” and what it meant. Here was passed
some of the long years of exile, and hither repaired the
loyal, the disaffected, the ruined patrician, the proscribed
royalist, bringing news elevating or depressing of the state
of things at home ; here they sang their Jacobite songs and
cavalier roundelays far into the “sma’hours,” and then, join-
ing arms with the witty king, who never said a foolish thing,
sallied out from the festive board to cool their heads in a
saunter round the old Market Square, awakening the quiet
burghers with the noise of royalist songs sung with nasal
twang to the tune of Puritan canticles, the generally ex-
pressed burden of which was a desire tc see “ Did Nick gae
name wi’ Charlie’s foes before him.”

Cheerie, volatile, and goodnatured, a young man of some
twenty-five summers, Charles won the hearts of the honest
burghers, and they elected him King of the Company of
Cross-bowmen (Roi des Arbaletriers).

lie mixed freely with them, and when funds run low —
which they often did — found some of them generous enough
to discount his apparently almost worthless paper. JIany
an old burgher, as he sat in front of his quaint gabled
bouse smoking an evening pipe, watched the gay prince
trip lightly along, heeding every pretty face, for which
same, Bruges was famous then as now, and thought the
Stewart had small chance of ever enjoying his own again.
And, indeed, appearances were all against it. Cromwell was
at the full meridian of his power, and England, under his
strong rule, was making herself feared and respected, both on
sea and land, in a manner to which she had long been a
stranger. So years passed on.

A glance at what was doing in the world of art at this
period is interesting. Rubens was just dead. His great
pupil, Vandyke, possessed of a more delicate physique than
his robust master, followed him one short year alter, prema-
turely old at forty-two. But nearly all the great names of
the Dutch and Flemish schools were then simultaneously
engaged in painting those works that are household names
to us, and every fresh dispersion of which draws crowds to
Christie and Manson's to offer prices that would fairly take
away the breath of the painters who executed them.
Teniers was painting in a quiet street in Antwerp. Rem-
orandt at Amsterdam, together with Van Ostade, Brauwer,
Gerard Douw (formerly Rembrandt’s pupil), and young
Paul Potter — some twenty years their junior — happily
oblivious of how short was to be that career of his which
closed at the early age of twenty-nine. Cuyp, born in the
same year as Rembrandt, was quietly painting at sleepy
old Dortrect on the banks of his favourite Macs (which he
never could be induced to quit, save for an occasional
visit to his contemporaries in the neighbouring city of
Amsterdam) things which he could scarcely have dreamed
would ever make the noise in the world they have done.

Wouvermans was at Ilarleem, which he never quitted.
Claude, anil Nicholas Poussin were then at their busiest
periods ; and a glance at Spain shows that Salvator Rosa
and Murillo — a few years younger — were also hard at work,
presenting altogether a galaxy of talent seldom flourishing
at one time.

Time rolls his ceaseless course ! Two or three revolutions
of his wheel had taken place, and things seemed little
changed. But one day there was great commotion and a
great packing of portmanteaus in the old house in the
Market Square. Messengers had arrived with weighty
tidings. Cromwell was dead ! The well-known events re-
corded in history had taken place. The old house was
quickly deserted, and the belfry chimes sounded never more
upon the royal ear of Charles II., of Great Britain and
Ireland King.

A RAPID ENLARGING PROCESS.

BY M. C, STERNBERG.*

The continuation of fine weather wo have recently expe-
rienced has, no doubt, called to mind to many photo-
graphers the fact of their having stored away in some out-
of-the-way corner an enlarging apparatus of some kind or
other, which might at the present sea.son be employed with
very great advantage. At the same time, the necessity of
having to make a choice among the many known processes
often causes them to pause. To tho.se who are already
acquainted with a good working method I would counsel to
keep to the same ; but to others, who desire to be informed
of a rapid and reliable process, I can recommend the fol-
lowing with a good conscience. It is by no means new, but
to whom it belongs I am unable to say, although I believe
it was first practised by ^I. Selbach ; it may, however, be
relied upon to give excellent results.

The operation of enlarging by this method is so quick,
that with negatives of ordinary intensity an enlargement of
not very large dimensions may be obtained without any
movement of the mirror during the proce.ss. The paper is
coated with a sensitive material compounded of the following
ingredients : —

Rain water
Brazilian tapioca
Iodide of potassium ..
Chloride of potassium
Lemon juice ...

1 litre

20 grammes
10 „

40 ,.

250 drops.

The tapioca is softened in a small quantity of cold water,
and then added, by degrees, to the other materials which
have been previously dissolved in the litre of rain water, and
boiled together in a porcelain dish ; the heating of the liquid
must be continued during the addition of the tapioca, and
so long afterwards as is necessary to clarify it. When per-
fectly cool, the preparation is laid upon the paper by means
of two pieces of sponge in the manner suggested by Dr.
Liesegang in his instructions for the production of arrow-

root-paper.

W hen exposed to the atmosphere the paper rapidly assumes
a reddish tint, and streaks sometimes become visible upon
its surface ; these faults disappear, however, on sensitizing
the material. The last-named operation takes place in the
dark, the paper being treated in a bath made up according
to the undermentioned formula : —

Rain water ... ... I litre

Nitrate of silver ... GO to 100 grammes

Citric acid ... ... 5 „

The softer the negative the more silver should be employed,
and the harder the less quantity.

The exposure is continued until the outline of the picture
to be copied appears upon the sensitized paper, wheir the
latter is at once developed in a solution composed of 1 part
of a saturated solution of gallic acid to 4 parts of rain water.

* PholograpMtAet Arckiv.

THE PHOTOGRAPHIC NEWS.

461

Septembkr'25> 1868.

The picture is then immersed in tlie liquid, and will be found
to become gradually more vigorous, and to assume a dark-
brown tone. It should bo raised by the edges now and then
for inspection, and, as soon as it appears to be sufficiently
vigorous, taken out and floated upon clean water, to prevent
the gallic acid from impregnating the paper ; after a few
minutes the picture mav be wholly immersed in the water
and well wa.shed, and then passed into an old gold-toning
bath, and finally fixed in the ordinary manner.

After retouching, the prints are either polished or
varnished, to impart a greater degree of brilliancy.

PRACTICAL HINTS IN WORKING TANNIN
PLATES.

BY M. P. JOHANN OEAC3.*

Herein I beg leave to communicate a few details of the
manner in which I operate with tannin dry plates. The
principal conditions of success are : —

1. A collodion film which has been properly applied, and is
perfectly adherent to the glass. The choice of a good tena-
cious collodion is here an important consideration. Among
those with which I have experimented, I have found Dr.
Szekely’s thick body collodion the most suitable ; that of
Kleffel gave less satisfactory results in its application to the
glass. To render the film more adherent to the glass, I
roughened the surface of the plates at their extreme edges
by means of a sharp stone. Caro must be taken not to allow
the formation of air-bubbles in the collodion, gs they in-
variably give rise to comets or circular spots on the applica-
tion of the developer.

2. Ample washing of the sensitized film. I place the plate
in a horizontal water bath filled with rain water, and after-
wards incline it in a sloping position under a rose of ordi-
nary water for the space of about three minutes ; for the
latter operation the use of distilled water appears to me
unnecessary.

3. Uniform action of the tannin solution. The washed
plate is well drained, and placed edgeways for a minute or
two upon blotting-paper ; the tannin solution is then
poured on and off the plate several times before it is allowed
to remain on for any length of time ; or a better plan is to
place the plate in a porcelain dish containing the solution,
and to tilt the utensil backwards and forwards for about
thirty times, allowing the negative afterwards to remain
quietly in the solution for two or three minutes, when it is
taken out, and, after rinsing with fresh water, drained and
dried. In those parts of the plate where the tannin has not
acted uniformly, dark stream or stains will be produced
when the negative comes to be developed. The preservative
liquid that I use is made up by mixing 15 grains of tannin
solution with one ounce of rain-water ; after filtration, one-
third of a drachm of glacial acetic acid is added, for the
purpose of preserving the liquid, which may then be em-
ployed as frequently as desired, provided it is filtered every
time that it is used.

4. Proper exposure and development conducted according to
the nature of the object. The most important operation in
connection with a dry plate process is the development. U nder-
exposure and over-exposure may be herein counteracted and
corrected, provided the error committed is not too grave.
Of invaluable assistance is the system of moistening the
plate with a mixture of alcohol and water prior to its
treatment with the developing solution, as by the omission
of this operation most collodion films are apt to become
covered with twig-shaped markings. The alcoholic mixture
should be allowed to remain upon the surface an appre
ciable time, for in hot weather the plates sometimes become
very dry, and are then exceedingly liable to the defects just

• Read before the Vienna Photographic Society.

mentioned. For development I use, for an ordinary stereo-
scopic plate (exposed, say, five minutes before a sunlit
landscape with No. 5 diaphragm), 3 drachms of distilled
water to which 7 to 12 drops of concentrated alchoolic pyro-
gallic acid solution have been added, together with not more
than 2 to 4 drops of silver solution* in the first instance, in
order that the picture, when first developed, may be thin
and full of detail As soon as the details in the shadows
are perceptible, more silver is added to the mixture, and the
picture intensified to the requisite degree. When manipu-
lating with reproductions of interiors, requiring an exposure
of one or more hours, I add to the 3 drachms of distilled
water 30 to .50 drops of the pyrogallic solution, and pour
this first upon the moistened plate without any addition of
silver whatever. Often a few black outlines of the lights are
by this means developed, but very slightly, similar to those
seen on negatives treated with an alkaline solution. In this
manner the hard appearance sometimes worn by pictures of
interiors is easily avoided.

REPRODUCTIONS OF WORKS OP ART OP ALL
COUNTRIES.

A CORRESPONDENCE has recently been published between
the Prince of Wales, President of Her Majesty’s Commis-
sioners for the Paris Exhibition, and the Duke of Marl-
borough, in which the aim is to popularize art education by
promoting art reproduction. The Prince of Wales states
that during the Paris Exhibition a Convention was entered
into by several princes of the reigning families of Europe,
whereby they agreed mutually to assist the museums of
Europe in procuring casts and copies of national objects for
the promotion of art, and asks the co-operation of the
Science and Art Department.

'L'he Duke of Marlborough replies, giving his cordial
adhesion to the project. The following are the conditions
of the

Convention for promoting universally Reproductions

OF Works of Art for the Benefit op Museums of all

Countries.

Throughout the world every eountry possesses line historical
monuments of art of its own, which can easily be reproduced by casts,
electrotj'pes, photographs, and other processes, without the slightest
damage to the originals.

(a.) The knowledge of such monuments is necessary to the pro-
gre.ss of art, and the reproductions of them would be of a high value
to all museums for public instruction.

(J>.) The commencement of n system of reproducing works of art
has been made by the South Kensington Museum, and illustrations
of it are now exhibited in the Briti.sh Section of the Paris Exhibi-
tion, where may be seen specimens of French, Italian, Spanish,
Portuguese, German, Swiss, Russian, Hindoo, Celtic, and English
art.

(c.) The following outline of operations is suggested ; —

1 . Each coimtry to fonn its own Commis.sion, according to its orm
views, for obtaining such reproductions as it may desire for its own
museums.

2. The Commissions of each coimtry to correspond with one
another, and send information of what reproductions each cau.sos to
bo made, so that every country, if disposed, may take advantage of
the labours of other countries at a moderate cost.

3. Each country to arrange for making exchanges of objects whiah
it desires.

4. In order to promote the formation of the proposed Commmis.sions
in each country and facilitate the making of the reproductions, the
undersigned members of the reigning families throughout Europe,
meeting at the Paris Exhibition of 1867, have simified their approval
of the plan, and their desire to promote the realization of it.

Princes of the following countries have already signed the Con-
vention;— Great Britain and Ireland, Prussia, Hesse, Saxony, France,
Belgium, Ru-ssia, Sweden and Norway, Italy, Austria, and
Denmark.

* The silver solution here alluded to is the following

Nitrate of silver 20 grammes

Citric acid 20 „

Water 1 ounee

408

THE PHOTOGRAPHIC NEWS.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Chiaroscuro for Photograpuers.

BY II. P. ROBINSON.

Chapter XXXV.

As the composition of family or social groups is so difficult,
I introduce yet another example, this time with most of
the igures standing. It is by Wilkie, and represents “ Sir
Walter Scott and his Friends,” the figures being dressed in
rustic costume, and treated in a picturesque manner : a
subject on which I shall have something to say in another
chapter. The fact of the design being by Wilkie, of whom
it may be almost said he never misplaced a line, is suf-
ficient to recommend it to the attention of the student.
The cliief object in the composition is Sir Walter Scott,
and he is placed near the centre ; but the artist has avoided the

[September 25, 1868.

error of getting the head precisely in the middle, which is
the weakest place in any picture. He is also further dis-
tinguished from the surrounding figures by being the only
one represented seated; this gives the figure a dignity which
contrasts well with the others. The pyramid formed by
Sir Walter is supported by the flagon and cloth in the fore-
ground. The student will note that these objects — the
highest light and the deepest dark in contrast — form the
key-note of the group. He will also notice something
analogous in every well designed group of figures : ‘‘ The
string shows through all the beads.” Many of the pictures
selected to illustrate these concluding chapters will be
found to have it, although they were not chosen to illustrate
this especial point.

It should especially be noticed that every line and form
is arranged so that a series of pyramids intersecting each
other arc created ; that the apex of each pyramid is espe-

cially emphasized ; see the dark hat of the tall standing
figure, which forms the point of one of the principal pyra-
mids, and the milk-pail which caps the other ; then notice
how the pyramidal groups cross one another, the staff of
8ir Walter Scott forming part of the side of the pyramid of
which the milk-maid is the principal figure, and whose foot
makes one of the base angles of the otlier group. Another
pyramid, which has for its apex the head of the woman in
a bonnet, runs into the adjoining similar form ; and the
black basket on the woman’s arm, combined with the dark
form of Sir Walters favourite deer-hound, admirably sup-
porta the whole group. Of this dog it may be mentioned
by the way. the owner used to say that he always liked to
have him with him in his walks, if for nothing else but to

furnish a living object in the forcgruunil of the picture ;
and he noticed to a companion how much interest was given
to the scene by the occasional appearance of the black hound
at unexpected points. Sir Walter always talked and wrote
of scenery like a painter, yet for pictures as works of art he
never pretended to have any regard.

There has been much discussion as to the position of the
horizon in a figure photograph, some asserting it may be
almost anywhere, even as low as the feet, so that it is con-
ducive to pictorial effect, while others bold that it must be
level with the head of the figure, because the horizon is
always level with the eye of the observer ; but for this to be
true the eye of the artist must be on a level with the head of
tho model, which never need be the case ; in fact, a photo-

Septembkr 25, 1868.]

THE PHOTOGRAPHIC NEWS.

463

graph of a standing figure taken with the lens level with the
head would, if the lens were not of very long focus, be con-
siderably distorted and out of drawing in the legs and feet ;
on the other hand, if the lens were very much lowered, as
would be the case when the horizon is represented low, the
face would be shown at a great disadvantage, presenting
the chin and the nostrils as the most prominent objects. A
middle course appears to be best, where the lens is stationed
opposite the breast, and its focus requires it to be not less
than sixteen feet from the model ; the horizon would then be
a little below the shoulders, and leave the head clear against
the sky ; in our illustration Wilkie has placed it rather
higher, but he has made it so indistinct that it does not
interfere in the least degree with the figures.

It may be taken as a rule that, other things being equal,
the lower the horizon the larger will the figure appear.

Even in his humblest subjects Wilkie composed grandly.
In noticing this fact Burnet observes : “ Many who may
notice these remarks will perhaps conclude that Wilkie, in
familiar subjects, may be compared to Ilaffaelle in the great
compositions of historical painting, and that he may be
subjected to the same chilling critical expression ; that he
arrived at excellence, not so much from his power of genius,
as his long study and application. But nothing great or
lasting can be achieved without minute investigation int^o
the works of nature, and as we perceive the means she takes
to produce the endless variety of effects, we are rendered
more capable of imitating her.” It was not so much the
overpowering impulse of genius that made Wilkie a painter,
as hard study. Genius is not to be despised, but it is of
very little use if it be not supplemented by that success-
compeller — work.

OBSERVATIONS ON THE CARBON PROCESS.

BY M. JEANRENACD.*

The process which I am about to describe is that made
known to us by M. Poitevin, M. I’Abbe Laborde, M. Fargier,
and M. Swan. It is based upon the action of light on gela-
tine impregnated with bichromate and mixed with certain
colouring matters, upon the necessity of washing the im-
pression thus obtained from the reverse side, upon its trans-
fer to a support by means of a cementing material insoluble
in water, and upon its final re-transfer to a definite basis.

The beautiful examples produced by M. Braun demon-
strate the perfection to which this process may be brought,
and in order to induce a more general employment of the
methods I have deemed it desirable to make an investigation
into the subject for the purpose of discovering the most
suitable formulm, and thus aiding the operator in the prac-
tical manipulations. At the same time it must be remem-
bered that the process is a patented one, and that all desirous
of practising it commercially must first purchase the right
so to do.

I have been assisted in my researches by M. Gobert, who
had already made a large number of experiments in this
direction, and with his help I have sketched out the follow-
ing mode of operating, which was included in M. Davanne’s
Annuaire for the present year.

Preparation of the gelatine. — The best gelatine for the
purpose is that of ordinary quality, which is sold in com-
merce in thin sheets. The superior colourless qualities are
not at all suitable, but that description of material which
possesses a yellowish appearance, and costs from three and
a half to four francs per pound, has been found to yield the
best results. If the finest gelatine only is procurable, then
a small quantity of good glue should be added, in the pro-
portion of one part of the latter to three of gelatine ; by this
means a compound is obtained possessing the requisite
degree of solubility. Glue employed alone does not set
readily, and, notwithstanding the reaction of the bichromate

* Bead befbre the French Photographic Society.

of potash and ammonia, remains in too soluble a condition.
Take of —

Gelatine ... ... 60 to 70 grammes

Water ... ... 1,000 cub. centimetres

Glycerine ... ... 20 do. do.

If the addition of glue is necessary, substitute a portion
of the gelatine (say 20 to 25 grammes) by an equal quantity
of glue, which should be allowed to moisten in cold water
twenty-four hours beforehand, to facilitate its dissolution.
The mixture is placed in a water bath to ensure perfect
solution.

Pigments, or colouring-matter. — Tlie colouring-matters used
must be insoluble, and ground so fine that when mi.ved they
produce tints of the most perfect regularity, similar to those
obtained with sepia or Indian ink ; they should likewise be
of a light specific gravity, so as to remain in suspension in
the gelatinous liquid. If a mixture of various colours is
prepared, it is necessary that all of them should be of the
same density, otherwise they will become separated, and an
inequality will be observable in the tints. The colours can
only be properly prepared by an operator skilled in the
work ; and I take this opportunity of thanking M. Colcomb
Poignant for his assistance in furnishing me with a series of
tints specially prepared for my experiments.

The pigment which has furnished me with the best results
is lampblack to which was added a small quantity of
purple {purpurine) ; this mixture was found to counteract
the greenish tint imparted to the gelatine by an insoluble
oxide of chromium, which becomes formed in the process.

The colouring-matter is added to the gelatine by degrees
in such quantities until a few drops of the mixture placed
upon paper appear completely black, although, when viewed
by transparent light, they are not opaque ; the proportion of
colouring-matter to be added is varied according to the
general character of the negative. When the pigment has
been thoroughly mixed with the gelatine the compound is
strained through a sieve of fine silk, which keeps back all
coarse particles, the operation being facilitated by means
of a camel's hair brush, which may previously have been
used in mixing the colours. The mixture, when strained,
should be placed in a vessel in the water bath.

Coating the paper with gelatine. — The most suitable method
of applying the gelatine is to place a scries of glass plates
one above the other in a light wooden frame, the first
plate being fi.xed in a perfectly level position, so that the
others, when placed above it, are also (juite level. A moist-
ened sheet of paper is carefully laid upon the first plate, care
being taken to avoid the formation of air-bubbles, and the
excess of water removed by the application of a piece ot
filter paper. The coloured gelatine is placed in a vessel
furnished with a spout (an ordinary porcelain teapot will
answer the purpose), the orifice of the latter being contracted
to a diameter of about 2 millimetres by fitting to the same a
piece of narrow tubing ; and the liquid is then poured upon
the paper in a series of parallel lines which run into one
another, and form, while yet warm, a perfectly smooth film of
uniform thickness. If the gelatine is too warm when used,
inequalities of a circular form will be produced ; but at a
suitable temperature of about 30" C. the mixture flows like
syrup, and gives a very even surface. It is convenient to
facilitate the spreading of the gelatine by means of a glass
triangle of the same breadth as the sheet of paper.

A second plate of glass is now placed upon the first, and
the operation repeated. At an atmospheiic temperature of
12° to 15° C. the gelatine sets so rapidly that one is
able, after a series of five or six plates, to remove the first
sheet from its position, and to hang it up to dry in the open
air, so that the operation of coating may continue in a regular
manner without cessation. If the temperature is below
12° C. the gelatine sets too rapidly, and if above 20° C. it
takes so long to congeal that it is necessary to work with a
large number of frames. The sheets require exposure to the
air for twelve to twenty-four hours before the}' are perfectly

464

THE PHOTOGRAPHIC NEWS.

[September 26, 1868.

dry, and they should then be piled upon one another, and
stored in a slightly damp locality, in order that they may
regain their former evenness of surface.

Sensitizing. — A solution of bichromate is prepared of three
per cent, strength for winter use, and two per cent, for sum-
mer ; and to this is added one or two per cent, of pure
glycerine (according to the dryness of the atmosphere), and
one cub. centimetre per cent, of pure ammonia. Each gela-
tinized sheet is immersed in this cold solution, and after
remaining therein for the space of three or four minutes,
removed and hung up to dry. The operations of sensitizing,
drying, &c., must, of course, be performed in a dark work-
room illuminated by a small lamp or a window of yellow
glass. When dry they are put away in a box, being laid
perfectly flat, and placed in a cool place, so that they may
become sufficiently pliant and flexible for manipulation in
the printing-frame. It would appear preferable to make
use of a new bichromate bath for every fresh batch of paper.

Exposure. — The period of exposure varies, of course, with
the intensity of the light and the transparency of the nega-
tives, but it may be said to be about a quarter of the time
necessary to produce a print with chloride of silver. An
over-exposed print becomes sticky, and is difficult of
removal, while an under-exposed impression is incomplete
when developed ; at the same time much may be done in
the operation of development by using water in a more or
less warm condition.

As I before stated, the fine details and half-tones can only
be obtained by washing the print from the back, and it is
necessary, therefore, that the gelatine surface which has
received the photographic impres-sion should be attached to
a sheet of paper by means 6f a cement insoluble in water :
a mixture of india-rubber and resin forms the best cement
for the purpose.

Preparation of the paper with India-rubber cement. — The
following compound is prepared : —

Rectified sulphuric ether ... ... 200 cub. cents.

Native white rubber, cut into thin
strips 20 grammes.

The latter is allowed to moisten in the ether for twenty-four
hours, when is added —

Ordinary benzole ... 200 cub. centimetres
Gum elemi* ... ... 20 grammes.

The whole is thoroughly mixed by frequent agitation, and
the result should be a syrupy liquid of thick consistence,
which requires straining first through a piece of coarse
muslin, and afterwards through flannel, to remove any pre-
cipitate that may have been formed. The solution which I
have found to answer best is the soft india-rubber cement of
commerce, dissolved in benzole, in the proportion of 100 cub.
centimetres of the cement to 500 cub. centimetres of
benzole.

This india-rubber solution is poured upon sheets of paper
in the same manner as collodion, the corners of the sheets
having first been turned up to facilitate the operation ; the
paper is hung up to dry, and if it does not prove sufficiently
adherent a further quantity of the solution should be poured
on at right angles to the first application, so as to ensure a
coating of uniform thickness. The whole operation of pre-

Bthis cemented paper may bo performed some time
land ; but, inasmuch as the prepared sheets stick
together if piled one upon the other, it is perhaps better to
make it as wanted.

When the sensitized gelatine film has been sufficiently
printed, it is taken out of the frame and laid upon a flat
surface (upon a marble slab or glass plate) ; a sheet of paper
covered with the india-rubber solution is then placed in con-
tact with it, and both pressed firmly together, first by the
hand and afterwards by drawing over them the edge of a

Slate BO as to exclude all air-bubbles ; if the two surfaces
o not adhere perfectly they may bo placed under a press
and subjected to a slight, even pressure.

* I have Ukewiae (ound.gam dammar to answer perfectl;.

Development. — The image, thus imprisoned between two
sheets of paper, is put into cold water to soak, the tempera-
ture of the same being gradually raised to 30° or 40“ C,
The sheets soon separate from one another, the image leaving
its original support, and becoming adherent to the film of
india-rubber. The print is rocked to and fro in the water,
the temperature of which is gradually raised, until all the
soluble parts of the gelatine compound have been washed
away ; care must be taken to prevent the warm water being
poured over the print, and, least of all, over the half-tones,
which are so delicate that mere contact with water of too
high a temperature is sufficient to remove them altogether.
If the operation has been successful, an image of great purity
is obtained, and this is washed rapidly twice or thrice in
cold water, and then placed upon a sheet of filter-paper to
dry. At this stage the picture is reversed, and requires to be
detached from the film of india-rubber, in order to be vieweil
in its proper light.

Transposition of the print. — The best way of performing
this operation is to prepare a gelatine solution of one per
cent, strength, and to immerse therein the finished print,
together with a sheet of paper of good quality ; then, placing
the two together, and taking care that no air-bubbles are
formed between, the sheets are slowly drawn over the edge
of the bath, and removed from the liquid and hung up to
dry. The operation may also be perfonned by first coating
a sheet of paper with a 5 per cent, solution of gelatine, and
then manipulating in the same manner as above, but in a
bath of cold water. When dry, the india-rubber may be
removed by means of a sponge or dabber impregnated with
benzole or ether ; but a better and more economical mode of
proceeding is to roll up the prints and to place them in a
gla.ss tube, together with a quantity of ether, and by
agitating the same to remove the rubber ; the ether may be
used again and again until it has quite evaporated. Any
particles of india-rubber still remaining on the print are
easily dissolved away by immersing the latter in
benzole, and afterwards cleaning it with a soft piece of
rag.

The finished print is trimmed and mounted on cardboard
in the ordinary manner. The most preferable mounting
material is a 20 per cent, solution of gum arabic added to
an equal quantity of solution of alum.

o

THE COFFEE PROCESS.

Mr. Je.x Bardwell, with whom this process is a favourite,
gives the following comprehensive account of his operations
in our excellent comtemporary the Philadelphia Photo-
grapher.

No. 1. — Silver Bath.

That which you use in your daily practice, presuming
that it gives a clean, clear negative by the wet process.

No. 2. — Collodion.

Any good sample of collodion containing a fair share of
bromide.

Alcohol
Pyrogallic acid

No. 3. — Developer.

No. 4. — Silver Solution for Development.

Water
Nitrate of silver
Citric acid ...

1 ounce
90 grains

1 ounce
10 grains
20

AVater

Nitrate of silver
Citric acid ...

No. 5.

I ounce
20 grains
20 „

No.

G. — Substratum.

Water

Gelatine (Coxe’s) ...
Iodide of cadmium
Bromide of cadmium
Alcohol

5 ounces
20 grains

2 drachms

SlPTEMBER 25, 1868.]

THE PHOTOGRAPHIC NEWS.

465

No. 7. — Coffee f^olution.

Coffee, roasted .and ground ... "2 ounces

White granulated sugar ... ... 1 ounce

Water ... ... ... ... 20 ounces

In making No. 6 put the gelatine into the water cold, aud
let stand for a few hours, and then add the iodide aud bro-
mide, and apply a gentle heat till dissolved ; when cool, add
the alcohol, and filter till perfectly bright.

In making No. 7, add the coffee and sugar to the water-
cold, and raise to a boil ; let cool, and filter bright.

Perhaps it would bo best that I should give an evening’s
work, supposing that the operator has no especial room set
apart for this kind of work. Should he succeed, and make
a business of it, it is well to have a room constructed so that
plates could be prepared at airy time ; but we will take, for
insiance, the kitchen for the workroom ; time, when the
women folks have gone to bed, the table being your bench,
and the stove convenient to finish drying your plates, the
sink or slop-pail to receive the waste water from washing, a
tin that will hold about a quart of water, having a spout
with a rose attached to it in the same manner as a garden
watering-pot ; two four-ounce wide-mouthed bottles for the
substratum ; a small glass funnel, two dishes, such as are
used by the women folks, of an oblong form with sloping
sides, of such a size that the plate may rust on the sides
without touching the bottom, a few tenpenny nails, and a
cloth to wipe your fingers on, is about all that is neces-
sary.

First take a board about two feet long by one wide, and
drive as many pairs of tenpenny nails into it as you have
plates to prepare, placing the nails about two and a half to
three inches apart for the plates to dry on, and set it on the
table with the upper end resting against the wall. Pre-
suming the glass to be clean, you coat the plate with sub-
stratum in the same manner as you would flow the collodion,
it will flow just as readily. Return the excess into the
funnel standing in one of the wide-mouth bottles, and into
which is placed a small piece of sponge through which the
collodion is filtered, when it will be in a fit condition to use
again ; tired set the plate on the nails, with the lower corner
resting on the board, when it will drain and dry quite
quickly without fear of a back flow. After having coated
a.s marry plates as you wish, take the first one and dry com-
pletely by the stove, for should it retain any moisture, it
might cause the collodion to slip, either in the bath or the
washings ; you then coat a plate with collodion which we
will call No. 1, and place it in the silver bath for about three
minutes, when, on taking it out, you will place it face down
in one of the oblong dishes, which should be filled with
water ; then coat plate No. 2, and put into the bath, fill the
tin can with a quart of water, and take plate No. 1 out of
the dish (it should be moved in the water of the dish until
the greasy lines have disappeared), and gently wash with
the quart of water, which runs through the rose, then put it
into the other dish, which should contain the coffee solu-
tion, coated side down. Now take out plate No. 2 from the
bath, and put it into the dish of water. Coat with collo-
dion, plate No. 3, and put it into the bath ; then take plate
No. 1 out of the coffee, and set it up to drain in the same
manner as before described ; then take plate No. 2 out of
the water, and wash as before, and put into the coffee ; take
out No. 3 and put it into the dish of water, and so continue
till you have all the plates done. As soon as they get sur-
face-dried take plate No. 1 and hold it either before the
stove or in the oven till perfectly dry — you might almost
say baked. In making tannin plates this would cause a
quantity of fine circular lines across the plate, but, in this
process, I never have had great difficulty ; on the contrary
have found great advantage in thus baking. The plates are
new finished ; put them away in your ehanging-box.

There is, certainly, no difficulty in thus preparing them ;
it is easy and sore. So far everything is well. I would re-
commend that the corners of the glass be well rounded and

the edges ground, as they change in the box with so much
greater ease, and I find the sharp corners and edges of the
plate are apt to fray the wood-work of the bo.x, thereby
causing, in time, a sparkle of dust. Should it be deemed
best not to use a substratum, which, in fact, I do not recom-
mend if the intention is to work for quick exposures, and
with the alkaline development, in such case you should, just
before commencing to develop, run around the edges of the
plate a camel’s-hair pencil charged with Anthony’s diamond
varnish, which will efl'ectually prevent the film from slip-
ping ; the varnish dries quickly, and is the best thing I
know of for that purpose. It may be thought, that in con-
sequence of the coffee containing sugar, that it would cause
the plates to be sticky ; but such is not the fact, they arc
remarkably hard. It is of the utmost importance that you
keep your fingers clean, and, in order to do so, wipe them
after each operation, on the damp cloth kept for that pur-
po.se, and try to treat each plate just alike; for instance,
should you wa.sh one plate more than another, it may cause
a difference in the sensitiveness. After some practice, you
get to know just the time to give the plate an exposure,
with as much certainty as if in your room.

Now comes the tug of war — the development ; it is where
so many fail. It requires all your care, patience, and good
judgment. By the proper exercise of your judgment, in the
proportions of the pyrogallic acid and silver, it is in your
power to completely control the development, and make a
good negative out of what, under ordinary circumstances,
would be a complete failure. It is this power that makes
pyrogallic acid so valuable as a dry-plate developer. On
taking the plate from the changing-box, you first run the
varnish around its edges ; this, however, is not needed if the
substratum ha.s been used ; then flow the plate with water,
so has to completely moisten the film ; then, into an ounce of
water, drop five to ten drops of No. 3, and flow the plate
witn it, and if the picture begins at once to make its appear-
ance, return it to the glass and add a drop of No. 5, but, if
slow, a drop of No. 4 ; then, if the time of exposure was
about right, the picture will come up all right ; but if the
detailr are at all backward in making their appearance, add
a little more of No. 3. When the details are all out, wash
ths plate, and you will have a negative perfect in detail, but
lacking intensity ; but this latter may be obtained by
washing the plate, and mixing in another clean glass half
an ounce of water, ten to fifteen drops of No. 3, and about
ten drops of No. 5 ; and, on flowing the plate, it will at
once acquire intensity. Care should be taken not to carry
this too far, as the color of the plate is very non-actinic, and
and you may produce a neSative so intense as to be useless.
Then, after well wash and stand up to dry. Do not varnish
till perfectly dry, nor attempt to print till the varnish is hard.

I think there is no person who has had any practice with
dry plates, but will be pleased with the ease, certainty, and
simplicity of this process ; but, to those who are making
their first attempts, I would present to them a key to success,
which is patience, for, without that, no man may expect to
be an expert in the practice of dry-plate photography. It
is well to remember that pyrogallic acid fetches up the pic-
ture and details, and silver produces intensity aud hardness ;
but upon the proper addition of each (which addition must
be ascertained as the picture makes its appearance) will
depend tbe value of your negative.

The water used in making solutions and in washing, is
such as is supplied to the city by the water-works. I have
never observed any trouble that 1 could trace to its use ;
therefore, find no necessity to recommend the use of distilled
water.

French PnoTOGKAPiiic Societv.

A MEETING of the Society was held on the 7th ult., M.Davanni ,
Vice-President, in the chair.

46G

THE PHOTOGKAPHIC NEWS.

M. Placet addressed to the President of the Society the
following letter, relative to the photo-engraving process recently
patented by M. le Colonel Avet : —

“ 1 find in the last number of the Bulletin an extract of a
patent for photo-engraving secured by M. le Colonel Avet. The
process detailed is no other than my own, patented in 1861 and
1863, and published in the Bulletin of the 4th December, 1863.
It is to be regretted, therefore, that the researches of M. Avet,
seconded by those of his adjutant, M. Francois Drivet, have
merely resulted in the discovery of a process which has been
known and applied for some considerable time.

“ M. Avet is evidently but ill-informed of previous experi-
ments and discoveries, for the artificial grain which he has like-
wise just iiiventorl is, in my oiiinion, a very old aft'air. Tliis
grain, produced by means of network, has been experimented
with times witliout number, and has always been rejected on
account of its monotonous uniformity. M. Avet’s grain, how-
ever. bo it understood, does not in any way resemble mine, and
in tliis respect I do not wish to assert any claim whatever, for
in my process the grain is produced of itself, varying in size on
every picture, from the intense blacks to the fine details, where
it first becomes perceptible.”

M. Davanmk remarked that in reading the accounts of tlie
two processes as they appear in the Bulletin, tliere was certainly
a very great analogy between them.

M. LE Comte Nostitz presented to the Society a specimen
picture, showing the result of using an iron developer with dry
plates prepared by M. Manners Gordon’s gum process; the
specimen was a portrait obtained with a very rapid exposure on
a dry plate.

M. Jules Girard exhibited a collection of micro-photo-
graphs, and read a communication detailing the manner in
which they were produced.

M. Grubb, of Dublin, presented the Society with a series of
photographs of the moon, taksn by moans of a telescope con-
structed for the Government ot Melbourne; the pictures were
taken on the 1st February last, with an exposure of half a
second to two seconds, bromo-iodized colloilion being used for
the purpose, with iron and pyrogallic acid development.

M. Deoaony exhibited a largo number of prints taken by
the Taupenot process, and read the following communication
in regard to them : — ‘‘ The pictures hero produced may bo
divided into several classes, representing nearly all the diffi-
culties against which the jihotographer has to contend ; they
include the following reproductions ; —

” 1. White marble statues taken in and out of doors.

“ 2. Interiors with strong contrasts.

“ 3. Monuments with sky and water.

“4. Landscapes with strong contrasts.

“An inspection of the.se pictures will suffice to show that,
however strong the contrasts may have been in the original, a
satisfactory reproduction has generally been obtained, and with
the permission of the Society I will (ixpound my theory of the
Taupenot process, a theory which 1 believe holds good in all
dry-plate processes.

“ The Taupenot process can never bn successful without, as
iu the wet process, tho wholo picture is at once develoj)ed in
one operation, recour.se being had afterwarils to the intensifier ;
this may bo proved in tho following manner: — Let us suppo.se
that we have to secure a picture, at any moment, of a landscape
with sky and water, together with an old monument or mossy
ruin in tho foreground ; to effect this, either of two ways is
generally employed, the first being to give a good exposure and
to employ a slow and mild dovelojjment. Wiiat is the result?
If a long exposure is given, the high lights of tho picture are
very quickly developed, and the operator finds himself with a
choice of two evils: he may either finish at once, or ho may
proceed with a slow development. If he takes tho former
course, the sky and water become impermeable; if the latter,
the image becomes fiat, the dift’erent planes run one into tho
other, and distance is lost in the sky, while the latter, together
with the water, becomes dull, tho silver refusing to precipitate
itself upon those portions of the negative. When even the
details in the shadows are brought out, tho effect is not more
satisfactory. The second way of operating is to time the ex-
posure for the high lights only, and then, if the negative is
treated in such a way as to give details in the shadows, the
sky and water become covered with a deposit of silver, which
is with difficulty penetrable by light.

If, however, as in the first way, a good exposure is given, and
tho picture developed in such a mauner that the wholo of tho

[September 25, 1868.

details are brought out at once, the silver will be found, when
the plate is afterwards intensified, to deposit itself equally over
tho whole surface, securing a result both soft and harmonious.

M. Briois exhibited to the Society some sheets of collodion
tinted at the borders, and uncoloured in the centre, suitable to
act as screens for obtaining portraits of graduated tint, and
likewise other films of collodion, both coloured and uncoloured,
for serving ns transports for positives.

Tho proceedings then terminated.

^0rrcsg^0nl&i:iicc.

“ LUX GKAPIIICUS ” ON THE WING.

The Harvest is over, the granaries are full, yet
famine is in our midst— Photographers’ Benevolent
and Provident Societies— Photography Ennobled —
Revival of the Eburneu.m Process — The Societies and
THE Co.MiNG Session — Photographic Apparatus v. Per-
sonal Lugg.age.

Dear Mr. Editor, — My quill is as restless as my wing,
and ns 1 skim about like the swallows, many things fall under
my observation that would otherwise not do so, some of which
are noteworthy and of interest to tho photographic profession,
many are not ; but harvest time is interesting to every one,
and it is of this I am going to make a few remarks. It is
always a subject of grave importance and anxiety to a nation
like ours, with a very limited area of cereal land, until it is
known whether the harvest has been abundant or otherwise. It
is also equally important that the harvest, however plentiful,
should be carefully reaped and garnered, so that famine may
not fall upon the people before another season of plenty shall
come in its course. The cereal harvest is over, and has been
wonderfully abundant, in spite of the unusually long, dry, and
hot summer. The stack-yards are full, and the granaiies are
teeming with plenty, and there is bread enough for all that can
aft'ord to buy. There, that is the qualification that brings to
my mind the most serious part of this subject. Although tho
season has been wonderfully lino and favourable for a rich
harvest of all things, “ famine is in our midst.’’ A cry of woe
is mingled with our mirth. A glorious summer and autumn
have, on tho wholo, yielded a rich reward to the labourers in
the pleasant and profitable fields of photography ; yet there
is want among some of the workers. In the columns of your
contemporary I oliservo a letter “ begging alms” on behalf of a
poor widow and her little orphans. It is a case of pure charity,
and far bo it from mo to say to any one, “ Do not help her ; ”
“They have no claim on tho sympathies of tho photographic
public;” “Neither she nor her late husband did anything to
forward tho progress of tho art nor advance the interests of
))iiotograpliers in general.” I grant the latter hypothesis, and
say, “ He that givoth to the poor lendeth to the Lord.” Never-
theles.s, I cannot refrain from expressing my opinion that such
painful appeals should not bo allowed to appear in tho columns
of the pliotogra|)hic journals ; all such private cases could and
should bo provided for by any of tho provident organisations
so c.ammou to other trades. Tho subject has been frequently
mooted in yourown columns, but noaction has been taken. Very
recently a lady correspondent called attention to the subject
again, and now, in the pages of your contemporary, I notice an
elaborate plan is laid down ns the ground-work of a I’hoto-
grajiher's I’rovident and Benevolent Society. That plan is
open to some objections, but it is certainly desirable that such
a society should be formed. It is rather late in tho season f >r
photographers to make any provision for cases 1 and 2 as the
correspondent in your contemporary suggests — this year, at
least — but 1 think his other plan of making a iirovision, how-
ever small, for widows and or|)haus, is highly to be commended,
and if only carried into cfi’ect would undoubtodly mitigate the
anguish and lessen the fear of want in tho minds of many
deserving women, and might prevent tho recurrence of those
pai iiful appeals to which I have just alluded. 1 1 is just as important
and imperative a duty for every man to make some sort of pro-
vision for those dependent upon him, as it is for the husband-
man to reap and carefully house his harvest. Knowing the
interest which you, .Mr. Editor, personally take in this subject,
I trust that you will exert your iutluence, aud see if it be pos-
sible to found a society at once that will grow iu after years to

September 25, 1868.]

THE PHOTOGRAPHIC NEWS.

467

be a monument to photography and to the goodness and fore-
thought of the photographers of the present generation.

Photography, like the fine arts, is honoureil witli a title of
nobility. A baronetcy has recently fallen to the lot of one who
for years has followed photography as a profession, taking
cartes-do-visite and other photographs in the usual business-
like manner. Of all the styles of distinction that are conferred
upon men, I think baronetcies have been subject to the greatest
number of vicissitudes, and spiced with the greatest amount of
remance, from the romantic succession of Sir Robert Inces to
Sir William Don, “a poor player ; ” and now the photographic
profession includes among its members one of the baronets of
England.

Your description of the Eburneum process, given recently in
your “ Visits to Noteworthy Studios,” has awakened quite a
now interest in that beautiful form of photograph, introduced
a few years ago by Mr. Uurgess. Several photographers whom
I know have set about producing them. The specimens which
I have seen are very beautiful as cards, but they are particu-
larly suitable for lockets, brooches, studs, pins, rings, &c., being
sharp, clear, and delicate, and easily cut to fit any size or shape.

Next month some of the London photographic societies will
commence the session of 1868-9, and it might bo asked. What
aie their prospects? It is to bo hoped that the Morth Loudon
will do better than it did last session. There was more than
one nil meeting. The South Loudon will doubtless keep up its
character, and exhibit its usual vitality. The personal interest
taken in the meetings by their kind, genial, and courtoons
President is almost sure to develop all the latent force of the
members. It is also to be hoped that the Society will make as
brilliant a start as it did at the commencement of the session
last November. Such an exhibition as that in Conduit Street
mayjeasily be repeated, though it may not be such a startling one.

The question raised, whether photographic apparatus be or
be not considered “personal luggage” by the railway com-
panies, is one of very groat importance to photographers, but
particularly to amateurs, for if decided against them it will
cause no end of inconvenience, vexation, and expense by delays
and extra charges. On the other hand, it must be admitted
that the view taken by the railway authorities is technically cor-
rect. The very word “ personal ” shows that they mean such
articles as are really and absolutely necessary for the personal
comfort and convenience of travellers, which can only rightly
include wearing apparel, changes of linen, dressing-cases, ladies’
work boxes, and writingdesks. These are absolutely indispen-
sable for the comfort and convenience of travellers. Photographic
apparatus, and particularly chemicals, do not come under that
classification, and I think it is of great consequence to the rail-
way companies and their passengers to know what should, oi
should not, be put into the “luggage van.” I know a c<ase
where an amateur photographer was travelling by rail with a
12 by 10 bath full of nitrate of silver solution packed among
his clothes in a box in the luggage van. The bath leaked, the
solution spoiled all his shirts, and ho was driven to the shift of
papering his fronts. Now, supposing the box containing the
leaky bath had stood upon some one else's box — say a lady’s —
it might have run through and spoiled some valuable dresses ;
at the least, it would have spoiled the appearance of the box,
to the great annoyance of the lady passenger, and the probable
claim on the company for compensation. There arc always
two sides to a question, and though few men have travelled
more with photographic apparatus in the luggago van than
myself, I think, in this case, the best of the argument may bo
fairly ceded to the railway companies. — Yours very truly,
September 18th, 1868. Lux Gkaphicus.

CARBOLIC ACID.

SiE, — Carbolic acid is derived from far. Tar is derived from
coal. Coal is wood compressed by the agency of masses of
matter, and thereby charred or converted into carbon. Coal
was made in many instances thousands of years before the
light of the sun dawned upon this earth. The wood of which
it is composed flourished and grew under an atmosphere and
temperature much hotter than our own. The plants and trees
that compose coal grew in an ago when carbonic acid gas was
in excess. The only light that dawned upon those trees was
that of what we call electricity. From tar is derived aniline,
and many beautiful colours now used in arts and manufactures.

Query — Whether the latent electricity, as contained in coal,

from whence proceeds and is produced carbolic acid, is con-
ducive and beneficial to our silver baths? Mr. Warner, in a
contemporary journal, would lead one to consider that it was.
Has this ever struck any of your readers ?

Electricity, a wood force, plays a much more important part
with our productions than we have any idea of. Let your
readers look into those facts. — Yours, II. O.

WHAT IS PASSENGER’S LUGGAGE?

Dear Sir, — The question arises. What is passenger’s lug-
gage, photographically ? — About seven weeks since I started
on a photographic trip, taking a third-class ticket. My luggage
being in excess of my allowance, they charged me 5s. 8d. over-
weight. Uj'onmy reaching my destination and looking after my
luggago, 1 found my dark box streaming out a liquid in such a
manner convinced mo something was smashed. It was but the
work of a few seconds before tlio straps wore undone, and, to
my annoyance, 1 found my glass bath was smashed, and contents
gone, thus losing the whole of my bath. I mado my claims to
the S. E. R. Company, and I enclose you their letter (which
please return) for the benefit of travelling photograpbers. I re-
mained five days doing no work, during most beautiful weather.
For the future my bath don’t leave my sight. It has travelled
hundreds of miles. Its bottom dropped out several times by the
rotting of the brass screws, but never such a smash. It was
nearly a quarter of an inch thick, and now all in atoms. —
Yours truly,— G. B. Shepherd.

3, High Street, Tunbridge Wells, Sept. 22nd, 1868.

[Annexed is the letter received from the secretary of the
railway company in answer to an application for compensation.]

“ Mr. G. B. Shepherd, 3, High Street, Tunbridge Wells.

“ Sir, — Referring to your communicatisu ol the 1st inst. on
the subject, I bog leave to acquaint you 1 Have caused enquiry
to be made, from which it appears that on the 28th ult., whilst
in course of conveyance for you to Shorucliffe as passenger’s
luggage, a package containing a photographic bath and
chemicals sustained damage in some way.

“ In a case of this kind, however much the Company regret
the loss to the owner, they cannot, as a principle, admit liability
upon themselves in any way in the matter, such things not
really being passenger’s luggago within the meaning of the
act. — I am, sir, your obedient servant,

“ C. AV. Eborall, General Manager.”

2DaIk in ^tubiu.

Pirating Mr. Woodbury’s Process. — M. Levitzky, writing
from St. Petersburg!! to Mr. Woodbury, says that a person
styling himself Adolphe Angerer, and announcing himself as
brother to the celebrated photographer of Vienna, is offering
to sell Mr. Woodbury’s process to photographers in Russia,
and alleging that ho has worked with Mr. AVoodbury and
acquired the process. His pretensions are altogether without
foundation. Mr. AVoodbury knows nothing of him, and Herr
Angerer, of A'^ienna, states that he has no relative of that name.

Preserving Protosulphate of Iron. — M. AVellborn states,
in the Journal de Chemie, that a small piece of camphor placed
in a bottle of protosulphate of iron will preserve it perfectly
free from oxidation.

The Coffee Process. — Mr. AV. F. Morgan, of Bristol,
well-known as a skilful dry-plate man, says, in a recent letter;
“ As a dry-plate amateur — chiefly, until lately, with tannin — I
must bear testimony to the superiority and simplicity of the
coffee process. It appears to me all that its most sanguine
admirers claim for it. The film has a tendency to leave the
glass, but an edging of varnish secures it.”

Fluorescence. — The Norfolk News, speaking of Professor
Stokes, the President-elect of the British Association, gives
some account of his experiments in examining the chemical
rays of tho spectrum by other than photographic means. It
says : — “ There are certain substances which, when placed in
these feebly-luminous rays, become apparently self-luminous,
and shine out in the partial darkness of the room with strange
brilliancy and beauty. AVhen most of the luminous rays of

468

THE PHOTOGKAPHIC NEWS. [Septembee 25, 1868

white light are cut off by sheets of manganese glass, by cobalt
glass, or by a trough filled with ammonia-sulphate of copper,
rays scarcely visible to the eye may be made to pass through
the room. Then, when slabs of uranium glass, or screens
painted over with a solution of msculine, are placed in the path
of these rays, they appear to be self-luminous, and glow with
unearthly beauty. We have tried many of these experiments,
and find that when uranium glass is the recipient of the rays]
it glows with a yellow colour like the moon, when illuminated’
with the blue rays of the spectrum ; but the nearer the colour
of the incident light approaches to violot, the greener and the
more etherial is the glow of the uranium glass. Hence it will
be seen that if the new President chooses to break through
what we are told is an established custom, and next year gives
an experimental, instead of a simply oratorical, opening address,
the audience will see something worth observing, and yawns
and gapes will not greet his gaze.”

^0

II. 0. — The formula of Mr. Bovey’s printing bath, in which sugar
is used, stands as follows : nitrate of silver, 6 ounces ; pure nitrate
of sods, 3 oimces ; loaf sugar, 2 drachms ; water, 80 oimces.
Full particulars in regard to the mode of using appear in our last
Ybar-Book; but the above formula may probably be .suffleient
for your piupose. The fonnula for the toning bath appears in our
issue for June 26th last. Full instructions cannot be given very
briefly ; but the formula may be shortly stated thus : to 12 grains
of double chloride of gold and sodium add 1 grain of common
salt, and pour into this IJ pint of boiling water ; when nearly cool,
add 2 gallons of rain or river water, or well water which has been
boiled. The bath is then ready for use, and improves with age.
For mode of replenishing, &c., see Mr. Ilovey’s article.

W. F. Morgan. — Permanganate of potash may undoubtedly be
used for decolourizing the printing bath, without any fear of
injurious results. AVe are glad that you find the colfee process so
satisfactory.

H. H. Cunningham. — At one time it was the custom of the Photo-
graphic Society of London to hold photographic exhibitions
annually ; but for various rea.sons this has not been done of late
years. It is intended to open the next session of the Society in
November with an exhibition, which will probably be kept open
for a few days. The Royal Cornwall Polytechnic Society also
devotes a portion of its annual exhibition to photographs. It is
held at Falmouth, opening on the 29th of the present month.
The exhibitions are generally open to the contributions of all
photographers. 2. Chloride of platinum may bo used in toning in
the same way as chloride of gold ; some photogr.aphers have re-
corded that a mixture of chloride of gold and chloride of platinum
give better tones than gold alone. AVe have seen many
examples of the results ; but, on the whole, prefer gold alone.
The presence of platinum tends to a blacker tone, which we do not
generally consider an improvement. 3. Heat \vill of course reduce
any salt of silver to a metallic state ; but it is not customary for
this result to be brought about in fusing nitrate of silver, unless
the temperature were imduly raised, or the heat unnecessarily pro-
longed. It is not an uncoiiunon thing to find that in an miueous
neutral solution of chloride of gold, the salt is occasionally reduced,
and metallic gold precipitated. AVe generally keep chloride of
gold in a concentrated alcoholic solution.

L.; — The object of using dilute albumen instead of pure white of egg
is to avoid an unnecessary thickness of varnish over the trans-
pMcncy ; and a very small portion of albumen is generally suffi-
cient to make the aniline colours “take” freely to the picture.
The albiinicn should certainly not be coagulated with a salt silver,
as a sensitive compound is at once formed. There are various
means of coagulating albumen, such as nitric acid, bichloride of
mercury, sulphate of iron, &c. AVhich of these would answer
he^t we cannot say ; but wo do not think them necessary, as the
aniline colours generally work perfectly on the albumen in its
natural state. Of course, a little practice in such colouring is
necessary, in order to .succeed. AVe regret our inability to answer
such questions privately, but a very large portion of our time
would be ab.sorb^ if we wrote private answers in even the excep-
tional cases which occur.

AA^. J. A. Q. — The tmality of the collodion may possibly be a cause
of the tendency in England’s plates to split in drying, but wo arc
not familiar with the fault. The use of a preliminary coating on
this plate might prevent it. The application of a dilute solution
of gum or of albumen to the finished negative before drying would
bo a tolerably certain preventive.

A. J. — Bromide of cadmium is tolerably soluble in alcohol and ether,
and should generally, with a little agitation, dissolve in collodion.
Sometimes a little mechanical aid is necessary. Use a glass rod
with rounded end to crush the salt, and mix it with the collodion ; or
mix the wilt into a paste with about half a drachm of alcohol, and
then add to the collodion. You will find no difficulty if you aid
the solution in this manner.

John Beattie. — The unfinished and unsigned letter was doubtless
yours, as we supposed, but were not quite certain. AVe will write
to you in a few days.

G. B. S. — All the experience which has reached us tends to prove
that blue glass in a studio has no advantage whatever, but some
di.sad vantages.

Sybil. — Your lines shall have our careful consideration.

Venator. — Varnish made according to the formula in question
would be of a dark colour ; but this, we believe, will scarcely bo
appreciable on the negative. The object of adding essential oil
is to aid in dissolving the gum. Such oils have no other csi^ial
value. AA’'e have often considered the suggestion you make. There
are resisons for and against, and hitherto the latter have prevailed.
The lighting and goner.il qualities of your prints are good.

H. C. L. — The markings of which you send us an example are
known generally as matt silver stains. The causes and remedies
are various, and have been extensively discussed in our last two or
three volumes. For full consideration of all the causes and
remedies we must refer you to the articles which have appeared in
our pages under the heading in question. A general remedy con-
sists in extreme cleanline.ss, keeping the inner frames of your dark
slides constantly washed, allowing the plate to rest on clean
blotting-paper, avoiding delay between exciting and developing
the plate, and avoiding the use of a very strong bath, or a very old
one. 3. Cockling is always duo to uneiiual expansion and con-
traction of the print and mounting-board. One remedy is the u.sc
of strong mounts ; another, sponging the aird, so that it may
become as damp as the print before placing the two in contact ;
another, the use of an adhesive material ivith verj' little moisture,
such as glue. AVhen paste and similar materials are used, the
water penetrates the pnnt and makes it expand. If it be placed
on the dry board in this expanded state, it will necessarily con-
tract in drying, and this neces.sarily drags the board and makes it
cockle. 3. The simplest method of ascertaining the precise specific
gravity of alcohol or which you know the nurnber of degrees over-
proofi is to cousult a table of the relations between the two. The
tenn “ proof spirit,” and the mode of determining strength by
degrees over-proof, arc both clumsy. As a genenJ indication of
their relation, we may mention that proof spirit has a sp. gr. of
•9200 at 60“ Fah. Absolute alcohol, which has a sp. gr. of -809.5,
is 70 over proof. Spirit 60 over proof has a sp. gr. of -8298.
4. The offensive smell of .some albuminized paper is due to the use
of decomposed albumen in its preparation, or to keeping the paper
in a damp place, causing decomposition.

AA’. L. S. — There is no especial advantage in exciting your paper in
whole sheets, beyond the saving of time. AVhere a largo amount
of printing is done it is a goixl practice, as it saves time and per-
mits *he sheet to be cut up as economically as possible, which
dividing the sheet into halves or quarters for the purpose of sensi-
tizing docs not always permit.

F. F. — AVhere all the wa.shing waters, hypo, developing solutions,
&c., are mixed together, liver of suljihur ((silysulphide of potas-
sium) is the proper material for precipitating the silver. The
silver will be thrown down, of course, as sulphide of silver, and
can then bo reduced in the usual way.

A'ery Old Subscruier. — Your genenil design is good. lAVe
should prefer facility for extending the light a little laterally ;
6 feet 6 inches in front of background, in some cases, will be found
too much without light. Better have the whole of the 10 feet in
the roof of glass. U se ordinary crown or sheet glass. The ribbed
glass will obstruct a good deal of light, and should not be used,
except where necessary to exclude direct sunlight, or prevent the
interior of the studio being overlooked. As a rule, have all your
glass continuous, so as to form one extended light, not a series of
small ones. If possible, therefore, bring your side-light a little
nearer the background instead of introducing small windows.

IIoN. J. AA’’. Strutt. — Received. Thanks.

Errata. — In the description of M. Reutlinger’s studio, the sitting
is described, by a clerical error, as thirty-five minutes ; it is obvious
that it should have been thirty-five seconds. In the article on
India-rubber as a Protection for Negatives, the words “pliable
resin” are found in the last line but one of the first paragraph;
they should have been “ friable resin.”

Several Correspondents in our next.

All Communications for the Editor to be addressed to 15,
Gough Square, Fleet Street, London, E.C.

THE

NEWS

CONTENTS.

PACK

Yelloir Spots on Prints ; Impcrtcct Fixation 409

W«t Collodion without Water 470

NcKatives Transferred to Leather OuModiou 470

Varnishes for Negatives 471

Echoes of the Month. By an Old Photographer 471

Foreign Miscellanea 472

Short Essays on Photography and Art. By Nelson K. Cherrill 47.1
On Oilding Glass 474

FAOE

Pictorial Eflcct in Photography. By II. P. Robinson 475

On the Employment of Collodionized Paper. By Ludwig

Schrank 476

Correspondence — India-Rubber, Encaustic Paste, 4c. — Wet

Collodion without Water — Carbolic Acid 478

Talk in the Studio 479

To Correspondents 479

Photographs Registered 48U

YELLOW SPOTS ON PRINTS.— IMPERFECT
FIXATION.

Notwitustanding all that has been written on the subject of
fixing prints, amongst the defects brought under our atten-
tion from time to time by troubled correspondents, there i^
none of such frequent and regular occurrence as the results
of imperfect fixation, manifested either by mottled stains of
a yellowish green or yellowish brown throughout the print,
or by patches or spots of the same colour scattered more or
less plentifully over the picture.

The cases of examples of imperfect fixation through-
out the whole print are not, happily, of very frequent occur-
rence. The importance of the plentiful use of fresh strong
hyposulphite solution has been so constantly urged of late
years, that few photographers are likely to err so far in this
matter as to produce the mottled, greasy-looking prints
which indicate imperfect fixation in its worst phases ; yet
several examples of this kind have come under our attention
during the last few days, with queries as to the cause of
the mottled yellow stains which pervaded the whole texture
of the paper. The commoner form of the defect, however,
consists in the existence of spots of yellow or yellowish
green, or yellowish brown, not seen generally until the
prints have left the washing water and are spread out to
dry, and sometimes not seen until the prints are mounted.
The fact that the print appeared pure and spotless in the
various stages of its production, and is only seen a few hours,
or sometimes a few days, after a very careful washing, whicli
seems generally the puzzling part of the matter, afi'ords
realty the certain indication of the cause of the defect.

To make the matter clear to those of our readers who arc
not familiar with the processes involved in the operation of
fixing a silver print by hyposulphite of soda, we may briefly
and simply restate the nature of the reactions : — On the first
contact of the chloride of silver in the prints with hyposul-
phite of soda a double decomposition takes place, producing
hyposulphite of silver and chloride of sodium. Hyposul-
phite of silver combines with an excess of hyposulphite of
soda, and forms a double salt freely soluble in water. It is
on the presence of this double salt that perfect fixation
depends, because there is a second form of hyposulphite of
silver which is produced when there is not an e.xcess of
hyposulphite of soda, and which is comparatively insoluble
in water, but soluble in a strong fresh solution of hyposul-
phite of soda. This sparingly soluble hyposulphite of silver
is formed when the fixing solution is nearly exhausted, or
when the solution from any cause is prevented from acting
freely on the print ; and it is to the presence of this salt, and
its subsequent decomposition, that the yellow stains of im-
perfect fixation, either as small spots or universal mottling,
are due.

When the process of fixing is going on perfectly, there is

no appearance in the print which presents any peculiarity
to the eye ; but as soon as the fixing power of the solution
begins to bo exhausted, or the print from other causes is
being imperfectly fixed, on being held up to the light it
presents a number of opaque spots of a yellowish tint. If
the formation of these spots be discovered at once, they may
bo at once dissolved, and the print properly fixed by fresh
strong hyposulphite solution ; but the defect is rarely seen
until the decomposition of the hyposulphite of silver issues
in yellow stains of greater or less extent.

The single hyposulphite of silver is very prone to spon-
taneous decomposition, the final products of which are
sulphide of silver and sulphur. Its decomposition is still
more readily effected by the action of light. Being a
colourless salt, it is not, as we have said, observed until it
is decomposed ; and as the prints arc often washed in the
dark room during the night, this decomposition rarely takes
place until the prints are spread out in the light to dry,
and, under some circumstances, at a later period. Some-
times, but rarely, these stains of sulphide of silver will
become black ; they generally retain the yellow tint of sul-
phide of silver in combination with a decomposed organic
salt of silver. The decomposed salt forming these stains
will generally bo found in the body of the paper, or between
the paper and the albumen, forming opaque patches, as
may easily bo seen on examining the prints by transmitted
light. •

The occurrence of imperfect fixation throughout a print
is always traceable to the use of W(;ak, exhausted, or acid
hyposulphite solution; but the causes of spots or patches
of imperfect fixation are often more puzzling to the
inexperienced printer. Such spots are, however, generally
traceable to one of three causes : 1, the prints sticking
together whilst in the fixing bath ; 2, the formation of air-
bubbles on the prints on immersion in the fixing bath ;
3, or the contact of the print with hyposulphite before
immersion in the fixing bath.

1. If the prints are immersed in the fixing bath in
batches, and arc not kept moving, each print receiving
separate attention, they are apt to stick together, and some
portions of the prints are imperfectly acted upon by the
fixing solution. Such prints are liable to irregular yellow
patches of imperfect fixation.

2. When a print is first immersed in the hyposulphite
solution, air-bubbles are very apt to form on its surface, and
adhere with great tenacity, thick horny papers being more
liable to this tendency than thin soft papers. If the
bubbles are large they are easily seen and removed, and
the mere act of turning over the prints ivill generally break
such bubbles ; but in many cases minute bubbles are not
easily seen, and not easily removed in the ordinary course
of moving the prints in the solution. Such bubbles efiec-
tually protect the surface they cover from the perfect action

470

THE PHOTOGIIAPIIIC NEWS.

[OcTOBEK 2, 1868

of the fixing solution, and are perhaps the most fertile of
all causes of the small yellow spots with which many
photogrophers are only too familiar. The remedy is
simple : it is necessary carefully to examine each print as it
is turned over in the fixing bath, and remove with a brush or
sponge the bubbles as they are formed.

3. The last mentioned cause is not, we hope, very common,
but it has come sufiiciently frequently under our attention to
render a caution to the inexperienced not unnecessary.
Young printers who are conducting the whole of the ope-
rations themselves are apt to be forgetful of the importance
of carefully cleansing the fingers every time they come into
any kind of contact with hyposulphite of soda, and a
slight taint of this substance on the fingers coming into
contact with excited paper will certainly issue in a stain,
which will generally become visible before the picture is
finished.

Other occasional causes will conduce to imperfect fixation.
Occasionally it will result from defects in the paper; and
occasionally from the long keeping of excited paper in hot
weather, a compound being formed between the silver and
the size in the paper not readily soluble in the fixing solu-
tion, and eventually issuing in decomposition and discolour-
ation. But our aim has been here to call attention, for the
benefit of the less experienced of our readers, to some of the
most common and most easily remedied sources of defects
which we have reason to believe are only too common.

In answer to the oft-repeated question as to the propor-
tion of hyposulphite of soda necessary to fix a given number
of prints, we can only rej)eat what we have often before
stated, namely, that the number which may be safely fixed
in a definite quantity of hypo solution cannot be absolutely
stated. Much discussion has arisen on the subject, but no
.absolute certainty obtained, ilany circumstances will affect
the question, such as the thickness of the paper, the propor-
tion of chloride of silver present, the extent to which it is
reduced, &c. Theoretically, about three parts of hyj)o-
sulphito of soda will bo required to dissolve one of chloride
of silver. One whole sheet of sensitive paper has been
calculated to contain about from 25 to 30 grains of chloride
silver. On this theory about half a dozen sheets of p.aper
might be fixed by one ounce of hyposulphite of soda. In
)>ractice, however, .so many other circumstances interfere,
that perhaps not more than one-fourth or less of that num-
ber ought to be fixed in the quantity. The rule of keeping
the solution alkaline cannot be too strictly enforced, and
t he use of carbonate of ammonia, as recommended by ^Ir.
Hpillcr, will certainly conduce to safety. If any trace of
acidity exist in the toning bath the prints should be very
carefully washed before immersion in the fixing bath.

Observation and experience are, of course, necessary, and
form the best guides for the practical printer ; and until
that experience is gained, the operator should take care
never to tread on the heels of danger. As to the time of
immersion, the temperature and the quality of the paper
will somewhat influence the decision. Thin Saxe paper uill
generally be fixed in new solution of hypo, or (i ounces in 4,
in about ten minutes; thick Saxe will require fifteen
minutes : thin Riv'e paper about fifteen minutes, and thick
Hive about twenty minutes. A slightly albuminized paper
will be fixed more r.apidly than a highly albuminized
sample ; the principle being, that the more horny and
repellent the surface, the longer the time of immersion.

WET COLLODION WITHOUT WATER.

Every photographer knows how much of comfort, and even
of success, depends on the observation of apparently minor
points in manipulating. We have had many scores of
letters thairking us for the publication, a few years ago, of
a communication by Mr. Russell Manners Gordon, in which
he incidentally pointed out the importance of adding the
same proportion of alcohol to the developing and intensify-

ing solutions, and to the silver solution to be used there-
with, in the process of intensifying. Attention to this
permitted the free mixture of one solution with another, or
of one after another, without risk of grea.sy lines, and conse-
quent stains, and at once promoted ease in working and
success in result. We have ever since regarded this as a
settled canon of manipulation, to be observed in all circum-
stances in which it can be brought into operation.

In our recent remarks on Wet Collodion without Water
it did not occur to us to repeat the injunction in reference
to the preparation of the golden syrup solution. To secure
an even flow, and obtain entire immunity from risk of
stains, it is necessary to add alcohol to the syrup solution ;
otherwise, on its first contact with the developer containing
alcohol, the well-known repulsion of the particles of the
two solutions will take place, causing streaks and stains.
Mr. Robinson calls our attention to the importance of men-
tioning this, in order to save a few disappointments to those
who may try the process without at first thinking of this
point. He says ; —

“ In your article on this subject last week you have
omitted to state that some alcohol should be added to the
preservative solution. Without this addition the golden
syrup and water presents a very oily appearance when
poured on the developed plate, and stains are inevitable.
Of course this does not occur to any great extent when no
alcohol has been used in the developer, which is seldom the
case, except for very small plates, and few photographers now
care to use a developer that will not take kindly to the
plate. The best proportions are, —

Golden syrup ... ... ... 10 ounces

Water ... ... ... ... 10 „

Alcohol... ... ... ... 6 drachms.

Although the negative may be intensified at home, in
practice I always perform that operation in the field, by
adding a few drops of silver solution to the iron developer,
and using it again. The muddiness formed may be dis-
regarded. 11. P. IIOBINSOX.”

NEGATIVES TRANSFERRED TO LEATHER
COLLODION.

Mil. WooDiiURY has recently brought under our attention
some examples of the transferred iregatives treated in the
mode which ho has recently described in our pages. Con-
sidering the simplicity of the means and the excellence of
the result, it is a little surprising that the system ha.s not
been much more commonly adopted than it is at present.
Those we have examined are sufficiently thick and firm to
be handled with perfect convenience ; and, except by
wilful injury, it seems impossible that they can in any way
come to grief.

No appreciable difference in definition is visible in prints
printed with different sides of the transferred negative in
contact with the sensitive surface ; but, theoretically, it
would seem that a sharper impression could be obtained
from the negative when reversed, as required for use in
connection with many of the mechanical printing processes,
because the image formed in the original collodion film,
without intervention of any film of varnish, gelatine, or
collodion, is in contact with the sensitive surface.

One or two points worthy of remembrance in connection
with the process were mentioned by Mr. Woodbury. The
first relates to the intensity of the negative. It is customary,
in ordinary operations, to carry the intensification a stage
further than is required for printing, because it is generally
somewhat reduced by the final varnishing. Most operators
like to see the negative, when finished and wet. present to the
eye just the proper amount of intensity. On drying, this is
considerably increased; and on varnishing, again reduced to
about the condition of intensity possessed by the wet nega-
tive. As, however, neither the coating of gum, nor the final
layer of collodion which is to form the substitute for glass,

October 2, 18G8.]

THE PHOTOGRAPHIC NEWS.

471

in any degree reduces tlie intcnsitj' of tlie image, it is im-
portant to avoid obtaining too miicli density in the pro-
ducing the negative.

A second point requiring great care is the levelling of the
negative before pouring on the thiek film of collodion,
otherwise an uneven and unsatisfaetory layer is irremediably
produced. And, finally, it is of vital importance, after the
combined films an' removed from the glass, to lay the trans-
ferred negative they form between sheets of clean blotting-
paper, and allow them to dry under a weight. If removed
whilst still in any degree damp, they are apt to cockle, and
no subsequent treatment will make them lie perfectly flat.

VARNISHES FOR NEGATIVES.

The Fhotographisches Archiv contains some remarks on var-
nishes by Herr Bieiuu't, in which he expres.ses a conviction
that cracking of the film and varnish is more frequently
due to keeping the negative in an apartment subject to
changes of temperature than to imperfection in the varnish.
He recommends the following formula, stated to be that of
Herr llaefstangl. We may remark, m pa.ssing, that it
appears to us that a varnish so made would be scarcely so
hard as the best varnishes in the market. The alcohol em-
ployed is to be strong, but not so strong as to dissolve the
collodion film. The specific gr,avity should not e.xceed 817.

Alcohol

2 ounces

White shellac

100 grains

Venice turpentine...

• 20 „

Glim sandarac

. 10 „

Gum ma.stic

5 „

A varnish Avhich may be used with very

little heat, but is

unsuitable for carelessly kept negatives,
of temper.ature, stands tlius : —

subject to changes

Turpentine (common) ..

J dr.achm

Venice turpentine

? »

Gum sandarac ...

2i „

Sugar

2 grains

Camphor...

2

Alcohol ...

2j ounces

We fear that the film given by such
easily scratch.

a A'arnisli Avill very

ECHOES OF THE MONTH.

BY AX onn PnOTOGRAPIlER.

A Photoorapher’.s I’RovrDEXT Society — Photoorapher’h
Personal Luquaoe — Transferred Negatives — Blue

Glass in Studios — India-Rubber for Mounting —
Touching Negatives — Encaustic Pastes— Societies.

I have often wondered to what singular cause the fact was
due that, notwithstanding the repeated discussions which
have occurred on the importance of establishing some Pro-
vident Fund, or Benevolent Society, or combination of both,
for the relief of the aged, the sick, or unfortunate amongst
photographers, so little practically — in fact, nothing — has
yet been eftected. It cannot be th.at .any notion exists that
photographers possess immunity from the ills of life ; it
cannot be that less care prevails amongst them for the suf-
ferings of their fellows ; it cannot be that as a community
they are too poor to establish a fund for the relief of eacli
other ; it cannot be that they are not sufficiently numerous
to require a separate provident or benevolent organization
on their behalf ; it cannot be that there are not sufficient
intelligent and capable men amongst them to carry out such
a purpose ; surely it cannot be, as some assume, that the men
most capable of carrying out such a scheme are the least
likely to need its aid, and are too supine to take action in a
matter which does not touch their immediate interests.

Possibly some light may be thrown on the question if 1
record some observations I recently heard in the course of
a conveisation on the subject amongst some photographers.

“ It was a fatal mistake,” remarked one, “ that the first
appeal to the benevolence of photographei’S should have
been made for an individual instead of a general cause. If
the same effort had been put forth for the relief of all the
needy and deserving in the photographic community, it is
likely enough that a very large sum would have been
secured at once, which, augmented by annual subscriptions,
might, if carefully administered, have met with some effi-
ciency all cases pf need for years to come. Unfortunately
it was not so, and the trouble Avhich those having charge of
the Goddard Fund seem to have had with the recipient him-
self and Avith his executors, and the attempts to cast dis-
credit on their conduct by men of no credit, will probably
check many in any effort to establish a general fund.”

“The expenditure of so much effort for an individual fund
was clearly a mistake,” rejoined another ; “but it is easy to
be wise after the event. But the aim Avas a good one, and
the troubles in the way could not have been anticipated.
As for the attempt to malign those who did the Avork in
the Goddard business, I should hope that no men of sense
Avould be deterred from doing a good thing because of the
snarling of tivo or three pariah curs.”

After some further conA'ersation, another gentleman re-
marked : “The real difficulty is a common one: Avhat is
required is, a beginning. Many Avill be willing to Avork
and give when once the thing is begun, if theproject be begun
under satisfactory auspices. If a committee of a dozen
trustAvorthy men Avero formed, Avith an active secretary, or
two secretaries, also men of standing and reputation in the
profession, I feel satisfied the project Avould soon become
a success. Find the men Avillingto take the first steps, and
all required steps will soon follow in due course.”

I must confess that I am much disposed to agree with the
last quoted speaker. Who Avill begin? Perhaps none is so
fit as the long established editor of a long established
journal. Will our Editor, the first projector of such a
scheme, undertake the duty, and at once invite subscriptions?*

The somcAvhat interesting question recently raised,
“What is personal luggage, pbotographically considered?”
possesses, like most questions, two sides. It seems un-
doubtedly natural enough, at firet sight, to say, that provided
the proper Aveight has not been exceeded, it cannot be a
matter of consequence to the company Avhether the luggage
consists of photographic appar.atiis or of boots and tooth-
picks ; yet, on second thoughts, it is clear that it does matter
much, as two of your correspondents last Aveek illustrate. It
is, I fancy, pretty clear that the photographer ought not to
claim compensation for broken nitrate baths. Such things
Avould require, .as a rule, much greater care in transit than a
trunk of clothes ; .and if, Avhen treated in the same manner
.as the latter, a bath breaks, it does not seem unnatural that
it should be at the photographer's own ri.sk. If the nitrate
solution running out of such broken b.ath leak into some case
containing a lady’s valuable wardrobe, from Avhom should
she recover compensation — from the company, or from the
photographer

I have recently seen some of the negatives transferred by
the process Mr. Woodbury described a short time ago in
your pages. Nothing could be more perfect or convenient
for use ; they Avere quite sufficiently stout to bo convenient
for use — limp and el.astic, so that there Avas little risk of
cracking or scratching tlicm, and Avondcrfiilly convenient
for storage, besides posse-ssing the especial advant.agc, in

♦ We scarcely a^^ree with “An OIJ Photographer” here. A journalist
has rarely sufficient leisure to permit him to undertake such duties and
responsibilities. Our sympathy and aid mxy always be calculated on in sucli
a matter ; but we have long made it a rule not to accept the charge of
moneys in any such case. Besidea, the Hrst step is ort^anization, in the
course of which a treasurer will necessarily be appointed. If necessary,
we will, at all times, aid in transmitting money to such an officer, but we
cannot undertake his office.

472

THE PHOTOGRAPHIC NEWS.

[October 2, 1868

relation to photo-engraving processes, of permitting either
side of the negative to be placed in contact with the sensi-
tive surface. I fancy that the time will come when the use
of transferred negatives will be much more common than it
is now.

I have noticed recently a tendency to revive the question
of the advantages of blue glass in studios. I see from your
pages that an elaborate paper was recently read before one
of the German photographic societies on the subject, giving
countenance to the notion that some advantage was to be
gained by its use. I should not like to be guilty of dis-
courtesy or dogmatism, but I cannot help remarking that
this seems to me one of the greatest absurdities ever pro-
pounded. White glass admits all the rays of light, the
blue, or most actinic ray, amongst the rest ; blue glass only
admits the blue ray; but it docs not admit of anything
which the white glass excludes, nor can it exclude anything
which can be injurious : whence, then, the advantage? If 1
have a sovereign and a handful of silver, and copper besides,
I am surely richer than if I had only the sovereign. If the
other rays which go to form white light had any injurious
or retarding effect, something might be gained by excluding
them ; but nobody has ever pretended that the other rays
were injurious. It is known, on the contrary, that although
blue is the most actinic ray, some of the other rays have also
a degree of actinic power. Whilst nothing is gained by the
use of blue glass, I am not equally sure that something is
not absolutely lost in rapidity, besides the unplcasing and
gloomy effect of the blue-lighted studio.

My experience decidedly confirms that recorded in the
News a.s to the uselessness of india-rubber for mounting
prints. From the large number of examples J have already
seen in my own po.ssession, and in that of others, curling off
the card, I am satisfied that it is most untrustworthy as an
adhesive material, or as a “ mountant,” as some would
affectedly phrase it. I have not tried it as a means of pre-
venting negative films cracking, but I have used it as a pre-
liminary coating for dry plates. So far as my own obser-
vation is concerned, it has not suffered any change when
used in this way.

Since you first introduced the practice of touching nega-
tives with black-lead pencil to English photographers, I
have frequently used it with advantage, and where light,
delicate touching ie required, I desire nothing better; but T
recently saw in the studio of a friend a bottle of the mix-
ture recommended in your pages a short time ago by Mr.
Bell, I think, consisting of silver precipitated from a
nitrate solution by means of pyrogallic acid rubbed up in
essential oil of lavender as a vehicle. The negatives touched
with it were admirable ; the touched spots were so perfectly
homogeneous in colour and material with the deposit of
which the substance of the negative was formed, that no-
thing could possibly be better ; and my friend assured me
that it was the most pleasant mixture to work with upon a
varnished negative which he had tried.

In the preparation of encaustic pastes the use of a large
portion of an essential oil as a solvent for the wax will
generally be found, I think, preferable to the use of benzole
only, which, by its quick evaporation, rendei's the task of
applying the pa.stc sometimes difficult. Essential oil of
lavender — although, apparently, from its strong perfume, a
very volatile material — is not so in fact, and answers admir-
ably as a somewhat slowly evaporating .solvent for such
materials as wax. Paraffine, I find with you, does not
answer.

Many of the societies will commence their sessions before
1 %vrite again ; and so far as the London societies .are con-
cerned, all, 1 believe, with prospects for activity and interest.

I hear of good papers on the tapis for each of these already.
Next month 1 hope to speak of their performance instead of
their promise.

J^ortign ^U-scfUimcn:.

M. Bisson has recently made a second ascent of Mount Blanc
for the purposes ot photography, and has been exceedingly
successful in his results. When he made his first ascent,
several years ago, he was so hampered with the large appa-
ratus, dark tent, and necessaries that he was compelled to
take for working the wet collodion process, that the under-
taking proved to be one of serious difficulty and enormous
expense ; the obstacles to be overcome, the large body of
guides and porters requiring control, and the cares and
troubles inherent to the wet process, were subjects demanding
tlie po.S6ession of great courage and skill on the part of M.
Bisson. When Mont Blanc was scaled a second time by this
intrepid photographer, the circumstances under which the
ascent was made were very diflerent. M. Bisson provided
himself with a stock of dry plates prepared by MM. Leon
and Levy (the succe.ssors of MM. Ferrier and Soulier), ac-
cording to the albumen or collodio-albumeu processes. Four
views were taken from the summit of the mountain, the
whole number of plates exposed at different points of the
route being from sixty to eighty. The negatives were deve-
loped by il. L6vy on the return of M. Bisson to Chamounix,
when the success of the expedition was found to be most
complete.

In .some of the Paris theatres are sold photographic pro-
grammes containing portraits of the principal actors. The
cards of this description sold at the Vari6t6s, during the per-
formance of Offenbach’s “Bridge of Sighs,” were five inches
high by three broad, and contained, in three rows, twelve
ovals, of which eleven were filled with portraits, and the
twelfth with the title of the piece, &c. ; at the back were
advertisements, and the names of the leading photographers
of Paris. The cards are to be purchased inside the theatre
for the sum of one franc.

A German journal .states that tiie reproduction of summer
freckles on the face may be prevented in portraiture by the
sitter briskly rubbing his features until they are red.

MM. Geyraet and Alkerare the authors of a book entitled
“ Emaux Photographiques,” at present in the press. The
work treats of all the formula}, operations, and hints neces-
sary to the production of photographs upon enamel. It
likewise gives details for preparing the enamel, the method
of retouching the pictures, causes of insuccess, &c.

The Bulletin publishes in cxienso M. Davanne’s report
upon photographs and photographic necessaries exhibited
at the Paris Exhibition of 1807.

In the Photographische Correspondez, M. Alois Nigg dis-
cusses at some length the best method of lighting studios,
and criticises Dr. Vogel’s remarks in reference to the height
at which a glass roof should be built.

M. F. Lamberg, of Odessa, recommends the following
gold-toning bath for albuminized paper as being durable,
rapid, and economical. Two solutions are made as follows : —

1. — Double chloride of gold and

potassium ... ... ... I gramme

Water...

2. — Phosphate of soda ...
Acetate of soda
Fresh chloride of lime
Water...

400 grammes.
2 grammes
20

1 gramme
1000 grammes.

The first solution is addiM .slowly and by degrees to the
second. "I'liis gold bath will be louiid to preserve the whites
perfectly pure and beautiful.

The Archiv states that a very beautiful gloss may be; given
to phutograplis by first polishing them with wax dissolved
in ether, and afterwards coating them with an alcoholic or
enamel varnish.

October 2, 1808.]

Till; PIIOTOGRA.PHTC NEWS.

473

Dr. Jacobsen recommenfls the following method of clari-
fying shellac varnish, lie states that besides the soluble
resin which may be dissolved by cold alcohol, shellac like-
wise contains a waxy material, soluble only in hot spirits of
wine. If, therefore, a solution of shellac has been prepared
in boiling alcohol, the liquid will, on cooling, become quite
turbid, owing to the minute particles of wax in suspension ;
the solution may be cleared by allowing it to stand for some
time in a cold locality, and then tiltcring it through felt or
filter-paper. The durability of the filter may be increased
by the addition to the solution of very finely-ground glass.
If it is desired to bleach the solution, it is boiled previously
to filtration, for a short time, with freshly burnt bone-black,
and then allowed to become perfectly cold.

M. Grasshoff recommends the coating of prints with
normal collodion, and, when this has dried, the further appli-
cation of an alcoholic varnish by means of a broad camel’s
hair brush ; if the vainish is poured upon the picture instead
of being applied with a brush, the effect produced is not so
brilliant. If it is desired to retouch the print with water-
colour, M. Grasshoff' suggests that this operation should be
carried out after the collodion has been poured on ; by this
means the retouching is easier to perform, and the print may
afterwards be varnished either with dammar, mastic, or
copal oil-of-turpentine varnish, prepared by mixing equal
parts of oil-of-turpentine and commercial varnish. Pictures
thus treated require from one to two days for drying.

In reference to colouring of photographs, the Hamburg
correspondent of the Archiv states, that if the colours are
rubbed on the palette with gum, and then applied to the
photograph, the latter will, after being varnished with collo-
dion, appear very much as if it had been painted in oil.
Many photographs finished in this way are sold, says the
correspondent, as veritable oil-coloured photographs, which,
however, have never seen any other oil than that in the lamp
by whose light the artist has painted them.

For facilitating the application of water-colours to the
albuminized print, the same correspondent recommends a
coating of the following mixture : —

Absolute alcohol 8 parts

Ether... ... ... ... ... 4 „

Gum, dissolved in a little water ... l-16th

Glycerine l-8th

By applying powdered colours to albuminized prints
which have been varnished with a solution of wax in oil of
lavender, in the manner in which Daguerreotypes are
coloured, a very beautiful effect may be obtained, resembling
very much a picture upon porcelain.

M. J. Wothly, of Aix-la-Chapelle, recommends the em-
ployment of ordinary hydrochloric acid instead of a soluble
chlorine salt, in the preparation of collodio-chloride ; by
substituting the agent in question a finer precipitate of silver
is said to be produced.

M. de Constant states that he has obtained verv good re-
sults with M. Carey Lea's bromide of silver collodion, by
substituting balsam of Tolu fer tincture of aloes.

Dr. Liesegang publishes in the Archiv a very interesting
account of a visit he paid to Mr. Woodbury’s establishment
during his recent sojourn in London.

M. Bechamp publishes an interesting paper in the
Comptes Rendus, the result of a long investigation into the
circumstances of the decomposition of eggs and their liabi-
lity to spontaneous alcoholic and acetic fermentation.

The^ Zeitschrift fiir Anahjtische Chemie recommends the
following method of detecting hyposulphite of soda, which
is so delicate that if the latter is contained in a solution in
the proportion of 1 part in 500,000, its presence is at once
discovered. A few small pieces of aluminium wire (which is
preferable to zinc, as being more likely to be purer) are added
to the solution to be tested, together with a little dilute

hydrochloric or sulphuric acid, and the mixture is then
warmed slightly ; if hyposulphite is present, lead-paper
becomes blackened after an interval of at most five or ten
minutes. As the aluminium dissolves but slowly, the wire
may be afterwards washed and put aside for further
experiments.

The Correspondenz, in alluding to Mr. Spiller’s paper on
the presence of hyposulphites in mounting boards, remarks
that some time since MM. Szekely and Massak caused a
large quantity of mounted and unmounted photographs,
produced at the same time and in the same manner, to be
stored away for the purpose of ascertaining their keeping
qualities. After an interval of some time the prints were
examined, when it was found that the unmounted copies
were still in a perfect condition, while those on cardboard
betrayed all those symptoms which are regarded by photo-
graphei’S as evidence of fading.

The same paper warns its readers against a certain pro-
cess-monger, who claims to be a cousin of the MM. Angerer
of Vienna, and assumes the name of those gentlemen ; he
states that he has worked for some time with Mr. Woodbury,
and is anxious to effect the sale of that gentleman’s process,
lie likewise endeavours to dispose of formula) for making
cheap sensitizing baths, the following recipe being one for
which he charges the sum of forty-five shillings, viz. : —

. — Water

8 ounces

Nitrate of potash ...

... 1 ounce

Nitrate of uranium

... 7 grains

Ammonia...

3 drops.

.—Water

9 ounces

Acetic ether

... 20 drops

Nitrate of silver ...

... 1 ounce.

When both solutions have been made, they are mixed
together.

SHORT ESSAYS OX PHOTOGRAPHY AXD ART.

No. 4. — “ On Distortion and Perspective.”

BV NBLSON K. CIIERRILI,.

A VERY ingenious artist, who, by the-way, gets his living by
photography, tried the other day to argue me into the belief
that all photographs are wrong. And the reason for their
wrongness was, he said, that you could never get so far from
the subject you were taking, as to avoid distortion in the
lines or exaggeration in the perspective. It is quite evident
to my mind that this gentleman was under a great misap-
prehension as to the real state of the case, and, in conse-
quence, his remedy for distortion, or bad perspective, was
not one calculated to prove of much avail, and 1 propose to
open the subject in the present chapter in order that it may,
if needed, be ventilated by othei-s whose opinions will be of
more value than my own. I will first premise that though
exaggeration of perspective may, when carried to great
excess, produce distortion, when speaking strictly, distortion
should be considered as quite apart from perspective ; it may
occur in many other ways, as from the lens giving curved
lines, and not a flat field, and so on. Properly speaking,
then, the difficulty which my artist friend had stumbled
against was one of perspective only, and I purpose to treat
it as such.

So far from wishing to avoid the effects of perspective, I
greatly rejoice in them, because I consider that “relief” is
as much, or almost as much, to be obtained by it as it is by
light and shade ; but it is said that any part of the figure —
as the hand, for instance — being projected at all towards the
lens in taking a jiicture, is too much enlarged, and that when,
on the other hand, any part of the figure is behind the rest,
it is in turn too small. That when the hand is held forward
it is large, and when held back it is stnall, is a matter almost
too obvious to need mention ; but it is as to the degree of
this enlargement or diminution that I would direct atten-
tion. It is, I contend, not essentially and necessarily wrong

474

THE PHOTOGRAPHIC NEWS.

to have the hand either on an enlarged or a diminished
scale ; it may be so in fact, and facts are not always wrong.

The best way to consider the matter will be to take an
example. Thus, stand before a looking-glass at twelve feet
distance : for all practical purposes, the image that you see
of yourself reflected in the glass is just the same as would be
seen by a spectator at a distance of twenty-four feet (the
image reflected being always, apparently, as much behind
the reflector as the real object is in front of it). Now close
the hand, and put it up by the side of the face, and note
exactly its apparent size as seen in the glass ; next stretch
out the arm to its full extent towards the glass, and note how
much larger it is now in proportion to the face than when held
up close to the head. From this it will be seen (as, indeed, it
did not require much showing) that as an object approaches
the eye of an observer (or, which is the same thing, the lens
of a camera) it is increased in size, and, therefore, it cannot
be said to be wrong to represent it as larger. Now let us
continue our experiment with the looking-glass. Let ns go
only six feet off instead of twelve, place the hand again by
the side of the head, and it will still maintain the same pro-
portionate size to the feature as it liad in the first instance.
Not so, however, when it is again extended to the glass, for
now it is apparently larger than it was before, even larger
in proportion than when held forwaid from a greater dis-
tance. The same experiment being repeated from a much
shorter distance will show the same result in a more marked
manner, so that it will be quite evident that the nearer any
object is to the eye of a spectator, so much greater will be
the apparent enlargement of any part of it which is pro-
jected forwards. And thus it will be seen that it cannot be
wrong to represent the nearer parts of a picture larger in
l>roportion than those which are more remote.

But then there is another matter to be considered, namely,
the relation of the amount of apparent increase in the size of
projecting portions of the figure and the focus of the lens
producing the picture ; and here I venture to think a mis-
take is commonly made. Long focus lenses, requiring to be
placed at a considerable distance from the sitter, will pro-
duce less apparent enlargement of projecting parts than
one of short focus, which will have to be brought very near
the sitter ; but at the same time 1 apprehend that in any
case, the amount of enlargement will bear the same relation
to the focus of the lens as it does to the distance between
the observer and the object seen. This is evidently the
case, as with short focus lenses the apparent enlargement is
always more than with long, and in just the proportion
which may bo ob-served in the looking-gla.ss experiment.
It must always also bo remembered, that there are two
things besides the true eft'ect of perspective, which tend to
increase the apparent enlargement of prominent parts of the
figure. If any part of it comes out of focus it will be inevitably
enlarged beyond the proper degree due to the projection ;
anil if, though still in focus, there is any irrovement, the
same effect will take place. These two cases need not, how-
ever, be taken into consideration, because they are merely
the result of bad technical photography, and it is not my
object to defend bad work, but only good.

There are now a few very important points to be con-
sidered.

Firstly, what is the proper relation between the focus
and the lens, and the size of the picture? It is evident
that much depends on this, for if the enlargement of near
objects must take place, and if the proportionate amount of
this enlargement is dependent upon the length of focus of
the lens employed, it seems evident that one lens must be
better adapted than another for the pictorial rendering of
any subject ; all lenses may be mechanically right, but all
may not be so good practically. A short focus lens seems
most suitable for small pictures, and one of long focus for
larger ones ; and 1 think that probably that focus lens which
needs to be placed at the same distance from the plate as
the eye is from the picture, when seen to best advantage, is
the one best suited to each particular size j.this may be open

[October 2, 1868.

to some exception on part of short or long-sighted ))eople,
but, as a rule, I think it is correct.

Another point must not be left unraentioned. If it is at
times a disadvantage to find portions of the picture enlarged,
there ought to be also occasions on which this peculiar
property of perspective might come into very valuable
service ; as if, for instance, a hand is too large in nature,
it may be reduced by being kept in the background, and
the same with a figure of “ rude ” dimensions in a group.

There is also another curious point : the necessity to avoid
exaggerating the natural perspective (if one may so call it)
which exists in almost every face ; in almost every face the
mouth and the eyes are converging, not parallel, as one would
.suppose, but the month is almost always rather up at one
corner and down at the other, or else the eyes are not quite
straight with the two lines of the mouth. It, then, a three-
quarter face ])ortrait be taken, looking the wrong way of the
face, the most absurd result will follow; though the near side
of the face will, by the law of pempective, be the larger, the
actual distance between the eyes and the mouth will often
be greater in the side of the face remote from the camera
than in the side nearest to it, so that almost a pseudoscopic
effect will be produced ; this is wrongness and false per-
spective, if you will ; but to make those objects which are
nearer the camera larger in proportion than tho.se which arc
behind is not a fault at all, but a most necessary conse-
quence of true perspective, without which pictures would
look .as flat and unrelieved as do objects seen at a great
distance.

ON GILDING GLASS.*

The gilding of glass is by no means so certain a proce.ss a.s
that of silvering, inasmuch as there exists at j)re.sent no
efficient method for applying gold to a vitreous surface.
The Liebig ])roccss, in which an alkaline solution of gold
is reduced by means of a mixture of spirit and ether, is
somewhat uncertain m its results, and by no means so
efficient as the earlier method of Wernick, which has been
simplified by Professor Bottger in the following manner: —

Three solutions are prepared, all of which are endowed
with good keeping qualities, and are mixed together in
certain proportions previously to their employment.

No. 1. — One gramme of fine gold is dis.solvod in aqua
regia, and the solution placed in a water bath to evaporate,
for the purpose of separating the superfluous acid ; it is
afterwards diluted with water to the extent of I'iO cubic
cents. A better plan, perhaps, is to dissolve IJ grammes
of chloride of gold in 120 cub. ‘cents, of water. It is neces-
sary that the gold solution should be absolutely free from
any metals which arc precipitated by the reducing fluids —
as, for instance, silver ; if the chloride of gold contain a
trace of chloride of silver, the greater part of the gold is
precipitated in the form of powder, and the thin coating of
gold very soon becomes dissolved from the glass. A slight
trace of acid in the chloride is less injurious.

No. 2. — Si.x grammes of caustic soda dissolved in 100
cub. cents, of water.

No. 3. — Two grammes of ordinary grape sugar are dis-
solved in 24 cub. cents, of alcohol, of 80 per cent, strength,
and 24 cub. cents, of commercial .aldehyde of 8 870 specific
gravity are afterwards added.

If this reducing fluid is kept longer th.an a day its action
becomes weaker.

The fluids are mixed immediately before employment in
the following manner, viz., of No. 1, four volumes; of
No. 2, one volume ; and of No. 3, one-sixteenth of a volume.
The mixture quickly assumes a greenish tint, owing to the
gold becoming precipitated. The glass to be gilded is
cleaned first with soda lye, and afterwards with alcohol,
but on no account is any acid to be used, as in that case
the gilding is very liable to leave the gla.ss again. The

• Photographitchts Archiv.

October 2, 1868.]

THE PHOTOGRAPHIC NEWS.

475

liquid is poured into a flat dish, and the glass plate to be
coated is placed upon two strips of glass in such a manner
that the liquid covers only the thickness of the plate. When
the gilt surface has been produced, it is carefully rinsed
with water, and placed in a sloping position against the
wall upon blotting-paper, prepared side innermost; it is then
allowed to dry in an atmosphere of ordinary temperature.

The greater portion of the gold remains behind in the bath
in the form of light flakes in suspension ; this is filtered off
and heated, and may be again converted into chloride of
gold.

PICTORIAL EFFECT IN PHOTOGRAPHY ;
Being Lessons in

Composition and Chiaroscuro for Photographers.

BY II. P. ROBINSON.

Chapter XXXVI.

One of the most effectual means of impressing truths on a
pupil’s mind is to reiterate them again and again from
many points of view. It is for this reason that I have in-
troduced several illustrations showing how the pyramidal
form — that of most use in figure composition — has been the
ruling idea in the several artists’ minds in the construction

of their groups, and how no group is allowed to exist with-
out a contra.sting balance or support. These principles are
further plainly illustrated in the wood-cut from Elmore’s
fine picture of the “ Invention of the Stocking Loom.” The
fault of the picture, in the eyes of some critics, is that the
subject is not sufficiently evident, but requires explanation.
This, in my opinion, is a very small matter, although it
certainly is an advantage when a picture explains itself,
and does not necessitate any reference to a catalogue. If
I went into a description of the details of the composition
I should only be repeating what I have said of other
groups ; I will therefore pa.ss to an extension of the same
principles in a more complicated subject.

Everybody knows West’s great picture of the “Death of
General Wolfe; ” I have therefore not thought it necessary to
occupy space with a large illustration of it, but content my-
self with a diagram of the leading lines, which will bring
its various parts to the recollection of the student. This
picture is a very perfect example of a hollow group, or
circular composition, so called from the figures and objects
forming it being placed nearly on the circumference of a
circle, and which arrangement is applicable to the highest
works of art, from its simplicity and extensive sweep, and
to the lowest, from its being finely adapted for the pur-
poses of light and shade.

Mr. Lake Price has carefully analysed this picture in
his lessons on composition in the early volumes of the
Photographic News, and as the volume containing it has
become scarce, I cannot do better than avail myself of his
analysis of the composition.

“ We observe the stricken hero prostrate in the centre of
the picture, the sympathy of his officers and soldiers in the
fall of their general being well expre.ssed. The ‘ red man,’

hard of nerve himself, looks on with interest to see the re-
signation of the white chief to his fate ; whilst the cry from
the battle-field, ‘ They run ! they run !’ is perfectly given by
the panting figures on their right, and the more episodal

one in the distance. The arms of the pointing figures cross
each other, thus composing. The animated figure of the
trapper or huntsman is most necessary, and gives the foil and
sentiment to the still repose of the group immediately round
the dying man. The grenadier, standing rather apart,
judiciously separates the grouping, and prevents it being
monotonous and crowded. The colours and their straight
staff carry up and break the top line of the composition,
and give value to the action. The advancing figure is pre-
vented over-balancing by the crouching Indian beneath,

476

THE PHOTOGRAPHIC NEWS.

[October 2, 1868.

wliich makes a mass with him. The balancing line of the
Indian’s gun cannot he dispensed with, though the artist
has judiciously broken it by the intervening knee ; nor the
cap of the grenadier on the ground, which composes with
the lines of his figure, and completes the group ; whilst the
dark hat under Wolfe finishes the circle, and gives distance
to the lighter parts behind. The gun on the ground com-
pletes the base-line carried through the foreground. This
is a most perfect composition, and should be well studied.
We have first the story, told in a touching and distinct
manner ; next, we have the main lines, traversing the subject
horizontally, balancing each other, whilst the lines of the
figures, as seen in the analysis, reply perfectly, and balance
with each other ; at the same time each figure either com-
poses with its own base, or forms part of another mass, the
whole arrangement, in its linear composition, being admir-
ably susceptible of subsequent chiaroscuro.”

It was with this picture that common sense in historical
painting in England commenced. Before this period the
most ridiculous absurdities were perpetrated in the costume,
not only in historical pictures, but in every other class of
painting. The picturesque dress of the day was thought
too barbarous for the sham classical taste of the time of
James the First. This taste, revived by Verrio and
Lagnerre, was in the height of fashion when West com-
menced his “Death of General Wolfe.” A portrait painter
seldom allowed his sitter to appear in his own dress ; if
his subject was a lady, she wa.s transformed into a shepherdess
with a spud in her hand, tending sheep in Arcadia ; if a
youth, the distinction of sex was indicated by giving him
a crook instead of a spud, and pandean pipes in his hand.
Jlen were dressed in armour of an earlier period, and it
appeared to be a law as binding as those of the Modes and
Persians that in historical subjects (which should be treated
allegorically, if possible) the figures should be dressed in
Greek or Homan costume, or not so much the costume of
the actual Greeks and Homans, a.s a dress in which they
were supposed to appear. If a battle-piece was represented,
the king or general, “ the noblest Homan of them all,” was
set in the front, bearing no possible proportion to the rest
of the combatants. Thus, if the dubious costume were to
be believed, actions of Englishmen in the seventeenth and
eighteenth centuries were performed by the people ol ex-
tinct nations. But to make the thing still more absurd,
although the dress was exchanged for Homan armour,
the enormous wigs of the period were retained ! Fine
examples of this false classicality are to be found in the
statues about London, especially in Westminister Abbey
and St. Paul’s Cathedral, where, by-the-bye, there is
evidence of a further decadence in artistic tnith ; the classic
heroes of the early Georges were at least dressed, if dressed
aksurdly ; but passing by Dr. Johnson and others who are
wrapped in blankets, we come to the monuments erected to
the memory of those who fell at Waterloo, and find that
some of them, with that enthu.siasm which disregards
appearances or cares for uniform, actually went into battle
in puris naturalilus, withoiit any clothes at all. West,
much against the advice of his friends, dismissed this
pedantry, and restored nature and propriety in his noble
work. Cunningham, in his life of West, speaking of this
picture, says : — “ The multitude acknowledged its excellence
at once ; the lovers of old art, the manufacturers of com-
I>ositions called by courtesy classical, complained of the
barbarism of boots, and buttons, and blunderbusses, and
cried out for naked warriors, with bows, bucklers, and
battering-rams.” Sir Joshua Heynolds was so blinded by
the fashion of the time that he entreated the artist to
recollect the danger which every innovation incurred of
contempt and ridicule, and urged him to adopt the costume
of antiquity, as more becoming the greatness of the subject
than the garb of modern warriors. West’s answer was, that
the same tnith which gives laws to the historian shouhl rule
the painter ; if, instead of the facts of the action, fiction
was introduced, what would posterity think of the truth of

the painter? Heynolds afterwards acknowledged, when he
saw the completed picture, that the artist was right : “ West
has conquered,” he said to a friend ; “ he has treated his
subject as it ought to be treated. I foresee that this picture
will not only become one of the most popular, but will occa-
sion a revolution in art.” At that time, truth of effect in
art was so little regarded that Garrick thought it right to
play Macbeth in a full court suit, and murdered Duncan in
a bag-wig with a dress-sword !

1 have gone at such length into this subject m order that
I may point out a simitar error in our practice of to-day —
one not so glaring and absurd as the classical armour
appears to us now, but which seemed quite right to our
ancestors, but one which is but a new application, only in a
less degree, of the same error — I mean the practice of
dressing a sitter for a portrait in fantastic garments, for the
purpose of making him up into a picture. The object of
portraiture is to make a resemblance of a man as he is, and
very little liberty should be allowed or taken in doing it.
I am not now speaking of photographs of which the object
is to make a picture apart from portraiture — in these any-
thing may be done, so that general truth is observed — but
a portrait professes to represent a prosaic fact, and should
fulfil its function.

ON THE EMPLOYMENT OF COLLODIONIZED
PAPEH.

BY LUDWIQ SCHRASK.*

The introduction of carbon printing, causing as it did so great
a stir in the photogr.aphic world, and giving rise to the hope
that by its means perfect durability might be obtained,
has for a time distracted attention from the endeavours
which have been made to substitute gun-cotton, or rather
collotlion, for albumen in the printing process. The gentle-
man to whom belongs the honour of having first introduced
collodion as a material for printing is the celebrated
German experimentor, M. Wothly, of Aix-la-Cbapelle ; for
although at an earlier date developed collodion positives
were transferred to chalk and gelatine paper, still we believe
that in M. Wothly ’s uranium printing process collodion
was employed for the fiist time as a sensitive coating for
paper in the form it is used to the present day.

The failure of the uranium printing prcxiess was partly
owing to the fact that the consumer himself was expected to
prepare his own sensitive material by coating the paper
with collodion, a manipulation requiring, of course, more
care and attention on the part of the operator than is de-
manded in the employment of albuminized paper.

For the same reason Mr. Wharton Simpson’s collodio-
chloride process, during the early days of its existence, made
but little progress, until several manufacturers introduced
into commerce the sheets of paper ready collodionized.

But even now that collodion paper is obtainable in
commerce, photographers are slow in adopting it, and not
until it is more generally known that the carbon process is
ill adapted for universal practical employment will attention
again revert to the old methods. It must be admitted by
every impartial observer that the prints upon collodion
paper greatly surpass in brilliancy and detail the albu-
minized picture, and these qualifications, although possibly
of no importance in large pictures, are invaluable in i)rints
of lesser size, viz., in stereoscopic, microscopic, and other re-
productions in which fine details are depicted. Ot these
advantages must every practical photographer be aware ; and
vet on many sides has the introduction of collodion paper
Lccn prevented. The first reason for this we have already
touched upon, namely, the hope that the carbon process
would bring about a tot.al reform in the process of printing.
The second reason was that the manufacturers of the collo-
dion paper were at the commencement not perfectly aufait

* Pkotographitche Corretpondenz.

477

October 2, 1868.1 THE PHOTOGRAPHIC NEWS.

at their work, and furniaheJ a luaterial, llierefore, whicli
was of such mediocre quality that photographers who had
resolved to give the new product a trial were at once
frightened away altogether. The paper possessed all the
faults inherent to glass plates coated with collodion, such as
streaking and fogging caused by the bursting of collodion
bubbles, these faults giving rise to dark spots whenever
the paper was printed. Besides, the collodion employed for
coating was often of unequal composition, and the paper
not sufficiently glazed, so that pictures were sometimes pro-
dueed upon the collodion paper which were inferior in
point of brillianey to those furnished by good albuminized
paper. At another time a whole batch of the prepared
paper was sent into the market, and became unserviceable
after a short time, owing to the addition, during its manu-
facture, of too large a quantity of resin.

M. Obernetter, of Munich, who has built afactory on pur-
pose for the preparation of collodionized paper, experienced
with his first products, made at the new manufactory, the
greatest difficulties, arising, in his opinion, from the damp
walls of bis workshop. The paper when ireshly prepared
was perfectly good, but after a fortnight, or three or four
weeks, a change came over the material, and rendered it
quite unserviceable. For some time he was unaware of
this serious evil, and every batch was tested, and being fouiid
of proper quality was at once sent off ; but in a short time
from every p.art of the world came complaints. As soon as
the cause of injury was discovered, the workrooms were con-
tinuously heated, but without result ; and it was not until
the heat of the summer had perfectly dried the walls of
the factory that the evil disappeared of itself.

“ I have found out,” wrote M. Obernetter to us at the
time, “ that the application of a preparation of gutta-percha
prevented the pealing off of the film and its liability to
become damaged, and at the same time increased the dura-
bility of the picture to such a degree that sulphuric acid or
a solution of cyanide of potassium might be poured upon
the prints without injuring them in any way.”

All these experiences are undoubtedly of value, although
it is to be deplored that they were acquired so late and at a
time when many photographers had relinquished their trials
of the material. A third cause of failure was due to the
employment of old used-up gold and hyposulphite baths of
the ordinary strength in the manipulation of the collodion
paper, a course of proceeding adopted in direct opposition
to the directions given by the manufacturers, who stated dis-
tinctly that no other solutions than those indicated by
themselves should be employed ; the consequence was, that
in many cases the sensitive film was found to become
detached from the paper during the processes of toning and
fixing. Although we have on a previous occasion already
made known the instructions drawn up by M. Obernetter in
regard to the employment of collodion paper, we consider it
desirable to recauitulate the same with a few important
addenda.

Instructions to be Observed in the Use of Collodion Paper.

The printing is to bo done in the shade, the pietures being
copied to a degree but slightly more vigorous than that
desired for the finished print.

The toning is conducted by placing the prints first of all
in ordinary water, without addition of common salt, to
remove the superfluous nitrate of silver; three changes of
water in a quarter of an hour will be amply sufficient. The
toning bath is most conveniently made by keeping in stock
two solutions, thus composed : —

1. — Distilled water... ... ... 50 ounces

Sulphocyiinide of ammonium... 40 grammes

Ilypo-sulphite of soda ... ... 3 ,,

Bicarbonate of pota.sh ... ... 1 gramme.

If the gold compound used is neutral, the last-named may
be suppressed.

2. — Distilled water ... ... ... 50 ounces

Pure chloride of gold ... ... 2 grammes.

By chloride of gold is meant a pure compound, free from
acid and water, and not salts of gold ; if the latter is em-
ployed, about double the quantity should be taken, as it
contains but half the amount of gold. If, after five minutes’
immersion in the gold bath, the pictures still remain red, and
do not assume a beautiful violet tone, there is not sufficient
gold present, and more solution must be added until the
prints tone quickly ; the bath must on no account give an
acid reaction.

Both solutions are endowed with good keeping qualities.
For use they are mixed in equal proportion, only so much
being taken as is required for immediate employment. In
this way a couple of pictures may be at once toned without
delay in quite as economical a manner as a large batch ;
moreover, no chance of the prints becoming yellow need be
feared by using these solutions, for it is this bath, and this
only, that can be relied upon for the production of faultless
pictures. Other baths have a tendency to dissolve off the
film of collodion.

When the prints have attained the desired tone, which
occurs in from two to ten minutes, they arc washed in
ordinary water, and fixed in a solution which should be
compounded exactly in the following proportions, viz., 40
grammes of hyposulphite of soda dissolved in 32 oumces of
distilled or ordinary water. The fixing will be completed in
five or ten minutes, and then a subsequent washing of two
to three hours will suffice to remove the weak solution of
hyposulphite.

In all the manipulations care must be exercised not to
bend the paper or to injure the surface with any sharp
instrument, as by this means the collodion is easily torn ; no
cutting or trimming should be done before printing. When
the prints are laid in the first water bath, after their exit
from the j)iessure frames, they are inclined to curl them-
selves up ; this is of no material importance, and if they are
laid, face downwards, in the toning bath, they again become
straight in a few minutes. Too many prints must not be
allowed in the toning or fixing bath at the same time, as red
spots are thereby caused. When the pictures have been
thoroughly washed, after fixing, it is as well to lay them one
upon the other, face downwards, on a plate of gla.ss or clean
board, and to press them with the hand, so as to expel the
water ; they may afterwards be placed in an upright posi-
tion, so as to drain thoroughly. While the pictures are yet
damp they are trimmed and mounted ; or, if it is deemed in-
convenient to place them at once upon cardboard, they arc
again heaped upon one another to prevent their becoming
completely dry. In order to facilitate the trimming of the
prints, it is best to mark upon the negative, either by means
of a needle or a black line, the size to which the print
should be cut. As a mounting material, ordinary starch
paste, freshly boiled, is recommended. Rolling the finished
print conduces much to its beauty, and a coating of paper
varnish is advisable, inasmuch as the film is thereby
protected from injury. *

These instructions are so clear that a close observance of
them cannot fail to ensure success. Our honoured colleague.
Professor August Freund, has nevertheless suggested several
improvements which we cannot withhold from our readers,
especially as they are designed for producing greater dura-
bility, one of the principal arguments in favour of the
adoption of collodionized paper in place of that prepared
with albumen.

“ The rolling up of the picture when placed in contact
with water is only to bo avoided by employing at first
just sufficient water to moisten the print, and, after a few
minutes, when the same has become perfectly sodden, to
add a larger quantity of liquid. That the sulphocyanida
of gold bath only can be used I have likewise found out,
although the papera prepared by my.self in Vienna some
time since could be toned in any ordinary bath. The collo-
dionized paper at present manufacturtd does not give good
results with any toning bath but that of sulphocyanida ;
and I have likewise found it necessary, besides washing the

478

THE PHOTOGRAPHIC NEWS.

tints three or four times to free them from any free nitrate
efore being brought into the toning bath, to treat them in a
mixture of equal parts of spirits of wine and water, to whieh,
for every twenty parts, one part of caustic ammonia is added.
The pictures are immersed in this mixture for a few minutes,
then washed again in water, .and .afterwards toned and fixed
in the ordinary manner. If this treatment is omitted the
pictures are not capable of being perfectly fixed — that is to
say, they become altered in direct sunlight.* Although,
however, the omission of the spirit bath does not allow of
their being perfectly fixed, the prints so produced do not
undergo any alteration in diffused light, at least as far as
my experience goes, which now ranges over a period of
nearly two years.

{To be continued.)

INDIA-RUBBER, ENCAUSTIC PASTE, ETC.

Sir, — Some very important articles in your paper lately,
respecting the use of india-rubber in photography, and also the
application of encaustic preparations for improving the appear-
ance of the finished picture, induce mo just to trouble you
with a few lines on these subjects.

In a paper I read early in tliis year before the South London
Society, I expressed my belief that photographers who used
india-rubber as a mountant would find it to their loss, and
I have had abund.ant further evidence, since that time, that
such is really the case. Vignettes are speedily stained and
spoiled, and other pictures, within periods varying from a few
months to a few years. I doubt if anything else is equal to
Glenlield starch for mounting pictures on cards: and a very
few drops of carbolic acid added to it when made will cause it
to keep a considerable time.

I also adverted in the same paper to the use of encaustic
paste, expressing a belief that whilst greatly enlnancing the
beauty of the print, it gave every hope of increased longevity.
Wax is one of the most permanent and most uncliangeable
substances from atmospheric influence, and not only does it
contain no element of decomposition within itself, but, from
its repulsion of fluids, it acts strongly as a preservative from any
deleterious substances from without. It is also un.atfected by
most chemicals. Previous to Mr. Blanchard’s formula of bees’-
wax in benzole, the encaustic paste made for sale to photo-
graphers was far too bard and brittle, often quite chippy. I
adopted Mr. Blanchard’s suggestion at once, and after adding
a few drops of an essential oil, to give a little more ola.sticity
and prevent the preparation drying up too quickly, it was
found all that could bo desired. You have now given us
M. Adam-Salomon’s recipe, and a very capital one it is. I
made up a supply at once, and had a large number of inctures
done with it. Whether it is superior to our former one when
properly made with essential oil of lavender is a matter of
difference of opinion ; those who are employed in doing tho
pictures say they have ru> choice, that one applies to the
prints just as well as the other. On looking over a hundred
pictures of various sizes which have been finished indis-
criminately with the two preparations, there is nothing to lead
one to a preferonco, although I confess that on carefully scru-
tinizing prints done with M. Salomon’s encaustic I certainly
fancied there was a little more depth given, just a eoupcon
more of liquid transparency than with the other ; but after
repeated trials of tho fairest nature, it was not found that it
was possible to pick out from the bulk pictures treated with
either preparation, on account of any ditTerenco in their
appearance. There is no inducement on the part of dealers to
adulterate bee’s-wax ; but it is believed that white wax, from
its price, is, to a considerable extent, mixed with other and
cheaper substances. I have made up M. Ad.am-Salomon’s for-
mula, substituting oees’wax for the white article, and from the
result of the last few days’ use am rather inclined to look to it
as tho right thing. If this is manufactured for sale, a good

• Professor Freund’s experience here is exceptional. We have prints in
our possession produced at the time we first introduced the process, toned
and fixed in the usual manner, which have been exposed to sunlight for
months without change.— Kd. Photo. Niws.

[October 2, 1868.

largo bottle should bo sold for a shilling, and in a convenient
shaped bottle too.

In conclusion, I most strongly advise the use of encaustic
paste ; those who have begun it are not likely to discontinue,
whilst those who have not, have a pleasure in store.

Samuel Fry.

WET COLLODION WITHOUT WATER.

Dear Sir, — In the News of September 2-5th you give a
method of working wet plates without w.ater, and as I have, by
a different method, been doing tho same thing for more than a
year past, perhaps tho result of some experiments may interest
some of your readers. I had just invented and completed a
new dark tent upon small (11-inch) wheels, liaving the follow-
ing advantages 1st. It is so light — only about two pounds
upon each hand — that a l>oy twelve years old can get along as
fast with as without it. 2nd. It can be taken to pieces for rail-
way travelling in about one minute, is about the size of a child's
perambulator, and can be set up as a dark tent in less than
thirty seconds. Having completed tho tent, 1 thought what a
useful thing it would be if the wet process could be worked with-
out water, and I set about trying it. Knowing that a negative
may remain in contact with hypo soda for many hours without
injury, I poured hypo soda solution containing a little golden
syrup upon a developed but unwashed plate, and I obtained a
negative clear in tho shadows, and without any stains; but tho
decomposition between the hypo and the pure nitrate of silver
created a few minute fioating particles, which adhered to tho
pkate, and were difficult to remove in the after washing, which
was generally postponed until tho next day. I next fried
chloride of calcium applied to tho developed but uuwasheil
plate. This converted tho free nitrate into chloride, stopped
further developing action, and kept the jdates moist. The
negatives wore clean and bright, but if tho chloride of calcium
was used too strong, it sometimes produced a little discolouration
of the white parts of the negative.

I finished my efforts in this direction by trying a strong solu-
tion of common salt, with sufiicient alcohol to prevent its
running greasy upon tho plate, and have used it ever since
with perfect success. It stops developing action, and keeps the
plates moist for several hours, merely with the addition of a
pad of wet blotting-paper at tho bottom of the plate-box. —
Yours truly, W. Callaway.

Lucerne ViUa, Torquay, Sept. 2C)th, 18C8.

PS. — Tho salt produces a quantity of chloride of silver upon
the plate, every trace of which dissolves in tho hypo.

Sir, — With reference to your article, in last week’s Journal,
on " Wet Collodion without Water,” allow mo to make a few
remarks. Being myself a landscape and architectural photo-
grapher, I have for my convenience a cab or portable
laboratory, fitted with racks that swing to and fro, so that it
answers every purpose of a dark room. I think we are greatly
indebtoil to Mr. Robinson, who has brought out the use of
golden syrup. I may mention that I always take a 10 by 12
plate, proceoil to my laboratory, and develop it with iron deve-
loper as follows : —

Iron ... ... ... ... ... 120 grains

Jjiquid ammonia ... ... 1 to 2 drops

Glacial acetic acid ... jounce.

As soon as I find tho picture sufficiently out in detail 1
pour over a mixture of equal parts of golden syrup and water.
1 find tho syrup stops tho action of the developer altogether,
and by placing tho negative on a rack inside your dark room
while you are preparing another plate, you will find it sufficiently
drained to place in your negative box, tho bottom of which I
always keep wet. In this way I have kept plates for a week, and
obtained some splendid enlargements, of which yon are aware
plates must bo very clear and transparent to obtain a direct
enlargement without any working up. I shall bo liappy to
forward you one of tho enlargements from plates a week old ,
should you wish it.

All that the above requires, after getting liome, is to carefully
wash, and, if necessary, you may intensify and fix without
injury to the plate. I shall be glad to furnish you with further
particulars as I proceed.

October 2, 1868.]

THE PHOTOGRAPHIC NEWS.

470

Trusting I have not taken up too much space in your valu-
able columns — I remain, sir, yours obediently,

Lyham Road, Brixton. James Blane.

CARBOLIC ACID.

Sir, — The startling affirmations contained within the letter
of your correspondent, “ II . 0.,” last week, are like many other
startling affirmations ; t.e., more sensational than either reason-
able or demonstrable. Having affirmed how carbolic acid pro-
ceeds from coal, he says : — “ Coal was made in many instances
thousands of years before the light of the sun dawned upon
this earth.” This assertion is totally destitute of evidence in
favour of its truth, and is, moreover, as your correspondent
will see upon reference to any standard work on geology,
enormously improbable.

Further on ho says ; — “ The only light that dawned upon
those trees was tliat of what wo call electricity.” More and
more improbable still, and equally destitute of evidence.

Finally, he asks, “ Whether the latent electricity, as contained
in coal, from whence proceeds and is produced carbolic acid, is
conducive and beneficial to our silver baths?” Until it has
been shown — first, that carbolic acid is the peculiar seat, in its
latent form, of that electricity which, without evidence, is
assorted to have played so important a part at a time in refer-
ence to the sun, which neither geology, astronomy, nor common
senso indicate as even possible ; and, secondly, until elec-
tricity, either latent or dynamic, has been inoved to intlueuce
the silver bath, such a question is, I think, as supremely
ridiculous as the groundless assertions by which it is preceded.

Diogenes.

S^alk itt tbi ^tubia.

l^OKTii London Photographic Society. — The first meet-
ing of the session of the Society will be held in Myddelton Hall
on the evening of Wednesday, the 7th. Mr. Nelson K. Cherrill
will read a paper on the Relation between Intensity and Tone.
Various presentation prints will, wo believe, bo ready for dis-
tribution.

Royai. Cornwall Polytechnic, Falmouth.— The thirty-
sixth annual meeting of this Institution opened on Tuesday
with more than usually encouraging prospects. In the photo-
graphic department there are upwards of two hundred entries,
with about double that number of specimens. The local
photographers of the West of England contribute well, and
with contributors from a distance the exhibition in this branch
is the most satisfactory and brilliant display yet made by this
valuable Institution. There is a good display of photographs
by the Palestine Exploration Society, which have a distinct
and peculiar interest of their own. Portraiture, large and
small, is well represented. Among the miscellaneous entries
of fine art subjects are some brilliant specimens ot w’ood en-
graving, with a variety of most creditable art specimens from
Devon port, Truio, Torquay, Tavistock, Penzance, and
Plymouth.

Photolithographic Reprints of Rare Books. — A society
has just been projected in Manchester for the reproduction, by
means of photo-lithography, of rare and old illustrated books.
The issues for the first year by the “ Holbein Society ” will
consist of Holbein's Dance of Death, and Holbein’s Figures for
the Old Testament. Other works of similar interest and cha-
racter will follow. The subscription will be a guinea a year,
entitling the member to the two volumes mentioned, and
volumes of similar value will bo issued in other years. The
photo-lithography will be executed by Mr. A. Brothers, of
Manchester, who, some time ago, reproduced in a similar manner
Whitney’s Emblems.

Photographs of the Eclipse. — Mr. W. L. H. Skeen, of
Colombo, Ceylon, has favoured us with ten photographs of the
Eclipse on the Ibth ult., taken with an ordinary 12 by 10 view
lens, the exposure being instantaneous. The work is very
excellent, and the gradual progress of the eclipse admirably
shown ; but the images are, of course, too small — about the
size of a pea — for astronomical purposes.

Collodio-Chlokide Paper. — A correspondent sends us a
very charming 10 by 8 landscape on Obernettor’s collodio-
chloride paper. Nothing can exceed the delicacy and beauty
of the definition rendered. He says : “ I have been much inte-
rested in the notices, which have from time to time appeared in
your journal, regarding the paper prepared by Herr Obornetter ;
and, being desirous to try it, I procured a supply, and have
been experimenting witli it, with groat satisfaction to myself.
I find it superior to any of the albuminized paper I have met
with, in giving tone, brilliancy, and detail. I send you a print
in which this paper is used, and would like your opinion of it.
I must, however, call your attention to a rather curious defect,
arising from a cause similar to one given in the Photographic
News some time ago. A broad pencil mark on the back of
one ot the sheets bad come in contact with the prepared side
of another, and though both were kept in the dark, the im-
pression must have been conveyed from the one to the other,
although invisible on the prepared side till the picture was
developed, when it camo out as you see. I may send some
smaller prints, in ‘ Obornetter,’ another time.”

Beware of the Colts.— A correspondent, J. D. W., sends
us an account of “ An Amateur’s First Trip,” and the mishaps
attending it ; — “ Having selected a spot on the slope of a beauti-
ful hill, the tyro, with an assistant, went at six a.m. and pre-
pared for operation, having first planted his tent near a brook
some 150 yards below. After adjusting the lens, the youth
looked towards the locality where he had left his tent, which,
to his surprise, had disappeared. Rushing back, ho found, to
his great mortification, his tent prostrated, his silver bath
wasted, and his hopes of success on that occasion frustrated.
When recovered from his consternation, the question arose.
Who or what has done the mischief? The miscreants wore
near in the shape of two frisky colts, which had come to give
the tent a Frenchman’s salute, or to be revenged on the invader
of their territory. Many a hearty laugh has the young amateur
and his friends had over his misfortune, and he has resolved
never again to leave his tent before ho had placed an armed
sentinel to prefect it.”

A New Cause for Varieties in the Quality of Collo-
dion.— A correspondent writes: “The other day the repre-
sentative of a collodion maker, in soliciting an order, was elo-
quently showing the difficulties in the way of home browing in
regard to collodion, and enlarging on the varying nature of
soluble cotton. The latter was to bo attributed, in his opinion,
to the diflbient pastures on which the sheep producing the
cotton wool were fed ! ”

Collodion and Toothache. — The Lancet says “ Tooth-
ache can bo cured by the following preparation of carbolic
acid : To one drachm of collodion add two drachms of Calvert’s
carbolic acid. A gelatinous mass is precipitated, a small
portion of which, inserted in the cavity of an aching tooth,
invariably gives immediate relief.”

Balloon Photography.— A contemporary says: — “M.
Toumachon,the photographer, recently performed a feat worth
recording. Having ascended to the height of nearly a
thousand feet in the captive balloon at the Hippodrome, Paris,
he succeeded in taking several photographic views, accurately
representing the city from a birdseye view. The chief diffi-
culfj he encounftred was the rotary motion of the balloon.
His success shows the practicability of obtaining correct repre-
sentations of the positions of military forces safely and rapidly.”
It should not be forgotten that 5lr. Black, of Boston, some
years ago successfully performed a similar undertaking.

1-0 €0rr£S50R&£tttS.

Youly — There is a little unnece.s.sary complication in the formula
you”hiivc been using ; bat the excessive bleaching is chiefly due
to using, too soon after it was made, a very strong bath. Time
and dilution will improve it ; or you may use it at once if you
dilute it with an equal bulk of hot water. Try an ounce of the
solution ; add to it an ounce of very hot water, and, when quite
cold, try it for toning. The probability is that it will work quite
satisfactorily.

J. B. — The passage you enclose is an amusing illustration of the
mode in which outside journals speak of photography. It should

480

THE PIIOTOGKAPHIC NEWS,

[October 2, 1868.

be bomo in mind, however, that instanfaineous oxposui-cs depend
quite as much upon the light as upon tho subject, and upon the
lens as upon tho process. We have ourselves produced instan-
taneous marine subjects on Dr. Hill Norris’s rapid dry plates,
and we have seen Mr. K. Manners Gordon take groups of cattle in
two seconds with his gum plates.

M. B. B. — The object of the preliminary coating of india-rubber in
the pitent albuminized paper was to partially render the paper
waterproof and non-absorbent, and so to keep the albumen on tho
surface. When that office is served, it becomes of little compara-
tive consequence whether the india-rubber changes afterwards or
not, if its first purpose has been subserved. Wo have heard
good accounts of it, but cannot speak of its advantages from ex-
perience.

AV. M. S. — Tho Kinnear camera is an excellent, light, and con-
venient camera for field work. Tho lenses you name can with
convenience bo used with this camera. AVe amnot with pro-
priety recommend any special lens by name here, but if you will
make a list of those from which you wish to select, and attach to
each one a number, we can then indicate, by its number, that which
we think will suit your purpose best.

A\’. J. A. G. — AA’e believe it is intended to open tho next session of
the Photographic Society with an exhibition of pictures in the
rooms at Conduit Street, as on the last occasion. It will bo opened
on tho evening of tho second Tuesday in November. 2. AVe have
not yet had any personal experience with Harnecker’s dry collo-
dion, but have heard various good accounts of it. 3. In preparing
dry plates in cases whore a long immersion in the nitrate bath is
necessary, bear in mind that it is not all waste time, as, whilst one
plate is in the bath others can bo washed, coated with tho preser-
vative, &c. ; and, if necessary, two baths may be kojd going.
Precision and perseverance are the only aids to success in dry-plate
working which wo can recommend.

C. A. C. — To proceed against any one who has infringed the copy-
right of one of your i)ictiu-cs, it is necessary to apply for a summons
to a magistrate. AVhen the case comes to hearing you must be
prepared to prove satisfactorily that the copyright is youi-s, and
that all the steps necessary to secure it to you, laid down in tho
statute, have beer, carried out ; and next, that the person charged
has infringed your copyright. It is wise, in such a Ciise, to employ
a respectable attorney to conduct tho business for you. He will
tell you if you have not a good ease, and save you the trouble and
expense of going further; and if you have a good case and succeed,
his expenses will probably bo allowed by the Court.

North Light. — Your letter is scarcely so clear as it should be, to
enable us to give you efficient advice in such a case. You speak
of tho “ lighted end” of your room, but your description refers to
a lighted aide, which, of course, would be tho right thing, as the
end should not be lighted. In tho studio of the gentleman you
mention, it is possible to take both sides of tho face, but it is more
convenient and effective for one side than tho other. Tho propor-
tions you de.scribo for your intended studio arc good, and if you can
build it so as to allow tho 12 feet by 9 feet of side-light to face tho
north, the result will be good. A^ou need not then have any glass
but that in tho side and skylight on the north side ; you can then
use either end of the room, and so get a perfect light on cither side
of the face.

J. Carter Browne. — AVhen an old dry-plate photogi’aphcr meets
with difficulties like those you describe, which he cjinnot over-
come, the case is serious, and we are by no means certain that wo can
name a remedy. Our own experience with the process you name
is small ; but if you have not found bli.stcring inherent in the
process, it must be due to preventiblc causes. The use of a thick
tough collodion would conduce to the end. The u.so of ground
glass for the transparencies would undoubtedly conduce to it, for
two reasons : one, the ditliculty of getting a perfectly clean ground
surface, and tho other tho fact that the film rests rather on a series
of points than on a continuous siu-face, a condition which would
conduce to tho formation of blisters. The u.se of nitric acid for
cleaning the glasses would, if any trace of it remained, undoubtedly
lend to the formation of blisters. In the little experience we have
had with gum and tannin ns a pre.servative, we found the forma-
tion of blislcrs a serious I rouble, which was somewhat moditieil by
tho use of alcohol and water to moisten the idato before devt lop-
ment. 2. Mr. Smith, of Ncgretli and Zambra’s, is the inventor
of a printing frame for transparencies, rendering transposition un-
necessary. It can be had at tho establi.shmcnt in I' leet Street ;
tho price we do not remember. 3. Tho ditferenco in tho ibsults to
wliich you refer is most probably duo to the diflcrcnce in the
collodion. Let us hear further from you as to whether you get
rid of the blistering.

Peter Simple. — The heat of .an ordinary oven would not be suffi-
cient to bum in a picture on porcelain. It might be possible with
some ingenuity to manage with a kitchen fire. Tho absence of
detailed information as to tho nature of a mutlle arises from the
fact that it is presumed that few will undertake such a process as

enamelling without some prerious knowledge of tho technical
details. The chief duty of photographic journals is to describe
the photographic part of tho business. AVo shall have
plensuro, however, in aiding you in this part of tho matter. A
“ mulHo ” or “ muffle furnace ” is practically an oven with arrange-
ment for the fire to surround it perfectly, send so bring tho interior
to a white heat without contact with smoko or ashc.s, &c. For
experimental purpo.scs, you may construct a substitute. Take
some fire-bricks, and arrange them in a largo Kitchen range so as
to form a hollow chamber, tho interior about the size of a brick ;
then, by means of a pair of bellows, got up a white heat. Now place
a piece of fire-brick about an inch thick inside, and on this place
the enamel to bo burnt, and close up the aperture for a few
minutes, varying, according to tho requirements of tho materials
used, from three to ten minutes. AAfith a soft enamel a red heat
may be sufficient. If you have had no experience in this art you
must expect some failures ; for, besides photographic difficulties,
you must remember that tho art of enamelling is a delicate and
difficult as well as a beautiful operation, and sometimes requires
the devotion of years to ensure the highest succe.ss. In your
carhost attempts you must be content to produce your arms in a
monochrome, and substitute a goose vert for a goose argent.

B. L. — Thanks for your well-meant remarks, but tho matter is not
worth further attention. AVe hold with Pope’s lines in relation
to the statements which have excited your indignation : —

" One half will never be believed,

The other half ne’er read.”

II. AV. P. — To got more equality of illumination in your enlarge-
ment, iLso either a lens of longer focus, or stop down that you now
use. 2. For lining a ci.steru for collecting rain water for photo-
graphic purposes j’ou may use either lead, or zinc, or gutta-
percha without much hesitation ; the latter is, however, tho safest.

3. AVo fear that any society combination for the purpose of
maintaining prices would be difficult to organize and carry out ;
but something analogous is at the present time being attempted in
America, the result of which we watch with interest. AVo
strongly deplore at all times the competition of cheapness, and
recommend that of excellence as something far bettifr. As a rule,
they M'ho initiate a competition in lowness of price arc conscious
of their inability to succeed in a compefifion of excellence.

4. The only means of overcoming tho difficulties of colour in
photograjihy consists in full expo.sure, the free use of bromides,
and the exercise of judgment and taste.

SiLEX. — AVe have no reason to suppose that gelatine forms a combi-
nation Math silver, insoluble in hyposulphite solution, like tho
combination ot albumen and silver, and plain pap<>r prints (in
which tho sizing material is gelatine) do not usually show any
trace of silver in the whites, except the paper be kept a long time
between exciting and fixing. In the latter case a decomposition at
times occurs, which leaves in the body of the p.aper a compound
not easily removed in the fixing bath. Mr. Rouch is now at home,
and doubtless can attend to your proposal.

O. G. Mason (New York). — AA’e send tho back numbers you
require. 2. Tlio carlam process is making steady progre.ss in this
country, and thousamls of jirinis have already been produced by
it. AVo have just received some dozens of very fine re.sults from
one of our most enterprising i-rofcssional photographers, who is
going into it extensively. So far as we can judge at i)resent, there
will bo no difficult)' or uncertainly wherever the thing is gone into
in earacst ; but on a small .scale it will be more trouble than silver
printing. In our experimental operations wo have found no un-
certivinty or difficulty of any kind not easily overcome. 3. AVo
have not received any copies (Jf the moon photograph to which you
refer. AVe shall have pleasure in receiving tho prints you kindly
offer, and to forward copies to our societies. Thanks for the com-
munication, which shall ajipcar in our next.

AV. T. Bovev and J. Martin received.

Several Correspondents in our next.

o

IHlotogmpf)? KraistrifO.

Mr. J. Nokri.s, Norwood,

I’hotograph of" Il.ammvI.’’

Messrs. T. and .1. IIoi.roto, Harrogate,

Six I’holograplis of Rev. J. .M. Bcllcw.

Mr. D. I’uiLLiPS, Aberdare,

Three Photographs of II. Ricliards, Ksij.

Messrs. A. and 0. Taylor, Cannon Street, London,

Seven Photographs of lI.R.Il. Princess of Wales.

Messrs. T. and C. Ladmork, Hereford,

Two Photographs of R. Baggally, Esq.

Photograph of U. Arbuthuot, Esq.

Mr. U. J. Tiphoosk, Barrow-in-Furness,

Three Photographs of Lord Ilartington.

NEWS.

THE

VOL. XII.

ober 9, 1868.

CONTENTS.

PARK

The Stability of Negatives latensifled with Iodide of Mercury 481

Medals at the Cornwall Polytechnic ExbiMtion 482

Oval Masks for Portraits - 482

Carbon Reproductions - 483

Diffusion of Focus. Ily the lion. John IV. Strutt 483

Photographs of the Royal Cornwall Polytechnic Exhibition ... 485

Pictorial Effect in Photography. By II. P. Robinson 48C

For Removing the Varnish and Collodion Film from Old Nega-
tives. By 0. O. Maaon 487

Short Essays on Photography and Art. By “Respice Finem” 487

PlOB

On the Employment of Collodionized Paper. By Ludwig

Schrank 4S$

A New Method of Etching Photographs upon Glass. By Dr.

Liesegang 489

"Correspondence — Distortion and Perspective — Wet Photography
in the Field — Panoramic Camera— South Light — Wet Collo-
dion without Water 489

Talk in the Studio 491

To Correspondents 492

THE STABILITY OF NEGATIYES INTENSIFIED
WITH IODIDE OF IMERCURY.

There are few modes of intensifjing more simple and
certain, none which produce more perfect results, than that
in which printing vigour is secured by the precipitation on
the negative of a layer of iodide of murcury. At one time
this method was a great favourite amongst many able photo-
graphers. The card negatives of Mr. Lacy — a name almost
forgotten now, but once a name of mark — were all inten-
sified by this means, and few finer have been produced.
Such negatives, however, possessed one fatal drawback :
they were liable to change. The deposit acquired in the
process of intensifying was sensitive to light, and in the
process of printing the negatives gradually became more
and more dense, until, finally, they became so black and
hard that it was almost impossible to print through them,
and the prints obtained were flat, coarse, and worthless.
Negatives which, on their first production, gave delicate, soft,
harmonious prints in fifteen minutes, eventually failed to
yield anything presentable in as many hours.

At a time when prints were ordered in single copies, such
a defect in a negative was rarely noticed, as it had no
opportunity of being developed, and if it were known to
exist, the fact would have been regarded with little appre-
hension. Even when the card mania began to set in, and
prints were ordered by a dozen at the time, the defect was
not at first appreciable ; but when such orders began to be
repeated from the same negative, and, still more, when, for
publication, hundreds and thousands were required, this
fatal defect was quickly detected, and felt to be intolerable,
and the process was generally abandoned.

A puzzling circumstance remained, however : whilst the
instability described was the common experience, there were
exceptions. Some photographers declared that they never
found any alteration in such negatives. In our own expe-
rience some changed, and some did not. The uncertainty
was, however, sufficient to render the process untrustworthy,
and unless the causes of instability and of permanence
could be traced, and the conditions clearly laid down, few
persons familiar with the possibilities would voluntarily risk
the gradual deterioration of a negative of any value by sub-
mitting it to the treatment in question.

We have recently been led by observation and experiment
to arrive at certain conclusions on the subject which tend to
its elucidation. We have been induced to examine anew
the conditions under which the negatives which have re-
mained stable in our own hands were produced, and we
have had opportunity of ascertaining the modus operandi
employed by some photographers who, having habitually
used iodide of mercury for intensifying, have experienced
no change or instability in the results. The better to
explain the causes in operation which lead to instability,

we will first briefly describe the common mode of applying
the process.

A negative developed with iron in the usual manner was
fixed and washed. At this stage it should be clean, and
with the usual amount of vigour which an iron negative,
produced in the usual way, without any attempt to intensify
it, would possess. In some instances it was now dried,
some photographers preferring the effect of intensification
upon a negative which had been dried. The late Mr. Lacy,
for instance, had a profound belief in the advantage of dry-
ing. His argument was, that if the intensification were con-
ducted upon the film when it was in the soft spongy state
in which it was first produced, there was generally somo
lateral deposit which marred the delicacy of the finest lines ;
but that when the film had been once perfectly desiccated,
it never acquired the spongy, absorbent condition it had at
first ; and that the deposit the image acquired in the pro-
cess of intensifying would be more strictly vertical, increas-
ing the density of the imago without making tine linos
thicker or coarser. But whether the negative were dried or
not, it was not intensified until after fixing. It was then
treated with a weak solution of bichloride of mercury, say
of five grains to the ounce. This was applied until an even
grey tint was obtained, care being taken to avoid the white
stage which the complete action of themercury solution would
cause. Having reached the grey stage, the plate was rinsed,
and a one or two-grain solution of iodide of potassium was
applied. By means of this solution the exact degree of in-
tensity to be secured could be considerably governed. A
slight application produced a greenish grey tint ; a further
application produced greater intensity and a more non-
actinic colour, the image acquiring an olive tint, continued
action producing a dingy yellow or citrine tint. The half-
tones acquired value exactly in due relation to the high
lights, and the negatives, when properly managed, were at
once delicate, harmonious, and brilliant. If they had not
changed, nothing could have been better.

To gain an idea of the cause of the change, let us examine
the action of bichloride of mercury alone on the silver image.
If a collodion picture, negative or positive, be treated with
a solution of bichloride of mercury until it is partially
whitened, then rinsed, and exposed to the light, it will
rapidly darken. A portion of the silver forming the picture
has been changed into chloride of silver, and a deposit of
subchloride of mercury has been precipitated on the image.
The chloride of silver formed is clearly sensitive to light,
and becomes darkened when submitted to its action. But
if, instead of stopping the action of the bichloride solution
when the whitening process is only partially effected, it be
continued until an opaque dead white image is produced,
the whole of the silver image being converted into chloride,
and a thick layer of subchloride of mercury deposited on it,
light will be found to have no action upon it. We have

482

THE PHOTOGRAPHIC NEWS.

[October 9, 1868.

some examples in our possession whicli have been exposed to
light for years without any diminution of the pure white
tint they possess. The only explanation of this we can offer
is, that chloride of silver — or, at least, dry chloride of silver
— is not sensitive to light when in the presence of excess of
chlorine or of a chloride.

It will be seen, then, that the negative, intensified with
iodide of mercury in the mode deseribed, is in the condition
for change to which we have referred. A portion of the j
image is converted into chloride of silver, and left in a '
state in which it will readily darken by the action of I
light. The layer of subchloride of mercury deposited is
converted into subiodide of mercury ; whether it is changed
at all by the action ol light we cannot with certainty say,
but an impression prevails that it is. If the action of the
iodide solution were continued, it is probable that a por-
tion of iodide of silver would be formed, and thus another
element of instability be provided.

There are two or three modes in which, from a considera-
tion of these facts, we might arrive at probable immunity
from liability to change in negatives intensified by the
method in question ; and it so happens that the methods
from which wo should have anticipated stability are in
practice found to give perfectly the required results.

The first method consists in continuing the action of
bichloride solution until the image is perfectly whitened,
and the insensitive stage of which we have spoken is
attained. If a solution of iodide of potassium in any degree
too strong (say one of even six grains to the ounce) be applied,
or even if a weak solution be applied too long, a bright
yellow layer of proto-iodide of mercury is obtained, and
these yellow negatives, although at times very good, are
apt to give flat, hard, unsatisfactory prints. But if a weak
solution of iodide of potassium, not exceeding one or two
grains to the ounce, be employed, and used with care, the
greenish grey negative, characteristic of subiodide of mer-
cury, is obtained, and this generally secures the fine print-
ing qualities of negatives produced by the first method
described.

Another method, which we find, from the experience of
others, yields negatives which do not change, and which,
in the brief verification we have had opportunity of making,
seems to give stability, consists in the use of asolution of iodide
of mercury direct. Iodide of mercury is soluble in a solution
of bichloride of mercury, or in a solution of iodide of potas-
sium. The simplest mode of making the preparation is to
make a five-grain solution of bichloride of mercury, and a
five-grain solution of iodide of potassium, and mix them
together in equal parts, or, rather, at the rate of an ounce
and a quarter of the latter to an ounce of the former. A
red precipitate will be formed, which will redissolve on
gradually adding more to the iodide solution. The result-
ing mixture will intensify vigorously, giving a greenish
grey or an olive tint to the negative, which, as those who
have tried it for years assure us, undergoes no change by
the action of light.

MEDALS AT THE CORNWALL POLYTECHNIC
EXHIBITION.

The Royal Cornwall Polytechnic Society, which possesses
especial interest to photographers as being the only body
which has an annual exhibition of illustrations of the arts
and sciences generally, which gives to photography a pro-
minent position, and awards medals for especial excellence
in the contributions, has just issued its report, an extract
from which, so far as it will be interesting to our readers as
relating to photography, we subjoin. It says ; —

“ In the collection of photographs this year the judges
were particularly struck with the amount of uniform excel-
lence exhibited, thus leaving less room for great contrast
between the productions of different artists than they have
sometimes noticed, and rendering selection between them
often exceedingly difficult. Promineut amongst the laud-
scapes stand the four beautiful pictures by Nelson Cherrill,

in which the clouds and the aerial perspective are rendered
with a truth seldom seen. To these the judges award a
first silver medal. The first bronze medal they give to
George Wardley, Manchester, for views in the English lake
district ; also, a first bronse medal to W. H. Warner, Ross ;
and a second bronze m-idal to R. P. Yeo, Plymouth,
for views and interiors. These, though of email size, ex-
hibit great delicacy and skill. In the amateur class a fine
series of views taken on dry plates by J. Beasley, London,
show great artistic taste and manipulative talent, comparing
favourably with the best of wet plate productions, and the
judges awarded to him a first class bronze medal. The
second bronze medal tliey gave to T. M. Brownrigg,
Dublin, and a prize of XI to J. H. Morgan, Clifton.
Coming to portraiture, the judges found great difficulty,
where all was excellent, in arriving at a decision. After a
long comparison, they determined to award a second silver
medal each to R. Faulkner, Torquay, and Briggs, Leam-
ingion ; to the former for some beautifully posed and deli-
cately soft portraits printed by Swan’s carbon process, and
to the latter for a finely-modelled portrait of a gentleman,
and cabinet portraits, witli natural background. They also
award to R. Slingsby a first bronze medal, for the portrait of
a lady and a fine little life study, “Rest.” To R. F. Barnes,
London, they gave a second bronze medal, for photographs
burnt in on enamel. For three capital enlargements made
on albuminized paper by direct printing in the solar camera,
a first bronze medal is 'avarded to J. F. Trull, Falmouth.”

There arc two or three facts of interest in connection with
these awards which are worth mentioning. The first prize,
it will be noticed, is awarded to our esteemed contributor,
Mr. Nelson K. Cherrill, for landscapes with clouds, the
finest of these being “Rusthall Common,” which was selected
a few months ago by the Committee of the North London
Society as a presentation print, the selection of the Com-
mittee and the judges thus singularly corroborating the cor-
rectness of each others’ taste. As this picture is now in
course of distribution, it may be worth while to mention
that it illustrates the possibility of obtaining very perfect
results in the field by means of the wet process without
water, the golden syrup solution which we recently described
having been used by Mr. Cherrill, who, with Mr. Robinson
(his partner), has largely applied it during the past summer.

Another point worth noting is the fact that in the land-
scape department, with a limited list of prizes, medals are
obtained by pictures illustrating at least four difi'erent pro-
cesses. Mr. Cherrill’s work is by the wet process ; Mr.
Wardlcy’s by the collodio-albumen; Mr. Beasley’s by the
Fothergill process; and Mr. Morgan’s, as he recently in-
formed us, by the coffee process. Mr. Brownrigg, if we re-
member aright, uses the Fothergill process. Mr. Warner
and the other medallists all use, we believe, the wet process.

Mr. Barnes, who recieves a medal for enamel portraits, has
been quietly working for many years in this direction,
working out processes of his own. Some years ago we exa-
mined many of his experimental works, which were interest-
ing, and had much promise. From the fact that he has here
obtained a medal, we infer that he has made great progress,
having, in this instance, had to compete with the enamels of
Mr. Henderson, some of which we have recently seen, and
which are admirably perfect.

OVAL MASKS FOR PORTRAITS.

Where the best effect in a portrait— especially if it Iw
small — is secured by cutting the picture of an oval form, it
is much more convenient and effective, as most photogra-
phers know, to mask the negative so as to print it
through an oval aperture of such shape and size as may be
most suitable. It has been a moot point amongst photo-
graphers, as to whether black paper, yellow paper, excited
albuminized paper blackened by light, or tinfoil, formed the
most convenient and useful masks, and the various sugg^-
tious and discussions on the subject, a.s well as the queries

October 9, 1868,]

THE PHOTOGRAPHIC NEWS.

483

which reach us from time to time, sufficiently attest that
a very large number of photographers undertake the some-
what troublesome task of making such masks for themselves.
It is by no means an easy task to cut the oval apertures true
and clean, and we have not unfrequently seen the effect of a
very good picture spoiled by the irregular edge or imperfect
shape of the mask with which it had been printed.

Until very recently, we were not aware that such masks,
of different sizes and shapes, very perfectly cut, could be
obtained ready for use, and we doubt not that a large. number
of our readers are in a similar state of ignorance, from which
they will be glad to be relieved. Whilst in Mr. Burgess’s
studio, we noticed that he used some excellently made masks
in contact with the negative in producing bis eburneura
prints, all of which are thus printed through oval masks.
We learnt that the masks were supplied by ilr. Mander, of
Birmingham, who, in reply to our enquiries, informs us that
be makes them of all sizes. We have examples before us of
nearly a dozen different sizes of oval apertures for card pic-
tures, ranging from one inch to upwards of three inches in
the longest diameter. The apertures are cleanly cut by
means of punches, the material being glazed black paper,
quite opaque. Nothing can be better for the purpose, and
nothing more convenient. We presume that they can be
obtained through dealers generally. ^

CARBON REPRODUCTIONS.

We have recently been favoured by Mr. Sarony, of Scar-
borough, with some very admirable examples of the value of
Mr.Swan's carbon proccssforreproducingworksofart. What-
ever tardiness may be manifest in its introduction to por-
traiture or landscape work, there is little doubt that carbon
must soon supersede silver for photographic reproductions.
The possible instability of silver prints has always been
used as a strong argument against the use of photography
as a means of popularizing art, by many really anxious to
diffuse good examples of the great works The introduc-
tion of the carbon process, ami the especial facility with
which It lends itself to the faithful reproduction, in various
tints, of monochrome, of all kinds of pictures, has been gladly
recognised and applied, and will doubtless shortly give a
completely new impetus to art education.

The pictures we have just received from Jlr. Sarony
illustrate in a special manner the value of the carbon pro-
cess, reproducing not only the drawing, but the colour of
the original in the very material employed by the master.
The subjects consist of a series of masterly sketches by the
well-known marine painter, Carmichael, who recently died.
The original sketches are in sepia, and the photographic
copies are in sepia, so perfect in their rendering of every
touch and tint, that in many instances an expert might
be puzzled to distinguish the drawing from the photogra[di.

1 he boldness, freedom, and spirit of Carmichael’s sketches
give them great value both to the art student and the collector.
Fine in composition, firm ami accurate in drawing, they
seize with rare truth and beauty the Heeting phases of the
landscape which struck his fancy. They comprise a good
selection of sea pieces, and some fine landscapes, the
majority being about 15 inches by 10 inches in size. The
reprotluction is admirably done. The negatives are evidently
very perfect, and nothing can exceed the excellence of the
carbon printing. Mr. Sarouy is extending his arrange-
ments for carbon printing, having ordered a larger engine
with a view — having tested the process — to carry out the
arrangements on a very complete and extensive scale.
Hitherto, notwithstanding that much good carbon work has
already been done in this country, the process has received
its largest development in France by M. Braun, of Dornach.
We hope shortly to see, in the hands of the Autotype Com-
pany and their licensees, the carbon process, which has been
developed and perfected in this country, carried out with a
degree of enterprise equal at least to that which M. Braun
has with so much success devoted to it.

DIFFUSION OF FOCUS.

BY THE IION. JOHN W. STKUTT.

In a review of a work by Dr. Monckhoven in a late number
of the Photoqraphic News, a passage is quoted on the
subject of what is called diffusion of focus. I have not seen
the work itself, but I think an erroneous impression is likely
to have been produced on the minds of those who read the
extract. Some time ago, when the subject first began to
attract the serious attention of photographers, there were
many discussions in the journals, and it was generally
admitted that true depth of focus was to be attributed to
spherical aberration ; but very little was said on the manner
in which spherical aberration produces this result. As the
matter is an important one, and not very easy to those who
have not made optics a special study, I have thought that a
few remarks on it might be acceptable to photographers.

In most applications of optics to the formation of images
the point of greatest importance is, that the definition should
be the best possible at the centre. Thus, in a telescope, that
object-gla.ss (aperture and focal length being given) is the
best which most accurately collects to a point the rays from
the star or small portion of the sun’s or moon’s surface.
The distinctness of the image off the axis, its curvature, or
distortion, are matters of comparatively little importance.
The spherical aberration, then, of a telescopic object-glass
must be reduced to its smallest possible amount. In a cer-
tain sense this result might always, in any object-glass, be
attained by limiting the aperture, but it would be at the
sacrifice of light, and the increased effect of diffraction
would in many cases more than counterbalance any advan-
tage arising from the reduction of spherical aberration.
The leal problem is to effect this reduction with a given
aperture.

When photography was first introduced, and the atten-
tion of opticians was turned to the construction of photo-
graphic lenses, it was natural that too much should have
been thought of the importance of securing freedom from
spherical aberration ; but soon the necessity of a flat field
and absence of distortion appeared, and to secure these a
certain sacrifice of definition was essential, though far more
remained than was necessary in an image not required to
stand the test of magnifying. Another point of difference
between the requirements of photography and astronomy
was also obvious. A photographic object-gla.ss has to form
images of objects comparatively near and at different
distances, and that not only at different times, but frequently
at one and the same time. Now if the lens collects accu-
rately to a point on the ground-glass or plate the rays from
an object at one distance from it, it is clear that the rays
proceeding from an object at a different distance, tending, as
they do, to meet at a point before or behind the plate, will
actually meet the plate in a circle of small diameter ; and it
is important to notice that this circle will be equally lighted ;
that i.s, the rays will be uniformly distributed over its area.

If, then, it be required to photograph on the same plate
objects (say A and B) at dift'erent distances from the lens.

\

supposed to be free from spherical aberration, there are
notably three distinct ways in which the adjustment for
focus may be made. First, it may be made so that the
light from A is accurately collected to a point on the plate,
in which case A is perfectly defined, but B, being represented
by the above mentioned small circle, is badly defined in
proportion to its diameter. Secondly, the adjustment may

484

THE PHOTOGRAPHIC NEWSi

[October 9, 1868

be made for B as in the first case for A. One of these
arrangements would, of course, be adopted when the defini-
tion of one of the points is required to be the best possible,
while that of the other is of comparatively no moment.
Such occasions arise, but in pictorial photography it would
be generally desirable that both objects should be fairly repre-
sented, and that the definition of one should not be entirely
sacrificed in order to improve the other. Jn such a case the
focussing would not be made on either A or B, but on a
point (approximately) half way between them, so that
neither A nor B would be perfectly defined, but would be
represented on the plate by circles of light equal to each
other, but of only half the magnitude of that which repre-
sented one point in the first and second cases. This readily
suggests the question, would not a lens affected by spherical
aberration be capable of giving as good a representation as
this of A and B on the screen ? It is true that in actual
photography there would be generally some third object,
and so situated that the peculiar power of the lens would be
brought out in perfectly defining it ; but this would be
rather a drawback than an advantage, as a tolerably uniform
definition is usually desirable. We are thus naturally led
to enquire what effect the introduction of spherical aberra-
tion would have on the definition of objects situated at
various distances from the lens. With this end in view it
is necessary to examine carefully the nature of the bundle
of rays which proceed from towards the screen after refrac-
tion by an uncorrected lens.

In the first place it is to be noticed that the rays which
are refracted by one part of the lens do not, in general,
reach the axis at the same point with those which come
from a different part ; so that if we divide the lens into
rings, proceeding from the centre outwards, each small ring
may be supposed to act as a perfect lens ; but there is a
viiriation of focal length in passing from one ring to another.
Thus the focal length of the outermost ring C A, and that of
the central part C F, the intermediate rings having inter-
mediate focal lengths. The least section of the as.semblage
of rays is at Q, where the curve F Q H, touched by all the
rays, and called in optics the caustic, meets those from the
edge of the lens, which, having cut the axis in A, again
diverge. But it does not follow, as might at first be
supposed, that the screen should be placed there in order
to get the best possible definition of the object 0. The
reason of this will appear presently.

Between the lens and Q the space occupied by the rays
is bounded by the curved caustic surface, but beyond Q by
the cone, whoso vestex is at A, formed by the above, refined
to extreme rays.

A second radient point, 0' nearer the lens (say) will pro-
duce an approximately similar system of rays to the above,
only displaced somewhat towards the right, or from the lens.
But instead of considering the two systems of rays as cut
by a fixed screen, as in actual practice, it is allowable and
more convenient for explanation to confine ourselves to one
system, and conceive that intersected by parallel planes at
varying positions along the axis. This substitution pro-
ceeds on the assumption that tfie objects are not at very
different distances from the lens in relation to its focal
length.

In order to avoid continual reference to them, it will be
supposed in what follows that the aperture and focal length
of the lens are given, or do not vary under the circumstances
contemplated, which of course does not prevent the aberra-
tion changing its amount within certain limits. The
distances between the two cutting planes which we have to
consider is given as soon as the positions of 0 0' are fixed.
And as, in the case of a corrected lens, the definition of
objects slightly out of focus may bo measured by the
diameter of the small circle which represents a point, the
question is suggested, where must the sections i J the pre-
sent instance be taken to make their diameters equal ? In
Conington’s Op‘ics there is a remark to the effect that such
a quality as definition cannot haye a measure. Thus I

suppose one definition could not be said to be twice os good
as another. But neither could the same be said of two
temperatures, at lea.st, prior to modern discoveries, which
does not prevent the ordinary thermometer from being a
very useful measure of temperature.

The planes will evidently lie on opposite sides of Q, but
not equally distant from it, inasmuch as the obliquity of
the caustic surface to the axis on the left is less than that of
the cone which bounds the section on the right of Q. A
definite result can of course be obtained by the application
ot mathematics, and it will, I believe, be found that the
magnitude of the aberration may be so chosen as to make
the diameters of the section smaller than it is for a corrected
lens ; so that it would appear that for the equal definition of
O O' a corrected lens is not the best. On referring to the
original calculation I find that this statement is not quite
correct. As the aberration increases from zero up to a
certain point, the definition (as measured by the size of the
section) would remain unaltered, and after that point would
deteriorate, 'i’he correction in view of what follows is of no
moment.

About a year ago I went through the calculation
alluded to, but I was aware that it would give no adequate
idea of the advantage of an uncorrected lens, on account of
the fundamental assumption on which it proceeds, namely,
that the diameter of the section of the pencil made by the
screen may be taken as a measure of the distinctnes.s, or
rather indistinctness, of the image.

This, though admissible enough for a corrected lens, is by
no means equally so when there is a spherical aberration,
for then the light is not impartially distributed over the
area of the section, nor according to any other fixed law,
the .same for all sections. There is, in fact, a series of points
where the illumination is much (according to the ordinary
theory of rays, infinitely) greater than it is elsewhere, such
points being situated on the caustic surface, and also in a
line along the axis between A and F. That this is so will
be admitted when it is remembered that all the rays pa.ss
through the line A. The result is that a section taken
between II and A has a bright rim, but nothing
peculiar about the illumination at the centre. On passing
A, however, while the bright circumference continues, a spot
of intense light makes its appearance at the centre, and
this state of things remains until Q is past. At this point
the bright circle leaves the boundary of the illuminated
area, continuing to contract, while the latter begins to
expand. Soon after passing F the illumination becomes
comparatively uniform over the whole area of the section.

All this may be easily observed by admitting the sun’s
rays into a darkened room through a hole in the shutter
in which is fixed a lens of short focus. If the rays diverging
from the small image of the sun thus formed be allowed to
fall on a lens which possesses a considerable amount of
spherical aberration (such as a microscopic or magic lantern
condeu.ser), the circumstances of tlie preceding paragraph
are sensibly realized, and the construction of the retracted
pencil can be examined by receiving it on a movable
paper screen.

A very beautiful modification of this experiment has been
made by Professor Stokes, who avails him.self of the power
possessed by certain substances of rendering visible and dis-
persing the blue and ultra-blue rays of the spectrum, a phe-
nomenon to which he gave the name of fluorescence. The
sun’s rays, reflected horizontally, by a mirror placed outside
the window, arc admitted into the darkened room through
a blue glass, and, after refraction by the lens, pass into a
gla.ss trough filled with a weak solution of oesculine placed
close behind it. 'Phe blue glass is not absolutely neces-
sary, but much increases the brilliancy of the experiment.
A solution sufficient for the purpose may be made by soaking
a few chips of the inner bark of the horse-chestnut in a jug
of water, but it soon decomposes. 'Phe path of the rays is
marked by the luminosity of the liquid, somewhat as in a
smoky atmosphere, and the bright line along the axis is

October 9, 1868.]

THE PHOTOGRAPHIC NEWS.

485

very evident. But if the light bo limited to one plane by a
slit placed in front of the lens, it disappears, as might be
expected. The experiment may be varied by placing before
the lens an opaque diaphragm, such a-s a piece of card-
board pierced with a number of small holes, by moving
which about the composition of the pencil may be easily
studied.

Inasmuch, then, as the light is so variably distributed over
the section — sometimes concentrated on the circumference,
sometimes at the centre, or both — the question arises,
What is to be taken as the measure of the distinctness of
the image? How far would a concentration of light to-
wards the centre compensate for an increased diameter of the
section? Although the answer is essential to a complete
theory of the image formed by an uncorrected lens, 1 am
not aware that it has ever been given. Possibly the nature
of the original object would have to be taken into account.
In the mean time, photographers will not hesitate. The
choice practically lies between a flat-headed pencil with
which no fine line or delicate tracing can bo made (except
over a limited portion of the picture), and the sharp central
point of light, with the condition imposed that the ground
must be gone over with a stump, softening, but not obli-
terating, the details. In fact, the image formed by an uncor-
rected lens, properly used, may be regarded as compounded
of a multitude of images superposed on one another of 'all
degrees of distinctness, the first roughly sketching the prin-
cipal masses of light and shade, the intermediate ones giving
all but the minute details, which are at length filled deli-
cately in by the last perfect component image.

Some time ago it was proposed in the Photographic
News to submit the exposed plate for a short time to the
action of weak diftused light, with a view of thereby giving
additional softness, and of reducing the time of e.xposure in
the camera. This method of procedure was not altogether
unsuccessful in cases where, for some reason, it was impossible
to allow the full time required for the formation of the in-
visible image. But it will be seen at once how far prefer-
able it is to increase the aperture of the lens, even though the
rays from the added part be not in focus on the plate, for in-
stead of a uniform action fogging the shadows at the same
time that it strengthens the lights and half-tones, we have,
at the worst, the same uniform action over the lights of the
picture, while the masses of deep shadows are spared.

I have confined myself entirely to the subject proposed,
and have made no reference to chromatic aberration, although
what has been said is in great measure applicable to it.
When the question is e.xamincd with that object, it may
possibly be found that the importance of perfect achro-
matism has been also exaggerated, although the difference
in average refrangibility between the luminous and chemi-
cally-acting rays will always be an impediment to the em-
ployment of chromatic lenses. There would be very little
difficulty if the lens were always used under the same con-
ditions, as n fixed difference of position between the ground-
glass and sensitive plate could be easily secured by a suit-
able arrangement of the plate-holder.

PHOTOGRAPHS OF THE ROYAL CORNWALL
POLYTECHNIC EXHIBITION.

(from our own CORRESPONnENT.)

The thirty-sixth Annual Exhibition of the Royal Cornwall
Polytechnic Exhibition, which has just closed, afforded the
inhabitants of the west counties a sight of the finest, largest,
and most varied collection of photographs that has ever been
exhibited under the auspices of this valuable Society. The
first number in the department was H. P. Robinson’s. “ Re-
turning Home,” representing a girl in humble life crossing
a lonely heath on returning to her dwelling in the gloam-
ing, after her day’s labour at gleaning, is certainly the
finest work of the kind we have seen, the timid, scared ex-
pression of the girl being forcibly pourtrayed, the land-
scape being excellent, and the whole composition of the

entire picture admirable. A likeness of Adam-Salomon
stands pn'-eminent among the portraits, not only from its
fine manipulation as a photograph, but also the fine artistic
treatment of pose and lighting, its general effect being that
of an impression from a high class mezzotint engraving.
The next exhibitor we notice is Briggs, of Leamington, who
sends some pretty cabinet pictures, a frame of emolliotypes,
and a tine 10 by 12 portrait, a good example of careful mani-
pulation, somewhat marred by the roll of paper held in the
hand. Four whole-lengths on 10 by 12 plates, by Clark, of
Bristol, were most charming productions, the figures being
bold and vigorous, and the accessories judiciously in keeping,
sufficiently prominent without being obtrusive. Slingsby,
of Lincoln, exhibited four portraits, and “ Labour ” and
“ Rest,” two clever studies from the life. Stephen Thomp-
son had four pictures — two English and two Swiss scenes.
Much interest was manifested in two small frames of medal-
lions, burnt in on enamel, by R. J. Barnes, of London ;
and also in another frame of enamel pictures, by Mr. Hen-
derson. A frame of cabinet pictures taken in the studio,
with backgrounds from outdoor scenes from nature, by
Robinson and Thompson, of Liverpool, were very effective,
and good examples of this class of combination picture.
Some most excellent portraits, printed in carbon, as well as
some studies, also printed in carbon, sent by Mr. A. Faulkner,
so closely resembled prints from engraved plates, that a good
many people could hardly believe they were in reality
specimens of photographic art. This gentlemen also
exhibited some charming carte specimens of studies of
children.

Of enlargements there were several exhibitors, the most
noticeable of whom were J. F. Trull, of Falmouth, who
showed three specimens, untouched — two busts, life size, and
a half-length of a military officer — which would favourably
compare with any others sent to any exhibition whatever.
Of coloured enlargements, the only exhibitor was Mr. T. M.
Douglas, of Edinburgh, whose name is appended to six pic-
tures in the catalogue. Two of these pictures were really
very fine specimens of art, being lar superior in execution
to what are generally shown as “ photographic enlargements,
coloured in oils,” and might take fair rank among the higher
class of portrait painting.

Of landscape, the most noticeable among the professionals
were George Wardley, of Manchester, who exhibited some
fine large examples of the lake and country scenery, and
Nelson K. Cherrill, Tunbridge Wells, who sent half-
a-dozen fine pictures, in one of which — “ Rusthall
Common ” — the massing of the clouds was particularly
grand. Of smaller .subjects, W. H. Warner, of Ross, and
R. P. Yeo, Plymouth, sent some very brilliant specimens of
interiors, as well as out door scenes, on the cabinet size.

Mr. F. Beasley, jun., although in the amateur list,
exhibited fifteen pictures 10 by 12, by the Fothergill pro-
cess, which very few professionals could surpass. The value
of this gentleman’s contribution was enhanced by every
picture stating the time between preparation and expo-
sure, and exposure and development. Mr. J. H. Morgan,
Clifton, another amateur, exhibited some remarkably good
pictures, particularly one or two of Tenby Harbour. Some
views and groups taken during the late campaign in Abys-
sinia, sent by Major Holland, R.E., gave the visitors
to the exhibition some idea of Theodore’s stronghold, and
other points of interest in the late war in that country.

On Friday evening a conversazione was held, during a
portion of which an account was given of Solomon’s magne-
sium lamp, and its application to the purpose of enlarging
from carte negatives. After the lecturer had minutely
explained the properties of the lamp and the metal, and
showed the audience enlarged images on the screen, he
retired from the larger hall to the smaller one, and, after a
comparatively short time, returned with an enlargement ho
had made in the interim, thus giving strong proof of the
value of this invention to photographers. In the hall I per-
ceived a worked-up enlargement, in monochrome, of Mr.

486

THE PHOTOGRAPHIC NEWS.

[October 9, 1868.

Solomon himself, as well as some other untouched pictures,
and I should think many followers of the art who do not
feel warranted in going to the expense of a solar camera
will gladly avail themselves of this much less costly
apparatus.”

Another correspondent, after some remarks on the unusual
excellence of this year’s photographic exhibition, say.» : —

“ There is a prospect of the Cornwall Society becoming
migratory, and bolding its meetings in other parts of the
county ; this will prove of much benefit to art in general, and
photography in particular.” He adds ” a word in conclu-
sion to photographers generally, and the Exeter local com-
mittee in particular. Next year the British Association hold
theii meeting in the ever faithful ‘ city of the red earth,’
when a most excellent opportunity occurs for a great art
display, graphic and photographic, to tho.se interested in
the proceedings of the exploration society. Further informa-
tion may bo obtained from Mr. A. L. Fox, one of the acting
honorary secretaries of the Cornwall Polytechnic. Foi the
British Association, Mr. H. S. Ellis, of Exeter, will furnish
any particulars that may be required.”

The official report of awards will be found in another
column.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Chiaroscuro for Photographers.

BY H. P. ROBINSON.

Chapter XXXVII.

Mr. Frowirth’s useful process of phototype, which not only
reproduces engravings for the press, but also enlarges or re-
duces them, enables me to present one of the most perfect
compositions of modern times, which, happily, belongs to the
nation, and will remain an object of study as long as it exists.

Perhaps nothing in the whole range of art can he
brought into comparison with the works of Mulready for
technical perfection. In truth of drawing, elaborate finish,
and exquisite colour, he excelled long before the works of
the modern pre-Raphaelites made these qualities indispen-
sable in pictures, and to these perfections he added most
supreme skill in composition. His subjects were not
always equal to his powers, and one cannot help regretting
that he wasted such splendid art on themes such as “ Boys
firing a Cannon,” “ The Loan of a Bite,” “Bob Cherry,”
and otliera ; but even these incidents become, under his
hand, elevated, and redeemed from the commonplace and
vulgar. The nation is rich in possessing — through the

generosity of Mr. Vernon, and, more especially, of Jlr.
Sheepshanks — a', arge collection of his works, illustrating
his progress from the commencement to the end of his
career. Painted in his best period, “ Choosing the Wedding
Gown,” of which an illustration is given in this chapter, is
one of his finest creations, and is an admirable example for
the student to have constantly before his eyes.

During the earlier chapters of this attempt to teach the *

laws of art to photographers, when I had to deal chiefly
with principles, and to enforce their use, I abstained as much
as possible from giving long quotations from well-known
works, well knowing that nothing tires a reader more than
numerous extracts, often ill-adapted to the purpose for which
they arc intended ; but in the later chapters, in which
examples are introduced showing how these laws have
' bccn( applied by others, I prefer, when possible, using the

October 9, 1868.]

THli PHOTOGRAPHIC NEWS.

487

criticisms of other writers, because they confirm, in a measure,
the principles I have endeavoured to teach. For this reason
I here introduce some remarks on the design and colouring
of this picture from the Art Journal : — “ As an e.\ample of
Mulready’s strictly domestic pictures, ‘ Choosing the Wed-
ding Gown,’ exhibited in 1840, is admirable ; as a specimen
of brilliant colouring it is superlatively excellent ; nothing
in modern art — it may be said in the art of any age in this
class of subject — has surpassed, or even equalled it.
This splendour is not reached by the free use of positive
colour, but by the most subtle and delicate application
of tints, both in the lights and shades, worked up
from the lowest to the highest scale, and culminating in
pure red, ultramarine, &c., and all presenting the most
perfect harmony, because founded and carried through on
well understood and immutable laws. Then look at the
composition : mark the arrangement of the two principal
figures ; how easily and naturally they are placed, and how
carefully both attitude and action have been studied to
preserve a right balance, as well as to support the subject.
The extended hand of the silkjmercer, for example, was a
necessity to fill up a space which would otherwise have
been vacant ; it serves as a counterpoise to the uplifted hands
of the lady, and. t marks the impressiveness with which the
shopkeeper commends his goods. And, lastly, notice the
beauty of the fair purchaser’s face — the future Mrs. Prim-
rose— and with what earnestness she examines the piece of
rich stuff ; the kindly solicitude of her affianced husband, the
worthy doctor; and the persuasivenessof the bland andsmiling
mercer. In the background is his wife attending to a
customer; the artist has bestowed no less pains on the good
dame than on the other and more prominent persons in the
composition. In fact, whether we look for colour, form,
expression, or design, we see each and all exhibited in the
most attractive, powerful, and recondite manner.”

Beyond all this the student will see other and more
strictly technical beauties, corresponding c.xactly with those
1 have pointed out in other examples : the j)rominence of
the principal figure; the opposition of the highest light with
the chief dark in the centre of the composition ; the b.alance
afforded by the mass of rich stuff on the stool and the dog —
even the ring on the floor is not without its artistic value —
the opposition and contrast given to the curved and
uniiulating lines by the straight lines of the piece of stuff
in the lady’s hand, and .in other places ; and, lastly, the
repetition of the main incident in the background.

The illustration is a reduced phototype, by Mr. Fruwirth,
of a woo<l-cut in the Art Journal, whose valuable illustrated
articles on “ British Artists ” afford examples admirably
adapted to the use of the student in composition and
chiaroscuro.

FOR REMOVING THE VARNISH AND COLLODION
FILM FRO.M OLD NEGATIVES.

BY O. O. M.YSO.V.

Sr.tJJD the plates on edge (faces not in contact), in a kettle
or boiler of any convenient shape and size, taking care that
the plates do not come in contact with the metal of the
boiler (this is prevented by placing a cloth on the bottom
and sides, or by a light wooden form or r.ick, suitable for
the size of plate under treatment). The lioil.n- is then filled
with cold water, and placed over the fiii-, the temperature
being gradually raised to the boiling [ijint, at which it is
maintained about thirty minutes (often less) ; the films will
then drop off, or may be easily removed by a little friction
with the hand or a piece of cloth. After removing the
boiler from the fire, the plates should be allowed to cool
tjradually before removing from the water, or they may
become brittle.

In no case should cold water be used to cool the contents
of the boiler, as the plates would be most certainly broken
in so doing. I have used this plan for several years, and
find it better than any other method of removing films
which I have tried.

0it aii& ^rt.

No. 5.— ON ART TEACHING AND ART STUDY.

BY “ KESPICE FINEM.”

Durino the last few years the attention of photographers has
been called in a very especial manner to the importance of
art study. The technicalities belonging to the science and
to the practice of photography have been gradually mastered.
Lenses and processes have reached a high degree of com-
parative perfection. I do not wish to suggest that in
regard to these we can speak of finality, or say that nothing
remains to be desired, nothing to be achieved : I simply
state, in relation to material appliances — chemicals, pro-
cesses, and lenses — that facilities exist sufficient to enable
the moderately intelligent practitioner to devote his chief
attention to the development of the plastic power of his art,
and the testing of its capacity as a means of securing
pictorial effect. And, as was natural, this technical advance-
ment achieved, attention has been directed to higher ends.

Exponents of the art capacity of photography have never
been entirely wanting, even in the days when it was asked,
in high quarters, “ What photographers wanted with
pictures?” Some of the earliest calotypists were accom-
plished artists. In the early days of collodion, men like
Grundy and Lake Price, and, at a little later date, men
like Rejlander and Robinson, in subject pictures ; and men
like Bedford, Mudd, and others, in landscape work, have
grandly illustrated the fact, that lenses and chemicals were
obedient agents in artistic hands. These and others have
been silent but efficient art teachers. Some years ago arose
another class of art teachers, louder, but less efficient, yet
not without their uses. Their business, it seemed, was to
denounce what was wrong, rather than to illustrate by
practice what was right. Such a mission, although not a
lofty one, had its uses. Jonah/ when sent to denounce the
sins of the Ninevites, was by no means an exemplar of
righteousness; but his mission had its specific usefulness.
And they who have unhesitatinglj', or even captiously,
pointed out the artistic shortcomings of photographei-s, and
the soulless emptiness of the mass of photographs — whether
they have spoken from without, or as claiming a position
within the photographic circle — have performed some ser-
vice in advancing the art. ’I’he fatal fault of these quasi-
teachers, who deal in denunciation on the one hand, and in
nebulous vagaries on the “ awe inspiring mysteries ” of art
on the other, is, that they confound more frequently than
they enlighten; and if they convince the youthful aspirant after
art excellence that if he cannot sympathise with these vague
inborn yearnings after indescribable mysteries which are
supposed to characterise the true artist, his work is naught,
he is apt to throw up the effort in sheer disgust or despair
And this is, I need hardly say, the worst frame of mind
in which a man can indulge. 'I’hat there is such a thing as
natural capacity, inborn fitness for artistic culture, cannot
be doubted, and this is doubtless a necessary qualifica-
tion for the highest success. But 1 think that ability to
appreciate pictorial excellence, and the desire to acquire the
power to realize it, arc prima facie evidence of some fitness
for the work, and I would earnestly impress the idea that
with these pre-requisites, and capacity for careful study and
honest labour, a fair mead of success is attainable by all
students. I have always grieved, therefore, over the denun-
ciatory style of art teaching which at one time prevailed,
as little calculated to raise the status of photographers.
There is great force in the lines in Bailey’s “ Festus ” : —

“ Men might be better if we better deemed
Of them. The worst way to improve the world
Is to condemn it. Men may overget
Delusion — not despair.”

In speaking of art teachers, it would be impossible to over-
look the recent series of lessons in your pages by Mr. Robin-
son, so admirably clear, simple, full, terse, and practical ; but
it would be superfluous, as well as inadmissible, I presume.

?■ 488

THE PHOTOGRAPHIC NEWS.

[October 9, 1868.

foi me to enter into either comment or eulogy thereon. I
may remark, however, that they go far to negative a common
apothegm, that very little of art can be taught. But there is
another form of art teaching of which we have too little,
and another class of art teachers of whom we have too few.

1 refer to those most valuable of all teachers wh o strive to
produce by photography the highest results of which it is
capable in pictorial art, not simply as a matter of business,
not as a means of bread-winning, but from a love of the art,
from a profound belief in its capabilities, and a resolve, at
much cost and much labour, to demonstrate its fitness for
rendering pictorial effect. For this, the highest reward they as
a rule desire is, the appreciation and honour of their fellows ;
and this reward they do in the main receive. Such appre-
ciation,! doubt not, in their estimation far outweighs the gibes
of the envious and incapable which they must also receive.
But putting this latter small class of small detractors aside, it
has often struck me that there is too little active and demon-
strative appreciation amongst photographers of this highest
class of art teachers I believe that the works they produce
are rarely published or offered for sale ; but where they have
been so published, have photographers generally purchased
them, and shown, by their eagerness to secure them, that they
appreciated the work ? Many of the photographs of the late
Mr. Grundy were gems of real art, and, so far as monochrome
can go, might have rivalled the works of Gerard Dow or
Teniers. And yet I question if one photographer in a
hundred ever saw a copy. If I wanted to purchase a copy
now I should not know where to procure it, and the nega-
tives are, I believe, scattered about and lost. When Kej-
lander exhibited his first great picture, the “ Two Ways of
Life,” it was received with coldness by some, with condem-
nation by others, and with the enthusiastic admiration it
deserved by scarcely any. Of the hundreds of photographic
triumphs in the field of art, full of fine lessons, which he has
since issued, how few have found their way into the port-
folios of photographers ! When the pictures of Adam-
Salomon were introduced to attention — pictures which have
unquestionably shown to photographers a new and higher

Shase of photographic portraiture than they had before
reamed of — many photographers vied with each other in
striving to ascertain how little merit they pos.sessed, and how
much of the qualities which they could not deny was due to
trick or adventitious aid. Robinson, it is true, has been
more fortunate ; such of his art studies as he has published
have, I believe, sold largely, and honours have attended his
works wherever they have been exhibited, at home and
abroad ; not less than a score of medals, if I am rightly in-
formed, having been awarded to them within half as many
years.

The form of art study I should especially like to recom-
mend to photographers would extend this classof art teachers.
1 should like to see more photographers enter the list
to produce purely pictorial photography, and demonstrate
the capacity for art purposes of camera and chemicals.
Lessons in art are now not wanting ; so much of art — espe-
cially in its relation to photography — as can be taught is now
accessible in your pages; but tiiis will be of little value
without frequent efiort to apply it ; and this efl'ort can only
be imperfectly attempted in the regular course of the busi-
ness ot portraiture. It is only in the attempt to produce
subject pictures, with time at their disposal, with sitters or
models under some control, and with discretion as to choice
of draperies, accessories, backgrounds, &c., that the photo-
graphic art student can hope to develop his powers, and only
by such exercise that he can fit himself for securing the
highest excellence in the ordinary practice of his profession
as a portraitist.

The imperfect appreciation of such work already alluded
to may, it is true, be cited as affording but little encourage-
ment to effort in this direction. This is an objection of
little weight, and that for many reasons. The reward will be
found in the effort itself, and in the skill, facility, and com-
mand over ordinary professional duties the portraitist will

acquire hy indulging in such studies. The power and con-
fidence gained will be worth much, even if the pictorial
studies fall short of the highest art excellence. The art
would undoubtedly be elevated by such effort, and many
worthy pictures would doubtless be produced, illustrating
in various ways the plasticity of photography. Dryden
tells us, in one of his pregnant lines, that —

“ They hud crowns who but endeavoured well.”

I fear that in photography the mereaim or intention to succeed
would win no crown amongst photographers, because, as a rule,
the endeavour could only be made manifest by its success; but
of this I am satisfied, that if all photographers who love their
art, and are interested in its advancement, would make effort
now and then to illustrate its pictorial power in other modes
than by the production of “ pot-boilers,” not only would they
gain in skill as individuals, but the standard level of excel-
lence in photographic portraiture would rapidly rise, and
with that must come a simultaneous elevation of the general
status of photography and photographers.

I should have liked to say more on some phases of art study ;
but in undertaking to write one of the “ short ” essays on
photography and art, I find space only for a few desultory
thoughts is available. Possibly on another occasion I may
offer a few further suggestions on the subject.

o— — —

ON TUE EMPLOYMENT OF COLLODIONIZED
PAPER.

BY ItJDWIO SCIIBANK.*

The Industrial Em'ployment of Collodiontzed Paper.

We should feel some embarrassment were anybody to ask
us if we could guarantee the successful introduction of collo-
dionized paper, and wo therefore propose to place the reader
in such a position that he may be able to form his own
opinion on the subject. In the first place, the price of the
prepared paper is notably higher than that of albuminized
paper, for in the fabrication of the former it is necessary
to take into calculation the amount of loss incurred by the
evaporation of the ether, alcohol, &c. But at the same time
it must be remembered that in sensitizing a quire of
albuminized paper as mueh as two or three ounces of
nitrate of silver is expended, and this, added to cost of
superintendence and the amount to bo allowed for waste
and spoilt materials, forms an important item, which is sel-
dom sufficiently considered by photographers. The collodio-
chloride paper is almost half .as sensitive .again as albumin-
ized p.aper, and is always ready for employment, whereas the
other must be freshly prepared from time to time. Then
the prints produced are much sharper than those on
albuminized paper, or, as we heard a Berlin referee express
himself, they po.s.=e.ss “ fabulous sharpness.” Lastly, even
if the price cnarged is somcwh.at high, in these days of
competition, it would be well worth while securing superior
advant.ages, even .at a not.ably increased outlay.

T'he facility with which the collodion film may be removed
from the p.aper renilers the material remarkably suitable
for m.aking transfers, and in this cap.acity it is of so gre.at a
value to the photographer that no studio should be without
it, more especially the studio of the en.ameller. The latter
genenally employs collodion positives, produced in the
camera by means of an ordinary negative, for the powder-
ing of the porcelain colours ; but if these negatives have been
designed for making positives on paper, they are too vigor-
ous'for the enamel process, and produce, therefore, very hard
results ; moveover, the-half tones sometimi's suffer from the
great heat to wliich they arc subjected in the burning pro-
cess. We have now before us several positive pictures
produced by means of collodionized paper, in which softness
and vigour arc blended to such a degree th.at no better result
could possibly be wished for. That the collodionized paper
is in every way well suited, not only to the production of

* Continued from p. 478.

October 9, 1868.]

THE PHOTOGKAPHIC NEWS.

489

enamel pictures, but also for stereoscopic slides upon gla.ss,
and for multiplying negatives, is very obvious.

With regard to multiplying negatives, Profes-sor Freund
communicates the following : —

“ The negatives wliich I send you horewitii have been
produced by means of a glass positiv'e.

“ The methods I adopt for reproducing negatives by means
of the transfer paper is as follows: A print must beobtained of
sufficient depth and vigour upon the collodio-chloride paper,
an operation taking some time when conducted in the shade;
this is then washed and fixed in the ordinary way. Toning
is in my opinion a superHuous operation, and the examples
I send you were produced from untoned prints. For making
the transfer I employ a varnish made from equal parts of
gum elemi and Venetian turpentine, and of spirits of wine
ten parts. A glass plate is first warmed, and then coated
with the varnish in the same manner as a plate is covered
with collodion, and the fi.xed and washed paper picture
(negative) having been pressed between blotting-paper, and
likewise faced with varnish by means of a brush, is then
placed face downwards upon the plate, and pressed down
by means of the hand. Warm water is afterwards poured
over the print, and the paper is thus removed, while the
collodion film remains attached to the glass. Instead of
glass, the so-called caoutchouc vitrifie might no doubt be
used with good advantage ; at the same time, the operation
is easily conducted with glass, and the few bubbles formed
exert no prejudicial influence, and may be obviated alto-
gether with a little skill.”

It has been the custom to multiply negatives by means
of tannin plates by first producing a positive, and from
this a second negative ; by this method it is, however,
difficult to guess the exact amount of exposure required,
and the defects of the development in the original are
exaggerated in the first copy, and again in the second, so
that the new negative is in a very great degree inferior to
the original. All these unpleasantnesses are completely
avoided by the employment of collodio-chloride paper, and
the production of reverse pictures therewith ; the printing
may De carefully watched and controlled, and the gradation
of tone improved by judicious covering up of the copying
frame; and, moreover, what is of the last importance in
producing negatives of old paintings, the retouching may
be carried on, not only upon the negative for the purpose of
correcting the shadows, but likewise upon the positive to
bring about a modification of the lights.

A positive upon transfer paper is free from all inconve-
niences which might happen from the breaking or injuring
of a glass negative, and by its means any number of nega-
tives may at any time be produced.

For the above reasons we would recommend the adoption
of collodio-chloride paper at any rate in those studios where
valuable negatives are preserved. As manufacturers of the
material, we may mention MM. Obernnetter, of Munich ;
August Freund, of Tarnopol, Galicia ; and Adolf Ost, of
Vienna; and there is no doubt that the time is not far
distant when all dealers in photographic materials will find
it necessary to direct their attention to a product of so
much importance.

A MEW METHOD OF ETCHING PHOTOGRAPHS
UPON GLASS.

BY DR. LIESEOASG.*

A FEW months ago, one of my pupils, i\I. E. Siegwart, of
Neuchatel, communicated to me a few suggestions relative
to the process of etching photographs. With the method
he suggested 1 have made several experiments, and these
having convinced me that it is of some practical value, I
now publish the details of the same.

Etching upon glass may be employed either for the pur-
pose of producing a dull picture upon a transparent ground,

* Photographischtt Arokiv.

or a transparent picture upon a dull ground, the mode of
manipulating most in vogue being to cover the glass surface
with a coating of wax, and to etch the picture upon the
same, or to paint the image upon the glass with a wax
colour or varnish, and then to treat the naked glass with
fluoric acid. The fluoric acid changes the silicate bases of
the glass into soluble salts of fluorine wherever it comes
into direct contact, but where the surface is protected with
wax the acid has no effect ; the latter is applied sometimes
in the form of gas, and sometimes in a liquid state, but
generally a mixture of fluor spar and dilute sulphuric acid
is employed.

M. Siegwart proposes the following mode of proceeding : —

A solution of gelatine is prepared similar to that used in
the Joubert or Obernetter dusting processes, and made sensi-
tive to light by admixture with bichromate of potash ; the
surface of the glass upon which the picture is to be pro-
duced is then coated with this liquid, and exposed to the
sun, either under a positive or a negative, according to
whether the image, or the ground, is required to be dull.
After e.xposure, the latent picture is sprinkled over with
very finely powdered fluor spar, or, better still, with cryolite
powder (3 Na FI, AF FF), and then varnished with thin
normal collodion, when it is ready for treatment with dilute
sulphuric acid. The fluor spar attaches itself to those por-
tions of the surface which have not been acted upon by the
light, and, on the application of the acid, the process of
etching extends likewise to these particles. As the half-
tones received le.ss light than the shadows, a proportionately
less quantity of the powdered fluor spar adheres to the.se
parts than is attached to the lights, and therefore the half-
tones are less deeply acted upon by the etching fluid.

Another method of operating is to employ a gum resin of
some kind ; as, for instance, benzoin, copal, shellac, dammar.
Botany Bay gum, asphalte (all of which melt at 100^ Cent.),
these being of course very finely powdered and sifted. The
fine particles of gum are dusted over the glass surface, and
the picture is then transferred thereto ; the glass is now
warmed to the degree required to melt the resin, so that the
picture becomes secured to the gla.ss, the coating of resin
serving as a ground for the subsequent etching with fluoric
acid. By this means half-tones may ea.sily be obtained.

If, instead of a gum resin, a glass flux easily melted, or
borate of lead, is used, and the glass with the picture is
placed in a suitable furnace or oven, a cementation of the
whole takes place, and by subsequent treatment with a
strong acid an image of the most brilliant description may
be obtained. lastead of dusting the finely powdered
borate of lead upon the glass, it may be added to the gela-
tine mixture in the same manner as in the carbon process.

Very beautiful effects may be produced by this process,
if, instead of using ordinary glass, a white glass is employed
covered with tinted glass, so that a coloured picture may be
produced upon a white ground. Or images of two coloui-s
even may be obtained by taking a compound glass (say, for
instance, yellow glass covered with blue) ; the etching will
then produce a yellow image upon a green ground. Many
variations of this kind would naturally suggest themselves
to the mind of the gla.ss manufacturer.

DISTORTION AND PERSPECTIVE.

Sir, — The subject of distortion and perspective, as brought
forward and illustrated by Mr. Cherrill, is of so much interest,
and promises, if worked out, to be of so much use to the photo-
graphic art in determining the relative value of long and short
foenssed lenses, that if you will allow me I will go a little more
into the matter, trusting, at the same time, that it will be duly
taken up by others.

To begin with, then. Like Mr.CherriH’s artist friend, I believe
that all photographs are, and must be, if we speak strictly,
wrong in perspective (I put aside distortion from curvature, &c.) ,

490

ehotooraphic news.

[OctObke 9, 1868

but that one may, by artifice, reduce the exaggerations within
narrow limits, and so produce pleasing results. I use the term
exaggerations, for I think it can be proved to bo such, having
its advantages and disadvantages, and being a friend or an
eneiuy according to the way we treat it. Let us look at some
of tlie phenomena. Take Mr. Cherrill’s mirror test, and here
I think a little consideration will show that gentleman that he
is reasoning on a fallacy in believing that in your reflection in
tlie mirror you are looking on a true perspective, or such as you
would see in a real object. Thus, if you stand at a distance of
twelve feet in front of a mirror, you see yourself as a spectator
would see you who was twenty-four feet from you, or just as
much behind the mirror as you are in front of it ; if now you
stretch your hand horizontally towards the mirror (call it three
feet in advance of you), your liand will look to you enlarged,
and well it may do so, for though it ought to appear as it would
to a spectator at a distance of twenty-one feet, it will really
look to you as if you had pushed it forward a distance of six feet ;
in fact, as if it was seen with the perspective enlargement of an
object which was eighteen feet off the supposed spectator. Iii
other words, taking the absolute plane in which you stand,
everything which advances or recodes from that plane will,
either in mirror or lens, have its perspective length or shortening
doubled-, that is, the size of the object represented will not be
double, but the perspective increase or diminution of size will
be doubled. If you yourself step forward three feet, your
imago also seems to step forward three feet, and your perspec-
tive size has increased by definite laws, not the three feet you
iictnally advanced, but six feet. So if you remain stationary
and advance your hand the three feet, you have really nuilti-
l>lied the perspective ot your hand and arm by two, so that
while the reflected size of the body remains as before, you see
your arm and hand as a photograph would show it. and the
hand would appear such as belonging to an arm six feet long.

There is a very easy way of measuring this exaggeration of
perspective for all distances ; viz., taking the oval of the human
head and face at about ten inches ; on a slip of glass gum some
bars of paper at two inches apart; stand in front of a mirror
(say at twenty feet off it), place the gl.ass with the bars in the
plane of your face, and the face and head will appear to fill five
of the spaces between the bars; hold the glass two feet in
front of you, and as you look through it at the reflection in
the mirror you will find that your oval of he, ad and face will
only fill four of the sp.aces. Now, if you go forwards to a dis-
tance of four feet from the mirror, and you place the barred
glass in the plane of yoiir face, you will find the oval fill the
live spaces as hefore ; and if you advance the barred glass two
foot, as you did in the former experiment, you will find, as you
did before, that face and head will fill only the four spaces, so
that the exaggeration of the perspective would seem to be
equal for all distances, and, ergo, it would seem that, as lenses
obey the laws governing the reflection in the mirror, that, long
or short focussed, tl;ey would act alike. This would bo an
error, for a new element comes into operation in this way : At
twenty feet off the mirror the exaggeration of the perspective
wonhl be only one-tenth of the apparent distance of the object
rellected. whereas, at a distance of four feet from the mirror,
it is evident that it would bo one-fourth of the apparent dis-
tance. Therefore, in lens nr mirror, although tlio ahsoluto
perspective exaggerations would bo the same for all distances,
its effect upon tlie spectator wouhl vary in proportion to the
distance ; and to illustrate this I have to go to some of the laws
of perspective itself.

The artist, or the perspective draughtsman, u.oes an artifice:
ho draws objects which really are on a horizontal plane and at
various distances from him on a fixed vertical plane, in such a
way as to appear to the spectator as if the real objects wore
still on a horizontal plane, at their proper distances, and seen
through the transparent vortical plane which he calls his “ pic-
ture.” The laws by which ho is guided are very definite and
well determined, so that any marked deviation from them gives
rise to a very uncomfortable sensation, although the precise
cause may not be at once apparent. I am not going to inflict
a treatise on perspective, although to prove my point I must
allude to one or two of its laws. To begin with, then, the
artist has a point on his horizon (visible or concealed) to which
he is supposed to have his eye constantly directed ; this is
called the “ point of sight,” and on pKane perspective ho has
also two points, one on each side his point of sight, which ho
calls his “ points of distance ” ; these points ho can fix on him-
self according to the nature of the subject he is engaged upon ;

but his points of distance usually are about as far from the
point of sight as the spectator is supposed to be from the verti-
cal plane upon which the artist sketches. What would be the
effects respectively if this “ point of distance ” were taken as
too far removed or too near the point of sight ? Why these :
If too far off, the objects represented would appear flat and
poor, and have no effect of depth or roundness ; if too near,
then the objects would be exaggerated in their depth, they
would “ stand out too much,” and those in the foreground
would appear especially out of proportion. So it is laid down
as a rule that the point of distance must not only be outside the
picture, but that it ought to be some distance outside it ; how
far is, as I said, left to the discretion of the ariist. His lines
to the “point of sight” must be inteisected by those to the
“point of distance” indicating the perspective “depth” of a
solid object ; so, of course, he arranges in such a way as to pro-
duce as much roundness or effect of relief as possible, without
rendering his object psoudoscopic.

Now I think it will bo seen what 1 am aiming at. I take
it that the approiushing very near an object with a short focus
lens, in order to get a particular object represented of a certain
size, is identical with the attempt of the artist to get his “ dis-
tance point ” all but into his picture. The use of a lens of
inordinately long focus, I take it, would be equivalent to the
artist placing his “ point of distance ” so far away as practically
to induce a flat, poor effect. Mind, I am assuming alt this
time what I really believe to be true, viz., that in all cases the
lens just doubles the real perspective of objects in different
planes ; and with that proviso, let us see what all this teaches
us as to the comparative advantages and disadvantages of long
and short focussed lenses.

In a long focus lens we know there is less spherical aberra-
tion over a given area, and a greater number of pianos in the
composition will como into correct focus ; but to put against this
j’ou have the fact that objects will have a tomlency to look flat
and tamo, and will detach themselves with difficulty from the
background. The fact is, I suppose, that the lens looks at eb-
jects as a man would who had only one eye ; and if it were not
for the artifice of the exaggerated perspective, objects would
not seem to stand out as well as they do. Another reason why
the lens should exaggerate in moderation : photographers know
well that the human head is alw.aj’s in movement, and this
gives rise to parallax ; that is, objects in different planes behind
each other seem to move, and so give the impression of reality.
Thus the excess of perspective seems hero to bo really required
to render the effect of roundness to objects which distant ukuio-
cular vision would seem to render tamely. The short focus lens
of course exaggerates this relief or roundness, and so gives the
impression of vigour and solidity ; and it has also this advan-
tage, that there is less thickness of fog or dust-laden atmosphere
to work through ; but it would seem to have this disadvantage,
that you are practically getting your point of distance all but
into your picture, and that, as your composition must neces-
sarily bo restricted to one plane, your “ art of concealing art ”
will bo more limited in its application. Therefore I believe
that, on the whole, moderately long focussed lenses are much
to bo preferred, and, indeed, I believe they are more gener.dly
in use where really artistic effects are aimed at.

Mr. Chorrill wilt see that 1 quite agree with the latter part
of his thoughtful and practical letter, and that I look upon the
choosing of a long or a short focussed lens for particular work
as similar to the consideration of the artist when about to take
a picture, ns to where to place his jwint of distance.

I hope I have not seemed to dogmatise in all tliis. I shall
be glad to bo set right in any point on which 1 may have been
in error; and I conclude by the expression of a hope that the
subject will receive full discussion, feeling that there never
could be one more fitting for the p.agos of a journal devoted to
the jdiotographic art. Joii.v Antuonv, M.D., Cantab.

Washwood, October 5, 18G8.

WET PHOTOGRAPHY IN THE FIELD.

Deau Sm, — Just after the commencement of the publication
of the PnoToaRAPHic News, in about No. 11, I recommended
the use of syrup made with 1 part sugar and 2 parts water,
boiled and filtered, to pour over wet collodion plates when work-
ing in the field. I have used the above in open-air work ever
since, till last summer, when, finding it a sticky, troublesome
mess to work in a tent, I adopted another plan. I now merely
wash the plates, after development, in a tray with a few ounces

October 9, 1868.]

THE PHOTOGRAPHIC NEWS.

491

of water, and when working by the aea-side use the 6 ounces
of water over and over again, and then transfer the wet plates
to a perfectly water-tight plate-box, with a felt lining inside of
the lid. After the day’s work is done, and the twelve plates
boxed, I look out for some clear stream of water, and fill the
box to the brim, gently tilt it up and down, and pour it out.
The plates keep in excellent order for cleaning and intensifying
till my retu rn home, and, if too late in the evening, the plates
are put into trays of clean water till the following morning.
If water is plentiful on the spot, I partly fill the box, and put
the plates to wash without using the tray. This method I have
found far more pleasant than using the syrup, and it answers
jMsrfectly, oven in the hottest weather. — Yours truly,

Thomas Gullivek.

PANORAMIC CAMERA.

Dear Sir, — Some time since I promised to inform you if I
succeeded in the then^(to me) seiious defect in the dark or
light line where the two halves of the pictures join. I have
succeeded in the following manner : The partition is made
movable by a small pin in the centre working in a brass socket,
and another pin in the top part passes through the top of the
camera ; to this is riveted a small piece of watch-spring ; across
the spindle is a short, flat piece of brass. Now, when exposing
the plate, it is only necessary to give the cross-piece a slight
touch, and then the partition board in the centre of the camera
vibrates with a tremulous motion to and fro during the expo-
sure of the plate. This, in a manner, vignettes the one-half of
the view into the other, and softens off that unsightly line
that has hitherto annoyed me. — Yours truly,

Thomas Gulliver.

18, Union Street, Swantea, October 4, 1868.

SOUTH LIGHT.

Sir, — I think Mr. Cherrill, in his article on North and
South Light, was (to say the least) very one-sided, and I
think little good, and much evil, may arise from it.

Mr. Cherrill asks (after doing his utmost to prove that it is
impossible to fake good pictures in a studio lighted from the
south), “ Why are not all studios lighted on the north side?” for-
getting, I presume, how many photographers have to make
their studios as circumstances allow. Mr. Cherrill says not a
word about dull days, which, in this country (if we except this
year), are more numerous than sunny ones ; and I think even
Mr. Cherrill will admit that a south light is equal, if not supe-
rior, to a north one on dull days.

I should very much like to know who is the enthusiastic
south-light gentleman who says, “ I close all the windows with
dark curtains,” as I think such a person exists not except in
Mr. CherriU’s imagination, having been drawn specially for
comparison with liis very scientific pill-box. Mr. Cherrill
knows, or ought to know, that there are other ways of check-
ing the sun’s rays th.an by dark curtains (white tissue paper,
for instance) ; and that, by its judicious use, not only some
effects — or, as he would have it, sun effects — but any effect
that may be desired, can be got.

That studios lighted from the north are the least troublesome
I admit ; but I could not let the value of south light be so much
depreciated without a word in its favour. To assure you I do
not write without experience, I may say that I have the sun
on my windows almost whenever it shines, and that at no
time am I troubled with its presence inside the room ; yet I
use no dark curtains. — Respectfully yours, S. Beverley,

Oldham, October 1*<, 1868.

WET COLLODION WITHOUT WATER.

Sir, — In your Journal of October 2nd I particularly noticed
Mr. Robinson’s article respecting Wet Collodion without
Water, in which he states that he omittod to mention the
alcohol to be mixed with the golden syrup. I may mention
that since I have taken up landscape photography, which has
been for the last ton years, I have never used alcohol in my
developer or bath, or in any way at all. Instead of alcohol I
use more acetic acid, which I have always found to work well ;
but for experiment I put —

Alcohol J ounce

Iron 120 grains

Ammonia 1 to 2 drops

Water 8 ounces

for my developer. Having no alcohol with the syrup, I found,
on pouring it over the plate, stains and smears were caused ;
but, on the contrary, when the alcohol was put with the syrup
and water, I found it to flow evenly, and to leave the negative
clear and transparent ; showing to all those who are not expe-
rienced hands at manipulating that they had bettor use alcohol
if they want to succeed. But as I never use only syrup and water
without alcohol in any way, with proper management 1 have
never had one out of a dozen stained plates from that cause.
I have this week forwarded you a whole-plate picture, printed
from a negative taken eight days old, and should like to have
your opinion on it. It was taken with one of Ross’s whole-
plate doublets. After exposure, I proceed to my laboratory or
dark room, and pour over a sufficient quantity of iron solution to
cover the plate. This is important where no alcohol is used.
As soon as the picture is sufficiently out in detail, I pour tho
developer very slowly off, at the same time pouring the syrup
and water on at the opposite corner to that where the deve-
loper is going oft'. As soon as the syrup covers the plate 1
place it in a swing-rack while I am preparing another plate.
I then take it down, place it in the negative box, the bottom
of which is always kept wet. As I am often away a week
without touching the plate after the syrup has been poured
over, I may remark that when I take tho negative from the
box I pour over the plate a weak solution of alcohol and water,
and, after sufficiently soaked, I well wash, and intensify if
necessary. Next week I will forward an enlargement from plates
treated in this way. After trying all the solutions of common
salt and alcohol to chloride of calcium and other solutions, I
find none are so good and produce such good results as that of
Mr. Robinson, to whom I, as well as a good many more, will
be greatly indebted. — Remaining, Mr. Editor, yours obediently,

Lyham, near Buxton and Ealing. James Blane.

PS. — It is worthy of mentioning that the print represents
the residence of Mr. W. E. Jenkins, of Forest Hill, so well
known for his kindness to the poor of that neighbourhood.

[The print enclosed is clean and satisfactory, illustrating that
the negative did not sufler from the long delay in finishing
it. — Ed.]

2Dalk itt tbi

A Photoorapher’s Relief Fund. —A correspondent says : —
“ Much has been said and written in regard to this most neces-
sary and much-needed organisation, making it very evident
that it only wants a little pressure and general working toge-
ther to get the wheel into the groove, and send it securely and
successfully onward. In all that has been hitherto advanced on
the subject, one point appears to have been completely over-
looked and unmentioned, and that is the comparatively few men
or women who follow photography alone as a profession, trade,
or calling, compared with the great number who join photo-
graphy to some other businesses carried on by themselves, their
wives, or families. Now as these persons are for the most part
stationers, chemists, watchmakers, tobacco and cigar dealers,
fancy toy sellers, lodging-house keepers, or persons of some
calling quite distinct from photography, they will be found in
general to be members of some club or society mixed up with
their original business ; so that, having made themselves secure
for a rainy day, they take little or no interest in the establish-
ment of a purely photographic fund ; but there are, no doubt,
many kind and good-hearted individuals among the trades I
have mentioned who would gladly contribute if the thing was
only fairly launched and set going. Her Majesty and the royal
family are great admirers and patrons of the art, and wo^d
most probably be donors and contributors to the fund. The same
may be said of the greater part of the nobility, gentry, and clergy,
many of whom would gladly assist in furthering so desirable and
much-needed an object. — [We fancy our correspondent over-
rates the number of photographers who follow some other trade
as well as photographic portraiture. There is a sufficiently large
number of operators, printers, &c., to render the question of an
organisation important. We should prefer to see it take the
form of a provident or benefit society, but there could be no
harm in having a benevolent fund associated with it. — Ed.]
Black Tones.— A correspondent, Mr. Edward L. Bridge,
writing from Deal, says “ I notice in the Photographic

492

THE PHOTOGRAPHIC NEWS.

[October 9, 1868.

News, July 10th, 1868, No. 614, a formula for toning and fixing
in one bath, similar to one long known to me. It stands thus ; —

Nitrate of lead 30 grains

Common salt 40 ,,

Hyposulphite 4 drachms.

Gold at will.

This bath will give rich blacks. They aro mellow and beauti-
fully refined, even in the high lights. The bath, when for im-
molate use, must be mixed in warm water, and must be used
fresh each time, or the print will go yellow. The prints must
not be washed before toning.”

Wedding Cards. — It is stated that in France, instead of
sending to friends the ordinary engraved name card of the
bride and bridegroom on marriage occasions, the custom is be-
ginning to obtain of sending photograpliic portraits — either two
card pictures, entwined with the symbolical silver cord, or a
single card containing the portraits of the happy pair prettily
grouped. The idea is an excellent one, and, if carried out, wiU
afford opportunity for the production of cards with suitable
designs to enhance the fitness for the purpose.

Help Wanted. — An announcement in our advertising
columns calls attention to the distress and need of help of a
photographer's widow, for whom Mr. Beattie, of Clifton, will
gladly receive contributions. How long will photographers
subject the indigent and destitute among their ranks to the pre-
carious chances of casual charity, instead of establishing a
provident fund?

Political Portraiture. — A new form of candidate’s ad-
dress, &c., lately suggested by a City firm, deserves atten-
tion. “ It consists,” says the circular, “ of a photographic
portrait of the candidate, with four pages ot letterpress for the
address, or a short memoir, done up in a coloured wrapper,

similar in style to those we have printed for Dr. , of which

a specimen is herewith forwarded. In this form we feel confi-
dent the address could not tail to command the attention even
of those wholly indifferent to politics ; and by the photograph
being frequently shown would thus secure, indirectly, a publi-
city impossible to attain by other means.” After giving the
names of two photographers who will be glad to make an ap-
pointment for the necessary sitting, the terms are stated thus : —
*• Photographic portraits, mounted on India-tinted plate paper,
with four pages letterpress, stitched in a ueat, coloured wrapper,
600 copies, £21 ; 1,000, £32 lOs. ; carte-de-visite, with six or
eight lines of letterpress on back, 350 copies, £G 6s. ; 500, £10 ;
1,000, £18.” Hero is certainly a chance for gentleinun who
consider their faces important items in their political fortunes.
— The Stationer,

9^0 C0rr«jjon&aits.

WiLLiA.M Sturgeon. — The use of iodide of pot;is.sium is, as a rule,
inadmissible in collodion, where a huge proportion of bromide is
to be added as well, because of the tendency in the bromide to
leave its base and form bromide of potassium, and bromide of
potassium is very sparingly .soluble in collodion. The undis.solved
powder in your collodion is doubtless bromide of potassium, which
has been formed by double decomposition of the bromide of
ammonium and iodide ot potassium. The bromide of ammonium
would have dissolved as before, and no precipitate would have been
formed, if you had used iodide of ammonium as previously. The
best plan now is to decant the collodion carefully from the sedi-
ment for use. Although the total quantity of the bromide added
has not dissolved, still you may find that sulticieut has been
dis.solved to enable you to get good results.

C. C. C. — For a travelling studio a van would, we think, be more
convenient than such a tent as you propose; but, of course, it
would be dearer. 2. The glass in the diagram you send is in the
right place. 3. We fear that it will bo insufficient for sati.sfactoiy
working. We should prefer not less than 8 feet side and roof ; on
the noi^ side would be preferable.

A. G. H. — The multitude of minute yellow spots, which do not appear
until six months or more after the prints are mounted, we can
assign no reason for. Wo will keep the matter before us for
further investigation, and will let you know if we arrive at any
useful conclusion. In the meantime we should discontinue the
use of gum water for mounting.

Anxious. — Of the lenses you name. No. 4 seems most likely to
answer yoiu: purpose, and is the most rapid. Either of the triples
you name will include, with good definition, an imgle of about

60®, or more with a small stop. We cannot w’ith accuracy give
you the relative exposures of the lenses you name, beyond stating
tliat No. 3 is, we believe, more rapid than either of the preced-
ing, and that No. 4 is, ceteribus paribus, most rapid of all of them.
The American lens you name is, we believe, pretty good, but the
angle stated is an exaggeration ; we have no reason to believe that
it is equal to the lenses of either of the English makers you
name.

A. Dods. — Wo know nothing further of the “automatic syphon”
than was stated in the letter we published. 2. We cannot tell you
precisely what alteration Mr. Cherrill would suggest in making a
distinction between r-ignette and solidly printed pictures ; but wo
may remark that a very little reflection will satisfy you that for
vignettes vou require a lighter and more delicate image altogether
than would be effective in a picture fully printed out. In the
latter you can afford to have mas.sive depth and richness, whilst
in the vignette you must have tender shadows and a sketchy
lightness tliroughout.

X. X. — So far as we c.an judge by the appearance of the print you
enclo.se, we should conceive the colour to be due to acetate toning.
In any case, the acetate bath -will produce very similar results.
Take 1 grain of chloride of gold, 30 grains 'of acetate of soda, and
5 ounces of water, and mix. Use 48 hours after mixing.

Collodion. — We will make some enquiry, to ascertain, if possible,
a remedy for your difficulty. The idan’of wsishing with repeated
changes of alcohol would doubtless remove the water completely,
and permit varnishing to bo effected ; but it would, in the first
place, be a somewhat expeusive operation ; and, in the next place,
the vami.sh, applied whilst the film was still soft and j^rmeable,
would probably penetrate very much, and tend to reduce the
dcusity. Have you tried applj-ing gum water after fixing ? We
cannot help thinking that either the collodion you employ is not
suitable, or that, from a little under-exposure, prolonged develop-
ment is necessary, a condition which tends to rot the film. 2. The
rapid lens you mention is as suitable for landscapes as the triple.

Venator. — The illustrations in a book such as you describe gene-
rally possess the same period of copyright as the book itself. The
copyright in a book continues during the author’s lifetime and for
seven years after his death ; or for fortj--two years, if these periods
put together do not extend to that number of years.

Nunc et Semuer.— The common material used for powdering tho
skin or hair is “ violet powder ” ; common wheaten flour or starch
may be used. Perhaps nothing will answer better than wheaten
flour. There is no danger in it adhering in so thick a coating as
to render the white tint too obvious, t^ess it be very clumsily
applied.

W. J. A. O. — A good tone can only be obtained from a good nega-
tive ; but the experience you detail, which would tend to show
that only one cb«ss of tone am be obtained from one negative, is
very curious. Perhips the most that can fairly be deduced from
it is the conclusion tliat a given class of negative most readily and
ciisily gives a certain kind of tone. We have ourselves produced
idmost all kinds of tones from the same negative, and from a good
negative almost any kind of tone can cixsily be produced. Differ-
ence in tone is due to two things : first, the quantity of metal
reduced ; and, second, the size of the molecules m which it is re-
duced ; and whilst, with a good negative, very similar tints can bo
obtained with many different toning baths, yet, on close observa-
tion, it will be found that the substances associated with the gold
modify the size and condition of the molecules thrown, and hence
each bath has a tendency to the production of specific colours in
toning.

A. Taylor. — So far as we can judge, the mirror is produced by a
deposition of silver, either by Liebig’s or Cimeg’s process, most
likclv the latter, of which you will find full details on page 398 of
our Sixth Volume. The silver is deposited on gla.ss from a solu-
tion of ammonia-nitrate of silver to wliich Rochelle salts have
been added. It would require too much space to describe the
method fully here.

B. L. P. — The prints are very fine, but the tone is too cold for our
taste. If it had been warmer, the effect would have been much
richer. The deepest impression is best. It is necessary to roster
before selling any copies, in order to make your copyright safe.

M. R. — The crapiness you describe is most probably due to the uso
of solvmts containing too much water, and is therefore a defect
very diflicult to remrfy. You may render its effect less marked
by allowing the film to set well before inmiersing in the nitrate
bath ; or it may bo added to imother sample of collodion made
with anhydrous solvents. 2. As a rule, we should not uso more
than about one grain per ounce of a bromide in collodion fur
portraiture.

OxoNiENSis. — There is no work devoted to the subject of double
printing, &c. 2. You will find on page 471 of our Eighth Volume
the best description of the method of double printing. There is
also a similar article in our Year-Book fur 1864. Should you
not have acce.ss to these, wo shall have pleasure in giving a few
details in this column.

Received : “ A Trtatise on Optics,” by £. Nugent.

Several Correspondents in our next.

THE

PHOTOHEJpHIC

Vci. XII. No. 528.— October 16, 1868.

NEWS.

CONTENTS.

PiOE

To Whom does a Portrait Negative Belong ? 493

Pbotographj or Branding? 494

Decision as to % Photographer's Personal Luggage 495

Studios and Processes in America 495

Progress of Carbon Printing 497

Pictorial Efiect in Photography. By H. P. Robinson 497

On the Relation between Intensity and Tone. By Nelson K.

Cherrill 499

Some Remarks on Stereoscopes. By Valentine Blanchard...... 499

PAGE

Notes on Photographic Subjects. By M Carey Lea 500

Proceedings of Societies— North London Photographic Associa-
tion — South London Photographic Society — Liverpool

Photographic Amateur Association 501

Correspondence — Publishing Prints from Purchased Negatives 502

Talk in the Studio 603

To CoiTespondents 603

Photographs Registered 504

TO WHOM DOES A PORTRAIT NEGATIVE
BELONG?

A CURIOUS question has been brought under our attention
recently, one which has been raised before, but never, so^far
as we know, authoritatively answered. To whom does the
negative belong which a photographic portraitist takes in
the regular exercise of his profession ? A thousand voices
•will, we doubt not, be ready to answer at once, “ To the pho-
tographer, of couree.” Very naturally answered, and, as wo
believe, very truly ; but clearly not so as to secure uni-
versal acquiescence. Let us illustrate at once by laying
before the reader a letter we have received from Mr.
Rej lander : —

“ Dear Sir, — I have had a novel application made to me
by a gentleman in Scotland, viss., to obtain from me three
large negatives representing his daughter in various well-
invented attitudes. When I say novel, I mean it in this
sense : it was not asked for as a favour, or by purchase, but
as a right, assuming that he was the rightful owner, and
claimed them as his. I must say he was prompted to obtain
them by knowing I was going to remove to Victoria Street,*
and. fearing I would not take sufficient care of my negatives
during removal, they would run less risk in being sent to the
North.

" I can well understand his anxiety, but not his expression
tliat ‘ the negatives are mine,’ nor that of his counsel, who
‘ is of the same opinion.’

“ I should be in a pretty pickle if I were made responsible
for negatives I do not care to keep. If claimable properly.
I might be held liable for damage, and the harder I worked
the poorer I would be.

“ Has there not been a question like this before some
judge ? I fancy I remember something about it, and that it
was left unsettled ; but the sooner it were settled the better,
and that we may claim hire for the safe keeping of the glass,
as some say it is ‘ only a bit of glass.’ — Vours very truly,

O. G. Rejlander.”

To clear the question of any extraneous considerations, it
should be distinctly understood that these are negatives
taken in the exercise of his profession as a portraitist, not
pictorial studies, such as Mr. Rejlander often produces. If
they had been the latter, perhaps still less doubt on the
question might have existed ; but we mention this fact to
clear the ground, in order that it may be distinctly under-
stood that the question arises in relation to portrait nega-
tives taken in the regular course of business. When the
demand was first made, Mr. Rejlander naturally demurred

* Our readers will be glad to learn that Mr. Rejlander is shortly about to
remove to a magnifleeut West End studio, now in course of erection, where,
we believe, there is every prospect of his rare abilities as an art photo-
grapher being fully engaged, and meeting with the high appreciation they
so unquestionably deseive. — Ed. PaoTOORAPnio Nkws.

to surrender that which he legardcd as undoubtedly his own
property ; wliereupon the claimant sought legal advice, by
which he stated he was fully supported in his claim and
as.sertion that the negatives were his property.

The question, it cannot be doubted, is one of the most
vital importance to photographers, and might be made to
involve most startling issues. If the claimant and his legal
adviser are right, and the claim they make were made
and sustained by the general public, not only would the
value of every photographic business in existence be woe-
fully depreciated, but the majority of photographers might
be ruined, not simply by their losses of property in the stock
of negatives which they have regarded as their own, and
which has afforded a steady income of greater or less amount,
but by actions for compensation in regard to the thousands
of negatives they have destroyed, never dreaming that they
were not their own property. When a photographic busi-
ness has been sold, the extent of the stock of negatives from
which constant orders were printed has usually formed one
of the chief elements in the estimate of the value of the busi-
ness ; and the transfer of such a stock of negatives has been
regarded not simply as the sale of such property of specific
value, but as the efficient means of transferring the goodwill
of the business. We have known of the sales of several such
businesses involving in the aggregate many thousands of
pounds of purchase money ; but if actions for compensation
in relation to the negatives in such cases could be sustained,
we imagine that considerably increased duties for Her
Majesty’s Commissioners in Bankruptcy would follow.

To return to the question, however, To whom does a port-
rait negative belong ? We should answer, unhesitatingly,
that it belongs to the photographer ; and were it not for the
proverbial uncertainty of the law, wo should never have a
moment’s misgiving as to any legal decision on the subject.
An absolute decision in any case of disputed property can
only be given in a court of law or equity ; but as, in matters
where no statutes exist, the decision is generally based upon
precedent and custom, it may be interesting to consider the
bearing which custom and analogy have on such a question.

We believe that no legal decision exists which could form
a precise precedent in regard to the ownership of negatives,
and we should not, in any case, enter into legal technicali-
ties in relation thereto ; but we may briefly suggest the
considerations in regard to custom upon which common law
is often based. Theoretically, the law is the perfection of
reason ; and practically, errors excepted, probably justice is
in the main secured by it. In the case Mason v. Heath, in
which the plaintiff brought an action against the defendant
for refu.sing to supply him with a portrait negative at a
reasonable price, the whole of the proceedings were based
on the assumption that the negative was the property of the
photographer who took it. The actual question of owner-
ship in the negative, as between the photographer and the

4!)4

THE PHOTOGRAPHIC NEWS.

[October 16, 1868.

sitter, although it has been frequently raised, and always
maintained satisfactorily, we believe, by the photographer,
has not, so far as we remember, come before any court. We
remember one instance in which one of our ablest photo-
graphers, having taken several portraits of a certain high
personage, did give up, in accordance with the request
made, the negative as well as the prints ordered. This
was by no means, however, intended as a surrender of the
rights of ownership, for when the account was sent in, each
negative was duly charged at a price distinct from that of
the prints ordered. The business representative to the high
personage in question took exception to this account, <and
sent it back with each charge for a negative struck out, and
remonstrated against the exce.ssive charge for what he styled
“ a piece of glass — a piece of glass The photographer,
with quiet self-respect, pointed out that a negative was not
in any sense merely a piece of glass, but the cliche from
which thousands of valuable pictures could be produced ; he
therefore maintained his right to the charge he had made,
and received it.

The custom of the profession, recognized and acquiesced
in by the public, could of course be proved by a thousand
instances. We were. told, by an English gentleman, that on
visiting the studio of M. Adam-Salomon last year, he .a.sked
the young lady in attendance if he could have his negative,
and on what terms? “Not for a thousand pounds; JI.
Adam-Salomon in no case parts with a negative,” was the
response. *“ And, pray, why not ?” was a.sked. “ Because he
has a reputation to maintain, and this must be done by the
mode in which proofs are printed, and the care taken to
make them permanent. Bad prints in circulation from
negatives known to be his might seriously injure him.”
^I. Silvy, on retiring from business, for months advertised
that persons who had sat to him could have their negatives
on a certain payment. In fact, the whole practice of the
profession proves that it is the custom for the photo-
grapher to affirm his ownership, and the public to ac-
quiesce.

The customs of all other trades by analogy support the
same position. When the manufacturer of a steam-engine,
or any similar piece of machinery, receives an order for a
specific engine, a number of designers and draughtsmen are
at once set to work to produce the scheme of the engine on
paper. Next, a number of pattern makers are employed to
make various patterns in wood, from which to pi-oduce
moulds for all the castings. The person for wlioni the
engine is built might with equal propriety demand the
moulds, patterns, drawings, and calculations which had been
])repared as necessary adjuncts in the construction of the
engine, as the sitter demand the negative necessarily taken
as a nxrans of supplying the portraits ; the painter might
be required to give up the studies and sketches taken as aids
in the jrroduc ion of any picture; the type-founder might
be required tot give up the matrixes in which a fount of type,
produced to order, was cast ; the printer might be required
to give up the forme of type he sets to produce a circular or
po;itcr ; the frame-maker might be required to give up his
]>atternsand moulds; the tailor to give up his patterns and
measures ; and so on in many other instances. We here
refer, not to general trade tools, but to cases in which some-
thing is specially prepared as a means to the fulfilment of
an order, just as a negative is a neces.sary step in tlie pro-
<luction of a portrait, for a negative is no more a portrait
than a matrix is a type or a mould a casting.

'ihe only analogy of trade we remember, which might
seem to point in an opposite direction, docs not do so in
reality. We have heard it urged that when a person orders
an address card to be engraved, .and a numljer of £ards
j)iinted, the plate is always delivered with the cards, and
regarded as the property of the customer. This is so, we
believe, generally ; but that it is an exceiition to general
practice is emphasised by the fact that it is the custom
of the trade to make the special anuouncemcmt, “A card-
plate and 100 cards for bo much.” If the plates were

delivered with the cards as a matter of course, no special
mention of it would have been necessary ; but the circum-
stance that it is so specially mentioned in the trade announce-
ments of engravers points to the fact that it is an excep-
tional and not a common practice in trade to give up a
mould or a cliche.

The nature of a photographer’s contract with his customer
is simple enough : he engages to produce a given number of
portraits at a given price. His contract is fulfilled when he
has delivered these portraits and received the price ; no
question of the ownership in the negative necessary to the
production of these portraits should arise beyond this : the
sitter possesses a clear right to forbid the production of
further prints from it without his consent. This is a tacit
understanding between the photographer and his sitter, and
it is rarely violated.

Possibly the law of copyright may throw a little light
on the legal question, for where no provision to the con-
trary exists, the ownership of the negative would generally
follow the ownership of the copyright. The clause in the
statute, stating the conditions of ownership in the copy-
right of a photograph, provides that if a photographer take a
negative for his own purposes, and not as a commission, the
copyright belongs to him ; but if it be produced as a com-
mission— as a portrait usually is — then it is necessary that
an agreement in writing be entered into at the time of the
production, in order to secure the copyright either to the
photographer or to the person giving him the commis.sion.
But it no such agreement be entered into, the copyright
belongs to neither, and is, in fact, lost. If we follow the
analogy of the case, it would result that where, as in the
ordinary transaction of business, no copyright is acquired,
no property in the negative — that is, in the image— could bo
acquired ; the glass upon which it rests clearly belongs to
the photographer, the image upon it constituting the nega-
tive ; he can, therefore, clean it oft’ if he choose, or he can, as a
matter of eonvenienee, keep it in existence for the future
accommodation of the sitter ; but it is clear that the latter
could not, according to the analogy afforded by the Copy-
right Act, acquire any property in the negative.

The loss, risks, and inconvenience which would be involved
if the sitter became owner of the negative can scarcely
be estimated. Besides the immediate and contingent money
lo.ss, the possible loss of reputation, such as that suggested in
M. bialomon’s answer, would be serious. Again, prints from
a photographer’s negatives being sent out from various estab-
lishments, possibly with other names attached, loss of legiti-
mate reputation might follow from that cause, and one strong
stimulus to excellence would be destroyed. It is not neces-
sary, however, to enter into detail on the evils which would
follow such a decision. They are numerous and patent
enough. But should the law ever decide that the sitter was
owner of the negative from which his portrait was taken, the
photographer would be simply placed under the necessity of
defining his contract, by publicly announcing in his recep-
tion-room and stadio that the property in the negative was
always retained, and, in any form of receipt, distinctly stating
that the payment is for a given number of portraits, not
including the negative.

PHOTOGRAPHY OR BRANDING?

Attention has recently been called in a daily contemporary
to the degrading and brutalizing eft’ect of the practice in
the army, which still occasionally obtains, it appears, of
branding an offender with some indelible mark, so that
he shall bear the stigmata for life of the crime, and the
disgrace attending it. All punishment is, of course,
degrading as well as jiainful, as it should be; but the degra-
dation is rarely, and should never bo, of a character which
clings for life, no matter how deep the repentance, no matter
how full the expiation, or how complete the amendment.
But the brand B. C. — bad character — burnt on a man’s skin

TH>J PHOTOGRAPHIC NEWS.

495

October 1G, 1868.]

is too often burnt into his soul, and he becomes permanently
the thing he is permanently labelled.

But a means of absolute identification is necessary when
a man has been “ drummed out ” of his regiment, in order
to prevent his re-enlistment, and again entering under
another name Her Majesty’s service. The branding serves
this purpose. But the question arises, can its aid not be
superseded by something quite as efficient, and much more
consonant with the civilization of the age ? To meet the
difficulty on the score of identification photography has
been proposed. The photograph of a criminal has been
found in gaols an efficient means of identifying him when
he comes within the clutches of the law a second time, and
has often been made the means of capturing him when flying
from justice.

An army surgeon, writing to our contemporary, points out
that the brand-scar is not always efficient as an aid to iden-
tification, and thinks that, properly managed, photographing
men will bo found a much better system of detecting old
criminals than the plan of branding them. He says: —

The plan of identification by means of photography has, there •
fore, the merit of expediency as well as humanity; but I fear the
re.semblnnee to a likeness taken under far different conditions is
too nice a point for the decision of a Serjeant. Be it remembered,
also, that it is manifestly contrary to his own interest to raise any
point which, like this, may readily escape the notice of his supe-
riors. I would therefore venture to suggest that the portraits
might be deposited with the magistrate before whom the refrruit
is sworn in, and thus the requirements of those regiments be met
who have no inspecting officer.

The use of photography as an aid to the detection of
criminals is one of the sterner missions of a very beautiful
art. If. in the exercise of these missions, it can be made to
supersede and abolish a brutalizing .and degrading remnant
of a much d.arker d,ay, it will afford some gratification to all
those of its votaries interested in the “eternal fitness of
things.”

DECISION AS TO A PHOTOGGAPHER’S PERSONAL
LUGGAGE.

The decision in the case to which we recently adverted, in
which the question was rai.sed as to what constituted a
photographer’s “ personal luggage,” has been given, and
will, we fear, scarcely ]>rove satisfactory to photographers.
It will be remembered that Mr. Owen Angell, of Exeter,
travelling on the South Devon Railw.ay with his photo-
graphic apparatus, for the ])urpo.se of fulfilling a professional
eng.agement, his luggagi! was removed at 'J'eignmouth
instead of being c.arrieil on to Bovey Tracey, whither he him-
self was going. Having been delayed in the exercise of his
profession by the absence of his' apparatus, Jlr. Angell
brought an action for compensation against the Company
in the County Court .at Exeter. The demand for compen-
s.ation was resisted by the Company on the ground that
photographic app.aratus was not personal luggage, and th.at
they were therefore not liable. The decision, which was
postponed on the first hearing of the case, w.as given on
Friday last.

Mr. Sergeant Petersdorft', in giving judgment, said that
as the case was one of considerable importance, he had
deferred his decision, in order that he might refer to the
most distinct and trustworthy authorities on the point in
question. He had therefore referred to Mai-shall’s valuable
work, “The Li.ability of Railway Companies as Carriers.”
Here it was stated that “ the obligations to carry the lug-
gage of a pa.ssenger and the responsibility for iis safety as
common carriers does not apply to goods unconnected with
the personal use, comfort, or convr.nunce of the p.as-icnger.”
His Honour then remarked that before he endeavoured to
test the question at issue, he should refer to som» c.ases that
had already been decided. One — that of Phillips v. The
London and North Western Railway Comp.aiiy — was in
principle strongly analogous to the case before him. It
was there deciderl that a solicitor’s documents in an action

in which he was professionally engaged could not be con-
sidered “ personal luggage.” 'The Cluef .Justice who tried
the case had said : “These were not for the plaintifTs per-
sonal use, or usually required, but were taken by him in his
capacity as attorney for the use of another.” There was
also a case .against the Midland Railway Company, argued
in the Court of Exchequer, which appeared to be completely
decisive on the identical case upon which they were now
engaged. It was there held that an artist’s pencil sketches
were not his personal luggage. It was therefore difficult to
find any distinction between the mechanical contrivance of
taking photographic pictures and the pencil sketches of an
artist. After alluding to some other cases. His Honour said
that the real test must be the question whether the articles
were such as would be essential for the personal use and con-
venience of an individual travelling. If they did not come
within that meaning, then the owner was not entitled to
seek compensation from a railway company. He would
mention one or two strong illustrations. The professional
wardrobes and dresses of actors and actresses, which often
were of enormous value, were not held to be personal luggage.
The same wouhl apjrly to the robes of judges and barristers,
.also to bishops auil other.?. He must therefore decide un-
equivocally that a mechanical .apparatus used for photo-
gra]>hic purposes could not fall within the description of
“ personal luggage.” The plaintiff photographer would
therefore be non-suited.

'i'he decision, ns we have said, will, we fear, prove an un-
satisfactory one to photographers, and appears to us ba.sed
upon a technical quibble rather than common sense. The
companies engage to carry a pa8.scnger and a given weight
of luggage for a given price, and so long as that luggage
does not require unusual care, and does not contain sub-
stances likely to injure the property of other traveller, we
cannot conceive how the question of the nature of the lug-
gage can concern the railway company, except as a technical
means of evading responsibility in case of carelessness or
neglect on their part. The statement made by the judge,
that the rohes of actors and judges, barristers and bishops,
would, on the principle upon which he deciiled, bo disallowed
as personal luggage, seems to give extraordinary point to the
unreasonableness of the principle governing the decision.

That photographers should not place amongst passengers’
luggage imperfectly packed chemicals, which, by fracture
or leakage, might injure other goods, is tolerably clear, and
should scarcely need enforcing; but no question of that
kind has arisen here. A wise caution would suggest that a
box containing the chemicals, in as compact a form .as
po.ssible, should be taken by the photographer into the
carriage with him. Indeed, we commend this course to
photographers, in reference to as much of their ccpiipment
as convenient. In case of the use of dry plates and small
apparatus this will not be difficult, although scarcely avail-
able to the wet worker in a large tent. We can only offer
this consolation to photographei-s, that their right to carry
appar.atus as personal luggage is not likely to be questioned
until tliey raise some claim for compensation, as it is chicHy
under su.di circumstances that railway companies avail them-
selves of technicalities to justify the unfair treatment of
passengers.

STUDIOS AND PROCESSES IN AMERICA.

A.v interesting article in our excellent contemporary, the
Philadelphia Photographer — of the last number of which
advance sheets are before us — describes the mode of lighting
and the processes used by two of the most successful por-
traitists in New York — Ml'. Napoleon Sarony aud Mr.
Fredericks. The writer, who is an am.ateur photogi'.apher
who has had opportunity ol forming the .acrpiaintance and
visiting the studios of many of tire .-iblest profe.ssioiial
jrhotogr.aphers in the States, premises his rem.arks by ob-
serving that he has invariably found that tire best men had
no secret dodges upon which they relied for success, their

49G

THE PIIOTOGIIAPHIC NEWS,

[October 16, 1868.

readiaess to communicate generally being in the exact ratio
of their ability and the excellence of their work. He says : —
“ For many years an amateur, and having travelled and
photographed over a very large portion of our countr}', 1
have, during such trips, made the acquaintance of very
many of our best photographers, and. as yet, have never
met one who made good work who had any secrets, or who
hesitated one instant about comparing his method of work-
ing with mine; but have, in several instances, been repulsed
by bunglers, of whom I had asked questions solely with tlie
view of correcting errors in their work, which I saw plainly
the cause of.”

He finds one general principle pervading tlie operations
of the best men, from which he deduces the conclusions
embodied in the following advice : — “ First. As to the sky-
light. No matter which way it faces — north, south, east, or
west (good work can be made under either) — let the light
be directed upon the sitter, not towards the camera, as is too
often the case. Shield the camera from the sunlight, or
strong diffused light, either by placing upon the roof some
contrivance which will effect the purpose, or cover the tube
by a hood. The more diffused light there is about the room
the duller, flatter, will be j’our picture. The stronger your
light the less iodides and bromides you should use in your
collodion, and the weaker your developer. To obtain the
much desired middle tint or detail in the shadows, give
plenty of time, and use a quite weak, slow- working developer,
avoiding the extreme of intensity.”

The first of the visits he now undertakes to describe, was
to Mr. Sarony’s studio in the Broadway. ^Ir. Napoleon
Barony was, by original profession, a lithographic draughts-
man, and an exceedingly skilful artist. He is the younger
brother of Mr. Sarony, of Scarborough, of whom, as a
photographer, he was a pupil. He was for some time en-
gaged in Birmingham, and his work, as wfdl as that of Mr.
Oliver, had a high reputation in this country. Tlie account
of his New York studio will be read with interest. In our
contemporary it is described as follows : —

“ His reception room — about twenty by sixty feet — is a
model of artistic elegance, the walls and tables being covered
with specimens of his finest productions, which, to those
who know them, is all I need say ; while to those who
know them not, I propose to them to visit and inspect.
They will be politely welcomed by Mr. Sarony, or his partner,
Mr. Campbell.

“ Upon the floor above, within a room of same size as the
one just mentioned, are the skylights, operating rooms —
not closets, but good-sized, well-ventilated ‘ dens.' The
building stands nearly east and west, and the lights are both
facing the north — one at each end of the room— and so
nearly alike in size that a description of one will answer for
both. By having the two lights he is not only able to do
double the work he would with one, but is able to obtain
almost any effect of light and shade that will best produce
the desired end, to choose the best side to light up each sub-
ject, and operate accordingly, which could not be done with
one light. Along the eaves of the building each light ex-
tends thirteen feet, which I shall call the length ; thence
back and upward (at an angle of thirty degrees) thirteen
feet; and from the upper or back slopes down, tightly
boxed in, at an angle of about forty-five degrees, to the
roof, giving a square top-light. The side-light joins the
top-light, and is of same length (thirteen feet), and three feet
down, or wide, ending in a point five feet above the floor.
The ordinary window gla.ss is used, neither ground nor
coloured. As the same style of shades are used by both
parties, I will describe them hereafter.

“ The collodion in use is iodized as follows : —

Iodide of ammonium ... ... 4 grains

Iodide of cadmium ... ... 1 grain

Bromide of cadmium ... ... 2 grains.

Develop with weak ordinary iron developer, and, if neces,sary,
strengthen with pyrogallic acid and silver, of which every
one knows.

“ The printing is, of course, done upon his own paper,
which is floated about one minute upon a plain 60-grain
nitrate of silver solution, which is kept clear by shaking
up with kaolin, and filtering.

“ Any good toning bath will answer. I, however, give
the one he always uses.

Saroxy’s Tosixc Bath.

Chloride of gold ... ... 15 grains

Water ... ... ... ... 2 ounces

Whiting... ... ... ... a teaspoonful

Shake well, then pour on boiling water until the yellow dis-
appears. Filter, and add three drops of a saturated solution
of chloride of lime.

*• This bath is ea.sy to work, certain in its results, and c.m
be used several times ; in fact, the tone of the prints is supe-
rior after using the solution some days. When the day’s
prints are toned, pour the solution through a filter into a
bottle.

“ Before using again, add 5 grains of chloride of gold
and 3 drops of a saturated solution of chloride of lime.

To Fix.

Hyposulphite of soda ... ... 4 ounces

Water ... ... ... ... 30 ,.

Immerse for five minutes, and w;ish in the usual manner.
Is there any mystery here? ”

Mr. Fredericks is one of the oldest established and most
successful photographers in New York, holding high posi-
tion and doing a very extensive business. One peculiarity
of his studio, it will be noted, is the fact that all his light
enters through ground glass, the aim being somewhat con-
trary to common, and what is considered orthodox, practice,
to obtain a large volume of soft light rather than a more
brilliant light through a more circumscribed space.

“ Mr. Fredericks works two lights, both essentially differ-
ent. Either, in unskilful hands, would prove useless, but
directed by Mr. Hugh O’Neil (partner in the business), who
specially superintends the chemical department, and Air.
-lohn De Bains, whose skill under the light cannot be ex-
celled, work is produced, unsurpa«.sed in all respects.

“The upper light (on fourth floor) is a skylight only.
It faces north-west, is of ground glass, fourteen feet square,
at an angle of thirty-five degrees, and slopes away and
down to the roof, solidly boarded up at an angle of forty-
five degrees. At the lowest point, or base of light, it is
nine feet above the floor.

“The lower light (on third floor) is a side and top-light
combined.

The top-light extends in length along the eaves of the
(rear) building, thirteen feet, thence up, and back (at an
angle of twenty degrees) fifteen feet. The side-light joins
the other, and is of same length (thirteen feet), extending
towards the floor nine feet, and to within eighteen inches of
the floor. All the lights are glazed with the whitest and
best ground glass. The light on the third floor (one last
described) has sliding inside sashes of blue ground glass,
which are drawn or pushed over alongside of the other or
outer light. This is found necessary in this one, which faces
south-west, from the fact that it is nearly always directly in
the sun’s rays. It is fitted with the ordinary style of cur-
tains or shades, hung in narrow strips, by which any part
can be drawn up or down, giving the light any direction
towards the sitter that may be desired.

“ The upper, or fourth-floor light of Air. Fredericks, and
the top or skylight portion of Air. Sarony’s lights, are pro-
vided with a very excellent style of screen, by which the
light cannot only be reduced in quantity, but its liirectiou
can be changed as well. For example, if we take one of the
lights thirteen feet long, dividing this by six it will
be found that there are six sections, each twenty-six inches.
Now, if the light be also thirteen feet wide (up and down
way), the sections are twenty-six inches wide by thirteen feet
1 long. Now make six frames of this size, and cover with blue
I tissue paper, which put up by means of hinges, or otherwise

October 1G, 1868.]

THE PHOTOGRAPHIC NEWS.

497

attached to the under-side of tlic top-light, and you have
just the thing. It is self-evident that by turning these
swinging screens up or down, by aid of cords and pulleys,
the effect spoken of can be produced.”

It will be noticed that these blinds arc analogous to what
are known in this country as the McLachlan bliiuhs.

“ The formula) used by Jlr. O’Meil arc as follows : —

“ Collodion, when tlie light is very strong, like that upon
the third floor, he uses —

Iodide of ammonium ... ... 4.} grains

Bromide of potassium .. ... 2 ,,

For weaker light —

Iodide of ammonium ... ... T) grains

Bromide of potassium ... ... ,,

“Developer; plain iron; strongest under weak light;
strengthen with pyro and silver.

“ The printing is done upon the papers prepared by Jlr.
Anthony, and toned in a simple bath of chloride of gold,
made alkaline with sal soda (common washing soda), and
fi.ved in hypo.

“ Is there any mystery here? None ! The great art con-
sists in knowing how to place your sitter prop -rly under the
light ; when to weaken, when to strengthen, your collodion
and developer ; and when to stop its action. These come of
experience, intelligence, and common sense. They are not
told in books or in journals; are only to be had by study
and effort on the part of each photographer.”

PROGRESS OF CARBON PRINTING.

Carbox printing appears to attract considerable attention in
America ; how far its commercial application progres.ses we
do not learn. There are already three or four manuals of in-
struction for working Swan’s process in existence in tlie
States : the “ American Carbon Manual ” of our friend E. L.
Wilson, based upon our own, with full acknowledgment; an
exact reprint of our own; and another which we have not
seen. In the Philadelphia Photographer we find some re-
cords and suggestions which will be read with interest by
photographers in this country. Mr. W. J. Land, who some
time ago suggested the use of alcohol in the bichromate
solution, to aid in the more speedy drying of the tissue, sends
the following additional remarks ; —

“ Since writing to you I have made further experiments
in'this, and find the use of alcohol very beneficial in hasten-
ing the drying of the developed image. After developing
and wa.shing, I make use of a small quantity of (95 per
cent.) alcohol, in which I dip or soak for a few moments the
picture — by osmosis the greater quantity of water is very
rapidly drawn from the print — and complete desiccation
takes place in less than an hour. 1 have dried them in
twenty minutes, or commenced the final transfer within half
an hour after developing.

“ With regard to the use of alcohol in the bichromate bath,
I think it prevents the tissue from keeping longer than one
day : such has been my experience at the present tempera-
ture (98°) of our atmosphere. 1 send you herewith a couple
of prints, made a few days since, using alcohol in both
cases.”

The editor remarks : — “ Oue of the prints inclosed by Mr.
Land is silver, and the other carbon. Tlie latter i.s all we
could desire in a carbon print copied from a large photo-
graph, and there is a brilliancy about it which is very
pleasing.

“ Tlie drying of the tissue, and tlie caoutchouc paper, are the
only real troubles in the process — varying so much witli the
weather. Moreover, immersing the tissue in the bichromate
solution is not as agreeable as tloating albumen paper upon
a silver solution. The first trouble seems likely to be easily
removed by Mr. Land’s plan, and the latter is overcome by
a very simple and ingenious arrangement, the invention (not
patented) of ilr. Quick, of Cincinnati, and a model of which

h.i,s been kindly furnished us by our friend ^Ir. Waldack, of
the same place. Both of these gentlemen have the carbon
process in successful operation, aid have gone into it with a
determination to make it successful anil popular.”

Jlr. Waldack. whose name is familiar to our readers as an
occasional contributor of interesting matter to the Fitoro-
grapiiic Nkws, writes: — “ I am getting ready to make all
my large views in carbon. I can get a higher jirice for
them. .Air. (Juick has made some very beautiful carbon
prints.”

Our contemporary gives a diagram of a contrivance, by
Air. Quick, of the improved method of sensitizing the tissue.

“Air. Quick’s contrivance for sensitizing the tissue,” he
observes, “will be re.adily understood by the above diagram.
Instead of a dish he uses the light frame a a, which is rab-
beted inside, aliout half-way down, tjie rabbet fitting an
ordinary-sized sheet of tissue. Tlie tissue is laid in the
rabbet, face up. and forms the bottom of a shallow tray, as it
were, in combination with a second frame b, fitted over the
sheet into the rabbet. The inside of the frame b is bevelled
(c) outwards all around from the top to the lower edge, in
order to hold the solution ; and it is also supplied with a
lip at one corner, bv means of which the solution may be
poured off. 'Ibis frame b not oiilj' serves to form a tray to
hold the solution, but fitting, as it does, the rabbet in the
frame aa, pres.ses down upon and holds in place the sheet
of tissue, stretching it out straight and even.

“ These frames may be made of walnut or other hard
wood, and should be varnished with shellac varnish or
paraffine. Mr. Waldack writes us: — ‘ Those I use I dipped
ill hot paralline, and left them in about a minute, so as to
allow the jiarafline to penetrate well into the wood.’ When
in use, the dish is held in an inclined position, the bichro-
mate solution poured in at the lower part, and, by tdting, it
is made to flow over the whole sheet of tissue. The great
advantages of this method are obvious. It prevents the irre-
gular drying of the solution on the back of the paper, and,
leaving the ends quite dry, allows it to be hung up by means
of clips, or pins, without sticking to them or the fingers.

“ A similar frame is used to coat the sheets of white paper
with the caoutchouc solution, or hydrocarbon varnish, as it
is called in commerce. This frame, however, need not be
coated with paraftine.

“ We arc certainly greatly indebted to Air. Quick for this
contrivance. It works like a charm, and is, eminently pre-
ferable to the old plan.

“ There is another point mentioned by Air. AValdaek.
which is important to those who prefer to make their own
hvdrocarbon varnish ; i.e., that the only benzine suitable to
(lis-solve rubber is that made from coal tar The jietroleum
benzine cannot he used. The rubber should be fresh — the
white inside of the gum. as it is imported, being best before
it is much exposed to the air. 'I'he difficulty of obtaining
good benzine and good rubber makes it more advantageous
to buy your varnish of your stock-dealer.”

ITCTORIAL EFFECT IN PIIOTOGR.VPIIY ;

Being Lessons in

CO.MPOSITION AND ClIIAROSCtraO FOR I’lIOroORAI'JIERS.

BY II. P. KOBINSON.

Chapter NXXVIII.

The siippo.sed difticulties of jiliotographing children have
prevented many photographeis from obtaining some of the
most beautiful subjects that could com* before a camera

498

THE PHOTOGRAPHIC NEWS.

[October 16, 1868.

Many, even now, when sitters are scarcer than they were,
have a great objection to seeing children enter their studios,
and resign themselves to their fab; in a grumbling humour,
as if they were very ill-used in having to deal with such
troublesome subjects, which is not the best frame of mind to
be in when you are about to deal with children ; while
others will have nothing to do with anything under six
years of age. During the carte mania, it was difficult to
get a child’s portrait taken at all, except by those whose
pictures were so bad that they had little to do, or those who
took a delight in the work. I must confess that I am one
of the latter, and nothing gives me greater pleasure than
to have three or four beautiful children in the studio, with
a carte blanche as to what 1 shall produce, and with plenty
of time at their disposal. I take a pride in never letting a
child go away unaccounted for photographically, however

young or lively. By far the most beautiful photographic
portraits that have been done have been those of children ;
their attitudes are more free and unconstrained than those
of older persons, while their expression is generally more
natural. The wet process is now so perfect that the expo-
sure, when necessary, may be reduced to a very short por-
tion of time, and all that is necessary to success, apart from
artistic knowledge, is sufficient tact in managing the youngs
sitters, who are very clever and quick in finding out whether
they are in the hands of a novice or an adept.

One of the most charming groups of children’s portraits
that have ever been painted is that given in the present
illustration by F. Goodall, a cla.ss of subject of which the
artist was facile princeps, before he altered his style and
went to Egypt for inspiration. It is called “ The Swing,”
and represents a group of beautiful children enjoying them-

selves under the trees a short distance from the mansion,
whose terraced walks a]>pear in the background. Of
course it would be very difficult in photography to repre-
sent a similar subject, although it is quite possible ; but I
introduce it here, not only for the purpose of saying a word
in favour of children as subjects for the photographer, but
also in order to show, as I have endeavoured to do throughout
these chapters, that the same artistic laws apply to all sub-
jects, however different they may be in character, and how-
ever diverse in effect. For instance, 1 pointed out in
Chapter 34, in which a meeting of Quakers was represented,
how the black shoes of the two sitting figures served to
join the groups ; in the present illustration we have the
picture divided into two principal groups, the children
seated and standing under the tree looking on, and the
little lady in the swing, and the two beautiful boys on each

side of her; these groups are connected together by the
light spot formed by the hat in the foreground, which, at
ttie same time, is the supporting base point of each pyramid ;
place the finger over this spot of white, and the arrange-
ment of lines will appear weak, and without purpose.

Artists should take the greatest care this support is never
wanting in their pictures. It may be formed by a light or
dark object, by a contiasting line, or by any device that
experience or imagination may suggest, but it must always
be there. Nothing looks so awkward as a group or figure
that cannot support itself. It is fur this and similar reasons
that the student should well ground himself in the laws of
art rather than blindly copy the designs of otiicrs wlio
have probably not known what was necessjiry to tlie per-
fectness of a composition or the requirements of an artistic
group.

October 16, 1868.]

THE PHOTOGRAPHIC NEWS.

499

.Modern costume is often condemned ; but what could bo
more picturesque, and yet witlioat any exaggeration, than
the dresses of the figures represented in this picture?

ON THE RELATION BETWEEN INTENSITY AND
TONE.

BT NELSON K. CIIERRILL.*

In reading a paper before the opening meeting of the pre-
sent se.ssion of your Society, I feel that I liave to contend
with somewhat serious difficulties. Never having myself
resided in the metropolis, and having but seldom visited
the locality in which we arc now assembled, I have had but
small opportunity of making the acquaintance of the gentle-
men whom I now see before me. Notwithstanding, how-
ever, the disadvantage under which 1 am situated, I am
anxious to bring before you a subject which is worthy
the consideration of this, the first meeting of the session, a
subject which I do not hesitate to call the most important
one at the j)rcsent time; one, the ultimate and definite
settlement of which would do more to elevate the art of
photographic portraiture than almost any other ; one which
is far from being understood, and still farther from being
an active principle in the manipulation of every photo-
graphic portrait; and one which I believe to be the v^*ry
foundation and basis of that peculiar excellence which, in
the portraits of ^I. Adam-Salomon. took the world by sur-
prise at the Paris Exhibition in 1867.

I do not at all pretend to say that in the present paper
I am going, by any means, to do justice to the subject on
hand ; it is, I consider, a most difficult one, but it is, at the
same time, one which requires much more attention than it
receives; and it is one which, I hope, once started, will not
be — as far too many subjects are — let drop, with scarcely any
further expression of opinion on the matter than that of
the author of the paper or article.

Let me now proceed with the matter on hand : the rela-
tion between intensity and tone. This, to a photographer
of the present day, will doubtless mean the relation between
the intensity of the negative and the tone of the resulting
print. This is just the relation that I wish to speak of
ultimately ; but, before I do so, I wish to point out several
things : 1 wish to show what seems to me a very beautiful
series of facts, which lead up to the consideration of the
present state of photography.

Intensity and tone are two very old words, although I
apprehend that among photographer's they mean generally
two rather new things. We shall best understand my
mo.aning if we consider at some length an example studied
from nature. A calm summer sea, the gentle breeze only
just stirring the waveless surface into ripples, the sun not
setting, but yet so low as to be included in the picture, a
few white sails glimmering in the far distance. Can you
imagine any subject with much less contrast, with much
less real intensity than this, one uniform glare of light,
broken only by the greater glare of the sun’s “ path ” on
the water, and perhaps relieved only by the darker sides of
the tiny ripples ? Such a subject, if photographed, would
probably not have to be made very intense in the negative,
because there would be no gradation of colour to be obtained
in the prints ; white paper would not be bright enough to
represent truly even the middle tint of such a picture ; how
much less the extreme light ? From a picture of such a
scene we could hardly gain any true idea of the brightness
of sunlight, or of the real effect of light upon the ocean ;
the picture could have no intensity, and therefore it could
have no real tone.

Now let us change the scene slightly. As the sun declines,
the wind rises and scatters dark clouds along the horizon.
See how at once the face of nature is changed ! Now the
horizon of the sea becomes dark like the clouds, and now,

* Read before the North London Photographic Association, Oct. 7th, 1868.

too, the sun — before bright enough — becomes yet more
brilliant by the contrast of dark clouds which rise towards
it. See, too, how, in like manner, the sun’s path upon the
water is rendered more brilliant and marked by the darken-
ing of the sea all round it, and how each tiny wave becomes
darker on the side turned away from the light. Here would
be more scope for the photographer or painter. Here would
be more room to give some idea of the intensity of sunlight.
The light would not beany more brilliant in itself, probably —
indeed, it would be less so — but now we have some dark to
contrast with the otherwise overpowering light, and contrast
is the key-note and measure of intensity. Now we could
get a somewhat more definite tone into our picture, which
before we could not have done ; and the reason why we can
get tone in theprc.sent picture, and not in the first, is, that now
we have a relation between the lights and darks of the
picture, one which we can understand and appreciate, ami
can therefore represent.

Now let us again slightly change the scene wo arc
considering. The tide has been falling, and now appears
a line of dark, half-rotten timbers, once the main
supports of some old breakwater ; these, left bare by the
falling tide, give us at once the true key-note to the whole
composition. We know at once, from former experience, that
the rotten wood of an old breakwater, with (perhaps) lots of
seaweed growing on it, must bo black, almost, if not quite ;
and so we have a guide by which to judge really how intense
the sun’s reflection in the water is, and how much darker
the clouds are than the blue sky of the first picture. In
the representation of this subject, either in a photograph or
painting, we have the greatest range of contrast to be
obtained in nature, viz., perfect black,* and the sun’s disc,
which is infinitely more than perfect white, in the same,
picture. We therefore have to use the greatest intensity,
either in our colour or our mouochrone, to produce the
effect required. And what is the result in respect of the
tone of the picture? The tone must now be from pure
black to the purest white we can get.

There is a curious point to notice here, namely, that now
we have an absolute key-note to the picture, we must have
everything else in proper tone, or else it would be obviously
wrong. Not so in the second picture which we considered ;
in that, by exaggerating the dark parts of the clouds, much
more intensity might have been given ; but now we have the
black of the old breakwater piers to attend to, we are bound
not to make the sky too dark, or else it would be out of pro-
portion in colour to the rest.

Now, from what we have already advanced, I wish to gather
these points ; first, that the intensity of a picture is greater,
just in proportion as its contrast between light and shade
is greater ; secondly, that the tone of a picture must always
be governed by some one known and ilefinite key-note, as
the extreme black of the breakwater; and 1 think it will
be Seen, upou a little reflection, that the relation of every
tone in the picture to white will change just in propor-
tion to the intensity of black in the darkest part. Wlien
we did not know anything about the black of the breakwater
piles, we should have thought the clouds were very much
darker than they really were; but as soon as wo .saw how
tremendously dark real black was, the clouds became quite
light again, and all the picture seemed in harmony.

{To be continued.)

. SOME REMARKS ON STEREOSCOPES.

BY VALENTINE BLANCHARD. -f

I MUST claim your indulgence this evening whilst I offer
some remarks on a subject which, 1 fear, many of you will
regard as done to death and completely out of date. I hope,
however, that the time will not be entirely wasted ; that

* By perfect black, here, I do not mean the bhack of black pigment, but
that which results from the simple absence of light.

t Read before the South London I’hotographic Society, Oct. 8tb, 1$68.

rm

THE PHOTOGRAPHIC NEWS.

[October 1G, 1868.

something, at least, will arise out of the discussion to make
you feel that the evening has not been entirely spent in
vain.

I have brought for your examination this evening a
very ingenious stereoscope of American manufacture, and I
th ink you will feel witli me, when you look at it, that we
have in the old-fashioned model only another instance of
our peculiar conservatism. The stereoscope is an instrument
which is specially suited to while away a leisure hour in the
evening, when the gas is lighted ; therefore we have gone on,
year after year, improving and beautifying our original box
model, forgetting or overlooking the fact that, to begin with,
it was altogether wrong in principle, excepting for trans-
parencies, which, by the way, could be seen equally well in
the model before you. It is true that in the commonest
form of stereoscope sold in England you have the light
admitted all round ; but in consequence of tbe absence of the
divisional bar and the arrangement — only to be met
with in the most expensive instruments — for the protection of
the eyes from the light, a limited amount of pleasure only
can be got from it.

It ought not to surprise us that we have gone on so long
with the original box model, when we remember that it is
so natural for us to hold fast to old impressions. For
instance, in the first experiments on the application of
steam to locomotion on land, some old coach bodies were
fastened together on a truck, only to be afterwards slavishly
copied in our old railway carriages, and to be seen much
too frequently on our railway lines at the present moment.
Again, I have no doubt that as it was necessary to protect
the gas flame from strong currents of air, a common stable
lantern served as a model for all our street lamps, for in no
other way can I account for their offensive ugliness. I might
go on repeating instances, all tending to show how fond we
are of a well worn road, and that we do not mind a few
cart ruts by the way, but it would lead me out of the right
path, so 1 will return to the subject in hand.

When (ve remember that only a very few years ago the
whole civilized world was taken by storm when the wonders
of the stereoscope were revealed to them, it certainly is a
matter for much surprise when we notice how comparatively
indifferent the mass of even educated folks are to the claims
of this really beautiful instrument. If you put a stereoscopic
picture into the hands of many of your friends, and offer
them at the same time the instrument, in order that they
may enjoy it the more, you will find, only too frequently,
that it will be declined with thanks. There must be some
cause for all this, and I tliink it will be found in the fact
that in the mass of instruments a considerable amount of
fatigue to the eyes is experienced after a few minutes’ exami-
nation of a number of stereoscopic slides by different makers.
The distance from centre to centre vanes so much in the
slides that the eye is constantly strained ; hence tlie number
of people who never properly see a picture with true sterco-
s:opic relief.

ft will be found that in the ordinary common stereo-
scope, of (say) C inches focus, a picture should not have the
objects in the two pictures more than inches apart; and
yet you will find that so great is the demand for large
pic'.ures on the part of the dealers and the public, that a
great number of the slides now offered for sale will measure
3^ inches at least. Now, in the ordinary instrument, such
subjects cannot be seen witliout much fatigue to the eyes ;
but with an adjusting stereoscope the lengthening of the
focus will at once make these pictures combine with com-
fort. Mr. England and others have complied with this
demand for size, without sacrificing the beauty of the picture,
by taking away a portion of subject where the pictures come
together, and giving it to the extremities, so that whilst the
pictures well fill the stereoscopic mount, the centres are not
more than 2^ apart, and not often so much.

The instrument before you combines so completely all the
excellencies of all the most expensive instruments, and is,
withal, so ingenious and inexpensive, that I felt it only

needed to bo more thoroughly known to give a new impetus
to a department of photography which has declined much
during late years. I felt, therefore, I could not do better
than bring it before a Society where its advantages would
be at once seen, and its merits thoroughly discussed. The
necessity for such an easily adjustable instrument will be
seen when I tell you that a difference of five inches in the
position of the slide is needed to make it perfectly seen by
two of my friends. One of them, a gentleman in this room,
requires the slide close up to the partition ; whilst the other
needs the slide to be placed at the very extremity of the
bar. This will be found to be nearly six inches. Another
friend, who has looked at hundreds of slides, has never seen
one perfectly until now. I hope this instrument will be
largely made by the dealers, and that, in consequence, the
stereoscope will once more be a pet instrument in the hand
of every one.

o

NOTES ON PHOTOGRArUIC SUBJECTS.

BY M. CAREY LEA.*

Poisoning by External Use of Cyanide of Potassium. —
Although warnings have been so earnestly and so emphati-
cally given as to the danger of the use of cyanide for re-
moving silver stains, it. continues to be used by many in
preference to substitutes. j"

Some time back a contemporary publishcJ a note from a
correspondent, to the effect that his fingers had become
swelled and sore, continuing so for months, and exuding a
sticky substance, so that tliey adhered to his gloves. He
mentions that he has made no use of cyanide except for
cleaning his fingers, and attributes to that their present bad
condition. This is a singular instance, brought into pub-
licity by the sufferer desiring to find a remedy ; but doubtless
there are many suffering in the same way, who do not re-
port themselves.

There is no recognized treatment for such troubles, nor
have I had the opportunity of observing anything of the
sort in person. But I would strongly recommend the trial
of the following treatment, which I believe would be bene-
ficial, and which, at any rate, could not prove prejudicial.

Take an ounce of oxide of zinc, and an equal quantity
of starch, and a drachm of camphor. Pulverize the camphor
by dissolving it in alcohol, and precipitating with water.
Dry it, and mix it well with the other ingredients. Rub
the powder well into the hands two or three times a day,
brushing off the excess. I suggest this remedy as one which,
judging by analogy, ought to be advantageous, and, as
already remarked, it could do no harm.

It is not, by any means, necessary to use cyanide to get
rid of silver stains. It is true that the other means hitherto
suggested do not work well. Brushing the hands succes-
sively with iodine, nitric acid, and hyposulphite of soda is
very troublesome and disagreeable, and, besides, very im-
perfect in its results. Chloride of iron, as recommended hy
Obernetter, I have not found to answer. But the remedy
which 1 proposed some months since (bichromate of potash,
1 part ; hydrochloric acid, 2 parts ; water, 20 parts) I find
very efficacious, and use it to the exclusion of all other means.
At the end of the photographic work, wash the hands
thoroughly with this. The stains disappear as rapidly as
with cyanide. The solution leaves yellowish marks, and a
peculiar smell upon the hands, both of which are got rid
of with a little solution of hyposulphite of soda.

If I return to the subject of this treatment, after having
already called attention to it, it is from a profound convic-
tion of the necessity of banishing the detestable cyanide, as
far as po.ssiblc, from the photographic laboratory. The

• HlillaUflphia I'hotographar.

t A late number of a (ierman jnumal comments upon a species of soap
oSered to photographers for the removal of silver stains, and remat ks that
the assertion in the advertisement that it was free from cyanide was corn-
firmed by analysts, which also showed that the principal agent contained in
it for acting ujion tlie stains was powdered pumice-stone. It was said to
be efficacious.

TrtK PIIOTOGRAPTIIO NEWS.

501

October 1G, 1868.]

scientific chemist goes through a long education in a labora-
tory, where part of his education consists in being taught
to handle poisons ; and yet most chemists injure themselves
in this way. One of the most celebrated of living cliemists
is said now to suffer greatly from the effects of exposing
himself to injurious agencies, and to be in the habit of
warning his pupils to profit by his experience. And I need
not mention the names of Ileunel, of Gehlen. of Bnllacke,
of Stevens, and other regularly educated chemists, who have
lost their lives from imprudences of this sort. If these
results take place with men who have had all the advan-
tages of a special education, and a thorough acquaintance
with the properties of the substances with which they have
to deal, how much more must it be so with photographers,
who often takeupthe pursuit without any previous instruction
at all, or, at best, a brief course with some practical operator !

Is it not, then, reasonable to ask every one who is in the
habit of using cyanide, to di.scontinue it, at least until he
has given a fair trial to the above described substitute ?

Negatives Losing Grcafhj in the Fixing. — Every one must
have remarked that even when using the same chemicals,
negatives seem, at some times, to lose a good deal more than
at others in fi.xing. The difference appears to depend upon
the following considerations : —

When a collodion film, charged in the usual way with
bromides and iodides, is plunged into the negative ba|h,
there is a formation of iodide and bromide of silver. But
exactly where this transformation occurs will depend
entirely upon circumstances. It is evident that cither the
nitrate of silver solution may enter the film and form the
new silver salts in the film, or the bromides and iodides in
the collodion may pass outside the film and meet the silver
solution outside the film, in which case the sensitive layer
of iodide and bromide of silver will be formed on the film
instead of in it. Of course, a superficial deposit of the
sensitive film will lead to the production of a superficial pic-
ture, and this cannot but suffer much more in the fixing
than one firmly embedded in the collodion film. This
naturally leads us to inquire under what cireumstances the
sensitive layer will be formed in the film, and, under what,
upon it. The answer is not difficult to find.

The weaker the silver solution, the more rapidly will
those portions immediate!}’ in contact with the film become
exhausted of their silver by the decomposition at its very
commencement. Then the production of the iodide and
bromide is checked, and time is given for a portion of the
iodides and bromides of the film to pass outside of it, and
suffer decomposition beyond it. On the other hand, when
the bath solution is strong, silver is supplied as fast,
or nearly so, as it is exhausted, the sensitive layer is well
imprisoned in the collodion film, and there results a nega-
tive that bears fixing with very moderate loss of strength.

It is evident from this, that inattention to keeping up the
negative bath to its proper strength may lead to a con.se-
quence that might be mistaken for the result of something
very different.

In a late number of the Berlin Archiv, Haugk mentions a
case where this weakening of the negative to excess, in the
fixing, took place with an entirely new bath. Although it
seemed at first as if this could not be attributable to weak-
ness of the bath, it proved to be so ; the nitrate of silver
had been largely adulterated with nitrate of potash, so that
its strength was greatly inferior to what it had been
supposed to be. The same bath, after having been much
reduced by evaporation, gave negatives which behaved
satisfactorily in the fixing bath.

^racctUing.^ of Soxictic.^.

North London Photographic Association.

The first meeting of the winter session of this Society was
held in Myddelton Hall on the evening of Wednesday,
October 7th, Mr. G. Wharton Simp.son in the chair.

The minutes of the previous meeting having been read and
confirmed, the following gentlemen wore duly elocteil members
of the Society: — Messr.s. W. Wood, J. Crasweller, ,1. H.
Shanks, ,1. Ilowden. G. Fuller, R. Chappell, Jun., F. Campion,
S. Lowry, N. K. Chorrill.

The Chairvian then called the attention of mombers to tho
presentation prints for the year, examples of which were on
the table, which far exceeded in value the amount of the year’s
subscription. As tho members were aware, on this occasion
competition for the supply of the presentation prints was
invited, and a large number of pictures were sent for selec-
tion. Of these, two had been chosen from the works of very
able men, and were now ready for distribution. They consisted
of a fine l2 by 10 print by Mr. Lake Price, entitled tho
“ Falconer,” which was very admir.able as an example of art
photography: of a 10 by 12 landscape by Mr. Nelson K.
Cherrill, the subject of which was “ Rirsthall Common,” near
Tunbridge Wells. Tliis landscape contained some of tho
finest cloud effects over produced by photography, and tho
Chairman had ple.asure in informing mombers that the selec-
tion of their committee had in this case met with the en-
dorsement of a jury in Falmouth, as for this print Mr.
Chorrill received tho first silver medal of tho Royal Cornwall
Polytechnic Society. In addition to these were two whole-
plate pictures, selected from Mr. Rejiander’s charming studies,
anil jirinted by Mr. Woodbury’s piMcess. Tltey were entitled
‘‘A Night in Town ’’and “Six Times for a Halfpenny.” He
had pleasure in congratulating members on the unusual number
and value of the presentation prints tho Committee had been
able to offer them on this occasion.

Mr. Belton exhibited a curious little camera and lens, tho
exact use or purpose of which he could not explain, but it had
been placed in his hands as a curiosity, and might have some
interest for the Society.

Air. Nelson K. Cherrill then read his paper on the Rela-
tion between Intensity and Tone (see p. 499).

The Chairman, after proposing a vote of thanks to Mr.
Cherrill, remarked that his paper contained so mucli that none
of them would be disposed to gainsay, that he was afraid it
would not excite mucli discussion. Mr. Cherrill had thought
out and given definite expression to many things with which
they wore all familiar by practice, but whic'.i few of them had
even mentally attempted to reduce to rule. There were, how-
ever, some of the practical points raised in the paper which it
might be interesting to discuss. For instance, the question
might arise; Would tho possession of a standard quality of
albuminized paper, to which Mr. Cherrill had referred as desir-
able, bo really a good thing? Seeing that with the utmost
care and accuracy in operating it would bo difficult if not im-
possible to produce negatives of a standard intensity, might it
not bo regarded as an absolute boon to photographers that
different kinds and qualities of albuminized paper were in tho
market, by familiarizing himself with which, and intensifying
them, the photographer had facility of getting something like
uniform results, by eorapensating want of absolute uniformity
in his negatives by the use of papers of varied qualities ? This
and some other practical points might, he thought, be discussed
with advantage.

Mr. Hart thought, with the Chairman, that the existence of
varieties in quality in paper was often an advantage. Until
photographers had agreed amongst themselves as to a standard
quality of negative, it would bo difficult for albuminizers to
satisfy them with a standard or uniform paper.

Mr. Cherrill said it was not uniformity at which he aimed,
but that when he purchased paper it should bear some recog-
nized relations to a recognized standard, so that every fresh
butch should not require a certain amount of experiment before
the photographer kuew how to deal with it so as to secure good
results.

Mr. Hill said that albuminizers might at least state what
proportion of salt was used in preparing the paper, so that an
idea might be formed of the strength of silver bath required.

Mr. Hart said he feared that this would bo of little service
to the mass of photographers, as they took little note of
tho strength of their baths, generally keeping them in use
until the albumen being dissolved indicated tho need of
strengthening.

A conversation on this subject followed, in which several
members thought the information as to the salting would be
useful.

502

THE PHOTOGRAPHIC NEWS.

[October 16, 1868.

Mr. Hart said, from his experience, he did not think
that tlie majority of photographers would pay any attention
to it.

Mr. CiiERRiLL said that in their operations it would un-
doubtedly be useful, both as suggestive of the strength of bath
necessary, and of the gradual reduction in the strength which
would probably take place when a given quantity of paper
containing a certain amount of salt had been floated on the
bath.

Mr. Blanchard held the same view. It would save much
waste of time and materia) if the paper were marked. Every
time a new kind was employed, it was necessary to ascertain
by experiment the kind of bath it required. lie preferred
weakly salted papers as a rule. Ho believed, that in order to
get the best results in printing, exposure for suflicient time,
indepondeii't of mere depth of printing, was an important
thing. For instance, a thin negative with a highly salted
paper might print deep enough in a very short time ; but he
(lid not believe the print would be so good or so permanent as
if it had been printed on a paper more weakly salted, which
would have rendered necessary longer exposure.

Mr. Hart suggested that when photographers were anxious
to ascertain the amount of the salt used they could soak the
albumen and salt off a quarter of a sheet of paper by means of
distilled water, and, by throwing down the silver jby means
of a standard solution of chloride of sodium, ascertain accu-
rately.

Mr. Hill thought that was like using a steam engine to
draw a cork.

Mr. Blanchard mentioned the fact that a weak bath would
dissolve the albumen olf a highly salted paper, but not off a
weakly salted paper.

Mr. Hart said that the larger the quantity of salt the less
readily the albumen coagulated, and hence a strong bath was
necessary to coagulate highly salted albumen.

Mr. Belton agreed with the remarks of Mr. Blanchard as
to the advantage of knowing something of the proportion of
salt used in the albumen, and scarcely thought that because
some photographers would not make good use of the knowledge,
that those to whom it would bo most useful should bo deprived
of it.

After some farther conver ation. in which Messrs. Hart,
Blanchard, Belton, Hill, Shave, and Cherrill took jiart.

The Chairman said that the opinion seemed general that it
would be a boon to photographers if albuminizers would .aflbrd
them some idea of the proportion ot salt used. It would be
difficult for many reasons, oven if desirable, to secure an
absolute standard, and difficult to state accurately the propor-
tion of salt employed. The varieties in the quality and con-
dition of the original papers, a thing beyond the control of the
albuminizers, would militate against uniformity. Some papers
would absorb salt in greater relation to alDumen than others,
the degree of concentralion of tho albumen solution would
affect the question, so that if tho albuiainizer started with a
batch of albumen with a given proportion of salt, it would, from
evaporation and otlier causes, have a different proportion before
it was u.sed up. Still, if albuminizers would make, sav, two
kinds of |)aper, distinguished as weakly and strongly salted,
tho first containing, say, between 5 to 8 grains to the ounce,
and the strongly salted two or tliree times that amount, he
thought photographers would regard this as a great advantage.

After some further conversation the proceedings terminated.

South London Photographic Society.

The first meeting of tho session of this Society was held in
the City of London College, on tho evening of Thursday, Octo-
ber 8, the Rev. F. F. Statham in the chair.

Tim minutes of a preceding meeting having been read and
confirmed,

Tho Chairman called attention to the remaining presenta-
tion print of the year, which was now ready for distribution.
It consisted of a magnificent IG bv 12 figure subject, by Mr.
H. P. Robinson, entitled “ On tho Way to Market,” printed in
carbon by Mr. Swan’s process. He considered the picture far
exceeded in value tho amount of tho subscription, and, but for
tho kind moderation of the artist, they could not supply tho
members with a second print of such great value.

Mr. Wharton Simp.son exhibited some examples of Mr.
Burgess’s Eburneum process, and briefly explained some details
regarding them.

Mr. Blanchard then brought before the members an inter
eating communication on Stereoscopes (see p. 499). He ex-
hibited some examples of tho new form of stereoscope, which
he described and advocated, and expressed his conviction that
the introduction of a cheap and convenient stereoscope would
do much to revive the comparatively flagging taste for stereo-
scopic pictures. Mr. Blanchard also exhibited some charming
slides for use in tho instruments he passed round.

Mr. Bockett also exhibited an old cheap stereoscope, which
he had modified so as to resemble the American instrument
Mr. Blanchard exhibited.

A desultory but interesting conversation on stereoscopes and
binocular vision, the form of instruments, lenses, prisms, & c.
followed, after which tho proceedings terminated.

Liverpool Amateur Photographic Association.

The ordinary monthly meeting of this Association was held
on Tuesday evening, the ‘26th ult., the President, tho Rev. G.
J. Banner, in the chair.

Mr. Forrest passed round a specimen of his new glass for
focussing, and several gentlemen who had used it pronounced
it to be the best focussing surface they had seen. Mr. Forrest
thought it would bo jiarticularly useful in microscopic
enlarging.

Mr. Henderson reverted to Mr. Hughes’s plan, described at
a jirevious meeting, of tocussing on white cardboard when
enlarging.

A number of pictures, taken on tho occasion of the last excur-
sion to the “Old Hunt,” were passed round. Amongst them a
12 by 10 print, by Mr. Hubbuck, from a dry plate twelve
months’ old.

Mr. Wilson produced a jjicture taken at a previous out-
door meeting, upon a plate two years’ old.

The Prksident complained" of tho bad results ho had
obtained lately with a new sample of paper, and asked if other
members had tried it with a like result.

Mr. Green found fault with it for lack of brilliance.

Mr. Henderson said ho had found that tho time of year
had considerable effect upon the quality of prints, and that
from certain negatives he could not now produce as good prints
as he had obtained during the spring and summer.

.Mr. Gree.n said the same remarks were applicable to fine
and dull weather, and. also, that a greater degree of over-
printing was necessary in a weak light than a strong. He
accounted for it by supposing tiiat with a strong light the image
sinks deeper into the paper than with a weak.

A number of pictures by M. Constant-Dclessert, of Lausanne,
were examined with great interest. They consisted of pictures
by tho collodio-bromide process with various preservatives.
Amongst the number was one of Lausanne Cathedral, which had
received the same exposure as the wet process.

A communication was read from .Mr. Sayce, thanking tho
Society and Mr. Green for the picture presented to him.

.Mr. Wilson took exception to a remark that no progress
had been made in tho collodio-bromide process since its first
jiublication. Mr. Wilson called attention to a new source of
failure in dry plates. Having been troubled with patches of
insensitiveuess in the centre of some of his plates, he at last
discovered that it arose from his having marked upon tho
b.acking of the plate with a wet rag after exposure a distin-
guishing number, and that when returned to the plate-box tho
close proximity of tho moist back to the front of the next plalo
had set up an injurious action, resulting in local insensitiveness.

Amongst the objects exhibited were a. new panoramic stereo-
scope and slides by Warner, kindly lent by Mr. Guyton, and
a pocket camera and stand by Mr. Hubbuck.

Tho meeting was adjourned until tho 27th inst., when a
series of papers will bo commenced upon the collodio-bromide
process. Several gentlemen have promised to take up the dit-
ferent branches of tho subject.

C^0rr£Sp0U&cncc.

PUBLISHING PRINTS FROM PURCHASED
NEGATIVES.

Dear Sir, — Have you room for tho following question in
the form of a warning ‘2

October 16, 1868.]

THE PHOTOGRAPHIC NEWS,

503

If one sell a business with all pecuniary advantages desirable
from the negatives, &c., does that confer the right to publish
from such negatives as if they had been made by the purchaser
himself ?

My reason for asking is, that my successor is now pub-
lishing portraits of many eminent persons, all from negatives
taKen by me, with his name in full as the artist. I know such
cannot be morally done ; if it can do done legally, it is well the
profession should know it, as in such cases they will know how
to act in the sale. — I am, sir, yours truly, John Heattie.

13, Buckingham Vale, Clifton, October \Zth, 1868.

[The legal question could only bo definitely settled in a
court of law or equity, most probably the latter. AV'o believe,
however, that the practice commonly obtains to which you
refer, and is not always as the result of dishonest intention, but
because the photographer conceives that in purchasing the
goodwill of a business ho has a claim to all reputation, Ac.,
attaching to it ; and he further mounts the prints from the
negatives ho has purchased on cards with his own name and
address as a matter of course. Perhaps the point you raise
ought to bo made matter of specific agreement at the time of
transfer, — Ed.]

iu tbi ^tubio.

PkIZE P0RTRAIT.S AT THE RoYAL CoUNWALL POLYTECHNIC
Exhibition. — Wo have been favoured by Mr. Netterville
Briggs, of Leamington, with a copy of the portrait for which ho
received a silver modal at the exhibition now open in Falmouth.
The photograph is in size 1‘2 inches by lO inches, and may
1)0 described, in general terms, as similar in treatment to the
portraits by M. Adam-Salomon, and is a noble example of a
grand and effective stylo. It is a portrait of a gentleman, easy
and graceful in pose, rich and deep in the shadows, pure and
delicate in the lights, with admirable half-tone and modelling.
In the interesting rei)ort of our Falmouth correspondent
allusion was made to a roll of paper in the hand as slightly dis
turbing the repose. In the copy before us the roll in question,
being low in tone, rather serves to spread and repeat the lights,
and gives value to the picture. The delinition throughout is
sufficient without being too sharp, the texture of the flesh
being very fine. The composition and chiaroscuro are
satisfactory, and the whole picture effective. We are glad
to see Mr. Robinson’s successor at Leamington so worthily
taking a position amongst first-class portraitists.

Intensifying Vaenished Negatives. — Some years ago
we described to our readers our method of intensifying v.ir-
nished negatives by means of an alcoholic solution of iodine.
Mr. Rejlander informs us that ho has recently been treating
some of his old negatives, which were a little wanting in
vigour, by this method with the most satisfactory results, the
prints obtained from such negatives being much superior to
any they had yielded before. Photographers who have not
tried this method should experiment with worthless negatives,
in order to familiarise themselves with the manipulations, as
much of success depends in stopping the operation at the right
point.

Photoouaphs on Gravestones. — The custom of placing
photographic portraits of deceased persons on their gravestones
is gradually becoming customary in some parts of the country.
They require, of course, to be placed under glass, and carefully
sealed up to preserve them from the influences of weather.
Wo notice, in a provincial paper, that two such portraits have
recently been placed in a cemetery in a town in the north.
When enamel portraits become a little more accessible and
popular they will doubtless bo found most suitable for such a
purpose.

Photography in Church.— We have received from a cor-
respondent a copy of the ^eweaslle Daily Chronicle of last
Wednesday, which contains the following letter: — “ Phoio-
graphy in the Church.— Sir,— On Saturday last, a wedding
(probably a fashionable one) took i)laco at the church of St.
Saviour’s, Tynemouth. After the ceremony was over, the vicar
(the Rev. T. Featherstono) from within the altar rails re-
quested the congregation and the bridal party to remain still
for a few minutes. Guess, Mr. Editor, the object ! Oh, hor-

rible to relate ! it was to enable a photographer to take the por-
traits of the bridal party and the vicar with his robes on. Has
the vicar forgot tho rebuke given by our Saviour to those who
sold and bought in the Temple, when He overthrew the tables
and the money changers, and the seats of them that sold doves,
and said unto them, ‘ It is written. My house shall bo called the
house of prayer, but ye have made it a den of thieves ’? — I am,
&c., Edwin, Tynemouth.” The photographer, we know, is
almost ubiquitous, and very pertinacious. He cannot well bo
blamed for exercising his craft wherever it is possible. It is no
part of our duty to enact the ecclesiastical censor, otherwise wo
should certainly regard the action of the vicar as open to grave
rebuke for making the church a studio in which to photograph
a bridal party.

Weak Baths. — Describing tho operations in producing tho
very fine illustration to the October number of tho Philadelphia
Photographer, by Mr. Keeler, of Philadelphia, tho Photographer
says : — “It was printed during the whole summer upon an
average solution of eighteen grains. Sometimes I used as low
as thirteen grains. My formula is about as follows : —

Silver ... ... ... ... ... 480 grains

Water ... ... ... ... ... 24 ounces

Alcohol ... 1 ouuco.

Float the paper one minute, fume five minutes. This paper
kept white through the hot weather ; more so than any paper
I have used.

TONING solution.

Water ... ... ... ... ... 32 ounces

Acetate of soda ... ... ... fiO grains

Table salt 60 ,,

Take one bottle of gold containing fifteen grains, and dissolve
in eight ounces of water. Take one ounce of chloride of gold
solution and neutralize with bicarbonate of soda, and add to
the above, one hour previous to using it. This bath may bo
used an indefinite number of times by adding tho above
amount of gold each time.”

Photographic Identity. — In Now York it is announced
that the directors of tho Park Bank, in establishing regulations
for their new safe-deposit vaults, have adopted the idea of
identifying each lessee of a safe by his own carte-de-visite pro
viously obtained. — Philadelphia Photographer.

Earthquakes and Photography. — It is stated that in
America tho price of gun-cotton is about to be advanced, for
the reason that tho earthquake in South America has cut off'
the supply of nitrate of potash.

“ Scientific Opinion.” — A now series of this journal, tho
publication of which had been suspended, is announced for issue
next month by Messrs. Wyman and Sons. It will contain a
general resume of tho progress of current science, and, as such,
will bo interesting to many of our readers.

9;0 (^0rr£S|)Ottl&£uts.

Tyro. — If you have access to the Edinburgh Philosophical Journal
for 1819, you will find Sir John Herschcl’s very full account of
the hyposulphites, and the first intimation of their value in dis-
solving salts of silver. Three forms of hyposulphite of silver aro
there given : First, Ag 0, S; Oj, a salt very sparingly soluble
in water, but soluble in a strong solution of any alkaline hyposul-
phite. Second, Ag 0, S, 0., ; Na 0, S.^ 0, -1- 2H0, sparingly
soluble in water, but soluble in a strong solution of an alkaline
hyposulphite, 'i’his is tho salt commonly formed in cases of imper-
fect fixation from the use of a weak or cxhau.stod fixing bath or im-
perfect immersion. Third, Ag 0, S.jOj; 2Na 0, Sj Oq -t- 2HO.
This sjdt is readily soluble in water, and is the salt which should
bo fonned in tho ordinary process of fixation. It is upon the con-
version of tho chloride of silver, which is insoluble in water, into
a hypo.sulphite of silver, whieh is soluble in water, that tho pro-
cess of fixing depends : for whilst much of the silver is dissolveil
out of the print in tho hypo bath, if tho silver salt which always
remains in the jjrint on leaving the bath were not soluble inM'ater,
we could have no perfect fixation or approach to permanency.
You will find an account of the hyposulphites of silver and their
behaviour in Hardwich’s Manual, p. 168 of the last edition, or

504

THS PHOTOGEAPHIC NEWS,

[OcTOBEE 16, 1868

p. 57 in the sixth edition. It is our practice in writing for non-
choniical readers to deal with a subject as popularly as possible,
avoiding technical terminology and the use of symboliciil lonnula'.
Ignorance is pardonable where it is modest and confessed. It
only becomes very contemptible when it is paraded and exulted in.

OxoxiEXSis.— In double printing there is constant necessity for the
exercise of personal judgment and ingenuity, and thc.se will grow
with practice. There are often several modes of doing the same
thing, but there are also certain recognized methods which are
most simple and effective. In a land.scape with a soft, tender dis-
tance forming the sky-line, it is a good plan to practically vignette
the mask which covers the .sky into the landscape by means of a
little cotton wool. Where a spire, or a serie.i of pinnacles, or simi-
lar objects cut sharp against the sky, if it be ncee.ssary to mask
the sky, there is no better plan than painting on the varnished
surface of the negative with lampblack or other suitable water
colour, or black varnish, carefully following the outline of the ob-
ject. An ordinary roughly cut mask is then used, which does not
come quite close to the spire, Ac., but overlaps the painted portion.

2. Sunning down a sky, so as to produce a graduated tint, may bo
done in several ways after the print has left the pressure-frame.

A piece of board may be used to shade it, gradually uncovering
in the degree rc(juircd ; or, the landscape portion being quite covered,
a cylindrical roll of paper may bo placed upon the sky in such a
position that it partially protects the paper, and just allows sufficient
light to produce a graduated tint to fall on the white sky. Where
a spire or similar object projects into the sky, it may be disregarded
in the process of sunning down ; in this way tlie slightly increa.sed
depth of the top portion wall not be apparent in the fini.shed pic-
ture. 3. It is probable that large prints will be injured in a small
syphon tub. The principle of such machines is very good, but it
should be applied in vc.ssels of suitable size for the prints. The
plan of Mr. England’s machine is a good one for large prints. We
described it a few months ago. There are several good washing
machines to be bought; but there is nothing superior to constant
change and draining by hand for those who only require a few
prints, and take a personal interest in their excellence. 4. Baths
often rapidly discolour again after the use of kaolin, because they
are often made slightly alkaline by some impurity in the kaolin.
There is no serious harm in using a discoloured bath, so long as
the tint acquired by the paper is removed by the hypo bath, which
h commonly is. We prefer decolourizing the bath by the addition,
with agitation, of a few drops of a strong .solution of common
salt, which, in forming a precipitate of chloride of silver, cairies
down colour and other contaminations. 'I'ho use of one-eighth of
alcohol in place of water in the nitrate bath often checks dis-
colouration.

J. Cautek Browne, M..\. — Wo are glad that you got rid of your
troubles by returning to your old process. We fear that there is no
developer which will give tones similar to those of Ferrier’s trans-
parencies on tsinnin or tannin and sugar plates. Gallic acid would
not help you. The ordinaiy pyro and citric acid developer gene-
rally gives verj' good tones ; but you may possibly get a colour
more approaching to black by the use of tartaric acid in place of
nitric acid. 2. The soft, somewhat hazily-defined effect of the
jirint to which you refer is not in any way duo to the printing pro-
cess, but entirely to the negative, which was probably purposely
taken a little out of focus. 3. As almost any pigment you may
choose may be employed in the tissue in Swan’s proce.ss, there can
be no great difficulty in obtaining a suitable green to give the tint
of foliage, if you wish it. Such .a colour could only be used, of
course, in close bits, in which no sky is seen, as nothing would be
more hideous than a tint of green in the .sky. A’ou might produce
the tint by the additicn of some of the green pigments sold by
artists’ colourmen, such as sap green, emerald green, malachite
green, &c., or by tlie mixture of a blue and yellow pigment.
4. Wo should be glad to have a fuller de.scription, for publication,
of your printing-frame for transparencies.

W. J. A. G. — Mr. Gordon prefers the iron development for his gum
plates, as giving the best results and securing immunity from some
troubles. The details of iron development were given by Mr.
Goiaion in our number for May lothj p. 230 of the present volume.

W. S. — Mr. Solomon, of Red Lion Square, is the agent for the sale
of Hamecker’s dry collodion in tliis country".

Quandary. — The term plain jiaper is u.scd simply as a distinction
from glazed or albuminized paper, and, for transferring collodion
prints to any good smooth plain paper, whether photogi'aphic paper
or not, will serve. ’I'ho only advantage of using jihotographic
paper is derived from the fact that it is of a more even, perfect
texture generally than oixlinary writing papers. 2. The glazed or
enamelled papers for the purpose are prepared in France, but are,
we believe, sold by most London dealers. AVe do not know the
jirice. If we i-emember aright, we have seen it for sale at Mr.
Hughes’s, in Oxford Street. 3. If albuminized paper be employed,
it would not be necessarx- to gelatinize it, probably, but it would be
necessary to have it without salt, which commercial samples are
not ; so you had better abandon the notion of using albuminized

paper. 4. In referring to the dry method of transferring, we said
the manipulations were similar to those used in enamelling,
bccau.se we had often described the process. A'ou will find details
in our Year-Book for 18G5, page 82. We may briefly state the
plan thus : when the transparent print is toned and dned, coat it
with a warm solution of gelatine, I ounce in 12 ounces of water.
AVhen this is set, moisten the paper for tran.sfcr, and bring it into
contact with the gelatinized paper. When dry, a knife point is
run round the edge, and the whole leaves the glass. We prefer
the wet transfer as simpler and requiring less delay, and as also
giving a little less glos.s, which we prefer. 5. Yes; the gelatinized
paper .should be moistened with cold water.

A Constant Reader of the News. — Both the lenses you name
are very excellent, hut we prefer that you distinguish us A.

B. L. — A transparent trick, very common in the quarter you name,
which wo understood before we received your letter. Thtinks.

You.no Axiateur. — In Mr. Bartholomcxv’s acetate of morphine
process the plate is not xvashed after treating xvith the 1-grain
morphine solution, but is simply drained and dried. 2. In Mr.
Gordon’s gum process, the gum and sugar-candy solution is not
xva.shcd off; the plate is simply drained after its application, and
dried. 3. The choice must depend much on circumstances. The
first is simpdest, but it should only he used for plates to be used
xvithin a few days. I’lates by the latter xxdll Keep for months.
4. All good hromo-iodized cidlodions ansxx-er xvcll. That you
mention (Rouch’s) xvill, xve believe, be found suitable. 5. A good
developer for collodion positives on glass stands as folloxvs ; prolo-
sulphate of iron 15 grains, nitric acid 2 drops, glacial acetic acid
15 drops, xvatcr 1 ounce, alcohol quantum stiff. 6. Dry plates are
not xvcll suited for the production of positives, but it is possible
to produce tolerable re.sults upon them.

James Kerr. — You xvill find an article dc.scribing sex'eral methods
of employing two prints to form one picture on page 544 of the
Eighth Volume of the Photographic Nexvs, the number being
that for Nox’ember 11th, 1861. The process, xvith slight modifica-
tions, has been repeatedly patented, but xve do not think that any
of the patents arc in force.

Actinic (Jersey). — The design and general proportions of your
proposed studio are excellent. The only modification xx-e xvould
suggest is the extension, if convenient, of the side light on the
north side to ten feet.

E. Saxvyek. — Wo hope you xvill receive sufficient information to
enable us to rectify the matter satisfactorily in our next. AV
xvill bear your request in mind.

Gum Gallic Amateur. — Your communication arrived just as xx’o
xvero going to press, but shall have attention in our next. Although
the handxxTiting and crest make our correspondent knoxvn to us,
he should have enclosed his card in a letter making such an offer.

Received : A series of Micro-photographs from the Surgeon-General
of the United States army ; the Quarterly Journal of the Quekett
Microscopical flub : and a Portrait from S'etterville Briggs. Com-
municalions from E. L. AA'ilson (Philadelphia), Diogenes, Major
M. (Rajaniiorc), and several other Correspondents.

An Arlicleoii tlu- L ite Eel psc, “ A’isits toNotoxx'orthy Studios,”
an Article from Mr. Bov ‘y, sumo Reviews, and several other Articles
in type, arc compelled to stand over from tlie pressure on our pages.

Several Correspondents in our next.

^()otogravf)4 Ixrgistrrrli.

.Mr U Mumbv, London

Six Photographs of Uobert E. Gay, Esq., .M.R.C.3., 4c.

Mr. J. Stcart, Glaxgmv,

Photograpli of David Macrae, Esq.

Messrs. Ueauforo 4 Drdok, Nuns Island, Galway,

Pbotograjih of the late Father P. Daly.

Mr. J. CoLLi.x'Gs, CurdilT,

Ten Photographs of Ball-room and Cardiff Casllc.

Messrs. lY. 4 D. Dow.skt, Newcastle,

One Photograph of Her .Majesty the Queen.

Three Photographs of II. It II. the Duke of Edinirargh.

One Photograph of Prince and Princess of Wa cs anil Family.
Three Plioiograjins of Right lion. B. Disraeli.

One Photograph of Dr. Norman .McLeod.

.Mr. II. Birlon, Bradford,

Photograph of Mr. Chippendale.

*,♦ All photographs forwarded to the Publisher for registration receive
attention at once ; but the pressure on our space sometimes compels us
to defer the acknowledgment iu this column. It should be borne in
mind, therefore, tliat non-acknowledgment at once does not necessarily
imply non receipt or non-registration.

«

THE

NEWS

CONTENTS.

PAOB

A New Aid to Harmonious Printing S05

A Photographers’ Relief Fund 605

The Proportion of Salt Employed in Albuminizing Paper 507

Failure of Photographing the Eclipse in India 507

Uneven Drying of Sensitized Alnuminized Paper - 509

On the Application of the Camera-Obscura to Harbour Defence 510

Modes of Lighting the Sitter. Ry John Heattie 510

Photographic Printing in Silver, Theoretical and Practical. Hy
W. T. Bovey 511

PAOB

Print-Washing Aided by Osmotic Action. By W. J. Land 511

On the Relation Between Intensity and Tone. By Nelson K.

Chcrrill 513

To Swing, to Tilt, or to Level ? By Prof. John Towler, M.D 513

Oorrespondence— Cleaning Old Plates— Amount of Salt Used in

Aibuminiziug Paper— Distortions and Perspective 514

Talk in the Studio 515

To Correspondents 515

Photographs Registered 516

A NEW AID TO HARMONIOUS PRINTING.

The iiupovtaucc of skill, taste, ami judgment in printing,
especially in portraiture, is, wo believe, but imperfectly
appreciated amongst many photographers. To print 'a
negative fairly, so as to do full justice to its good (pialities,
as well as its defects, without suppressing or e.'Laggcrating
either, is not such a mechanical task as some imagine. To
get all in the prim which is in the negative is one clement
of good printing, but it is by no means all that is required,
nor all that is possible for the printer of artistic taste and
skill to secure. By the e-xercise of a little judgment con-
trast may be decreased or increased, defects modified or sup-
pressed, shadows deepened, and spotty lights toned down or
removed. In short, by skill on the part of the printer, ‘a
good picture may be produced from an indifferent negative.

Mr. Samuel Fry has just communicated to us an import-
ant aid to artistic and harmonious printing which he has
for some months past employed with very great success. It
depends on a system of masking in which he has most
ingeniously employed existing means to a most important
end. Let us, before proceeding further, explain the circum-
stances under which this aid becomes of special value.

Every photographer is familiar with a class of negatives
in which there is a slight excess of density. All tlie detail
and modelling are there, but from the unexpectedly non-
actinic colour of the deposit when dry, or from the tempta-
tion, so strong to some operators who love brilliancy, to give
just a moment too long to the intensifying, the lights are
slightly too opaque. The conseipieuce is, that the shadows
arc bronzed before the modelling, due to delicate half-lights,
is sufficiently impressed on the sensitive paper, and, if the
portrait be printed sufficiently deep to do this modelling
justice, all detail in the shadows is buried, and blackness
and want of transparency is the result. The use, in print-
ing, of paper and bath giving little contrast, sun printing,
and shading the deeper parts of the image during the pro-
gress of printing, are remedies each of which affords some
advantage in such cases ; but the expedient we are about to
describe is simpler and more efficient in many cases than
any of them.

The mask Mr. Fry employs is a transparency from the
same negative. It will be seen in a moment how this ope-
rates. The transparency or glass positive is in all respects
the reverse of the negative. Where the latter is opatiuc, the
former is transparent ; where the negative is transparent, the
positive is opaque. When the paper print from an over-
dense negative is sufficiently printed in the shadows, the
lights still remaining chalky and without detail, the trans-
parent positive on glass is brought into use. It is placed
outside the printing-frame, of couise, because the print
could not with advantage be disturbed, and because extreme
sharpness in the printing of the mask is not required. It

will be seen now that the deposit forming the shadows of
the transparent positive protects the print in those parts which
are already sufficiently deeply printed, whilst the whites,
being transparent, permit the rays of light to pass freely,
and so to continue to print through the dense lights of the
negative, and thus to secure in the proof all the delicate
detail in the lighter portions of the picture without losing
transparency, burying detail in the shadows.

It will be seen that this kind of mask suits itself to tho
precise degree in which tho excess of contrasts exists in tho
negative, and must, if used with judgment, inevitably tend
to produce harmonious prints from dense or hard negatives.
Where special effects are required, such a mask may easily
be manipulated a little. For instance, it may bo necessary
to preserve the extreme purity of some few points of light,
whilst it is desirable to reduce, or get detail into, many
others. In such a case it would be easy to stop out in the
transparent positive the points where further printing in
the lights is not desired. Modifications of this kind will
doubtless suggest themselves to the judicious printer as tho
occasions arise.

In some instances, instead of taking a glass transparency,
a paper print, made transparent by means of varnish or wax,
might be employed as the mask ; but it would not be so
efficient, as the registration of gradation would not bo so
perfect, and the amount of light obstructed by such a paper
mask would make the final harmonizing operation some-
what slow. As every new aid to artistic piinting is of great
value in securing the progress of portrait photography,
photographers are indebted to Mr. Fry for an ingenious
and useful method of obtaining harmonious prints from
over-intense negatives.

A PHOTOGR.iPIIERS’ RELIEF FUND.

W E have received several letters of late on the subject of a
photographers’ relief fund, all of which, with some diversity
of opinions on points of detail, agree in the general idea
that “ something ought to be done.” Some few think that
the time is not quite ripe for such an experiment ; and
that it would be a pity to try it and fail. This view was
forcibly put to us by one of the oldest and ablest of our
artistic photographers, who recently called upon us. He
suggested that photography, as a profession, is undergoing
a weeding process ; that many who took it up ha.stily, be-
cause of the promises of profit it seemed to hold out a few
years ago, but who did not, in a legitimate sense, belong to
photography as a profession, were forsaking it again for
their own respective legitimate callings ; and that it would
bo better to get this weeding process completed before
establishing any benefit fund, the exi.stencc of which might
tempt them to remain longer in a profession which, for their
I own Bakes, they had better abandon.

50G

THE PHOTOGRAPHIC NEWS.

[October 23, 186 8.

The question {is to the proper class of pereons to be ad-
mitted to the benctits of such an organization, although
really a detail for subsequent decision, stands sufficiently
in front of the question to merit some consideration at
the outset, as it might materially determine the character
of the organization. If a benefit society proper, upon an
economic basis, be established, the wider and more catholic
the qualifications of the members the better, for a benefit
society works most perfectly when it consists of large num-
bers. The averages upon which the distribution of relief
must be calculated work out more perfectly over a wide-
spread area than they possibly can within any limited range.
If, on the other hand, a benevolent fund bo contemplated,
it becomes important that relief designed for photographers
should be preserved for them, and not poached upon by
the quasi-claims of hangers-on of the profession. It is not
necessary, at present, to define the qualificaiions which
should entitle the possessor to inclusion in the benefits of
any contemplated fund ; but it may be worth while to bear
in mind certain broad distinctions, such as we have hinted
at, in any steps which may be taken in the matter.

In the meantime, as we have said, every one seems to be
satisfied that it is desirable that something should be done.
Indeed, ever since we first broached the idea, four years ago,
this proposition has received general assent. But the im-
portant question. Who will undertake the ])ractical initia-
tion of the matter? remains still unanswered. Our imme-
diate purpose in writing now is to place before photographers
a veiy important offer which has been made. We have
received a letter from a gentleman, whose handwriting we
know — although no name is appended to his letter— as
that of an amateur of high standing, offering, if a satis-
factory committee be formed within si.x months, to con-
tribute fifty pounds towards the formation of a fund.
We print his letter without further preface, and shall then
add one or two observations to correct certain misconceptions
it contains: —

“ The Photographic Providest Fu.n’d.

“ To the Editor of the Photographic News.

“ Dear Sir, —I see by the various journals numerous letters
respecting the late Goddard Fund, and also that there is an
idea to create a new one to assist jrhotographers generallv.
Some of these letters imply great blame with those who had
the management of the former fund. 1 think it was a great
error of the trustees to withhold the money from Jlr.
Goddard, seeing it was asked for in his name. No doubt
they thought it would be for the best to make the money
received the commencement of a fund for more general
purposes, and so it has gone on until now.

“ At the present time much good might be done by starting
a Provident Society Fund, to be composed of those who
may some day or other require help, and also those who are
well off, and able, from their means, to assist tho.se most
deserving. The great end of such a fund should be to give
assistance only to those who, when in healtii and earning
good wages, had tried to make a saving against accident
and misiortiine as far as laid in their power, and those who
had been overtaken by accident without having had that
opportunity. It is very much the fashion for charitable
institutions to give to all who ask, or to those who can put
the most pressure on the subscribers, instead of making more
enquiries as to the cases being deserving or not. These do
much more harm than good, and serve as an encouragement
to the imjirovident.

“ Supposing these views meet the approval of many who
are willing to help, and a fund is started, no doubt the
balance remaining of the Goddard Fund would be handed
over to tlie committee, and a start made in the right direc-
tion. It some one would act as secretary, to receive the sub-
■seriptions, the journals would most likely publish a full
account of all done during each year, and every subscriber
would know how the money was distributed.

“ If these ideas can be carried out in the course of the

next six months, and a committee appointed to my satisfac-
tion, I will commence with a donation of fifty pounds to
the fund. — I remain, dear sir, yours truly,

“ October 12t^, 1868.” “ Gum Gallic Amateur.

Here is a noble offer, coupled with the simplest and most
reasonable conditions. It will surely not be suffered to lapse
without some effort to make it available. Wo may add
that we have in our possession various other promises of
liberal subscriptions, payable when such a fund shall bo
formed.

The errors or misunderstanding to which we alluded have
reference to the Goddard Fund. It is no part of our duty
to anticipate the report of the gentlemen under whoso
direction the fund has been administered ; but as an agent
through whom part — the larger part of that, indeed, sent
through the journals — of the money was forwarded to the
treasurer, and having so acquired a quasi-trusteeship, and, of
course, a perfect knowledge of the facts, it would be unfair in
us to print the above letter without correcting the misconcep-
tions it contains. There are two points to mention : —

First. The fund was raised to relieve Mr. Goddard from a
state of extreme indigence bordering on starvation, and the
trustees, with a much fuller knowledge of the circumstances
than we can here detail, administered the fund as they
believe best secured the purpose for which the money was
asked ; and from the commencement of the subscription to
the time of his death Jlr. Goddard was provided for,
and was in the receipt of relief from the fund averaging
throe or four times the amount of his previous income, derived
from precarious charity. If the committee had agreed to part
with the sum raised, instead of resolving to invest it in an
annuity, they had reason to believe that, although it would
have relieved them of immediate trouble and responsibility,
they would have failed in securing the end for which they
liad appealed to the public. This is simply a question of
judgment, in which the trustees, with a more minute know-
ledge of facts than would be easy to make public here, took
the course involving the greater trouble, in order to keep faith
with the contributors to the fund.

Second. The notion that the trustees have, or ever had,
any intention of employing the Goddard Fund as the
nucleus of a general fund is altogether an error. Wo know
that statements to the effect that such an intention existed
have been industriously circulated ; such statements are pure
fabrications, without a shadow of foundation in fact. When
Mr. Goddard died, the end for which the money had been
contributed had been achieved, and the balance of the
money, after paying the liabilities and funeral expenses of
Mr. Goddard, the trustees at once felt belonged, not to
them, to dispose of as they chose, but to the subscribers, by
whom it had been entrufted to them for a specific purpose ;
and they resolved to return the balance to the subscribers,
dividing it in the ratio of the contributions. This would
have been done at once, but certain claimants arose, alleging
that tlio money had been bequeathed to them by Mr.
Goddard. Although the claimants for money supposed to
have belonged to Mr. Goddard at his death had left him to
indigence in his life, it would have saved the trustees some
trouble to have handed over the balance at once ; but the
view entertained by the trustees of the ownership of the
money being confirmed by legal advice, they had no alter-
native but to restore the balance pro rata to the sub-
scribers. As we have said, this would have been effected
without delay, but those concerned in Mr. Goddard’s wil
having signified their intention to contest the owner-
ship of the money at law, the trustees were instructed
that no steps should be taken to redistribute the money
until tlie lapse of a sufficient period of time. This done,
it was necessary to collect as perfect a list as possible of
subscribers, with their addresses, a work of no little time and
labour, already, so far as we believe, nearly accomplished.
Every subscriber to the fund sufficiently interested in the
matter to make enquiry, has received full information of the
facts, and in every instance has expressed unqualified

October 23, 1868.]

THE PHOTOGRAPHIC NEWS.

507

approval of the course taken by the committee, upon whom
a troublesome and thankless task had fallen.

Under these circumstances the committee Lave not felt
concerned to notice the false reports, raised for mischievous

f'Urposes, in sham letters, by unscrupulous men, who avoid
bo risk of ^tection and punishment by writing anony-

inonsly. That any one so liigh-minded and straight-

orward as the correspondent who makes the above munifi-
cent offer should for a moment be misled, is a temporary evil
Very readily .rectified. Anonymous slanders cannot in any
way injurpthe gentlemen against whom they are directed ;
but they may in some degree effect other mischief, by tem-
^i^rrFTiy narrowing or retarding the stream of benevolence,
and by rendering able — and therefore generally busy — men
indisposed to subject themselves to false statements and
offensive inuendoes by undertaking the onerous duty of
initiating and managing such an organization.

Our correspondent will see, however, althougli at first
glance it might seem desirable that the balance of a fund
raised for a specific benevolent purpose should be applied to
a benevolent project of similar aim, but wider scope, despite
the injurious suggestions as to motive made by malignant
persons, yet those to whom the funds were entrusted have
no power to make such application. The money belongs to
the subscribers, and is only held in trust until the proper
moment arrives for returning it to its rightful owners.

THE PROPORTION OP SALT EMPLOYED IN
ALBUMINIZING PAPER.

A QUESTION which “ crops out ” at intervals amongst photo-
graphers was raised at the last meeting of the North
London Photographic Society, and is again referred to in
our pages in the present number. The question is: Is it im-
portant that albuminizers should state what proportion of
chloride is employed in conjunction with albumen in prepar-
ing photographic paper? The question is simple enough,
and it might be imagined that no discussion whatever
need arise on the subject, but that it would be answered
without a moment’s hesitation, whether the information
were of value or not. But, oddl}’’ enough, the question is
not answered : a circumstance which has induced some
photographers to ask the question put by a correspondent
in our columns this week : Is there some occult reason

for this reticence? Is it possible that albuminizers work so
much by rule of thumb that they are uncertain of the
proportion ot salt employed ?

We do not think that any such reason for reticence
exists, or that any reasons exist at all beyond a certain
amount of indifference, and an impression that the informa-
tion is not really required by the public, ilr. Hart
stated at the North London meeting that few photographers
had any interest in such information, or could make any
use of it if they possessed it; and he suggested that those
who were anxious to know the proportion of salt could
easily dissolve the albumen and salt off a quarter of a sheet of
paper, and, by precipitating the chloride by means of a
standard solution of nitrate of silver, obtain means for esti-
mating the proportion of salt present. In making this sug-
gestion Mr. Hart overlooks the fact that, apart from the deli-
cacy of the operation to persons non-familiar with chemical
manipulations, it is the trouble to which they arc put which
is the ground of protest on the part of photographers. They
complain that with a fre.sh sample of paper they have no
guide to the mode of treatment required without some ex-
periment ; and, as a remedy, Mr. Hart suggests an experi-
ment which, to many of them, will be far more troublesome.

We know Mr. Hart to be a skilful, intelligent, and con-
scientious manipulator, and that all his operations arc based
on sound chemical knowledge of his subject, and careful
consideration of the wants of photographers, neither guess-
work or chance governing his operations. We do not
imagine for a moment that the operations of any albumin-

izer are conducted so loosely, or so much by rule of thumb,
that he could not give a toler.ably accurate statement of the
proportion of salt used. From a variety of causes we need not
dwell on, exact precision in the statement might not be easy,
but a very near approximation might be given, quite suffi-
cient for the purposes of photographers. Very' few photo-
graphers now prepare their own paper: with all the uncer-
tainties of which we occasionally hear complaint, it is found,
as a rule, easier and better to buy albuminized paper ready
for use than to prepare it at homo. At a time, however,
when photographers did albuminize for themselves, wc re-
member that it was the custom of some of the most able men
to prepare two distinct kinds — a heavily-salted paper for
vigorous negatives, and a lightly salted paper for soft nega-
tives. Why should not albuminized peper-makers do the
same, and state that the strongly salted paper contains from
10 to 12 grains of (say) chloride of sodium to an ounce of
albumen solution, and requires exciting on a CO or TO grain
bath ; and that the other contains G or 8 grains of the
chloride, and requires a 30 or 40-grain bath? There coubl
be no great difficulty in this ; and the information would bo
acceptable to many, .and might be useful to all.

Jlr. Hart, plausibly enough, asks. Why photographers do
nota.sk the constitution of the collodion? Two or three answers
to the question arise at once. It might be first replied, that
they have often done so, and the more intelligent of them
would always be very glad to have some idea of what they
arousing. It might be replied, in the next jilace, that such
information is often, at least in a modified form, supplied.
Manufacturers generally willingly state whether a collodion
is simply iodized or bromo-iodizod, and also whether it con-
tains an extra proportion of bromine. But the most im
portant answer is found in the fact that variations in the
proportion of salt in albuminized paper produce greater
variations in result, less under the control of the photo-
grapher, than the slight variations which exist in commer-
cial samples of collodion. In printing, very much of the
quality of the jiicture as to vigour or weakness depends on
the preparation of the paper, and the photographer has not
much facility in modifying this, except so far as it can be
done by altering the strength of the silver solution. With
collodion the case is different ; the control possible in the
developing and intensifying operations renders the original
tendency of the collodion of far less importance.

Mr. Hart said — and, we are satisfied, truly — that photo-
graphers could generally obtain the information by a.sking
for it of the manufacturer. Would it not be well that it
should always be given in general terms without asking,
and that in future a G-grain or a lO-graiu paper be as fami-
liarly spoken of as a liivc paper or a Saxe?

o

FAILURE OF I’UOTOGRAPIIING THE ECLIPSE
IN INDIA.

It is a matter for deep regret and mortification that the
photographic part of the operations of the Expedition sent
out from England to India to observe the late solar ecli[)se
was a comparative failure. Some weeks ago the members of
the Royal Astronomical Society received copies of a letter
sent by Major Tennant to the Astronomer- Royal, recording
the results obtained at Guntoor on the 18th of August.
The photographic portion of the report was so unsatisfactory ,
or even humiliating, that we felt little inclination to publish
it. An extract secured from a second letter, although re-
cording that the results were better than were at tii-st
believed, does not serve to redeem the o[)er.ations from the
stigma of comparative failure. The first letter of Major
Tennant opens us follows : —

Guntoor, Awjiiit 18, 1868.

This morning was very promising, and if it liad followeil the
course of its jiredecessor, we should have hail a m.agnifieeiit (dear
sky; hut it clouded over the east with thin eumulostrati, which,
while hardly stojiping vision, interfere very much with the photo
graphic energy ; and the result was that every negative was u uder

608

THE PHOTOGRAPHIC NEWS.

[OcfoBEE 23, 168

fixposcd, ami wo have little more than very dense marks showing
the protuberances. The six j.lates arr.an^ed for were duly eipos(?d,
but the heat so concentrated the nitrate of silver solution, that,
besides showing but faint traces of any corona, they are all covered
with spots. Still we may make something of them, and will try.

Our first impulse, on reading such a statement as this as
the result of such an expedition on such an occasion, was to
repeat the famous sentence of Ruskin, “ This is not failure,
hut disaster !” Compared with the results obtained by ilr.
Warren de la Rue in Spain, in I860 ; compared with those
secured by the German expedition, and recorded in our
pages by Dr. Vogel, such an issue as the above is most
humiliating. The plates were under-exposed, and covered
with spots, we are told, as though the possibility of guard-
ing against such contingencies was a thing undreamt of.
In a subsequent letter to Mr. Warren de la Rue, Major Ten-
nant is more hopeful, and better satisfied with the results
obtained. The extract from his letter, published in the
Athenccum, is as follows : —

I did myself the pleasure of sending Mr. Airy a report, such as
I could hurriedly make, upon the 18th, of wliat wo had seen and
done. Since then we have been enlarging the photographs, .and 1
am very well satisfied. The clouds reduced the actinism very much
and very unequally, but that has shown new tilings to mo.
1st, there is very little corona; 2nd, the cloudy structure of pro-
minences is very marked. J5ut the most remarkable thing is a
great horn, which seems to have been 3m. 20s. nearly high. I
have, as 1 told Mr. Airy, clearly seen in its spectrum C 1) and b,
and believe I saw F, but did not identify it. Now this shows, both
in Nos. 1 and 3 [photographs], as a ribbon of light, coiled spirally
round a semi-transparent centre. It is very beautiful, and marked
iu 3, which was taken two minutes after the [commencement of]
totality, and I am doing my best to keep this feature [to retain
this feature] in the copies. No. 1 was taken apparently before the
last of the sun went. Phillips [one of his assistants] says it was,
and there is a spot of fog such as would bo the result. There is a
fine line of light seen through all this fog, much brighter than the
corona. This, too, 1 am keeping on enlarging. We have got si.x
enlarged positives, about 2i inches in diameter, from each nega-
tive. Every one of these shows the same remarkable sj)iral struc-
ture in the great horn. I find there are traces in a drawing which
Hr. Janssen got made of that prominence [mentioned in the first
part of his letters as invisible to the eye] of which 1 spoke. The
positive copies I will enlarge to 9 inches.

The result of the under-exposure, it is here suggested,
was less injurious than was at first suspected ; but the
multitude of spots, from the nitrate of silver becoming
“ concentrated,” of course nothing can remove, and their
picsence must seriously interfere with the value of the
photographic record of the eclipse. A Fellow of the
Royal Astronomical Society, writing to us on the subject,
has some excellent remarks, from which we make one or
two extracts. After calling our attention to “ the igno-
minious failure of the photographic part of the expedi-
tion,” he adds, that it seems to have occurred “ simply
because, to the best of my knowledge, there was not an ex-
perienced photographer among the expedition who knew
how to prevent the nitrate of silver solution becoming so
concentrated that it produced a mass of spots. It is true,
a certain number of the party had been taught the opera-
tions of photography at Cranford Observatory (t. e., W. De
la Rue’s) shortly before starting ; but was that sufficient to
insure success ? Why not have piocured the services of an
experienced photographer, such as accompanied the expedi-
tion to Spain, in the person of Mr. Downs (of the firm of
Cundal and Downs) an ‘ old hand ’ at all the ins and outs
of photography ? Or, perhaps, better still, the expedition
might have procured the services of an Indian photographer
who knew how to arrest the rapid concentration of nitrate
of silver !

“ The German Expedition, as per your insertion of Dr.
Vogel’s letter, have secured three perfect negatives tetfltouf
spots. And why ? Rccause the party composing that expedi-
tion numbered at least three thoroughly experienced photo-
graphers among them, clearly showing that they, at least,
knew what was wanted to insure success as regards the
photographic part of the expedition.

What excuse has the Royal Society for this signal

failure? for every practical photographer who has read Dr.
Vogel’s letter, and who now reads Major Tennant’s, cannot
fail to divine the cause of non-success of the English
Expedition.”

Tliis expedition wa.s sent out by the Royal Society, aided
by Government, and we fear very much that it is to the aid
of the latter much of the failure may he attributed. It is
probable, in fact, that it is due to red tape. A staff of men
provided by Government might or might not befitted in all
respects for the work ; but if the men ‘‘ told off ” for the
duty knew nothing of photography, it would be against all
precedent to import a photographer from another department.
If the men were selected from the Engineers, and they were
not familiar with photographic operations, it would be quite
inadmissible to introduce amongst them men from (say) the
Artillery, who were skilled photographers. It is probable,
from what we can learn, that to a cause of this kind the
failure in result was due. Be this as it may, however, it
appears tolerably clear that no experienced photographer
formed part of the expedition staff, or we should not have
heard of such puerile difficulties as spots from concentration
of the silver solution.

The photographic operations of the German expedition,
so well described in our columns, were admirable in their
systematic prevision. Possible forms of failure were antici-
pated and carefully provided against. The condition of the
various chemicals was carefully tested, and the relative work-
ing conditions of various collodions ascertained under the
previse circumstances in which they would be reejuired.
Preliminary exposures were tried on the spot. In short,
everything was so well rehearsed, and every one so carefully
told off to his duty, that failure from preventible causes was
scarcely possible. If this expedition were distinguished by
anything of military routine, it was in the efficient drill by
which they prepared themselves for actual operations ; whilst
the one military element which was missing in the expedi-
tion in India was this effective drill.

We have in this country several photographers of high
repute and great practical skill who have had experience in
Eastern photography, and who have succeeded amid the
gravest difficulties. We refer to such men as Bedford, and
Frith, and Goode. Surely It would have been possible to
have secured the services of some of these or other experi-
enced photographers, to whom the purely photographic ope-
rations should have been confided, and who would have
certainly secured immunity from the disasters attending con-
centrated silver solutions, and probably, also, from the ri.sk
of under-exposure.

We add here the remaining paragraphs of Major Tennant’s
letter to the Astronomer-Royal : —

Capl. Branfill reports the protuberances unpolarized, and the
corona strongly polarized everywhere in a plane passing through
the centre of the sun.

Complemenlarily, I have to report a continuous spectrum from
the corona, and one of bright lines from the prominence I examined.
I am, I believe, safe in saying that three of the lines in tho spec-
trum of the protuberances correspond to C, 1), and b. 1 saw a
line in tho green near F, but I had lost so much lime in finding tho
protuberance (owing to the finder having changed its adjustment
since last night) that I lost it in the sunlight before measuring it,
and 1 believe 1 saw traces of a line in the blue near O, but to see
them clearly involves a very large change in tho focus of tho tele-
scope, which was out of the question then.

I conclude that my result is, that the atmosphere of the sun is
mainly of non-luminous (or faintly luminous) gas at a short dis-
tance from the limb of tho sun. It may have had faintly luminous
lines, but I had to open the jaws a good deal to get what 1 could
see at fir.st, and, consequently, the lines would be diffused some-
what; still, I think 1 should have seen them. The prominence I
examined was a very high narrow one, almost to my eye like a bit
of tho sun tlirough a chink in brightness and colour (1 could see
no tinge of colour), and somewhat zigzaggtsl, like a flash of light-
ning. It must have been three minutes high, for it was on the
preceding side of tho sun near tho vertex, and was a marked ob-
ject. both in the last photo iilate just before tho sun reappeared,
and to the eye.

Captain Branfill saw tho prominences coloured, ns did two other
gentlemen; but one iu my observatory (like myself) only saw it

October 23, 1868.]

THE PHOTOGRAPHIC NEWS.

509

white. I should, however, say that for long I never saw a Orionis
markedly red, nor Anlarex, and I may not caleli r(!il soon, though
I cannot conceive this being so.

In conclusion, I may note that the darkness was very slight,
and the colour not half so gloomy as in the eclipse of 1857, wfiich
was partial at Delhi, where 1 was then.

The spectroscopic examination of the eclipse by Lieut.
Herschel, given in a letter to Mr. Huggins, will be read
with interest by many photographers ; —

The week preceding the event had quite prepared me for dis-
appointment. There seems to be an annual cloudy and rainy season
at Jamkandi, which lasts about a fortnight, and was said to be
somewhat later and more marked than usual this year. The
morning broke, however, as usual, clear, but the driving monsoon
clouds soon showed the kind of sky wo were to expect. About a

uarter of a minute before totality a thick cloud ob.scured the sun.

had placed the slit (of the spectroscope) so as to cross the cres-
cent at about the vanishing point of the limb, and was watching
the narrow solar spectrum grow rapidly narrower. You may con-
ceive the state of nervous tension at this moment. Whatever the
corona was competent to show must in a few seconds have been
revealed — unless, indeed, it should so happen that a prominence
should be situated at that precise spot, in which case the double
spectrum would be presented. Hut the solar spectrum faded out
while it had still appreciable width, and I knew a cloud was the
cause. I went to the finder, removed the dark glass, and waited —
in that fever of philosophical impatience which recognizes the
futility of irritation, even while it chafes under the knowletlge of
fleeting seconds — how long I cannot say, perhaps half a minute.
I can well recall the kind of frenzied temptation to turn screws and
look somewhere el.se, checked by the calm ticking of the clock,
telling of a firm hold of the right place, cloud or no cloud. Soon
the cloud hurried over, following the moon's direction, and there-
fore revealing first the upper limb, with its radiating, and, as I
fancied, scintillating corona, and then the lower limb. Instantly
I marked a prominence near the needle point in the finder. A
rapid turn of the tangent screw covered it with the point of the
needle. Those few seconds of unveiling were practically all that
I saw of the eclipse as a .spectator. With the exception of a hurried

lance into the finder at a later period, to watch for another bre.ak,

was the whole time engaged at the spectroscope. I have not the
remotest idea, from actual experience, of the external phenomena
which were pre.senttothe thousands of upturned faces who.se voices
I heard outside. 1 might easily have lifted the curtain and looked
out while the clouds were obstructing. Tliat 1 did not do so is
only to be explained by the absence of mind, as regarded all else,
produced by the concentration of attention on the problem before
me. To return : the instant the prominence was under the needle
point, I returned to the spectro-scope. A single glance solved the
problem in great measure. Three vivid lines — red, orange, blue !
No others, no trace of a continuous spectrum. I think I was a
little excited about this time, for I shouted, quite unnecessarily, to
my recorder, “ Red, green, yellow!” quite conscious of the fact that
I meant orange and blue. I lost no time in applying myself to
measurement. And here I hesitate ; I have no idea how those five
minutes passed so quickly. Clouds were evidently passing con-
tinually, for the lines were only visible occasionally. The red
must have been less vivid than the orange, for after a short
attempt to measure it I passed on to secure the orange, and,
succeeding to my .satisfaction, tried for the blue line. Here I was
less successful. The glimpses of light were rarer and feebler, the
line itself grow ing shorter and further from the cross. I did, how -
ever, place the cross very near the true position, and got a reading
just as the re-illumination of the field of view informed me that
the sun had reappeared on the other limb. I consider there can
be no question that the orange line was identical with 1) (sodium),
as the instrument is competent to establish an
identity. I also consider that the identity of the blue line with F
(hydrogen) is not established ; on the contrary, I believe that the
former i.s less refracted than F, but not much. With respect to
^e red line, I hesitate much in assigning an approximate place.
It might have been near C (hydrogen). I doubt its being so far
as B, but there would be its limits. The corona ma)’ have pro-
jected a spectrum of some kind, but I saw none. I therefore con-
clude it was a faint solar spectrum, a conclusion in accordance
®Iher characteristics of the phenomenon, but especially with
the (flickering ? ) radiating appearance, and with the satisfactory
determination by Lieutenant W. M. Campbell, R.E., of the con-
*^^« **•* polarization obtaining in the corona. At present it is
aufficient to state that these observations leave no doubt that the
light of the corona is polarized in places passing through the sun’s
centre. I have had no communication with any other observers
since the event. I am curious to learn how far our results will
corroborate each other.

UNEVEN DRYING OF SENSITIZED ALBUMIN-
IZED I’Al’EIl.

A DIFFICULTY, tho causc of which is not well understood, but
which is productive of most annoying results, is sometimes
troublesome to photographers. We refer to the uneven dry-
ing of the excited albuminized paper. Instead of the solu-
tion draining and evaporating evenly, a portion of it remains
standing in drops, at greater or less intervals, all over the
surface of tho sheet. These drops dry, of course, very slowly,
and in the finished print their places are marked out
by grey spots of less vigour than the remainder of the
image.

Various causes have been assigned for this irregular dry-
ing, and various remedies suggested, but considerable un-
certainty as to the actual cause o" cure remains. One rea-
son for its occurrence, suggested by a manufacturer of albu-
minized paper, is the use of a nitrate bath much stronger
than is required by his paper, which, being lightly salted,
does not require a strong bath. No reason was stated for
the unsatisfactory action of a strong bath; it was simply
said that experience had shown that the trouble in question
followed the use of a strong bath, and disappeared when a
weak one — or, rather, one of the proper strength — was used.
The probable explanation of that fact is, that very rapid anil
very complete coagulation was produced by the strong bath,
and the very horny surface had a somewhat repellent action
on the solution, causing it to run into drops insteail of
draining and drying evenly. Another manufacturer of
albuminized paper, Herr Schering, of Berlin, sent an inte-
resting communication to our columns, stating that the
defect in question was often the result of the paper having
been kept in a very dry place before sensitizing, and that
the defect would disappear if the paper were placed in a
cellar or damp place for a few hours before it was floated on
the silver solution. The only time we met with tlie trouble
ourselves we found this plan proved a remedy ; but we have
repeatedly had cases brought under our attention in which
meither remedy proved efficient. One simple and certain
cure remained, but it was troublesome, and sometimes in-
troduced another evil. If, instead of allowing the excited
sheet to dry in the ordinary way, it was blotted off with
clean bibulous paper, there was, of course, no risk of uneven
drying. Adopting this coarse has generally proved quite
satisfactory, but in some instances it has been alleged that
the prints on such paper possessed less vigour, owing to
the removal of the free nitrate by the blotting-paper.

A correspondent in India has recently sent us another
remedy, which he finds to give eminently satisfactory results
in every way. We may mention, by tho way, that our
receipt of this suggestion affords an interesting illustration
of the wide-spread communicy of feeling which the devotion
to a pursuit of mutual interest engenders. Three months
ago, a correspondent, simply signing the initials “.J. S.,” in
our columns, mentions his difficulty. Another photographer,
a major of cavalry in the Punjab, reading his News, and
seeing this difficulty mentioned, writes a letter to “ J. S. ”
to give him a remedy which he has found to be a perfect
cure. The letter is forwarded to us for “ J. S ,” with a
suggestion that we should make the recipe public, if we
think it worthy. ‘‘ J. ,S.” and his address are alike unknown
to us : a great many of our correspondents in difficulties
give us no clue to their identity ; nor is it necessary that
they should. In case of letters for publication it is, as a
rule, neces.sary that we should receive the name and address
of the writers ; but we are well content that applicants for
advice should preserve their incognito. “ J. S.” will,
however, doubtless see in our columns the letter intended
for him, which we now subjoin.

“ Bajanpore, Punjab, India, 29th August, I8C8.

“ My dear Sir, — I have just received my Photographic
News of the 24th ult , and have noticed that you are in just
the same fix as I was, until a short time ago, when a friend
helped mo out of my difficulty by recommending a dodge

510

THE PHOTOGRAPHIC NEWS.

[OcTOBKn i23, 1868.

ulieii'liv ti> put !iu ell‘j(;tu:il stopper to tlio uneven dn/in(/ of
the sensitizin;/ xnhifion on albuminizcil paper. With the hope
that you may liirl it as eft'ective as I have, I send it to you ;
viz. —

“ Beat up tlie wiilte of an egg well in 4 ounces of dis-
tilled water; add to this 4 ounces of the ordinary silver
printing solution ; allow this to settle, and, rejecting the
sediment, add a portion of the solution to the paper sensi-
tizing hath. If the blisters still continue to appear, add
more of the solution till the evil is eradicated.

“ I.solatnd, iis I am here, on the borders of a desert, you
can readily imagine the many and great didienlties I, as an
amateur in photography, have to contend with, and can,
theri4ore, the more re.adily imagine my delight and surprise
to find the above recipe the verp thinr/ I wanted. 'I’he
strength of my sensitizing bath is now only 50 grains to the
ounce, and I secure as rich and vigorous prints as if I were
using a 90-grain .solution.

“ I shall be glad to learn that the remedy has proved as
successful with you as it has done with m;. My toning bath
is the old acetate of so la one : —

Acetate of soda ... ... ... 30 grains

Chloride of gold ... ... ... 1 grain

Distilled water ... ... ... 8 ounces.

Mix the soda and gold in an ounce of the water, and let stand
for half-an-hour ; add the rest of the water, and tone.”

o

ON THE APPLICATION OF THE CAMERA-
015SCURA TO HARBOUR DEFENCE.

Fob some time past the subject of defending harbours and
rivers by means of submarine mines or torpedoes h.as
received much attention in military circle.s. In tliis country
.a committee, entitled the “Floating Obstruction Committee,”
has been for some year.9 p.ast eng.aged in considering the
best and ino.-^t cllicient method of employing explosiv^e
machines in w.arfare of this description, and in studying
tile most certain and readiest manner of planting and
igniting the same. In Austria, also, during the late
German war, the subject e.xcited much interest, and, under
the superintendence of Baron von Ebner, a distinguished
oflicer of Engineers, the lagoons of Venice were strongly
fortified with torpedoes, consisting of stout metal cases con-
taining charges of from one to five hundred pounds of
gun-cotton. Some of these machines were, we believe,
automatic, or self-igniting, on their coming into contact with
an enemy’s vessel, but the majority were connected by
means of insulated wires with the shore, whence they could
be exploded at the will of an operator placed so as to com-
mand a view of the wliole expanse of water.

During the past month experinrents have been made by
the Belgian Engineers at Antwerp, with a view to effect a
perfect system of fortification on the Sclicldt, by means of
submarine explosive mines. The method adopted w.as very
similar to that )nirsued at Venice, and appears to have
given great satisfaction to the Belgian authorities. The
mode of proceeding was .as follows : —

At a convenient and sheltered spot near the expanse of
water to bo planted with torpedoes was constructed a camera-
obscura of the ordinary description, the lens of which was
so fitted as to be perfectly rigid and immoveable, the pic-
ture being reflected upon a wliite covex surface sufliciently
barge to include a reproduction of the space to bo defendeij.

A ve.s.scl proceeds to lay tlie torpedoes in any line or posi-
tion that may h.avc been determined upon, and whenever
tile vessel stops to sink a charge, an operator, who is
watching the ships’ movements upon the table of the
camcra-obscura, proceeds to mark the exact spot upon the
board, attaching to each mark a consecutive number.
Insulated wires are led from e.ach torpedo to the interior of
the camera, and placed in the same order, or marked with
the same numbers, as those upon the table, which voters to
their respective whereabouts. By this means the operator

is enabled to w.atch the ajiproach of an enemy’s vessel over
the apparently unobstructed water, andtoexplode any specific
torpedo over which the unlucky ship may chance to piss.

'I’liis seems a very simple method ot operating, and
although it h.as never been tested in actual warfare, inasmuch
.as Venice was never attacked by sea during the late war,
there is every prospect of the plan working elHciently. 'riio
Belgian Engineer officers were so delighted with the efficacy
of the method that they have at once recommended the
institution a furtlier and more extended trial ; the only
we.akncss observed in the system was, that it is perfectly
useless by night, a fault, however, which is inherent with
every method of optical observation. At night, when the
landscape is so dark that no picture is reflected upon the
c.amera table, the observation of the surface of the water by
means of a telescope would be equally without result ; and
it could only be when the torpeiloes themselves were
insulated and connected with a galvanometer on sliore, so
that the fact of any body touching the- machine would bj
recorded by the completion of the circuit and a movement
of the galvanometer, that the approach of any vessel could
be made known. A combiuation of the camera-obscura and
self-recording systems of torpedo defence would, we believe,
constitute a perfectly trustworthy method of carrying on
this description of w.arfare.

MODES OF LIGHTING THE SITTER.

BT JOll.V BEATTIE.

Will you .allow me sp.ace for a few remarks in addition to
the quantity of sense and nonsense that lias been written
upon the almost all-important subject to a photographer,
his best method of using light?

I give them not dogmatically, nor as fooil for discussi.an,
but simply ,as my experience. I have made use of a due-
south light for eleven years ; my gl.ass house w.as 30 feet hy
12 feet, and fifteen degrees from due south and north ; side
walls II feet high, a very sharp angle “ A ” roof, .S feet of
glass in the roof, and perpendicular towards the cast ; the
sitter was placed at the north end. The windows were fitted
carefully with valves, coloured pure white on one side and
black upon the other; and the whole o( the inside of the
building painted a dead-slate black. On the right si<le of
the sitter 1 had a canvas, neatly stretched upon a frame, and
painted pure white; upon this worked a black curtain, and
by this means I got my inner half shade.s. 'The time of my
sittings w.as from two to eight seconds. Such was my plan
of working a south light, which, if got free from reflected
impure light coming from immediate surroundings, I would
prefer to any other for use in this country.

What so many overlook is, the fact that every object in
the gla.ss room is throwing back its colour in the face of the
sitter, and that is done with an intensity in proportion to
the amount of diffuse light in the room; and to the same
proportion lengthening the sitting and flattening tlie pic-
ture jiroduced.

1 will give two instances out of many I could quote.
When travelling this last summer, I called upon one whi>
w.as much trouhicd with weak pictures with dirty shadows;
he had tried all collodions and developers ever used or
thought of. His light w.as well pl.aced, but far too much
of it. The inside of his glass house was light grey. His
sittings were twenty-live seconds. He closed out six feet of
glass, painted all the surfaces lilack, got his reflector for half-
tone ; Ills sittings were reduc'd to live seconds, with finely-
marked pictures as the result. Another had a very large
room, with enouj-h of gla.ss in it for a crystal p.alacc — im-
mense surfaces of glass in front of l.is sitter ; he was l.argir
in his knowledge, and pugnacious when reasoned with ; but
I observed he sat, with a good lens and moderate light, forty
seconds.

Now what is really wanted ? A pure liglit, unafl’ectcd by
reflections from houses or any other surfaces, p.assing through

October 23, 18G8.]

THE PHOTOGRAPHIC NEWS,

511

as small a space as may be (Icemcd jiidlcloiis, wcdl directed
upon the sitter. Tliere must bo no intliicnce, either above or
around, to the least oppress the countenance or rondur the
pupil of tlie eye small ; all must give a sense of comfort.

With above conditions, ami a keen sense of beauty and
grace on the part of the artist, fine results will follow ;
amongst those results (presupposing moral conditions pre-
sent) will be plenty of employment at remunerative prices.

Lastly, I believe if artists would look for genteel situa-
tions, though private, where fine light could be obtained,
instead of publie places, with too often bad light a.s the
result (after all, it is the work tliat is got out into society
that makes the success, and not the samples placed at the
entrance), they would be more sure of gaining a position.

13, Buckingham J’ale, Clifton, October lOth, 1808.

riIOTOGR.\PHrC PRINTING IN SILVER, ITIEO-
REITC.VL AND PRACTICAL.

BV W. T. BOVEY.

CoscLCDivo Remarks oir Toniso, etc.

A snoRT time since a correspondent, writing to the Editor
of the News, was especially severe in his remarks on account
of my having recommended the use of a minute quantity of
free nitrate in the toning bath. 1 trust tliat ere this the
gentleman alluded to has studied my comments on toning
matters with sulHcient attention to glean tlierefrom the fact
that, however he mightconceive it necessary toeradicate every
particle of free nitrate from prints intended to be toned by
the methods advised by his accepted autliorities, the ailop-
tion of my formula renders it imperative that the prints un-
dergo a brief wash only, prior to their entering the toning
solution, for the following reason, the (juantity of chlorine is
so limited that it is too feeble to attack silver reduced by
light; and were it not for the more readily reduced free
nitrate, toning would proceed very slowly indeed, and, not
nnfrequently, the bath would be entirely inert. The condi-
tions (lifter when the carbonate of soda bath is cmploved, for
except the carbonate of soda has been added in excessive
(piantity, the chlorine freely attacks and reduces the silver
ol which the print is composed, and toning action is set up
and continues until the recpiisitc amount of free chlorine is
(!xhausted. That free nitrate of silver is capable of setting
up toning action was amply proved under circumstances I
now proceed to describe.

A sample of paper was sent me by a friend who was de-
sirous that I should try my hand on an unusually obstinate
article. The surface of the paper was horny and extremely
brilliant, as if the coating consisted of the thickest of albu-
men, and the drying eftected at a high temperature. On
floating the sheets on the silver iiath the albumen proved
impervioii!} to the action of the fluid, for when lifted off the
bath the liquid collected in globules on the surface of the
paper; and printing under such ailverse conditions was, of
lamrse, an impossibility. To remedy the evil I reduced the
strengtli of the silver bath, and thus conijnered difficulty
number one. lint why reduce the density and strength of
the bath? Simply because I deemed it reipiisite to allow
the water to retain for use a portion of its solvent powers,
which acted on the albumen, and so gave admission to a
uniform supply of silver. The printing on the sheets thus
sensitized proceeded satisfactorily', anil all went well until
the prints were immersed in the toning solution, when 1
found myself once more at fault, for toning action there was
none. This set me once more cogitating, and, on reviewing
the conduct of the prints in the washing water, it occurred to
me that the water c.xtracted only a very minute quantity of
freti silver. Reason why : the comparatively impervious con-
dition of the albumen caused the film of silver to be of an
extremely superficial kind, and as the chlorides had failed
to unite with silver throughout the whole thickness of the
albumen, the pictures were formed on the outer surface only,
and no interstices were present in which free silver could

obtain a seat. I might have found an effective remedy by
further diluting the silver bath, but I did not wish to lose
the prints that were in the toning solution ; besides, as the
pictures were remarkably delicate and brilliant, I was
desirous of retaining those good qualities ; so, to effect my
object, I added a few drops of a weak silver solution to the
toning bath, when, to my gratification, I found my antici-
pations realized, and the prints passed through the ordeal
triumphantly. Had I been using the ordinary gold bath, as
generally adopted, toning action would have proceeded im-
mediately the prints were exposed to its influence, the re-
duced silver surface would have been attacked, and that attack
would have resulted in a ruined batch of prints — a rich yield
of the vilest form of mcalinitss, as the slightest reduction of
the prints must have destroyed all their claims to the beautiful.
The gold bath, which w.os prepared by the siinjilo formula 1
have provided, could not act on the rcduccrt silver, and as
long as the feeble chlorine found nothing it could act upon,
toning action was in abeyance; but directly the free silver
was provided, the chlorine found work suiting its capabilities,
and all ended satisfactorily. I subsequently used up a ream
of the same kind of paper, and suffered no further difficulty.
But it strikes me that I liave said enough about toning
baths, and may now dismiss the subject by removing the
prints from the toning fluid to another dish that contains
the washing water.

(To he continued.)

PRINT-WASHING AIDED BY OSMOTIC .\CTION.

BY W. J. LAND.*

The perfect removal of hyposulphites from photographic
prints in the shortest sjiace of time possible is a desideratum
worthy of study by every lover of jihotogra])hy. Having made
a few experiments to test the value of osmotic action as an aid
in washing prints, and believing that hyposulphite can be
removed in a shorter time by this method than any other
known — excepting, probably, tiie treatment with jiero.xide of
hydrogen or chlorine, both of which agents are apt to injure
the finer half-tones — 1 oft'er the following. ho[)ing that it
may be of interest to the practical photographer.

Wlien a print is removed from its hypo fixing bafh, and
thrown into a vessel of warm water, astrong osmotic action takes
place, the albumen film acting as an e.xcellent septum to the
thousands of hypo- vesicles just beneath. At a temperatnie
of 130'’ Fahrenheit the paper rapidly gives up its hypo-
sulphite, and this strange action soon becomes much
weakened, and unable to give up the remnant of the perni-
cious .salt, unless agitation or other mechanical means is
brought to its assistance. If, however, after a few minutes,
the print, which has now lost the greater portion of its
hypo, be transferred to a ten per cent, solution of (tribasic)
pliosphate of soda, a stronger and more rapid osmosis is
again set up, and much of the remaining hyposulphite is
soon diffused in the solution of phosphate of soda. If,
further, at the end of eight minutes, the print is transferred
from this solution to a new portion of warm water, the
(revei'se) action is continued, and, by a dozen such alterna-
tions (using fresh portions of the liquids at each transfer),
the print may be freed from its destructive enemy within
one hundred minutes, if the temperature of the liquids is
kept up as high as 141)'’ Fahrenheit, and eight minutes
be allowed for action in each liquid. Lastly, the apparentlv
harmless phosphate may be sulliciently removed by short
treatment with successive portions of hot water.

The apparatus which 1 use for the convenient working of
the process consists of a couple of two-gallon tin cans,
with faucets soldered near the bottoms ; these may be
placed on an iron stand, and the temperature of the solu-
tion and water maintained at 140'* by a Bunsen burner,
which may be shifted from one vessel to the other as
occasion requires. The deep porcelain trays in the market

* I’hilaielphia Vhotographer.

512

THE PHOTOGRAPHIC NEWS.

[OcTOBKR 23, 1868.

serve admirably as washing vessels in small operations-
The cheapness of ordinary phosphate of soda makes the
process an economical one : moreover, the quantity of solu-
tion required is just sufficient to cover the prints well, and
allow of gentle agitation, that they may be kept separated,
to allow of uniform action. Phosphate of soda was adopted
on account of its great osmotic power. Chlori<le of sodium
was tried, but found too weak and slow in its action. It is
well known that all septa, allowing rapid osmosis, are more
or less injured by chemical action; but in this case the
albumen suffers so slightly as to withstand all but micro-
scopical scrutiny. This process, if not practised as here
described, can be used as a subsequent treatment (raaki ng
but two or three alternations), thus economizing to a greater
extent.

ON niE RELATION BETWEEN INTENSITY AND
TONE.

BV KELSON K. CIIERRILL.*

Let us now turn from out of doors to the studio. Let us
suppose a child to be taken : very fair, very light hair, liglit
blue eyes, white dress, and (if any) light blue ribbon round the
neck. This seems to me very like our Krst view of the sea, all
white — no intensity, no tone, no contrast. Does it matter how
much you intensify the negative? I think not ; an intense
negative will print more slowly, and, perhaps, give a better
colour in the print, but a very weak one will give all the
tone there is in the picture. Now let us imagine a change :
the child has grown, her hair has darkened, they have given
her brown ribbon for her neck, and she now wears a coloured
dress. Is it now a matter of indifference as to the intensity
of the negative ? I think not. There is more tone in the
picture, there is more intensity of contrast in nature, and,
therefore, more need of hitting the relative tone of various
parts in the picture when finished. But let us take a third
case. The girl has grown to woman’s estate ; she comes
decked in gorgeous apparel ; she wears black velvet for her
dress, and pearls for her head-dress ; her eyes arc dark and
lustrous, and her complexion fair and delicate. Now is it
any matter of indifference as to the intensity of the negative ?
Certainly not. We are certain that the blacks of black
velvet are black, and that the high lights of a fair face are
white, and that the spots of light upon a tiara of pearls are
bright, like stars, and, therefore, any negative which will give
less than the whole range of tone from white to black will
not do justice to our sitter. This, I believe, and this alone,
to be the great secret of ^I. Adam-Salomon’s brilliant effects
of lighting : that he gets subjects which will give a full
range of tone from white to black, and he so manages the
intensity of his negatives that his prints give the nearest
approach possible to the scale of gradation in nature.

From what I have now advanced, it will be thought that
the greater the range of tone in the picture required, so much
the greater intensity is needed in the negative ; and this is
to a certain extent true, but not altogether. The greatest or
deepest black we can represent in a negative is absolutely
clear glass ; wo cannot go farther than this ; we cannot have
less than nothing for the daiks of our picture ; but the
quality of black which clear glass in the negative will give
in the print is dependent upon the intensity of the lights,
and so clear glass in the darkest part must, to give its full
value, be supported by enough intensity in the high light
to give pure white. But, at the same time, it is quite useless
to have more than enough intensity in the lights, because
the black can only be black, and if we have too much in-
tensity in the lights we shall lose some of the darker tint.s,
as they will be all buried in black together. So, then, while
I partly agree with those who say that a negative should be
quite opaque in its highest lights, I am not prepared to
admit the ab.solute truth of the proposition. The proper
intensity for the very highest light ot all in the picture is

* CoQtiDued from p. 4U9.

just that which will screen the paper under it from the action
of the light till the blackest black is piinted as deep as the
process will admit ; less intense it should not be, as then
either the blacks must suffer in not being deep enough, or
else the lights will be too much printed ; more intense it
nrust not be, as then either some colours not quite black will
be lost, or else the lights will be too white. Perfect tone, or
harmony of tone, it will thus be seen, depends more upon
the intensity of a negative being exactly right than on any-
thing else. The intensity of the negative is much dependent
upon the form of the studio in which it is taken ; an ill-
constructed studio will give either too much contrast of
light and shade, or too little; but whichever it gives, if, by
dodging the development, you can get the intensity right,
the pictures will be right in tone and gradation. The
difficulty is, as I say, to get the intensity right when the
studio is badly constructed. If, for instance, there be too
much side light, the difficulty is not so much to get detail
on the shade side of the face, as to avoid getting too much
intensity on the side nearest to the light, and thus the pic-
tures produced will have a harsh, black-and-white tone,
instead of the beautiful gradation seen in nature.

I have hitherto been speaking only of particular instances
of this relation between tone and intensity ; but before con-
cluding the present paper I wish to make one or two more
general considerations. I think that if what I have advanced
about the three stages of the portrait wo had under con-
sideration just now is true, we may make the following
general propositions : — That the greater the number of gra-
dations in a picture, the greater the need to pay especial
attention to the exact intensity of the negative. Ana this
leads me to a consideration of the greatest moment. What
is to be considered a normal intensity for the high light of
a picture ? At present I am afraid I must say I do not
know. It is a fact, and one much to be regretted, that paper
(albuminized paper) is so various in its quality that the
greatest uncertainty prevails as to what the intensity should
be to give a certain result. It would conduce greatly to
aid the photographer in the production of perfect work if
the makers of albuminized paper would agree among them-
selves as to some standard by which, and up to which, they
would work. At present no two papers in the market are
alike : one gives, as the maker will say, “ tine rich, warm
tones," and another, tones with two or three other adjectives,
varying according to the idiosyncrasy of the maker, or,
possibly, with the probable credulity of the buyer.

In doing small portraits, such as cartes-de-visite, the exact
range of tone is of much less consequence than in larger
sizes ; hence the greater technical difficulty in the larger pic-
tures. It is by no means difficult to get a paper that will
give good proofs from carte-de-visit# negatives, but it is a
very ditlicult thing to find one that will print a 10 by 8
portrait a la Salomon ; and when you have found the paper,
the negatives must be made of just the right intensity to
suit that paper. Until paper makers will make us a uniform
article, I am afraid we have no choice but to vary our nega-
tives to suit the paper. For those who would succeed with
portraits in the style of Al. Adam-Salomon, it is impera-
tively necessary to get a paper which will give very con-
siderable depth of tone in the blacks. One of the greatest
faults with paper now-a-days is, that it is suited to such
thin, weak negatives; it will not bear any depth in the
shadows without bronzing all over.

I have all along been speaking of negatives in which the
gradation of colour begins with clear glass, because any fog
on the shadows is to my mind most detrimental to good
work ; indeed, I do not think any amount of intensity in
the high lights can compensate for want of clear glass in the
extreme blacks. Fog in the shadows was quite an under-
stood thing in the days of waxed paper negatives, when
the shadows were veiled with the substance of the paper,
but now that good collodion can bo bought at any photo-
graphic shop, and that all photographers know how to
manage the baths and other chemicals, fog ought to bo

OoTOBBR 2B, 1868.]

TtlR PHOTOGtlAPHlC NEWS.

513

quite an unknown evil. The great reason why I so much
object to fog on the negative is. that not only it involves an
enormous expenditure of time in printing, but the result is
by no means so fine when obtained. A perfect negative will,
with good paper, give (frey high lights and rich warm
blacks in the same picture, but if there bo any fog on the
shadow, just in proportion to its amount will bo the lack
of that beautiful and peculiar property. The reason of this
greyness of a picture in the light, when made under favour-
able circumstances, I take to be twofold : firstly, some
peculiar substance used in the preparation of the paper,
which gives the result in ^I. Adam-Salomou's works in a
slightly more marked degree than I have seen it elsewhere ;
and, secondly, the well-known tendency of the print to tone
greyer when the light is feeble then when it is strong, the
light which reaches the print through the high lights of a
picture being much more feeble than that which passes
through the shadows unimpeded.

I cannot conclude this paper without adverting for a
moment to that grand field of labour and enquiry which
has recently formed part of a series of papers by Mr. II. P.
Robinson, in the Photographic News ; I refer to the chiaro-
scuro of photography. It is |in the study of this most
interesting of topics that the true and grand relations of
light to shade, and of tone to intensity, develop them-
selves. It is only when photography is studied as an art
that these relations can be seen and appreciated, and it is
only then that they can be really useful in guiding the
everyilay practice of photographers. 1 have endeavoured
to treat the subject without any reference to these papers,
and to consider it in a more mechanical light, from a feeling
that such was first needed before the high branch of chiaro-
scuro came under consideration ; but for those who wish to
carry the subject further than I have been able in my pre-
sent imperfect attempt, I would certainly suggest a careful
perusal of Mr. Robinson’s papers on the subject. For those
who would succeed with portraits in il. Adam-Salomon’s
style, I would suggest particular attention to the intensity of
the negative, as being mechanically one of the most impor-
tant means to secure the full range of tone to be found in
his pictures. And to all who would succeed more than they
have done hitherto, I would suggest still more attention to
the intensity of the negative, as a good negative will not
only save time and material in printing, but will also render
it easier to satisfy that most discerning of critics — the
public.

TO SWING, TO TILT, OR TO LEVEL?

That is the Question.

BY PROF. JOHN TOWLER, M.D.*

An important question, forsooth, when it has reference to
the camera, and one that is worthy of discussion.

Some cameras are supplied with what are termed swing-
backs. The swing-back derives its name from the swinging
of the plate-holder and the ground glass upon a horizontal
axis, which allows either the top or bottom of the same to
approach to or recede from the front of the camera. In
addition to this motion, some plate-holders and ground
glasses have a swinging motion upon a vertical axis, which
allows the sides to approach to or recede from the front of
the camera supporting the lens.

To tilt and to level the camera need no explamition.

It is our purpose to examine the theory and practice of
the swing and the tilt, and then to march a step or two on
level ground. We cannot well dispense with a figure to
illustrate this important subject, and we select the square
tower or steeple of a church for the object to be photographed.
Let A B represent this steeple, L the lens, and a b the ground
glass, whicn, in the first instance, is parallel with the steeple.
It is evident that the distance A L is greater th.an the ais-

rhiladtlphia, Photograjiher.

tance B L. Now, we know from the relative bearing of m
and 11 in the equation for conjugate foci —

(7 = - + -)

V / 7tl 11/

that, ,as m increases, n decreases, and vice versA ; therefore,

if B L increases and becomes A L, L 6 must decrease until
it becomes L a. From this we learn that if 6 a is to be an
accurate picture on the ground glass of A B, L a must be
less than L b ; but in the figure the reverse is the case ; con-
sequently, a b cannot be an accurate picture of the object.
Now, in order that a b may be an accurate picture of the
steeple, the two triangles must be similar — that is, the
triangle ALB and a L b — and, since conjugate distances
are inversely as real distances, the long sides must be both
either above or below ; th.at is, in the example, the sides A L
and L b respectively must be greater than B L and L a.
This being the case, the angle at b must be equal to the angle
at A, and the angle at a equal to the angle at B. In the
figure this is not the case, and in order to make these angles
in accordance with the enunciation, the line L b must be
made longer than L a. Let L c be this line, and the angle
c equal to the angle A, then c a will be the picture of A B.
In order, therefore, to make these two triangles equal, the
ground glass b a must swing back upon the point a as a
centre, until it gain the position c a. This is the theory of
the case. Now for the practice.

Fix the camera level or horizontal upon its tripod, at a
proper distance from the steeple, and focus the top of the
steeple quite sharp at the bottom of the ground glass.
\’ou will find the bottom of the steeple far from being
sharp on the ground glass, but by drawing back the top
of the ground glass from its parallelism with the front of
the camera, towards c, the picture of this point will come
more and more into focus until you arrive at c. Practice
and theory, therefore, coincide, as they always must ; other-
wise. the theory is false. Now, although the top and bottom
are in focus, this is no reason why the whole length of the
steeple should be in focus ; this would be the case if the
point B, on the line A B, were the nearest point to the
lens ; D is a point as high from the ground as the lens, and
is, consequently, the shortest distance from the steeple to
the lens ; and, since D L is less than B L, the picture or
focus of D must be further off from L than L c ; and the
picture of all the parts of the steeple from B to E (E D is
twice the distance E B) will be found behind the ground
glass e a, whilst the distance E A will be represented on
the ground glass. If, therefore, you focus upon the top of
the steeple, and swing the ground glass back until the
bottom is in focus, the part E B will be slightly out of
focus ; whereas, if the back be swung until D is in focus,
then the part A D will be sharp, and D B alone will be out
of focus.

There is, consequently, an apparent advantage in the
swing-back. Now the same result can be obtained by
tilting the camera on a horizontal axis supposed to pass
through the lens, untU the ground-glass in this case is
parallel with the position of the ground-glass when in the
previous case swung back, and then, by focussing the point
1) of the steeple, the top of the steeple and all the inter-
mediate parts from D to A will also be in focus.

To tilt the camera and to swing the back, therefore, pro-
duce equivalent results as regards sharpness of locus, but
there is a slight difference between these results in favour

THE PHOTOGRAPEIC NEWS.

[October 23, 1868.

.514

of the swing-back, for, in tilting the camera, jmii will
observe, in practice, that the ground-glass, through it.s
whole extent, has to be drawn back a distance equal to the
ilistance at the top which was swung. This causes the con-
jugate focal length to be slightly greater when the camera
is tilted than when the camera is kept level and the ground-
glass is swung back ; an I this little difference produces a
disadvantage for the tilting.

When the camera is horizontal, the picture is not accu-
rately m focus, but an approximation to sharpness may be
ol)tained by what is calhul eejualization of focus; that is,
by focussing more upon the middle or above the middle
parts of the steeple, when both the top and bottom will be
nearly in focus.

Now let us examine the results of sharp focussing in the
two cases of swinging and tilting.

In optics it is a well-known fact that the size of the pic-
ture of an object varies inversely as its distances from a lens ;
that is. the greater the distance of the object from the lens,
the less the picture. Let this principle be e-tamincul in
reference to the space on the steeple situated between two
jiarallel lines ; since the top of tlie steeple is more remote
from the lens than the point 1), the picture of this top
sp.ace will be narrower than that of the space at D ; that
is, the par.allel lines must converge towanls the top. Hence,
in both cases (of tilting and swinging) all parallel lines of
objects higher than the lens converge upwards ; and, if the
objects are lower than the lens, downwards. But the con-
vergence is slightly greater by tilting than by swinging
the back, owing to the slight difference in the absolute con-
jugate focal length in the former .above alluded to. The
con.scqnence of this convergence is that the steeple will
appear to be the frustrum of a pyramid ; and if yon focus
on the point 1), the parallel lines of the sterq)le will con-
verge in the picture from d to c, and Irom d to a in both
directions, up and down. This will cause the lines of the
))icture to be barrel-shaped, or, still better, like the sides of
a lamp-chimney. This conversion of parallel lines into
convergent lines can be avoided, to a great extent, bv
levelling the camera, both in the gallery and in the field,
and by equalizing the focus.

You now know the facts of the three cases ; draw your
own conclusions, and work .accordingly. In this exposition
there is no condemn.ation ; I sometimes avail myself of each
case, but 1 prefer the horizontal when it is feasible.

o ■ ■

(^0rrf.^p0at)raC£.

CLK.VNING OLD PLATES.

Siu,— Many suggestions have appeared in that part of flio
Punrooii.vpiiic News devoted to correspondence, respecting
file cleaning of j)lates, and in removing the varnish and collo-
dion film from all negatives. I have reail carefully all that
has been said at various times by your contributors on this
subject, and have tried many cxpcrimculs tending to solve this
difficulty. If the method 1 .adopt and licro explain is not a
complete solution, it is, at all events, superior to any that lias
fiitliertn crossed my ohservafion, for its simplicity, inexpensivo-
ness, and eficct.

I use Gray’s solution — or, wliat is commonly called by
painters, liquid wash — adding clean water in equal iiroportion.
J.el tho plates remain immersed in Ibis for twenty-four hours
or more. In taking I bo plates out, bo careful to use a flat
slick, or fho finger-nails wdl bo maricod .as tbongh nitro of
silver had been used. Have clean water at band, or flow from
a tap, to clear tho plates from all superfluous wash ; bo pre-
pared with a pad of cotton or wool to rub both sides of tho
jil.ito, particularly the edges ; hnlf-a-dozon changes of clean
water, slightly rubbing each time, will complete the process.
Plates that have been considered useless through tho presence
of paint, varnish, grease, &c., I have thoroughly restored by
the above simple method. I would also add that the liquid
wash alone will remove varnish films in three or four hours.

During two days of tho past week I have cleaned upwards of
two huudrod plates, varying in size from quarter-plates to
10 by 8's, in order to thoroughly test this process, which I now
present to your readers.

PS. — Many thanks to .Mr. Bovey for his v.aluablo recommen-
dation of “ sugar in the printing bath for tho preservation of
sensitive paper.” Enclosed are four specimens of the paper,
a week and a fortnight old. No. I was in tho bath forty-eight
hours; 2. 3, and I were upwards of twenty-four hours each.
To Mr. Nelson K. Cherrill 1 am also indebted for his informa-
tion on fixing and toning at once. Tho specimens enclosed are
sent as evidence of tho complete success of fho above-named
gcntlemau's communication. Remarks as to tone and tho
white will oblige,— Yours obediently, S. Garside.

Church Street, Amllesidc.

[Tho prints enclosod are excellent. — Ed.]

.VMOUNTOF S.VLT USED IN ALBUMINIZING PAPER.

Sin, — At tho North London Association I made a sugges-
tion which, with your ])urmis.sioii, I will give in the words a.s
delivered, viz. : “ I do not think that any manufaefuror of
albuminized paper — when asked— ever objects to give an
approximate idea as to tho amount of salt in his paper; but
when photographers are so very anxious to ascertain the
amount of salt in tho paper, they can soak the albumen and
salt from a quarter sheet, and precipitate with a standard
solution of nitrate of silver.” By a standanf solution I mean
(in speaking to a photographic public) any known strength —
say tho floating strengths of -10, 50, CO, 70, or 80 grains per
ounce, as the case may bo. Then, with a minim measure, how
easy it will bo to find the number of grains of nitrate it will
take to satisfy a sheet, and so calculate the quantity required
for tho daily consumption, whore proper instruments are not
employed for tho purpose !

This I take to bo the aim of the few who now and then
bring up the subject. If they desire farther information, pray
lot mo suggest that they commence at tho first of their pro-
cesses, and ask the collodion manufacturers the particular
amounts of iodides, bromides, &c., with their respective bases,
and particularly tho preparation of tho cotton and solvents.
Possibly this would aid those who produce indifferent nega-
tives about as much as tho salting of the paper would those
who get but indilfercnt prints, while others, using tho same
materials, produce tho finest results without any trouble.

In the report of tho mooting in your lust I am made to sug-
gest testing the paper with a standard solution of chloride of
sodium. This is clearly a slip of tho pun, but ought to bo
corrected. Had I accidentally made such a lapsus lingua., it
would, doubtless, have been at once corrected in tho meeting.
Yours, &c., F. \V. Hart.

8, Kingsland Green.

[Tho misprint is better corrected, although no one would
dream of attempting to precipitate common salt with common
salt. Wo have a few words on tho geuoral subject in another
column. — Ed.]

Sir, — I notice that at tho last North London meeting Mr.
Hart recommended photograi)hers who wore anxious fo know
tho proportion of salt in albuminized j>aper to dissolve tho
[ salt and albumen oil a quarter of a sheet, atnl precipitate it with
,a standard solution of nitrate of silver, I presume, although
chloride of sodium, evidently by some error, appears in fho
report.

I wish to ask Mr. Hart how many photographers he thinks
are prepared with ni)p.iratus for such an operation 7 How
many could conduct it with snfUcient delicacy and care fobe of
i any service? And. finally, if it is not a little unf.iir to ask ino
! jihotographer to take this trouble to ascertain a fact which tho
aihuminizer should bo able uml willing to give him without
any trouble at all ? I cannot understaml why it is that albu-
minizors seem to place fhomselvcs in antagonism to phofo-
' graphors on this point. The request that manufacturers should
I give some idea of tho j)roportion of salt their p.ajicr contains
' has often been made, but has never brought any systematic
coinplianco with tho request. It has, on tho other hand, so
often evoked a querulous protest against tho necessity, that one
I is tempted to believe soino occult reason exists for tho Imbitua

THi] PHOTOGRAPHIC NEWS.

515

October 23, 1868.]

Bupprossion of information about whiuli tUoro should not be a
moment’s dispute. Is it true that salt is used by the handful,
rather than by the ounce ? I have heard such wild statements
made, but have not hitherto believed tliom. — Yours sincerely,

X.

DISTORTIONS AND PERSPECTIVE.

Dear Sir, — Your correspondent, “ John Anthony, M.D.,” in
liis letter on the above subject in }’our issue of last V7cck but
one, falls into error.

lie says : — “ If you stand at a distance of twelve foot in front
of a mirror, you see yourself as a spectator would see you who
was twenty-four feet from you, or just as much behind the
mirror as you are in front of it; if now you stretch your hanil
horizontally tow.ards the mirror (call it throe feet in advance of
you), your hand will look to you onlarf'od ; and well it may do
so, for though it ought to appear as it would to a spectator at
a distance of twenty-one feet, it will really look to you ns if you
had pushed it forward a distance of six feet; in fact, as if it
was seen with the perspective enlargement of an object which
was eighteen feet off the supposed spectator.”

This is a mistake ; it would look as it ought to do ; viz., as
if it were twenty-one feet from your eye, because j-our eye is
situated, not at the tip of your linger, but in your head, which
is throe feet behind said tip, and therefore eighteen three
feet from reflected imago of ham(. — Yours truly,

D. WlNSTAXLY. '

3DaIk in tbc StuMo.

Tiik Piiotooeaphic Society’s Exhibition.— Our readers
should not forget that the winter session of the Photographic
Society will open with an exhibition, as it did last year, to
which all photographers, members and non-members, are in-
vited to contribute. It will, as before, be held in the Archi-
tectural Gallery, 9, Conduit Street, opening on the evening of
the 10th of next month. Members, their friends, and exhibitors
will be invited to a social reunion, similar to that held last
year, which proved so pleasant. The exhibition will remain
open for a week. Wo shall have something more to say on the
subject in our next.

Polytechnic Exhibition. — Amongst several very attractive
novelties recently introduced at the Polytechnic Institution in
Regent Street, is an interesting and capitally illustrated lecture
by Professor Popper, on the late total eclipse of the sun, to
which we especially commend the attention of our readers.
An old German story is made the vehicle for introducing some
of the startling optical effects which have during the past two
or three years made the Polytechnic famous. A musical and
scenic history of the Maid of Orleans gives occasion for the
introduction of some of the finest lantern effects we have seen,
both from photographic and i)ainted slides. The other attrac-
tions— all excellent — are more numerous and varied than we
can describe here.

Cakbolic Acid in the Bath. — A correspondent says : — “I
liavo tried carbolic acid added to the negative bath as recom-
mended, and find it admirable in its effect, fully answering the
purposes of additional rapidity and cleanness. I use, however,
more than a trace ; in fact, about the same proportion, or more,
ns I should nitric acid — i.e., about one drop to teu ounces of
bath.”

Piiotooeaphic Aet Studies. — Our contributor, “ Rospice
Finem,” recently lamented the small appreciation and limited
sale of such art studies as those of Mr. U''i’!indpr. Wo were
glad to learn from that gentleman, in a conversation,

th.at the sale of his various published pictorial photographs
has recently become very brisk ; so much so that ho had dif-
ficulty in keeping up the supply. Our readers will share in
our pleasure on learning such a fact. Wo hope, for their
own sakes, that a largo proportion of such pictures are bought
by photographers.

Phototypy. — Wo have received from Mr. Fniwirth some
specimens of his method of phototypy which admirably illus-
trate its capacity for some forms of art reproduction. An
enlarged copy of an engraving entitled the “ Two Grand-

mothers ” is very excellent. The original is a print 9 inches
by 8 inches ; the phototype is about 13 inches by lOJ inches ; and
the rendering is clean, delicate, and perfect in a high degree.

Photo-lithoghaphy. — Wo have received from our excellent
confrere, Herr Schrank, editor of the Austrian photographic
journal, the Correspondenz, a very fine and enlarged example of
photo-lithography, from which wo glean that they liavo advanced
furthorin Vienna in rendering half-tone perfectly by photo-litho-
graphy than wo have done in this country. The subject is a re-
production from a painting entitled Die Lustigen Weiber von
iViudsor ” (“ The Merry Wives of Windsor”), rendering the
scene in which Sir John Falstaff is being packed into tho
buck basket. The photo-lithograph is in size 1(5 by 12, and is
well rendered in every gradation by an exceedingly fine gr.ain,
which gives tho effect of half-tone jmrfectly. Tho names of the
photo-lithographers appended aro Iloiffcustciu and Rbsch,

♦

1^0 Corrcsjjottbeats.

North EEN Light sends us the following : — “ Keeping and Bating
Bromt-iodized Collodion. — SUtoment for opinion of Editor of tho
Photographic News. — Seeing your two articles on tho above
subject in tho News of Juno 28 and October 11, list year 1 at
once set to work to try ii.y hand at tho collodion iwlizcd as therein
set forth, :ind proceeded as follows ; — No. 1. Having some of
Keene’s plain collodion in stock, I made up tho iodizer for lo
ounces : —

Iodide of cadmium 100 grains

Bromide of cadmium 30 ,,

Dissolved in 5 ounces alcohol, sp. gr. 820, and added to tho
1.0 ounces plain collodion — Pith December, 1807. No. 2. To
15 ounces of Rouch’s plain collodion 1 iodized with —

Iodide of cadmium 00 grains

Bromide of cadmium 30 „

Dissolved in 5 ounces alcohol, supplied by Rouch, and added to
the plain collodion — 25th December, 1867. I kept t he lot in a dark
.and cool pantry, and tried both No. 1 and No. 2 last June, and
found foggy negatives, but, otherwise, indications of good nega-
tives ; rather dcn.se in tho face, hands, and light drapery. Tried
both No. 1 and No. 2 last week, and found again foggy negatives.
Consulted Hardwich’s I’hoto. Chciuistry, and then added alcoholic
tincture of iodine to the samples No. 1 and No. 2, and then foimd
clean, clear negatives, but very much tliinner and more like glass
positives. The collodions, before the adding of tincture of iodine,
were both colourless, and after tho addition, straw colour. I
expect that keeping the collodions for other six months or so might
reineve the tendency to fog ; but as I want a bottle or so for imme-
diate use, I bog to ask you whether you can oblige mo with any
other mode of treatment than adding the tincture of iodine, which
seems to reduce tho density of tho negative rather too much. I
can see from the indication beneath the fog that time will give me
a most excellent collodion, only I fear it will be perhaps too dense
in the whites and rather inclined to solarise. I am therefore anxious
to know whether this tendency would bo removed if I was yet to
add some more bromide of cadmium, or what other treatment will
help it.” [There are various modes of dealing with the collo-
dions described. In the first place, the tendency to fog might
have been removed and tho vigour retained by adding a smaller
proportion of tincture of iodine ; or, without altering the collodion,
the tendency to fog might have been removed by adding a slight
trace of acid to the bath ; or, without altering cither collodion or
bath, the tendency might have been removed by adding a little
more acid or a trace of gelatine to tho developer. Tho tendency
to excess of density in the lights would be best removed by giving
a little fuller exposure, and avoiding prolongation of the ’develop-
ment. It is probable that a slight modification of the developer
and of the manipulation in development would prove the most
desirable remedy. It is probable that a little longer keeping will
make the collodions perfect.] “ Best Mean.H to reflect Light for
the Opaqtte Side of Interior of Studio. — I find great difiiculty in
getting the shadows on my sitters softened to suit general ta.ste
and wish to know whether any other article than a white calico
screen has been tried with succc.ss. I have heard of screens
covered with tinfoil : have such been found good 1 may say that
it is (luite possible. Jly side-light — northern aspcct-^oes not
extend far enough from the sitter, and so tho light will come in a
sharper angle, and so liavo the greater tendency to make deep
shadows on the face. My total length of side-light is twelve feet,
the windows coming close up to background. I have then about
three feet of this screened off, just beside the side of the sitter, and
leaving about eighteen inches of clear glass next the background,
to give the effect of light streaming in at open window' side slip.

516

THE PHOTOGKAPHIC NEWS,

[October 23, 1868.

BO that by this arrangement I have only about six or seven feet
in length of side-light in advance of the sitter at north side. The
south side is quite opaque, but I have a top window in advance
of sitter on south side, to try to soften shadows by that plan, and
this I can do by leaving it completely uncovered when I have no
sun ; only being obliged to screen off completely in sunny days, I
get the hoa^'J' shadows again.” [Some operators have found
screens covered with tinfoil answer well for reflecting purposes.
It is probable that if our correspondent works cross-comcr-wise of
his room, turning his sitter so that he slightly faces the light, he
will get rid of heavy shadows. See diagram recently given in Mr.
Kobinson’s article on Pictorial Etfect. If the top-light .answer
the purpose when there is no sun, it will also answer when the
sun shines if the light pass through a thin blind of tracing-cloth
or tracing-paper.

Geo. Simmons. — The printing in the card sent is not at all bad.
Possibly a very slight degree deeper printed and warmer toning
would please our tiuste more. 2. You cannot do better than follow
the instructions for printing given by Mr. Bovey in his recent
articles, or as briefly given in his article in our last Ye.ui-Book.
3. Gas-light will not injure sensitive p.aper, unless it be very un-
neccs.s.arily prolonged in exposure to such light. 4. Good paper
for card pictures may be prepared with various chlorides.
Chloride of ammonium, ora mixture of that and chloride of biu-ium,
will give very good results.

Litho. — There is no difficulty in photo-lithography which may not,
by an intelligent photographer, be overcome M'ith care and perse-
verance. It will require much practice and a c.areful observation
of instructions. The best instructions will be found in an article
in our Year-Book for 1807 by Mr. Butter, a skilful pnactical
photo-lithographer ; and in a scries of articles which have recently
appeared in our pages (commencing Juno 12th), written by lacut.
Waterhouse, who has carefully worked out the procc.sses ho has
described. Photo-lithography would bo scarcely avell .suited for
reductions so small as that you enclose ; any lithographic process
will scarcely do justice to such delicate lines.

Ubkiue. — Various formulas for toning and fixing in one bath have
been published. A recent formula by Ur. Licsegang, which gives

very tine results, stands as follows ; —

Water

2 ounces

Sulphocyanidc of ammonium

... .50 grains

Hyposulphite of soda ... .,.

... 240 „

Acetate of soda

... 15 „

Chloride of gold

... 1 „

Mix all but the chloride of gold, and, after mixture, dissolve the
gold in a little water, and add to the solution. Be.ar in mind,
however, that prints toned and fixed at one operation are more
doubtful in their permanency than those fixed at a separate opera-
tion. 2. It is impossible to state the proportion of permanganate
of potash necessary to oxidize the organic matter in a silver
solution because the quantity of organic matter is uncer-
tain. You will find many details on the subject in our num-
bers for March last (6th, 1.3th, and 20th). A few drops of a
10-grain solution will generally be found sufficient. The solution
will acquire a brown turbidity, which will finally precipitate, or
may bo filtered out. This precipitate consists of the org.anic
matter and oxide of manganese.

An Amateur. — The chief ditficulty in rendering the p.aper per-
fectly transparent consists in its inequality of texture and in the
difficulty of perfectly removing the sizing material employed.
There are various modes of m.anufacturing tracing paper, each
manufacturer emplojdng his omti method. Canada balsam dis-
solved in turpentine, avith sometimes the admixture of poppy oil,
almond oil, &c., are materials commonly used. Try almond oil
alone. Remove the size from the paper with hot water ; then
soak it in the oil for some hours ; dniin, and hang up to dry.

C. A. M. W. — After the golden sjTup solution has been applied,
the plate is insensitive to light, or nearly so. It may be examined
in dull light, but it will be safe not to expose it long, or to a bril-
liant light. The intensification may be conducted in a dull
diflTused light ; but it is well to remember that as light aids the
reduction of silver, too much of it may induce fog.

Thomas Stothard. — The difficulty of dealing with blues and
yellows in an illuminated window cannot be entirely overcome by
photography. The only mode of dealing wth the matter that we
can suggest will be to manipulate both negative and print a little.
Even svith fully bromized collodion and full exposure, light
through blue glass will act vigourously, and produce density in
the negative, and light througb orange glass will scarcely act at
all, and will be rendered in the print by a dark, instead of a light
luminous tint. 2. If wo remember rightly, the use of sulphate of
zinc in a developer was referred to in one of the letters of “ Lux
Graphicus.” We will search, and, if nece.ssary, repeat the formula.
We are glad that you found carbolic, acid in the bath u.seful.
Photo Dealer. — Have no fear; the new Sale of Poisons Act is
not in operation ; it does not come into force until the commence-
ment of next year. The print from which you quote is wrong, as
usual.

Ignoramus. — The winter session of the Photographic Society will
open with an exhibition, as it did last year. It will be open to the
contributions of all photographers. It will open on the 10th of
November. Contributions should be sent to 9, Conduit Street,
addressed to the Secretary of the Photographic Society, not later
than November 9th.

W. J. A. G. — A red brick building, partly in shadow and partly in
sunlight, is a trying subject for a wet plate, and still more so for a
dry one, which, as a rule, is less seiLsitivo to weak radiations than
M-ct collodion. Wo c.an only advise you to give full exposure, and
be patient in development. One of the greate.st sources of faUuro
with novices in dry plate work is impatience in development.
Accustomed to the rapid development of wet plates, they are not
prepared for the tardy appearance of detail in dry plates, and in
attempting to force development they produce fog. We have had
no failure with the Liverjiool plates, and have iLsually given them
from three to four times the exposure of wet plates upou a properly
lighted Landscape. Try iigain ; follow instructions carcfiilly, and
work p.atiently.

Strike-a-Light. — We tried the collodio-bromido process as
de.scribed by Mr. Sayce soon after its introduction, with success.
A\'e used the preparation within a week after it was mixed. Wo
cannot say from experience how long it \rill keep after mixing.
Mr. Bolton, one of the originators of the proce.ss, is also a skilful
worker of it, his results, which wo have seen, being very excellent.
As cur own experience with the process is less than his, we fear
that wo cannot give you any better formula ; but if you will state
wherein your faihu-e consists, we may bo able to advise you.
2. There have been no especiiil results of the discovery at all, so
far ns wc know.

E. — The writer ivlio signs “ Hospice Finem ” is well known to the
photographic world ; but you must take his opinions on photo-
graphy and art on their intrin.sic merit. If he had made state-
ments affecting the interests of individuals, it would have been
necessary to substantiate them with his name : opinions on abstract
questions may with propriety be stated anonymously. The
writer in question is neither Mr. Robinson nor Mr. V. Blanchard.
The “authority” you mention i.s, as usual, incorrect.

New Subscriber. — Y^ou do not state the intended dimensions of
your studio, a somewhat nece.ssary clement in deciding as to the
amount of glass. We will assume, however, that the size is about
twenty-five feet long and twelve feet wide, and advise for such
proportions ; you can then modify as may be desirable. The
proposed position of the studio is good. It will not bo necessary
to have any glass on the south side or roof. At the west end let
about six feet of side and roof be opaque, and about ten or twelve
feet side and roof be glazed, the side lights coming to within
eighteen inches of the ground. Avoid having any windows in the
oast end. Let the widls, backgrounds, accessories, &c., be of a
quiet grey tint.

Stereo. — Y'ou will see that we have alluded to the xdew you put
of the Relief Fund in an article in the present number. We quite
agree with you, that to attempt the thing and fail would bo
disastrous ; and we quite agree that the initiatory steps must l>o
taken by men of standing and credit, to afford the slightest chance
of success. As to whether the profe.ssion is sufficiently numerous,
or whether the time is ripe, are (juestions which require discussion.
Let us have your views and arguments fully stated for publica-
tion, instead of in a letter for private penisal. The apix-al for Mrs.
Pearson did not appear in our literary columns because wo are,
ns a rule, unwilling to trench upon the space belonging to our
readers with any matter not properly relating to that depart-
ment. It appeared gratuitously in the advertising columns
because we had a better right to trench upon space the granting
of which only involved a sacrifice on our own jiart. Wo saw the
remark : a mean mind judges everything by its own standard.

“ Pictorial Effect,” Noteworthy Studios,” some Reviews, and other
Articles in typo, are again compelled to stand over until our next.
Several Correspondents in our next.

ilfiotogvapfis l-Crgtsteieb.

Mr. W. II. PBEsrwicH, Reading,

Seven Photographs of Rev. J. Langley.

Mr. Afplevard, Brighouse,

Three Photographs of Kirkees Hall and Gardens.
Miss K. Collins, Chelsea,

Photograph from India-ink Drawing of Beau-Desert.
Mr. J. Stuart, Glasgow,

Photograph of Kelvin Grove Park.

Mr. R. Craws II AT, Cyfarthfa Castle, Merthyr,

Two Photographs of Bishop of SL David's.

Mr. II. J. Taphouse, B.irrow-in-Furuess,

Photograph of J. Ramsden, Esq.

Two Photographs of Marquis of Uartington.

THE

NEWS.

CONTENTS.

PlOB

The Forthcomlnff Exhibition of the Photographic Society 517

Alcohol in Developing and Intensifying Soiutions 517

Near Method of Making Prints 518

Critical Notices 518

Photography in Egypt 521

Pictorial Kflect in Photography. By II. P. Robinson 521

Printing Transparencies on Dry Plates arithout Cutting the

Negatives 523

Sensitive Development Printing Process 523

PARS

Photographic Printing in Silver, Theoretical and Practical. By

W. T. Bovey 624

Correspondence— Salting Foimulw of Albuminized Paper— Dis-
tortion and Perspective — Mr. Fry’s Mode of Mssking —

The Enamels at the Cornwall Polytechnic Exhibition —

Status of Photographers 525

Talk in the Studio 527

To Correspondents 528

Photographs Registered 528

THE FORTHCOMING EXHIBITION OF THE
PHOi’OGRAPHIC SOCIETY.

As our readers are aware, the coming ses.sion of the
London Photographic" Society will be opened with an
exhibition of photographs, to be held -in the usual meeting
room of the Society, at the Architectural Gallery, 9, Conduit
Street, Regent Street. The exhibition will be opened on
the evening of Tuesday, November 10th, at half-past
seven o’clock, when members and their friends, and exhibi-
tors, are invited to a similar social reunion to that which
passed off so pleasantly last year.

The original intention in regard to last year’s exhibition
merely comprehended the idea of devoting the opening
evening of the session to a display of photographs. The
number and excellence of the contributions were, however,
EO great that it was resolved by the council to keep the
exhibition open for a week. The success of last year has
suggested a repetition of the experiment with a little more
p.re-arrangement. On this occasion the exhibition will be
opened with a distinct understanding at the outset that it
will continue open for a week, during which time it will
remain open to the public gratuitou.sly.

Photographers at large are invited to contribute, members
of the Society and non-members alike, so as to bring
together a fair and creditable representation of the present
state of English photography. Members of the Society
will doubtless feel themselves in some sort bound to aid
by their contributions the success of such a display.
But photographers at large have an interest in such an en-
deavour not less than the membei-s of the Society. The
value of exhibitions a.s furnishing at once landmarks of
past progress and aids and incentives to renewed eff’orl
scarcely needs enforcing. To amateurs, few things afford
more pleasure than the opportunity of examining the
various developments of the art, and especially the results
obtained by fellow-devotees to some special branch to which
they themselves have given attention. To profe.ssional
photographers, the opportunity of examining a collection of
pictures fairly representing the characteristics and degrees
of excellence attained by their professional compeers must
be a matter of commercial value, as well as personal
interest. And as a large section of the public interested in
the progress of science and art will visit this exhibition, all
concerned in the reputation of photography should aid, by
contributing the best examples they can, to produce a
worthy exhibition.

Where it is convenient to the photographer, it is of course
advisable to send pictures in frames ; but for the accommo-
dation of those to whom the trouble and expense of framing
a large number of pictures might prove an obstacle, un-
framed pictures will be received for exhibition ; but it will
be understood that the mounts in such cases will suffer a

little in the process of pinning to the wall and by expo-
sure for a week without the protection of glass. Collections
of prints in portfolios and albums will also form an agree-
able addition to the contributions.

Apparatus of various kinds will be admitted to the exhi-
bition, and we shall hope to see a good display of the most
recent improvements in the mechanical and optical appli-
ances of pUotography.

Contributions should be delivered at No. 9, Conduit Street,
addressed to the Secretary of the Photographic Society, not
later than Monday, November 9th. It is desirable that
every frame or separate picture should have the name, and
number of contributions, of the exhibitor at the back. On
the front of each, the name of the exhibitor, the name of
the subject, and the process employed, should be written for
the benefit of visitors, because, in the absence of a catalogue,
this will be the only mode in which information on the
points indicated can be conveyed. Contributors should also
send a list of their contributions, with the name of each
subject forwarded for exhibition, addressed to the Secretary
of the Photographic Society, at the Gallery in Conduit
Street.

The meeting will, as on the last occasion, be of the cha-
racter of a conversazione, without the necessary formality of
evening dress, the aim being to secure a social and agree-
able reunion of all interested in the exhibition. All
members, and all contributors who are not members, are in-
vited to attend and to bring their fiiends with them, ladies
being especially invited. No cards of invitation will be
issued, the announcement in the last number of the Society’s
Journal, and the invitation, which we are authorized to re-
peat, being, it is believed, sufficient to bring together a
large number of those interested in such a display of photo-
graphs as it is confidently hoped will be exhibited on this
occasion.

We see no reason to doubt that the great success of last
year will be repeated next month. SVe should be glad
to see it surpassed ; and we earnestly invite all our readers,
who possibly can, to contribute themselves, and induce
their friends to do so as well, so as to bring together such a
display as will at once gratify all photographers with the
illustrations of present excellence, and stimulate them to
greater triumphs.

ALCOHOL IN DEVELOPING AND INTENSIFYING
SOLUTIONS.

As incidental remark in a communication by Mr. Russell
Manners Gordon to our Year-Book of 1866 contained a
suggestion the importance of which in practice cannot be
over-rated. A recent allusion to this suggestion in one of
our own articles has brought several enquiries which induce
us to think that simple and self-evident as the idea is, it is

518

THE PHOTOGRAPHIC NEWS. [October 30, 1868.

uot as familiar to photographers generally as it ought to
be, and that it is worth briefly re-stating.

The object of adding alcohol to the developing solution
is, as every photographer knows, not to produce any chemi-
cal effect or to aid in developing, but to harmonize, m nearly
as possible, the physical condition of the developing solu-
tion with that of the free nitrate of silver on the plate, so
that the former may flow evenly over the film without form-
ing grcasy-looking lines, which arise when the two solutions
are not in the same condition. The suggestion to which we
have referred is simply to carry out the practice, employed
with developers, to all the solutions employed in developing
or intensifying, a thing which, obvious as it may appear, is by
no means commonly done. Whatever quantity of alcohol
is added to the ordinary developer should be also added
to the intensifying solution, and to the silver solution
kept for adding to the intensifying solution. We are here
assuming that the intensifying is efiected, as it now most
commonly is, by means of an iron solution. It will be seen
in such case that the application of the developer can be
followed by the application of the iron intensifier, or that of
the silver solution, without either washing between each
application, or running anj' risk of the production of stains
from the repulsion or imperfect mixture of solutions contain-
ing different proportions of alcohol. The convenience in
operating which arises from being able to apply one solu-
tion after another without washing and without risk will
be readily appieciated by practical operators who have not
hitherto tried such a simple aid to clean and convenient
working.

NEW METHOD OP MASKING PRINTS.

Some correspondence which has reached us, on the subject
of the method of masking prints employed by Mr. Pry,
which we described in our last, suggests that we had not
made the precise purpose and scope of the operation so clear
as we intended ; and it is pointed out that unless used with
judgment, the employment of a transparent positive as a
mask might be made to produce, instead of improvement,
a negation of all gradation and modelling.

This is perfectly true : but we meant it to bo used in the
right way and with judgment, although it seems we did not
25oint out the limitations of its use with sufiScient detail
and iteration. Let us glance, therefore, at the matter a little
further. One of our correspondents points out, very truly,
that the thinnest or most transparent part of the mask pro-
posed will be the points of highest light, and that the
lights in a print exposed under such a mask will be the
lirst portions upon which light will act, and that degraded
lights instead of increased detail will be the result. As
there is something ingeniously erroneous in the argument
of “ R. P.,” it may bo worth while, before correcting him,
to make his position quite clear by an illustration. He
states that the first effect upon a print of using a transparent
positive as a mask will bo a degradation of the high lights,
and then the gradual impress of gradation, but that the
gradation will be in th.e wrong direction, darker towards the
lights, and lighter towards the shadows. Thus, if we print
an image of a sphere from a negative, assuming it to have
been produced in an ordinary gla.ss room, we shall have a
spot of light near the top, gradually merging into deeper
shade as the surface of the sphere recedes from the light, the
under surface being only relieved from absolute blackness
by reflected light. If we then take a transparency from the
same negative, and print an image on paper from this
transp.arency, wo obtain an image exactly therever.-e of that
printed from the negative. Instead of a light near the top,
we have in its jjlace the intensest black, gradually merging
into white as the surface of the sphere recedes, producing,
instead of the effect of relief, the effect of hollowness or
intaglio. Our correspondent then points out that as this is
the kind of imago which a print from the mask would
present, it will produce just such an effect when superposed

on the print, limited only in degree by the time of exposure
under such a mask.

As we have said, this assumption is so ingeniously wrong
that it was worth while to state it fully before correcting it.
All that “ R. F.” has stated would undoubtedly result if the
mask were used as he is assuming it would be ; that is, upon
the print after it is removed from the pressure-frame. But
it is not, under any circumstances, to be so used. Let it
be distinctly understood that it is to be used as masks
usually are — practically to modify the character of the nega-
tive during the progress, or part of the progress, of printing.
The negative is assumed to be too hard ; to possess too
much contrast ; to allow some portion to become too
deeply printed, so as to bury detail in the shadows
before the details in the lights are printed through. This
mask will practically reduce the contrast, retarding the
printing of the shadows without impeding the printing of
the lights, and so bringing about the balat;ce necessary to
produce harmony. There is no danger of the lights being
degraded, because they arc at all times protected by the
dense negative ; and there is no danger of inversion of grada-
tion, as however the mask may modify the passage of light,
that light must always pass through the negative before it
reaches the print. As we said in a former article, the mask
may be worked upon to any extent the photographer may
desire, in order to produce special effects ; but in order to
correct the effect of an over-dense negative, it merely re-
quires to bo a good transparent positive from such negative.

Mr. Rejlander, in a private letter, makes a capital sugges-
tion in connection with this subject, one which would be
valuable in dealing with subjects in which the inherent con-
trast is too great to receive full justice from photography .
He suggests that if the collodion film could be safely trans-
ferred from the glass, a negative giving fine results might be
formed by the superposition of two films : one thin and soft,
with abundance of delicate detail and lialf-tone, and the
other with more contrast, doing full justice to the more
vigorous lights. As there is really no difficulty in re-
moving the collodion film from the glass, after a very little
practice, either by the method described by Mr. Woodbury
or others, the suggestion of Mr. Rejlander might easily be
put into operation, and some harmonious pictures produced
from difficult subjects.

Critinil llotias.

ON THE RETOUCHING OF niOTOGRAPHS ; A
^lanual of Instruction in the Perfection of Negative and
Positive Photographs, and in Colouring the same with
Water, Aniline, and Oil Pigments. By Johannes
Guasshoff. (Berlin: Louis Gerschel).

In a compact little volume of eighty pages, M. Grasshoff
gives us very clear and precise directions on the subject of
improving and beautifying photographs. The subject is
one upon -which the author is well qualified to write, and
the simple unaffected language in which his ideas are con-
veyed to the rciuler render his remarks easily intelligible
to the novice, and a-waken a spirit of trust and confidence
in his teaching. It is essentially a practical book ; and, in
the preface, M. Grasshoff informs us that he has, as far as
possible, eschewed all theoretical dogmas, and confined
liiinself to the description of methods which have stood the
test of many years. He pre-supposes nothing further than
a slight elementary knowledge on the part of the student,
either in regard to manipulation with the camera, or with
tlie brush ; but remarks that, as a natural consequence, in
order to produce perfect results, some skill is necessary on
the part of the operator.

The volume is divided into eight chapters, treating re-
spectively of the following subjects : — Retouching on the
original ; retouching on the negative ; retouching of ordin-

OcTouER 30, 1868.]

THE PHOTOGKAPIIIO NEWS.

619

ary photographs upon matt paper with black pigments ;
retouching of albuminized prints with black jjigments ;
colouring of photographs in ordinary water colour ; colour-
ing with aniline water colours ; varnishing of photographs ;
and colouring prints in oil. All the directions given bear
particular reference to portrait photography.

In regard to the retouching of the original — or, in other
words, the treatment of the sitter — the author urgently re-
commends a judicious employment of powder and ])uff for
removing summer freckles and spots, and for toning down
hair and beards of two fiery a colour. 'I’he jihotographer
is advised to put forward his utmost powers of persua.sion,
and use any amount of Ciceronian eloquence he may
possess, to effect this method of retouching the original
whenever the same is absolutely required, but he is warned
not to overstep the bounds of necessity, as, in most cases,
a mere thought of starch powder lightly aiq)lied by means
of a swan’s-down puff is amply sufficient to bring about
the desired alteration. Any colouring of the cheeks or
lips with a red pigment M. (Irasshoff holds to be quite un-
necessary.

The chapter devoted to retouching the uegiitive is one
of the most interesting anil instructive in the book, and
we therefore trust to be able to place the same before our
readers in its entirety at an early opportunity, the subject
being one which hits of laU- received considerable .atten-
tion by the photographic world. The fiict th.at M. (rra.ss-
hoff has been one of the most successful oper.ators in this
br.anch of photographic manipul.ation is sutlicient gu.aran-
tee for the practicability and efficiency of the methods he
recommends. ,

^Vith regard to the retouching of photographs upon matt
p.aper with bl.ack pigments, the author makes the following
cautionary remarks ; —

“ In the early days of photogr.aphy very little attention
was paid to the qu.ality .and durability of the pigments used
for retouching, even when the pictures operated upon were
to be continually exposed to the effects of air and light, as
in the ease of exhibition and show prints. Thus, when an
elabor.ately retouched picture covered with a pigment of
inferior value began to lose its origimally beautiful tone,
and to change colour, assuming an ugly bluish-green tint,
the cry was at once raised that photographs were of a very
perishable n.ature, and that no confidence could be pl.aced
in their permanence. The character of the photogiaph
was thus impugned instead of the genuineness of the colour-
ing matter with which it was covered.

“ To prevent a mishap of this kind I employed myself
for some time in looking .about for pigments, and particu-
larly for a good red, in the permanent character of which
confidence might be jihaced ; my selection bailing eventuiilly
upon Vandyck brown, whose fiery red tint was found to
impart the requisite tone and to give excellent results.
Hy adopting this brown I w.as en.abled to dispense alto-
gether with the use of carmine, neutral tint, and similar
colours for mixture with the black Indian ink.”

The preparation of the composition to be used for re-
touching in black is thus described : “ A c.ake of Indian
ink is rubbed in a small porcelain dish with water until a
solution of thick consistence is obt.ained ; the ink should
be of first-rate quality, as upon this depends the baeility
with which it is afterwards m.anipulated. As the Indian
ink possesses a very dark brown tint, a little blue (either
I'russian, Paris, or Pinkert) is ailded ; and in order
again to correct the bluish tint which the ink may thuS'
acquire, a small quantity of Vandyck brown is put in. The
colours should be thoroughly mixed together by means of
a brush, further quantities of blue or red being added
until the tone of the picture is well imitated, a little of
the compound being applied by a brush to white j)aper
and allowed to dry, in order to make the comparison.
A\ hen a suitable pigment has been thus obtained, three or
four lighter tints of the same colour are mixed in several
porcelain shells, by taking small quantities of the thick

solution and diluting them with different volumes of
w.ater; thus the painter is provided with every gradation
of tint necessary for his work.”

M. (irasshoff recommends the application of several
coatings of a light tint, r.ather than one of a dark nature,
whenever great depth of shadow is required, and states
that, inasmuch as the ludian ink always soaks well into
the paper, a former application of the pigment is never
injured by subsequent elabor.ation with the brush. It
is for this rejison that Indi.an ink is .so well adiipted to
photogr.aphic retouching. To give the retouched jiicture
a finished appearance, the author suggests a vigorous
brushing of its surface with a clean, dry clothes-brush. If
the ])iint has been only slightly worked iqjon, it may,
after brushing, be polished with a compound consisting of
equal ])arts of white wax and good oil of turpentine, or
oil of lavender, melted together.

The fourth chapter, devoted to the retouching of albu-
minized prints with black pigments, contains but little
novelty. The pigment to be employed is prepared in a
similar manner to that described in the previous chapter ;
but, in.asmuch .as more brilli.ancy is required, a sufficient
quantity of a thick solution of gum is added to effect this
purpose, (llycerine or sugar mixed with the jiigment
enables it to be the more easily applied to the albuminized
surface, which should also be moistened with saliva, or a
dilute solution of white of egg, to facilitate manipulation.

Painting jihotograpfis in ordinary water colours forms
the subject of the next chapter, which bears especial refer-
ence to the manipulation of albuminized prints of small
dimensions. As this has always been a subject of great
interest, owing to the large number of coloured cartes-de-
visites which are sold, we intend on a future occasion to
j)l.ace this chapter likewi.se before our readers, without
curtailing any of M. (ir.asshoff's valuable remarks iqion
the subject.

The employment of aniline colours, recently brought
into commerceby Dr. Jacobsen, of Merlin, is next discussed.
The opinions of those who have used these colours, s.ays
M. (Irasshoff, are very divided, as by some they h.ave re-
ceived unqualified praise, while by others their qualities
have been gre.atly decried. The author proclaims himself
in their favour, and attributes to ignorance anil inexperi-
ence any cause of failure. Their manipulation is not
different from other w.ater colours, but care must be taken
never to overstep the outlines in the picture, .as the perfect
removal of e.xtraneous p.aint is extremely difficult, if not
altogether impossible. Another drawb.ack to the use of
aniline colours is the fact that some of the tints are w.ant-
ing, and in this c.ase ]\1. (Irasshoff suggests their being
eked out with ordinary water colours.

In Chapter 7 ^1. Gr.a-sshoff treats of the varnishing of
photographs, .always recommending a double .apiffication
of a preserving fluid. A dilute normal collodion contain-
ing from two to three per cent, of gun-cotton is poured
over the picture and allowed to dry. Defects may now be
remedied, or improvements made upon the collodion film,
and afterw'ards a sandr.ac varnish is applied to the print
by means of a large .and broad c.amel's-hair brush. This
mode of varnishing is best adapted to jirints upon albumin-
ized p.aper ; but matt pictures may also betreated in this
manner, provided a thicker and s.ronger varnish is used.
In general, the polishing of pictures of the latter description
with white wax is prefer.able. I’hotographs painted in
.aniline colours must not be coated with a spirit varnish, as
these pigments are soluble in .alcohol.

The last division of this little book treats of the painting
of photographs in oil colours. I'lie author goes very fully
into this method of colouring, detailing the m.anner of
selecting and treating the print before colouring, and of
laying on the various pigments. He also gives directions
for the preparation of canvas upon w'hich photographs
may be printed, to serve as designs for oil paintings. A
list of the different pigments reipiired is quoted, and in-

520

THE PHOTOGRAPHIC NEWSi

[October 30, 1868,

structions as to their management imparted, as far as it is
possible in so small a space ; the finishing and varnishing
of the pictures is also touched upon.

As M. Grasshoff rightly remarks at the outset, he does
not profess to teach anybody to paint solely with the help
of his book, but that, in all the manipulations he describes,
some amount of skill is necessary on the part of the opera-
tor. The author’s object in publishing his remarks is to
simplify the process as much as possible, so as to enable
photographers and amateurs of ordinary ability to produce
coloured pictures in the easiest and best manner, and to un-
derstand the prineiples upon which they work. That ^I.
(irasshoff has been successful in doing this there can be little
doubt ; and we feel sure that many aspirants will be greatly
aided in their work by a reference to the volume now before
us. We hope the time may not be far distant when the
author will again resume his pen to tell us something of photo-
graphic backgrounds and acces.sories, a subject upon which
his remarks would be equally valuable with those at pre-
sent under discussion.

A TREATISE OX OPTICS ; or. Light and Sight, Theo-
retically and Practically Treated, with the Application to
Fine Art and Industrial Pursuits. 15y E. Xt'GEXT, C.E.
(London : Virtue and Co.)

Tms is a comprehensive and popular treatise on optics,
which, in the dearth of such works, will be welcomed by
the student. 'I'hat an elementary work intended for
a text-book for schools and colleges should be a compila-
tion from recognized authorities was not unnatural, and
accordingly we find th.at Sir David Brewster’s work on
optics has furnished the basis of the present work, and
that the author has fallen into an error, only too common,
of omitting to mention the authorities on whose pages he
has drawn. Nevertheless, the work is a very valuable one,
containing much infornnation on photographic optics and
theapparatusconnectedtherewith, the information on these
subjects being brought to a later date, and being therefore
fuller, than in any other work on the subject. 'I'he work
is well printed and copioinsly illustrated, and it contains
that valuable but rare adjunct, a very complete index.
Altogether, we can recommend this volume to those of our
readers who may desire to know something of the prin-
ciples which underlie their art. The work is clearly
written and carefully arranged, and is at once comprehen-
sive and popular.

PIIOTO-MICROGll.VPILS Executed for the Army Medi-
cal Museum, United States.

We have been favoured by the Surgeon-General of the
United States Army with a series of photo- micrographs
executed by Brevet-Major Curtis, Assistant-Surgeon of
the Army. Several of these photograjths have become
familiar to English photographers by the examples sent
over to this country l>y t'ol. Woodward, which have been
exhibited at meetings of some of the societies. Criticism
on such work is altogether superfiuous ; it appears to be
simply perfect, both in definition and brilliancy. We have
examples of amplification varying from 80 diameters to
2,100 diameters with perfectly satisfactory definition. A
Todura scale, for instance, taken with Towell and Lea-
land’s l-.M)th inch objective, with the latter amount of
enlargement, is marvellously well defined. 'I'he .same test-
object, however, taken with a l-2oth inch objective by the
same maker, magnified 7.')(i diameters, is, in our estimation,
preferable. 'I'he following extract from a description of
the operations in producing these enlargements, contributed
by Col. Woodward to our Philadelphia contemporary, will
interest many of our readers : —

The essential parts of the process are, the use of object -glas.ses
corrected so as to bring the chemical rays to a focus, and illumi-
nation by violet light. The steps are, briefly, as follows ; —

The microscope is used in a dark room, the windows of which
face to the south. Outside of one of these windows is a .shelf, on
which stands a Silberman’s heliostat, so arranged as to reflect the
direct rays of the sun upon the mirror of the microscope, which is
fixed on an arm outside of the window, and, in its turn, reflects
the sunlight through a short tube in the shutter. The microscope
is placed at the inner extremity of this tube in a horizoncal posi-
tion, while at the outer end hangs a plate-glass cell, filled with a
saturated solution of aramonio-sulphate of copper. Through this
solution the sunliglit must pass to enter the tube, and in so doing
all but the violet ray is absorbed. Two steel rods, attached to the
mirror, permit it to be adjusted without opening the window, and
a black velvet hood thrown around the stage of the microscope
prevents any leakage of light into the room from the space
between the conden.ser and the objective of the instrument. With
liigh powers, an ordinary achromatic condenser is used ; or, in
some cases, a pair of simple plano-convex lenses, with a large
central stop, may be advantageously substituted, to give greater
obliquity to the illuminating pencil. Objectives properly corrected
for illumination with violet light have been manufactured for the
Museum by Mr. W. Wales, of Fort Lee, N. J., who has produced
a three -inch, four-tenths, one-fifth, and one-eighth, the quality
of which, in my opinion, is all that can be desired. The plate-
holder, properly centred, slides on a horizontal walnut frame, by
which it is held perpendicular to the axis of the microscope, and
can be clam))ed at any distance not exceeding nine feet from the
stage. By the side of this frame is a round rod. on the extremity
of which, next to the microscope, is a grooved wheel. The milled
head of the fine adjustment of the microscope is also grooved, and
a silk cord over the two enables the operator to focus the micro-
scope by means of the rod, no matter how far from the instrument
the plate-holder may be.

To arrange the illumination, position of the object, &c., the
operator stands by the microscope, puts in an eye-piece, and
focusses in the usual way, adjusting the mirror by means of the steel
rods, 'riie violet light is readily borne by tbe eye, even when the
whole power of the sun is employed in the illumination. This
adjustment completed, the eye-piece is withdrawn, and, going to
the plate-holder, the final adjustment is made by turning the rod.
In this final focussing, the object is viewed with a focussing
glass on a piece of plate-glass held in the plate-holder. The
sensitive plate is then exposed in the usual way, the time required
being from less than a second to twenty minutes, according to the
power employed.

For low powers, the objective alone is relied on to give the
necessary size. To obtain the highest powers, however, an
achromatic concave is placed at the upper extremity of the micro-
scope body. 'I'lio one now employed gives a perfectly flat field,
and increases the number of diameters between six and seven
times. This concave is about half an inch in transverse diameter,
and has an angle of aperture of 28°.

Many objects — as, for example, some of the tissues, certain
diatoms, 4:c. — present interference lines when illuminated with a
powerful pencil of parallel rays, and in order to prevent this false
appearance, it is necessary to interpose a piece of ground glass
in the solar pencil to disperse the light: iu this case the time of
exposure necessary is, of course, much increased.

By these contrivances we have been enabled to produce pictures
of tile utmost sharpness, and perfectly satisfactory in every other
respect, with powers up to 2,500 diameters ; and these pictures
bear a further enlargement of from six to eight diameters in a
copying camera. We have thus obtained excellent pictures with
no less' than 19,000 diameters.

If the foregoing points are duly attended to, it matters com-
paratively little which of the very many e.xcelleiit photographic
processes in use for ordinary work is employed. As to collodion,
many different samples have been used with good results — among
others, for example, onn contaiiiing two and a half grains each of
the iodide of ammonium, the iodide of cadmium, and the bromide
of ammonium, to the ounce of collcdion. With the highest powers,
a collodion containing two grains of bromide and five of the iodide
of magnesium to the ounce has been found advantageous, the re-
sulting nitrate of magnesia preventing the plate from drying
during the long exposure necessary. The nitrate bath is used of
the strength of forty grains to the ounce, and is acidulated with
nitric acid. We use the ordinary iron developer, restrained by
the gelatine solution, on the plan proposed by Brevet-Major W.
Thomson in a recent number of your journal. The picture is fixed
with hyposulphite of soda or cyanide of potassium, and afterwards
intensified with iodide of mercury dissolved in a solution of iodide
of potassium, and, when necessary, still further with Schlippe’s
salt. Great intensity is especially required in pictures of the
diatomacca, and other lined obj^ts. The negative is finally
varnished, and jtrints taken on albumen-paper in the usual way
I send you samples of these prints. It is to be remarked, how-
ever, that for the Museum we prefer transparent positives on
glass, mounted before a piece of ground-glass. A fac-simile of
the field of the microscope is thus obtained. I should tqke plea-

October 30, 1868.]

THE PHOTOGRAPHIC NEWS.

521

sure in showing any of your readers who may visit the museum
the splendid series of specimens prepared by this method.

It may be remarked that, with the very highest jiowers — such as,
for example, the new Powell and Lealand’s one-hftieth objective,
one of which is in the possession of the Museum — the correction of
the objective, to suit the index of refraction of the violet ray, is so
small as to be practically unimportant. At least, by illuminating
this lens with monochromatic lij'ht, we have obtained with it
excellent photographs, one of which I send you. This remark,
however, does not apply to the one-eighth nor to any lower power.
I have not yet e.xpenmented with the one-twelfth or one-sixteenth,
but believe, also, that with these glasses the special correction
will be found indispensable to the best results. I may also say
that with the one-eighth and the amplifier we have obtained
photographs with magnifying powers as great as we have been abla
to obtain from the one-fiftieth. Comparative pictures taken from
the same object give the preference, in some particulars, to the
one-fiftieth; in some,|to the one-eighth and amplifier.

The process I hove above sketched is employed in the Museum
in preparing the pathological illustrations for the medical history
of the war, and diatoms, &c., have been employed by us simply as
test-objects.

PHOTOGRAPHY IN EGYPT.

As we have before stated, the German photographic expedi-
tion despatched to Aden to record the solar eclipse has
received instructions to pursue some photographic investiga-
tions in Upper Egypt, and obtain records of the various
ancient relics and inscriptions which abound there. Our
friend. Dr. Vogel, will communicate to these pages notes of
matters of interest to photographers occurring during his
Egyptian tour. In the meantime we reproduce his first
letter, addressed tw Dr. Jacobsen, who edits the Mitthcilungcn
during Dr. Vogel’s absence : —

On the Xile, North of Minieh.

In my last letter I communicated to you the fortunate issue of
our photographic ob.servations of the eclipse of the sun ; since
that time scarcely four weeks have gone by, aud in the meanwhile
I have travelled by the Suez canal from Suez to Port Said, in the
Mediterranean, ascended the Pyramids, spent eight days in the
deserts of Sahara, and now am sailing on the Nile, towards Upper
Kgypt, for the purpose of fulfilling a new scientific engagement,
which it appears was part of the mission of our expedition after
the prineipal object, photographing the eclipse, should have been
completed.

The first intimation of the expedition to Upper Egypt reached
us at Aden. In Cairo we found the leader of the expedition. Dr.
Duraichen, awaiting us. He had a barque already furnished to
take us up the Nile, a splendid supply of chemicals from Berlin,
and a stoek of provisions purchased; so that after a very short
sojourn we were enabled to proceed.

Our new duty was to photograph important historical inscriptions
and sculptures on the Egyptian temples aud tombs. For this pur-
pose we were provided with a considerable quantity of magnesium
and a magnesium lamp, to work in the mausoleums. Further, Ur.
Dumichen had brought with him a gigantic tripod, twelve feet
high, for our camera, together with the ladders belonging to it, to
enable us to photograph correctly the higher friezes aud writings.
This tripod admits of the camera being placed almost perpendicular,
so as to take drawings on the ceilings, &c.

F'irst, we proceeded to Sahara. Hero lies the field of the
dead and the old town of Memphis, to which also belong the
great pyramids. Here, in the sands of the desert, you find thou-
sands and tens of thousands of tombs filled with earth. The ground
is covered with potsherds of earthenware, the remains of sarco-
phagi and bones, the desert wind driving the tattered linen shreds
of mummies over the waste and desolate plain.

The director of the Egyptian Museums in Cairo, and principal
Inspector of all that is untombed in Egypt, acted as our convoy,
and showed us many interesting tombs which he had discovered
and laid open to view. Some of them formed noble courts roofed
and columned ; others simple chambers, with numerous bold re-
liefs on the walls. The whole of the rooms were half dark, being
only lighted through small openings to bo found in the ceilings.

The photographing of these reliefs was our first task, and we
had to deal not only with the difficulty of defective light, but with
that of their exceedingly short distance from us. On this account
our first photograph was taken through the employment of the
magnesium light, but we were only able to produce a few of the
hes^s of portraits. Naturally, under these circumstances, very
little could be done at a time, and in order to produce the picture
of a long wall many photographs had to be taken. In the lighter
tombs we photographed by daylight, and brought out the dark
corners through reflected solar light, which we threw into the dark

parts by means of mirrors. In order to avoid faults in the light-
ing, we kept the mirrors continually working in rotation. Many
of the dark places were photographed by using both the daylight
and the magnesium light at the same time.

Besides these difficulties, when working in the desert, we had
many other troubles to encounter. The wind perpetually blowing
endangered our tent, and threw the fine sand upon our prepared
plates. The exceeding dryness of the wind caused defects, and
the muddy water of the Nile, for washing and rinsing, rendered
any clean work most uncommon with us. Wo were best off when
we could make our preparations in one of the tombs. F'or instance,
wo made use of the tomb of a prime minister of one of the
Pharaohs, Ti — to judge from his heroic deeds, recounted on the
wall, a sort of ancient Egyptian Bismarck. In his lifetime ho
certainly never could have dreamt that 4,000 years afterwards his
tomb would be used as a photographic dark room.

In inditferently lighted rooms the Steinheil aplanatic objective
proved itself to be the best for photographing large surfaces. Wo
were furnished with a complete supply of the different objectives,
but none, with an equally large aperture, gave so even a picture
as Steinheil’s.

The most interesting part of the field of the dead is the Sera •
peum. This consists of subterranean catacombs executed in the
rocks, in which arc the colossal coffins of granite of the sacred
bull Apis. M. Mariette had these mighty chambers lighted, so
that wo could behold at one view their magnificent dimensions.
The size of the coffins may be imagined from the fact that we,
eight men, found room at one table, not merely sitting, but stand-
ing also. The excessively heavy granite covers of these coffins
are lifted aside in a body, and their contents removed. Diggers
for treasure had rummaged out not only these, but almost every
other tomb, long before European Egyptologers came into this
country.

We tried at the end of our sojourn in the de.sert to photograph
such an Apis-sarcophagus in its cavern with the aid of magnesium
wire and a Dallmeyer portrait lens, and obtained, at the expense
of eight metres of 'magnesium wire, a successful picture.

After encamping for six days in the desert, we got back to our
barque. Our photographic implements followed us, partly on
camels and partly on the heads of the natives.

On the 12th September we again set sail, and steered for
Denderah. The first day we made seventy miles with a strong north
wind, and had already began to entertain hopes of soon reaching our
destination, when, all of a sudden, our boat got aground and stuck
fast at five o’clock in the morning. Vain were the exertions of
the sailors to get her afloat. Ttiey called upon Mahommed, his
wife, mother, and grandmother, shrieking to escape, but all to no
purpose. After two hours’ continued efforts, twelve men were
fetched in a small boat from the nearest village ; these, however,
could not manage to float our barque. Now our situation became
critical, and nothing remained except for our dragoman to
be sent up the river to the nearest town to bring another vessel or
a steamboat for our salvage. We thus spent twenty-four uncom-
fortable hours in the middle of the Nile. Fortunately we had been
strongly recommended to the authorities of the country through
our Consul. Tlie Miishir of the place to whom our dragoman
applied gave immediate orders for a hundred men to be sent off
to float our barque, in which they succeeded.

We sailed again with a fresh wind, which continued until the
following night. From that time the favourable north wind ceased,
and now we are crawling slowly along ; sometimes, indeed, not
moving at all.

This dependence upon the whim of the wind, together with the
danger of getting aground, is not the most agreeable part of a
trip up the Nile. No man can with certainty dispose of his own
time ; and this affects me the more, as my duties for the middle of
October call mo back to Berlin.

riCTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Chiaroscuro for Photographers.

BY H. P. ROBINSON.

Chapter XXXIX.

Why arc photographers so afraid of shadow as their works
indicate ? It is seldom that a photographic portrait by an
English artist is seen with more than sufficient shadow
to ensure a certain amount of roundness and modelling in
the head ; and the effect of a head in shadow, or with the
light coming from behind, is never found. On the Continent,
photographers have seen the advantage of occasionally vary-
ing their effects. In Germany, especially, very beautiful
things have been done with the face in shadow, and the

522

the photographic news.

[OCTOBKR 30, 1868.

light, coming in from the back, skimming the side of the I Mr. Fruwirth’s process, of a wood engraving in an excellent
head.' Very delicate and transparent effects, of which the | little publication entitled the Children’s Friend. It is
engraving is a sample, are produced by this means. The i not necessary to have a window in the background end of
subject entitled “The Sisters” is from an engraving pub- j the studio to admit the light; it will be found quite suffi-
lished by Goupel ; our illustration being a reduction, by j cient and effective if a portion of the roof is used. A clearer

understanding of the method will be obtained from a re-
ference to the diagram of the roof of the studio described in
Chap. 30. The white spaces represent glass, covered with

white blinds, numbered 1, 2, 3, and 4. To produce the eftect
of light coming in from behind, the sitter is placed under
No. 2, or rather nearer to the bar which divides land 2. Blind
No. 1 is pulled up, leanng clear glass, and blinds 2, 3, and

4 are pulled down ; being made of white calico they admit
a small amount of light, which allows a very soft shadow
on the face. The camera is placed under No. 4, or any dis-
tance beyond necessary to the size of the picture required.
The exposure necessary will be found to be very little longer
than for a portrait lighted in the usual manner. If the
negative be not over-intensified — at first it is difficult to be-
lieve that the broatl mass of the face should be left so thin
— the result will be exceedingly fine, luminous, broad, and
without heaviness. I have left out of the account the side
of the studio which should be blinded in the same proportion
as the roof. If photographers could be persuaded to depart
occasionally from the usual and monotonous manner of pro-
ducing portraits which make their photographs so very
“ photographic ” and unlike other works of art, they would
soon find other variations in the mode of lighting which
would create variety in their productions, and, in all proba-
bility, give their patrons a new interest in their works.

One of the evils which has prevailed amongst photo-
graphers, and a very natural one, is, that they have studied

October 30, 1868.]

THE PHOTOGRAPHIC NEWS.

523

too much from photographs. When they have seen a good
eflFect in photography they hav'e admired it and tried to
imitate it ; an aim laudable enough in itself, especially if
very occasionally indulged ; but which has, nevertheless,
been carried out to such an extent as to produce in the mass
of photographic portraits a dreary, common-place mono-
tony, modincations of one or two or three leading styles
being perpetuated ad nauseam.

I was consulted some years ago as to the wisdom of pub-
lishing a little work on posing and arranging, to consist
chiefly of lithographic copies of actual photographs by the
best masters, and was asked to undertake or superintend its
preparation for the press. In the midst of the rapid demand
for portraits, which allowed very little time for study or
arrangement in the glass-room, such a work, it was deemed,
would be eagerly sought after, and, I have no doubt, might
have been a successful business speculation. It would,
however, in my estimation, have been a mischievous book,
and for the sake of photography I at once condemned the
idea, and used my influence in preventing its issue. Photo-
graphs themselves were plentiful enough, and were too com-
monly imitated and copied ; but to make copies of such
things, and distribute for imitation, appeared to me worthy
of all condemnation. It is true, there are a few masters of
artistic effect in photography whose works might form
valuable studies; but sufiicient of the photographs them-
selves of these men are for the most part accessible where
they are required for art study; and, as I have just said,
photographic portraits are already too much alike, and
modelled too much on one style. I have striven in these
papers to impress upon the student the importance of avoid-
ing direct imitation as a practice ; and for suggestive studies
I should recommend him to go outside of photography and
examine the wealth of engravi'd pictures readily accessible,
ilany of the old mezzotint engravings to be picked up for a
few pence each on London book stalls are invaluable. A
habit of studying these would much improve the notions of
chiaroscuro of most photographers, and teach them the value
of shadow and the importance of securing transparency in
shadow. The horror which photographers have had of
shadow has been chiefly due, I believe, to the fear of blackness
and unrelieved heaviness. A good mezzotint will show how
much general depth of tone may be secured without
blackness ; it will show also how the distribution of half
lights in the midst of shadow effects this. With the mate-
rials arranged to give light and shade in the photograph
similar to that seen in a good mezzotint, the photographer
will find that good lighting and full exposure will give him
results not very far inferior to those in the engraved
pictures.

■■■ ■ O-

PRlXnXG TRAXSPAREXCIKS OX DRY PL.VTES
WITHOUT CUTnXG THE NEGATIVES.

The production of tram parencies is generally a favourite
winter occupation with the photographer, and to the dry-
plate worker it is an important point to be able to trans-
pose the images without cutting the original negative. This
can only be effected by means of a suitably arranged print-
ing-frame requiring some ingenuity to contrive. One or
two of these have already been described in our pages, and
we now bring another under the notice of our readers, which
seems admirable in its simplicity. The name of the Rev. J.
Carter Browne, the inventor, will be recognized by many
of our readers as that of an experienced and successful dry-
plate man. He says : —

“ I send you, according to your request in last week’s Xews,
an account, with diagrams, of a frame I have extemporised for
printing transparencies on glass without cutting the negative.
Let me briefly describe it.

“ Kig. 1 represents the interior view : a b e d ia the body of
the trame, around which I have run an edging of wood three-
eighths of an inch deep; in this the negative lies : ppp p is a

hole the exact size of one of the pictures to be printed, which,
allowing for a margin of one-cightli of an inch above and be-
lo'v, and three-eighths at each end of the plate, leaves us three
inches square : e/jh’ciaa flange of tin, tacked on to the lid.

in order to prevent light finding its way between the body and
lid of frame when closed ; in this flange two slots aro cut, to
allow the two eyes at 1 1 to come near enough to the two
hooks to close the frame during printing.

“ Fig. 2 represents the reverse of Fig. 1. On the lid 5 5 5 5
is the outline of a stereo plate, G denoting the extremity of the
central line ; this is in order to get the exact middle of the
sensitive plate, so that I ensure against any doable printing in
the middle of my transparency : 12 3 1 are two fine pieces of

I-ig. 2.

list, to prevent the plate being scratched when resting on the
wood for measurement ; the middle line is marked at its ex-
tremity by the point of a small arrow-head of paper gummed
on tte uon-prepared side of the plate. During the printing
this arrow-head is made to coincide at one time with the one.
at the other time with the other, of the arrow marks in a i of
fig. 1: t mnr are pads of india-rubber, which press the ]>ri'-
pared plate tightly and equably to the negative when the frame
is shut.

“ I h.ave tried many processes, and find that, next to the plain
albumen, no process gives bettor tones or more delicacy than —
Tannin ... ... ... ... ... 15 grains

Sugar 1 lump

Aqua dcst. 1 ounce

The exposure (in a northern light) at mid-day at this time of
year, with sun shining, is (with a first-class negative — i.e , full
of half-tone and not over-dense) six to eight inches ; for other
negatives in proportion to their cliuss. Ordinary pyro and citric
developer. It is by far the most satisfactory work at this time
of year ; seldom .a failure, and always plates to prepare for the
next day, and some to develop of the bygone day.

“ I hope to have your critique on my transparencies not long
hence, when I can get away to Loudon. — I am, sir, yours faith-
fully, “J. Cautek Bkowne, M.A.

'• Horncastle Grammar School.”

SENSITIVE DEVELOPMENT PRINTING PROCESS.

Here Stbr.nbero communicates to the Archiv a highly sensi-
tive development printing process, suitable for obtaining

524

THE PHOTOGRAPHIC NEWS.

[October 30, 1868.

enlargements with very short exposure. The paper is pre-
pared as follows : —

Rain water
Tapioca...

1 litre

• 20 grammes

Iodide of potassium ...
Chloride of potassium...
Lemon juice ...

10 ..
40

2.j0 drops

The tapioca is first made into a paste by pounding in a
small quantity of cold water, and the other materials are
then added gradually, having been previously dissolved in
the litre of rain water, which has been made to boil. It is
kept heated during the adding of the tapioca, and until
the liquid becomes clear. When cool, it is spread on the
paper by means of two pieces of sponge, as in the prepara-
tion of arrowroot paper. If exposed to the atmosphere, this
paper very quickly assumes a reddi.«h hue, and inaibled
stains often show themselves on the surface ; but these de-
lects disappear when the sheets are sensitized.

The silver bath is composed of —

Rainwater ... ... ... 1 litre

Nitrate of silver .. GO to 100 grammes
Citric acid 5 ,,l

The strength of this bath should be reduced if the negative
be dense, and increased if the negative be soft.

The exposure must be prolonged until the outlines of the
picture appear on the sensitive paper. It is then developed
in a solution composed as follows : —

Rainwater... ... ... ... 1 ounces

Saturated solution of gallic acid ... 1 ounce

Immersed in this bath, the proof will there become gradu-
ally stronger, and will assume a sombre brown tone. It
should be raised from time to time by the corners and ex-
amined. When it has attained sufficient strength it must
be taken from the bath and made to float on a water bath,
to prevent the gallic acid from sinking into the paper.
After some minutes the sheets should be plunged into the
water and well washed ; it is then toned in an old gold bath,
and finally it is fixed in the ordinary manner. After the
mounting the proofs may be treated with encaustic paste or
varnished if brilliancy is required.

PHOTOGRAPHIC PRINTING IN SILVER, THEO-
RETICAL AND PRACTICAL.

BY W. T. BOVEY.*

I HAVE frequently been asked by photographers of tender
conscience, how I contrive to tide, over the evil which, say
they, must arise from the presence of free acid that is borne
by the prints from the toning to the fixing solutions. I
reply, “ If any scruples are entertained, by all means add a
little carbonate of soda to the preliminary washing water ; it
can do no harm. I doubt its power to effect good ; it may,
however, neutralize all the free acid conjured up by your
imagination." In point of fact, it might be set down as a
certainty that with the employment of the double salt of
gold and sodium, together with an addition of free nitrate of
silver to the bath, the toning solution is neutral ; at least,
with the most sensitive of litmus paper I have failed to
detect acidity. Indeed, to add an acid in an appre-
ciable quantity is to inaugurate disaster. In my own prac-
tice I simply remove the prints from the toning bath to a
tray of water when they are ready for fixing, which last
operation demands our next consideration.

Concerning the strength of hypo solution to be adopted
for the proper fixation of silver prints, a diversity of opinion
exists, and, as a natural sequence, each practitioner thinks
his particular method the best. At a fimt glance over the
matter it would appear a subject of small importance what
strength of solution is adopted, as long as the unreduced

* Continued (rom p. 611.

silver is dissolved out of the paper. Nor would it occasion
any difference if the fixation of the picture was the only
condition to be considered. But allow me to point to an
hitherto unrecognized fact, that the formation of blisters is
frequently caused by the adoption of a fixing solution of
excessive density — in other words, by the employment of an
over-dose of hyposulphite of soda. Considering the matter
by the light of common sense, has it never occurred to those
who advocate such excessively strong baths that they over-
step the bounds of economy by using an amount of hypo
altogether disproportionate to the actual requirements, as
the amount of the fixing salt they provide would afford
hyposulphurous acid sufficient to combine with a thousand-
fold more atoms of silver than the prints supply? I readily
admit that to consider only atomic combinations would,
under the circumstances, be worse than dangerous, as the
resisting power of the albumen and paper has to be provided
against. But I contend that at the extreme outside, 3 ounces
of hypo to an imperial pint of water are ample for fixing any
number of prints that quantity of water can comfortably
contain.

With a paper weakly albuminized, no fear of blisters —
even with the strongest of fixing solutions — need be enter-
tained. It is when the albumen surface is raised above the
paper by reason of its thickness — when the pores of the
paper are sealed and rendered air-tight — it is then, and only
then, blistering requires guarding against, and the avoidance
of the evil depends on the density of the hypo solution, for
the following reason. Up to the moment the prints leave
the hypo bath, despite the handlings and washings the
prints have been subjected to, they have failed to dislodge
minute quantities of air imprisoned in the pores of
the paper. Now with a slight coating of albumen, or when
a coarse-textured paper is used, the outer portion of each
pore remains open, so that, on immersing the prints into the
final washing water, a quantity of air-bells forming on the
surface of the paper go to prove that air is escaping ; but
when that air can find no outlet, it stands to reason that any
application of considerable force must separate such portions
of the albumen as have no firm hold on the paper. Phy-
sical science proves that such force exists — a force that finds
in the conditions provided by an albumen surface a fitting
field for action. The agent in question is allied to capillary
action, and is known by the outlandish name, endosmose, which
in commonplace English may be interpreted as meaning
that when two liquids capable of admixture with each other
are separated by any surmountable obstacle, the lighter fluid
makes a rush to unite with the heavier. On consideration,
it will be perceived how this force acts on an albumen print.
The pores of the paper act as capillary tubes, through which
the hypo solution enters as far as the confined air will admit
it. So far there is no extra pressure ; but when the prints are
removed from the hypo to the washing water, this last makes
a rush on the hypo, and the hypo solution gives an extra
squeeze to the air, which, in its efforts to escape, dislodges
the albumen, and blisters result. The remedy is obvious :
reduce the strength of fixing solution, and you do some-
thing towards removing the difference of density between
the hypo bath and water. I have followod up some inter-
esting experiments in the direction hero indicated, and I
might say that I have produced blisters at will. Bear in
mind I write of albumen surfaces, and on pure albumen
surfaces only I experimented. As a wind-up to the subject
of the fixing bath, I append the formulm I adopt : —

Pure hypo... ... ... 2 J ounces

Water ... ... ... 1 imperial pint

Time of immersion, thick paper, quarter of an hour ; thin
paper, ten minutes.

And now for the final washings. What a deal of fuss has
been made about this and that washing machine! SVhat
horror of feeling has been experienced when it has been told,
of some careless brother, he puts his prints from the hypo
bath direct into his washing trough ! 1 freely confess myself

October SO, 1868.]

THE PHOTOGRAPHIC NEWS.

525

guilty of like error, and believe myself much in the right.
1 drain the prints thoroughly from the h"po before im-
mersing them in water ; and my chief care is to have an
abundance of water to start with, and I see that the water
has made a move through the syphon before the prints are
immersed. Depend on it, much of the fading we hear so
much about often arises from excess of care in moving the
prints from the fixing bath into a small dish, from that dish
into a second, and so on. The waters employed in the
earlier stage are converted into weak sulphurous compounds,
which attack the whites of the prints, decomposition in
atent form is set up, and a damp atmosphere, or other causes,
will finish the destructive work, perhaps months subsequent
to the formation of the germ. If any one would see what
a dilute hypo solution can do, place a print or two in such
a mixture for a few hours, when, ten to one, the print
will go through all the stages of decay which silver
prints are heirs to; or, at least, so their character is de-
scribed by many. After all that has been said concerning
the carbon printing process, until some process is discovered
that enables the operator to work with his eyes opeu — such
as silver printing admits of — silver printing will doubtless
remain the favourite. By no other known process could
Mr. Robinson’s beautiful composition pictures be produced ;
by no other process can the sun be employed to remedy
defects present in the negative.

Therefore, as silver printing is destined to enjoy a long
lease of existence, let me, in conclusion, beg of my readers to
do what they can to master all the difficulties connected with
printing operations. 1 have faithfully offered reliable for-
mulae and instructions, in which I have examined existing
theories, and offered others of my own. The formulae I have
recommended are all based on sound and economical prin-
ciples. and the whole, if intelligently worked, yield unerring
results. I here dismiss the subject of albumen printing, so
far as theory and formula: are concerned. My next paper I
purpose devoting to the collodio-chloride process and print-
ing by development. Until then, Au revoir !

Answers to Correspondents.

X. The addition of plain water to the bath is not, as you

suppose, to replenish waste ; it is intended to keep the solu-
tion in constant working order. The surplus solution so
occasioned should be thrown away.

j^EMO. You are inclined to display some amount of irony.

I have, as you are doubtless aware, studiously avoided puffing
my own or any other person’s goods. “Fair play” is the
motto I adopt, believing there are many in the world more
able and not less honest than myself.

S Add a little very weak chloride of lime solution to the

toning bath, which will enable you to obtain the black tones
you are sighing tor.

Cffrrcsp’ffn&cncc,

SALTING FORMULAE OF ALBUMINIZED PAPER.

Dear Sir, — A paragraph extracted from an American
journal has recently been going the round of the London daily
press, in which a satirical squib is set fizzing in honour of M.
Dumas, the celebrated French novelist, whoso announced
visit to Yankee Land has inspired some witty journalist to
improvise an anticipatory programme of the eminent French-
man’s probable performances, according to which, commencing
with readings from his own works, M. Dumas will successively
exhibit his versatile abilities as player, gastronomer, chemical
demonstrator, velocipede driver ; and the finale will consist of a
grand distribution of photographs of the performer, accom-
panied with a packet of stuff for the cure of madness. My
advice to M. Dumas would bo : “ For charity’s S:tke present the
first package of your madness eradicator to the writer of the
paragraph in question.”

To the thoughtful every incident conveys some useful moral,
and the paragraph alluded to has impressed my mind with
thoughts I deem most apposite to the subject on which I am
anxious to address you in the present communication. A

fertile genius is unquestionably one of God’s greatest gifts to
man, but its versatile powers require no ordinary amount of
care to control them, for the plain reason that a man of genius,
feeling strong in his superiority, is frequently but too apt to
make a trip when he puts forth his powers to manage matters
publicly before he has mastered the pro’s and con’s embraced in
general details. The unhappy result of his temerity is, he is
laughed at by those who. for the once, are his superiors in
knowledge, and, when compelled to retrace his stops, the erring
genius finds that confidence in the integrity of his teachings
has been grievously shaken. How many a man of genius has
made shipwreck of his fame by deserting well-mastered fields
to wander o’er untried ground — to venture hapazard on work
perhaps not above bis ability, but beyond the embrace of his
previous practice and study ! Among painters the name of
such fallen ones is legion. Writers 1 briefly sum up ditto. In
short, among every class of toilers, whether of hand or brain,
are to be found men wlio have cause to regret their having
entered on some ill-considered undertaking, the failures in
which offer forcible proof that nature sternly demands from
all a sober use of such powers as a good God has bestowed on
them, also that teachings should proceed only from teachers
who by much labour have been taught.

Turning towards photography, I find versatile actors there
who oft cut queer capers, men who probably would be qualified
to adorn some humbler sphere, setting themselves up as art-
teachers. Of a truth, art pretenders are they, stringing
together quotations from books ancient and modern, affect-
ing to commence with Homer, and to follow up with Plato, to
make a show of learning, and really drawing largely upon the
pages of Ruskin, as is fashionable with dabblers in art, forming
in the whole an ensemble most bombastically erudite and
fantastical. I say, “ Heaven forfend that I consider such sorry
performances efforts of genius !” Robinson in the News,
Davies elsewhere, have given us art lessons in good, plain,
hearty English, and they are readily acknowledged the right
men in the right place.

Setting art teaching aside, we discover science instructors
seeking notice, some of whom would perhaps do well to select
fields that need more of imagination than patient investigation
and reasoning. Yet, from time to time, turn up among us men of
real genius, who are wont to startle us by their originality of
conception, and arouse our feeUugs of admiration by the acute-
ness of their logical powers. Let me name one : Mr. Nelson
Cherrill, a gentleman I heartily admire, and truly respect, on
account of his philosophic intellect. An original thinker, a
man of cultivated tastes, a thoughtful and intelligent observer,
possessing a skilful hand and able pen, take him all in all, he
has all the requisites to mould himself into a photographic
star of the first magnitude ; but, alas! human vanity will peep
out to make fools of the wisest ; and human weakness tugs
hard on the most assailable side of Mr. Cherrill when that
gentleman is tempted to write or speak on printing matters.
I take his last paper, read before tho members of the North
London Society, which contains some able, original, and
well-considered remarks on tho true relationship of tone
with intensity ; and had the paper concluded with tho writer’s
comments on these subjects, I fain would have clapped my
hands over tho pages of tho News, and cried, “ Bravo, Mr.
Cherrill I you have hit it cleverly.” But the unfortunate
supplementary remarks thrust mo from the climax of enthu-
siasm down into tho depths of sorrowful cogitation ; for
well I know that Mr. Cherrill has all the ability needed to
make an intelligent and successful printer; but ho has wisely
chosen the better path, whore present fame is his, and future
laurels await him ; where he will never, I trust, have reason,
after years of toil, to say, “ I have been pursuing a labour of love
in a vale of emptiness ; I have endeavoured to benefit my art
and its followers, and now, when too late, discover that I
have wronged those little ones who laugh and prattle around
my ain fireside.” Mr. Cherrill, I repeat, might, if it so pleased
him, have made a thoroughly practical printer, but he sagely
turned aside, and is not one ; hence, when touching on print-
ing matters, he presumes on his versatility, and exposes his
weakness.

A word or two on the point at issue. In his comments on
the supposed variations that exist in paper from the same
maker, he unconsciously unfolds to the gaze of the initiated his
imperfect acquaintance with the subject he attempts to discuss.
He objects to making negatives to suit paper, and to pursue no
end of experiments to discover the treatment papers prepared

526

The photographic news.

[October 30, 186§.

by the same hand and from the same fdrraula require, and
dwells on the difficulty of getting paper that will jirint a la
Salomon, and on advantages innumerable to bo derived
from a knowledge of salting formuho. If Mr, Cherrill had
spent half the years of toil and experimental research over the
matter that I have done, ho would know that a practical printer,
worthy of the name, needs no knowledge of the ex.act amount
of salt contained in the paper ho uses ; the tirst print satisfies
him on that point sufficiently for his purpose and the satis-
factory progress of his operations. Besictos, he could under-
take to produce half a dozen kinds of prints from one ready
sensitized sheet of paper and from one negative. It is not a
knowledge, derived from the dealer, of salting recipes that
would bribe grim Charon to row the perplexed printer on the
sunny side of the photographer’s Styx, that bubbles and heaves
with lesser troubles. Experience, and good, hard study, form
the talisman, and until that experience is gained, paper and
paper albuminizers will be the scapegoats of those who fail of
uniform success. Years have such spent in fruitless grumblings,
and, except indirectly, their complainings have extracted no
response. But the gauntlet has now been hurled by a strong arm.
The accusing knight is Mr. Cherrill ; his herald, yourself, sir.
whom I have the lionour to address. To hesitate longer would
savour of pusilanimity ; I therefore, on behalf of my craft,
accept the glove with kind intent, and am ready and willing to
do battle. Meanwhile, if your readers think it would prove
advantageous to themselves if the salting formula} I adopt were
made known, they are welcome to the information : —

No. 1. — Chloride of ammonium 5 grains

Chloride of barium ... 3 „

Albumen (fresh and pure) 1 ounce.

No. 2. — Chloride of ammonium 10 grains

Chloride ot barium... ... ... 0 „

Albumen (as before) 1 ounce.

Now go to work on the information, and case you of your
troubles. It is not, you will find, the amount of salt used which
makes the pudding light ; it is the manner in which the ingre-
dients are mixed and stirred ; and to expect good prints bec.auso
you know the amount of salt the paper eonlains is similar
to expecting tender beef and mutton because the soil on which
the animals fed is familiar to you. I would undertake to pro-
duce prints scarcely difiering in tone and quality from any
half-dozen samples of paper prepared by any half-dozen honest

that there is a fault in the representation, and the ingenuity of
the photographic artist is taxed to dissimulate the deformity.
It must not be forgotten that a perfect rendering of the detail
of the several parts of a picture is proved to be perfectly com-
patible with a pseudo-perspective representation of that picture
as a whole, as witness the performances of panoramic lenses,
where near objects seem shown ns much too large as the dis-
tant ones appear too small ; and I hold that we have this in a
modified degree in our portrait photography. It seems to me
that the points I have named are nearly, if not quite, inde-
pendent of the spherical aberration of the lens ; and I think
the natural and practical question arises for discussion. How
far should we be from the anterior plane of the objects wo wish
to represent, in order that the lens should not only give the
proper amount of detail, but should render all the parts in
harmonious proportion ? — Yours, &c., John Anthony, M.D.

Washwood Heath, near Birmingham, October 24, 18GS.

Sir, — Your correspondent, and my good friend, Mr. DaviJ
Winstanley, corrects John Anthony, M.D., for an alleged error
in that gentleman’s communication to you on the above subject.
It appears to me that Mr. Anthony is right, and Mr. Winstanley
mistaken. As a practical proof I would suggest the following
experiment.

Place a man twelve feet behind some transparent partition,
as a sheet of glass or transparent gauge, and let him hold out
his hand before his body, say at three feet distance. Let him
be photographed from a lens placed at twelve feet on the
opposite side of the partition, so that the subject of the photo-
grapher IS twenty-four feet from the lens. Then let a mirror
bo substituted for the sheet of glass or gauge, let the same man
take un his position hy the side ot the lens, twelve feet from
the looking-glass, and letthe photographer reproduce him (with
his hand stretched out as before) from his retlectcd imago in
the glass. I will venture to say that the relative sizes of the
hand in proportion to the head in the two photographs will bo
totally dillerent ; that is, in the first, the hand will appear
enlarged to the proper proportion, considering it is three feet
in advance of the head and body ; in the latter, the hand will
appear as if it were six feet in advance. — I am, sii, yours truly,

Augustus Dulcken.

dealers.

In conclusion, I hope all my brethren in the paper tr.ado
will respond to your courteous invitation, and freely pronounce
their opinions concerning the true cause of the torments they
are being daily subjecte(l to. Requesting that j'ou will kindly
insert this letter in its entirety, I remain, yours respectfully,
Willesden, October 20, 1808. W. T. Bovey.

DISTORTION AND PERSPECTIVE.

Sir,— I am obliged to Mr. Winstanley for setting mo right in
that part of my letter relating to reflection from the surface of
a mirror; and as the fallacy was mine, I hasten to make the
“amende honourable ” to Mr. Cherrill. I trust, however, that
the subject involved in the latter part of my communication —
viz., the pseudo-perspective effect produced by the too near
approximation of the lens to the object to be copied — may still
bo worked out for the benefit of the many to whom the estab-
lishment of some simple laws embracing all the conditions
would be a great boon. Fond as I have ever boon of photo-
graphy, I have always sccimid to recognize that the photo-
graphic representation in portraiture was seldom or never as the
eye would see the natural object. If the jilane of the sitter’s
head was absolutely vertical to the optic axis, the representa-
tion of the head would bo passable ; but let the forehead project
over so little, and there would bo exaggeration of that part in
the picture; or, on the contrary, recline the head back, even
slightly, and although all the details might bo fully rendered,
yet the prominence of the jaw and the narrowing of the fore-
head would be something more than unbecoming ; they would
have properties and give effects which certainly the human
eye would not recognize in tho figure itself when so posed.
A figure may bo “ foreshortened ’’ in nature without producing
the idea of distortion. Why should it not bo so in a photo-
graph ■? Swing backs have been adapted to cameras to assimi-
late tho plane of tho i)icture to tho general plane of the object,
but they only partly overcome the difficulty ; tho eye detects

MR. FRY’S MODE OF MASKING.

Sir. — Tho new method of masking described in your last, as
practised by Mr. Samuel Fry, seems to be very ingenious, but
I fear more ingenious than practicable. It seems to me that
there aio several difficulties in the way of using it to good pur-
pose. Putting aside the fact that the loss of sharpness which
must arise from the use of a mask placed outside tho negative
must have an injurious effect, there is, I think, a still greater
difficulty arising from the nature of the mask. Let mo ex-
plain, for to understand tho case clearly it is necessary to follow
tho operation carefully to its ultimate issues.

As you have described, a transparency from a negative
must bo exactly the converse of tho negative, and a print taken
from tho transparency would bo a negative blackest in tho
highest lights, lightest in tho darkest shadows. When, there-
fore, a print wanting in half-tone, because printed from a hard
negative, is placed under a transparency from tho same nega-
tive and exposed to the light, it will not be the missing half-
tones which will be impressed, but the lights which will be
degraded. Tho high lights in the mask, being the most trans-
parent, will permit tho light to pass through first, gradually
producing in the print a dark spot, or a series of dark spots, in
the very places which should bo kept as pure lights. In the
parts' adjoining tho pure lights, tho transparency admitting a
little less light, tho print will acquire a little detail, but in in-
verse ratio to its requirements, tho gradation being darker
towards the lights and fainter towards tho shadows, an effect
which must ho destructive of modelling. One allusion in your
article implies a knowledge of this, but tho matter required, I
think, more fully elucidating. — Yours, R. F.

Dear Sir, — I think that photographers are greatly indebted
to Mr. Fry for a valuable suggestion for improving defective
prints, but I think that it should be made very clear that it is
only available in case of very hard negatives, and that the
dodge should bo applied with great judgment, otherwise a

October 30, 1868.]

THli PHOTOGRAPHIC NEWS.

527

singularly pseudoscopic effect will be produced. I fancy that
the transparency should, in truth, be only used as the basis of
a mask which should be judiciously worked upon, stopping parts
out ; and that instead of placing it outside the printing-frame,
it should be placed upon the print after it has left the frame,
moving it about a little, if necessary, to prevent excess of
sharpness. — Very re.spectfully yours, Zeta.

October 24, 1808.

THE ENAMELS AT THE CORNWALL POLY-
TECHNIC EXHIBITION.

Sir, — In your report of the award given by the Royal Corn-
wall Polyteclinic Society for enamel photographs you omitted
to say that the modal was given for coloured enamels, no
medal being given for plain enamels. In justice to Mr. Barnes
and myself please correct this omission. I beg to inform you
I did not exhibit any coloured enamels ; what I exhibited wore
purely untouched pictures, not even spotted. — Yours respect-
fully. A. L. Henderson.

October 28.A. 1868.

STATUS OF PHOTOGRAPHERS.

Dear Sir, — I think it would bo very desirable to hold a
meeting of photographers from all parts of Britain, to assemble
in London during the Photographic Society’s Exhibition ; jt
would be interesting and pleasant to meet our photographic
brethren. November is generally a dull montli in many re-
spects, consequently the time to photographers is not of so
much value.

Several things demand our attention which it wilt be well to
discuss : first, the Relief Fund ; then we want to devise some
means to avert the ruin which stares us in the face through the
ridiculously low prices which prevail in many places. While
incompetent hands kept the low prices to themselves it did not
matter, but when able men descend to 6s. a dozen it becomes
a very serious thing. I enclose an advertisement which bears
out this statement. All honour to Williams, Mayall, and a few
others, tor keeping to a respectable price.

Another question is, Can anything be done to raise the status
of photographers? I fancy it is through a sort of Cheap-
Jackism that many of us are now threatened with ruin. I
should like to see a photographic college founded, at which all
young photographers should pass examinations at the end of their
apprenticeship; then M.P.C., or some other initial, might be
taken, indicative to the public of their having been properly
qualified for the position they aspire to fill. A collection of
photographs and things interesting to photographers might bo
kept in the college, so that provincial men, when they happen
to be in London, might see what is done and doing.

I fear to trespass further on your space. — Yours truly.

Photographer.

S^alk in tbf Stubio.

Low Prices, or Good Work ?— A correspondent mentions
a case tending to answer the question as to whether low prices,
or good work and high prices, most tend to business success.
He says : — “The world-famed potter, Wedgwood, when giving
advice to tho clay workers of Staffordshire, might, from the
aptness of tho remarks, have been offering counsel to tho
photographers of England. Ho cautioned the potters as a body
to stear clear of the dangerous reef of low price competition,
and the low price rock, but to strive, by introducing originality
and improvement, to keep the public patronage and demand
afloat. A notable instance of this is now in operation at a
fashionable watering place, where prices have been for some
time on the seesaw or wavering scale, where an artist — not a
dauber — has appeared on the scene, and ofl'ered the world of
fashion enlarged porcelain portraits at prices ranging from
upwards of ten guineas each ; the consequence is, that the beauty
and superiority of tho work cause tho studio of the artist to bo
crowded with customers, fully demonstrating that really good
work will ever maintain its way, and meet with support. Tho
peculiarity of tho medium on which these magnificent pictures
are painted and worked up is a guarantee of their capability
of resisting the ravages of tipie."

Preliminary Coating of India-rubber. — In the courses
of a letter received a few days ago from M. Constant-Delessort,.
of Lausaune, he remarks that he h.as recently used a solwtioc
of india-rubber for a preliminary coating for dry plates, iu*
which tho beuzine had been so imperfectly rectified that, not'
withstanding that tho film was well dried at tho fire, it was
dissolved again when tho collodion was applied, mixing with
the latter and producing disastrous results. We have found
that, unless the beuziue be absolutely pure, chloroform is tho
best solvent for india-rubber for a preliminary coating. Coal-
tar naphtha is an excellent solvent for india-rubber, but It
should be avoided, as not sutllciently pure for preliminary
coatings.

A Photographer’s Widow. — Mr. Beattie, of Clifton, writoa>
as follows ; — “ I enclose a list of those who have deemed it a-
duty to assist Mrs. Pearson. To-morrow I will hand over the*
amount to Bishop Anderson for her use. Receive my thanks*
for so kindly making tho appeal, both in your advertising and
other column.s, free of all charge.’’ Tho list stands as follows : —
Burgess and Grirawood, Norwich, £2 ; Thomas Ayers,
Yarmouth, lOs. ; F. Davies, Dawlish, 2s. 6d. ; G. E. Chertsey,
Is. ; J. E. B.. Cowes, Is. Gd. ; W. Mathews, Bury-st.-Edmunds,
Is. ; F. B., Clitton, 2s. 6d.

Photography in Russia. — The correspondent of a daily
contemporary says:— “ The Czar has consented to allow photo-
graphs to bo taken of all the treasures of art contained in the 1 m-
perial Gallery of the Hermitage.’’ Photography has generally
been in favour in Russia, and some of the finest photographs wo
have seen have been taken in Russia. Wo were recently
favoured by General Count Nostitz with some instantaneous
photographs of the Emperor’s favourite riding horse, taken with
a 3b lens. Count Nostitz is an ardent amateur, and prodoe«»
some exceedingly fine photographs.

Mu. Solomon’s Lamp at Falmouth. — We have pleasure
in adding to the list of awards already announced in connec-
tion with tho Cornwall Royal Polytechnic Exhibition, tho
intimation that a medal was awarded to Mr. Solomon for his
magnesium lamp.

Making a Bath. — Mr. C. Quin gives tho following minute
instructions to an amateur for making a half pint nitrate
bath : — “ Place a piece of clean writing paper, about three
inches square, in one of your scale pans, and a similar piece as
a counterpoise in the other. Weigh out exactly 300 grains of
nitrate of silver, taking care not to touch the salt with your
fingers A sheet of white paper should bo spread on the table
to catch any of the crystals that fall. The salt should be
conveyed to the paper in tho scale pan either with a piece of
clean cardboard folded so as to form a little shovel, or else
shaken out carefully. Tho nitrate of silver should next bo
thrown into a perfectly clean bottle, which is kept expressly
for tho purpose, and dissolved in two ounces of distilled water.
When fully dissolved, weigh out a grain of iodide of potassium,
dissolve it in half a drachm of distilled water, and pour it into
tho nitrate of silver solution. A strong deposit of yellow iodide
of silver first forms, but is immediately redissolved on stirring.
When once more clear, throw in a morsel of blue litmus paper
and stir. If, at the end of two or three minutes, the litmus
paper has not turned red, it is a proof that there is no acid
present ; but if, on tho contrary, it changes colour, add a few
drops of solution of carbonate of soda (lU grains to tbe ounce)
and stir. Tho white precipitate formed will probably bo
redissolved. If so, add another drop or two of carbonate of
soda solution until the solution remains slightly turbid after
being well stirred. Next dilute the solution with eight ounces
of distilled water, stirring all tho time. This will produce
distinct turbidity, and you must filter the solution into another
bottle. Filtration is generally performed by passing tho liquid
through filtering paper ; but as it is always best to keep nitrate
of silver and organic matter apart as much as possible, a plug
of cotton wool iuserted in the neck of a largo funnel will form
the best apparatus for tho purpose. A little practice will soon
show you tho amount of pressure to be given to the plug. The
liquid should pass through in a succession of quick drops. If
it does not pass clear at first, a second filtration will be
necessary. Never spare any pains in filtering your bath ; it is
of the utmost importance that it should be perfectly clear and
free from floating particles, otherwise spots and streaks will be
infallibly produced.”

Generating Chlorine. — A Belgium chemist has devised a
new process for generating chlorine. Ho first forms trisulphate
of sesquioxide of iron, by tho direct combination of this oxide

528

THE PHOTOGRAPHIC NEWS,

[October 30, 1868.

'with sulphuric acid, and then mixes the trisulphate obtained
■with three equivalents of chloride of sodium or other convenient
chloride. Upon heating the mixture in drj’ air the chloride of
sodium yields all its chlorine. — Chemical N'ewt.

Manufacture of Pekmanoanate of Potash. — Some facts
worthy of attention concerning tho manufacture of perman-
ganate of potash have been pointed out by M. Staedeler. In
the preparation of this salt, by heating a dilute solution of the
manganate, a third of the manganic acid is reduced to the
state of peroxide without taking part in the reaction ; the
case is the same when hydrochloric acid is used to effect
the transformation, notwithstanding that this process permits
of the use of concentrated solutions. Things happen differ-
ently when chlorine is employed. The following is a con-
venient method of operating: — The crude pulverized man-
ganate is abandoned in its own weight of water for several
days; then a similar quantity of water is added, and a current
of chlorine transmitted until the liquid becomes red ; the
solution is frequently agitated, diluted with four times its
volume of water, filtered through coarsely powdered glass,
and reduced to one-fifth of its original volume. At this point
the permanganate crystallizes ; it can be obtained in a state
of purity by recrystallizations. The yield is 90 per cent, of
tho weight of peroxide of manganese employed. — Ibid.

9^0 ®0rrcsgoobtnts.

Bab. — Where two solutions have to bo u.sed in succession on the
plate in developing or intensifying, they should each contain the
same amount of alcohol, or such amount as will make each flow
evenly without causing greasy-looking marks, caused by the im-
perfect mixture of the two liquids of different densities. See a
short article on the subject for fuller explanation.

A. B. — The enquiry you make is a very important and useful one,
and tho answer, fully given, would be very instructive, but would,
imfortunately, require several pages of our Journal, as it would
involve an explanation of the difference between good work and
imperfect work in almost every detail. Tho Bristol pictures are
good examples of good workmanship throughout : weU lighted,
well posed, developed properly, printed and toned with taste, and,
finally, well mounted and well rolled ; whilst the others are faulty
in all these particulars. In the Pontypool pictures the figure is,
in the first place, taken on much too large a scale, giving an effect
of clumsiness to the figure. The camera requires moving further
from the sitter. The figure is not well lighted, too much top-light
being used. The negatives are a little under-exposed ana over-
intensified, causing black shadows and chalky lights without de-
tail. They are toned a little too black ; not neatly mounted, and
not well rolled, if rolled at all. The backgrounds and accessories
are not good. The background screen should be more even and
free from marks, and should be further from tho figure.

W. AJfuKEWS. — The number of tho News containing the descrip-
tion you require has been forw.arded. You cannot do better than
follow out tno instructions in all respects. 2. Yes; let the bath
into the bottom of the box. 3. It is customary to mount stereo-
scopic pictures so that any two points (say tho centres of each pic-
ture) shall be about 2f inches apart. Of course, if the centres are
that distance apart, there will be also that distance between any
two points in the pictures. The best and truest effect is obtained
by leaving on a little more of the right-hand side of the subject
in the right-hand picture, and of the left-hand side of the subject
in the left hand picture.

A .Seeley, who seems a little inclined to indulge in badinage, sends
us the following : — “ Now that so much is being said about photo-
engraving, I enclose two specimens of a process to be called
photosketchitblackvamishengraving, and shall be glad of your
remarks thereon. It is not patented.” Tho specimens enclosed
are examples of a process introduced seven or eight years ago as
photographic etching. A plate of glass is covered with an etching
groimd, either of black varnish or other suitable substance, and a
drawing is then executed with an etching-needle, by which means
an etched negative is produced, from which a print may be ob-
tained on excited paper by tho ordinary photographic printing
process. The specimens enclosed, which are good examples of
what may bo termed the slate and pencil school of art, appear to
have been executed by such a process.

Gulielmus (Sheffield). — The markings you describe are very
suggestive of over-iodizing. Collodion, when over-iodized, is very
apt to yield just such markings as you indicate. If this be the
cause in your case, tho addition of a little plain collodion to the
sample in use will effect a cure. Somewhat similar markings will
sometimes proceed, however, from other causes. The use of a
very old bath is sometimes a cause. Tho immersion of the plate

before it has well set is often a cause, especially at this period of
the year. Moving tho plate rapidly the moment it is put into the
bath, and keeping it moving for half-a-minute or a minute after,
proves a cure when the defect arises from other causes than over-
ludizing. 2. It is a somewhat difficult task fur us to say when a
certain article appeared, of which you can only tell us that it was
a good developing process, without giving us the title, as we
have published so many, and are so frequently publishing such
proce.sses. You will find one in the present number of tho
News.

W. J. A. G. — By care and perseverance in the plan you describe
ou cannot fail of success. 2. Mr. Rejlander’s address is 129,
lalden Road, Haverstock Hill. You are right in your conjecture
as to the “authority” it was necessary to correct, and also in
your estimate of its character.

New Subscrihek. — With the dimensions you propose the arrange-
ment generally is good ; but we should prefer at least three feet
more glass at the north side, and one or two feet more in the north
roof. In some respects No. 2 would be the best form, but the
sun would trouble you in summer, so that on the whole No. 1 will
be attended with the fewest troubles.

Old Developer. — You can obtain a solar camera through most
dealers. Mr. Atkinson, of Liverpool, will certainly supply you,
and general instructions for its use will accompany the instru-
ment. We shall have pleasure in assisting you through any
specific dilHculties which you may find on trying it.

Henry Lamb. — The stereoscope described by Mr. Blanchard is of
American manufacture. Whether it has yet been made by any
one in this country or not, and if so at what price, we have not
yet learnt. The amount of magnifying power in the instrument
Mr. Blanchard exhibited was pretty good ; but that is a point
depending on the lenses with which the instrument is fitted ;
within a suitable range, any power of lens might be employed.
The great advantages of the stereoscope in question were perfect
illumination of tho slide, convenience for use, facility in adjusting
the focus to any sight, and some other mechanical advantages not
usually possessed by existing and more expensive forms of box
stereoscope. We think it will very probably be taken up by some
manufacturer, in which case it will doubtless be noticed and
advertised in these pages.

F. — aVny chloride soluble in alcohol may be used. We have not
noticed any special difference in the results of different chlorides.
We prefer citric acid to any org.inic substance for the purpose
which we have tried. We saw the letter to which you refer. The
name was, as you conjecture, an interpolation, to cause a false
suggestion. We had a letter from tho writer of tho letter a few
days after it appeared.

R. N. F.— You will see some further explanations of the method of
masking in question on another page.

B. F. — Very dilute sulphuric acid (say one part acid and four parts
water) may be employed to clean lenses. Take care to rinse well
afterwards, and dry thoroughly. 2. No. 3 of your list is
preferable.

M. D. — The simplest mode of ascertaining tho equivalent focus of a
portrait combination is that which wo suggested some years ago.
Focus an engraving sharply on the ground glass, getting the
image precisely the same size as the original. Then remove tho
lens, and measure the distance exactly between tho ground glass
and the engraving. One-fourth of that distance is the equivalent
focus of your lens. Thanks for your good ■aishes.

SiLEX. — The proportions of the room certainly present some diffi-
culty, but such as may, we think, be overcome. The greatest
is the great height of the wall — twelve feet — in which you
can have no side-light. There Is a method, however, of deahng
with this. If you rai.se the floor of the room three or four feet,
and so bring the sitter nearer tho skylight, you -will be able to
submit him to a much larger volume of light, and avoid slowness.
If tho premises answer well in all other respects, we should be
tempted to try this method. We should put in a good length of
skylight, broken up ■with as fea’ sash-bars as possible on tho north
side, and a smaller skylight, for use in dull weather, on tho south
side. Thanks for the paragraph, which we shall use.

E. Sawyer. — We have written to our correspondent, and will let
you know the reeult next week.

Stereo. — Received. Thanks.

Several Correspondents in our next.

$f|otograptia KegisUnh.

Mr. J. Stuart, Olasgow,

Photograph of Prince of Wales laying Foundation Stone n( Olas-
gow University.

Photograph of Foundation Stone of ditto.

Mr. P. A. F. ViLLiiRS, Newport, Mon. ,

Photograph of Sir J. Ramsden.

Photograph of Mr. Rees Jones.

Mr. J. Milton, Newcastle, Stafford,

Photograph of Map of Borough of Newcastle, Stafford.

THE PHOTOSS^HIC NEWS,

Vot. XII. No. 631,— 6, 1868.

CONTEKT8.

Pi OK

A Photographer’s Relief Food 629

The ECTect of Manipulation on the Characler of Negatives 529

Echoes of the Month. By an Old Photographer 530

Backgrounds ar.d Accessories. By J. Martin 531

Instructinus for Posing 532

Collodio-Bromide Dry Pistes. By M. Oarey Lea 533

On Intensifying IVeak Negatives. By M. II. A. Eckert, of
Prague 534

PAG!

Pictorial Eflect in Photography. By H. P. Robinson 534

Correspondence — A Bundle of Old Letters— A Photographer’s
Relief Fund— Mr. Fry's Method of Masking— To Strengthen
Varnished Negatives — Proportion of Salt in Albuminized
Paper — Portraiture “on Approbation ” — The Photographs

of the Late Eclipse taken in India 536

Talk in the Studio — 539

To Correspondents 539

A PHOTOGRAPHER'S RELIEF FUND.

Shall it be Established in Six Months?

One of the chief obstacles to the establishment of a Photo-
grapher’s Relief Fund, as to many other good projects, is
the difficulty of securing a beginning. All are agreed that
to commence such a project and fail to carry it to a successful
issue would be mortifying in the last degree to all concerned,
tfnd would injure rather than promote the cause of charity ;
and as success in such a purpose cannot be quite certain, it
is probable that this uncertainty may in some degree account
for the inaction in the matter of practical men. We pro-
pose, therefore, to those interested in the matter, a test
operation, by which some idea may be obtained of the
success which will follow the completion of a satisfactory
organization for the administration of a Benevolent Fund,
of the more complex machinery involved iu a Provident
Fund we say nothing at present.

A generous photographic amateur offered, in our columns
a fortnight ago, to give fifty pounds to a fund, if within six
months a satisfactory committee were formed for its adminis-
tration. We simply propose to work out that idea to its
legitimate issue. Let those of our readers who believe that
such an organization is desirable, and that itshould be foimed j
as early as possible, follow the example of the amateur just re-
ferred to, just in such proportion as they feel dispo.sed to con-
tribute. They will simply have to write, undertaking to con-
tribute a.s many shillings or as many pounds, either as donations
or annual subscriptions, as they think right to give, on con-
<lition that a satisfactory committee bo formed for its ad-
ministration within six months. We shall neither receive
subscriptions nor publish names at present, but shall pre-
serve a record of the oHei'S, and in due time publish the
result — that is. the amount of money conditionally piomised.
If the promi.se of success justify further action, we think j
that it will not be difficult to induce a committee of capable |
.and trustworthy men to undertake the necessary steps for
forming a permanent organization for administering the
fund. This done, a treasurer would be appointed, to whom
the contributions might be forwarded direct, and who
would duly publish his acknowledgments. If, on the
other hand, the response to an invitation like this be in-
sufficient to justify any permanent organization, that part
of the question will be set at rest fbr the present.

This plan will, we think, afford a practical means of test
ing the question as to how far a general conviction prevails
as to the need of such an organization, and how far a wide-
spread willingness to contribute to such a fund exists.
Besides tending to settle these questions and some othe-s
raised by a correspondent whose letter appears on another
]>age, it affords an opportunity for those interested in the
question to commit themselves at once to some tangible
step. We shall hope to hear from many of our readers.

THE EFFECT OF MANIPULATION ON THE
CHARACTER OF NEGATIVES.

Most experienced photographers have observed n the
course of their practice that the mode of manipulation has
some effect on the character of the finished work : not merely
in 3vhat may be termed the mechanical character of the
result, but also on points that might be supposed to bo
due to chemical action. Of course it is natural enough to
expect that carele.ss manipulation should produce such
defects as uneven films, stains, and other irregularities ; but
it would scarcely, at first glance, appear a matter of course
that hardness or softness, excess of detail or intensity, should
be largely due to purely manipulatory causes. There are,
however, various modes in which manipulation may influence
the character of the result, some of which are familiar to
practical photographers ; but we are about to point to one
which is, we believe, unfamiliar — at any rate it has not be-
fore been pointed out.

The fact to which we are about to refer was pointed out
to us by one of our most successful professional photo-
graphers, who, having observed the circumstance accidentally,
proceeded, in the course of considerable experience during
the summer with large plates, to test the matter carefully,
so as to leave no doubt as to the certainty of the results.
His position is this: that in using precisely the same mate-
rials, in the same proportions, with the same exposure, a
negative in which harmony and softness shall prevail, or
one in which contrast and intensity shall prevail, may be
produced at will by the mode of manipulating during deve-
lopment. Some operators will be disposed here to exclaim,
“ Of course it will depend upon whether the free silver solu-
tion be driven off' the plate, or retained when the developer
is poured on.” It is true that this would aff’ect the result,
a less vigorous negative being produced when the silver
solution is driven off by the mode of applying the deve-
loper; but this is not what is meant. The difference to
which we refer, between the prevalence of contrast or detail,
will depend upon the mode of holding the plate, and
whether it is held still or kept in motion Assuming that
the chemicals, &c , are in good condition, and the exposure
right, if the plate be held still after the developer is
applied, a soft harmonious negative full of detail will bo
' the result ; whilst, all the conditions remaining the same, if
the plate be kept in constant motion after the developer is
applied, a negative in which contrast and intensity rather
than detail prevail will be invariably obtained. These are
the facts brought under our attention as the result of careful
observation, no theory being offered in explanation of
them.

530

THE PHOTOGRAPHIC NEWS.

[November 6, 1868.

The facts, it must be admitted, st first glance, seem sin-
gular enough, nothing in the means being apparently ade-
quate to produce the end ; but we think we can offer an ex-
planation of the probable causes in operation which will
account satisfactorily for the result. When an ordinary
developer is applied to the e.xposed film, it will be observed
that the high lights appear first, the half lights following,
and so in regular succession, the least illuminated details
being developi.d last. It will also be observed that in the
process of development there is a natural tendency to aggre-
gation in the deposit of silver : wherever light has most
acted, there silver will be most readily precipitated, and
hence, in an under-exposed picture, the lights acquire great
density before imperfectly illuminated details are brought
out at all. It must be borne in mind that whilst the haloid
salts of silver in the film — the iodide and bromide — form the
initial image, appreciable thickness and printing power are
obtained from the free nitrate on the film. If these facts are
borne in mind, then, it will be seen tliat after the deve-
loper is applied a double action is in progress, the image
formed by light on the bromo-iodide of silver is in course
of development, and the free nitrate of silver present is in
course of precipitation on that image, giving it a certain
degree of appreciable density, the rapidity of the precipita-
tion of silver being in the ratio in which light has acted.
If, then, the plate be kept still, the free nitrate of silver,
being equally spread over the surface of the plate, is gradu-
ally precipitated, and the lesser lights, commonly called the
detail, slowly but surely acquire sufficient densitj' from the
precipitation of the nitrate of silver immediately in contiict I
to give them printing value ; and the higher lights, only j
securing the precipitation upon them of as much free nitrate |
as is in contact with them, do not acquire excess of density. I
The result is a negative in which detail rather than inten- |
sity prevails. But if, on the other hand, the plate be kept
moving, the tendency to aggregation is brought into active
operation. The free nitrate solution being kept in motion
over various parts of the plate, the lights, wliich are brought
out fimt, having secured the precipitation upon tliemsclves
of the silver solution in immediate contact with them, find
themsclv'es in constant contact with a fresh supply, which
in turn is precipitated upon the parts which in virtue of the
greater action of light have the greater attraction for it.
The lights thus go on rapidly aggregating the deposit of
silver. In the meantime the minor lights, consisting of the
detail in the shadows, suffer in two ways: first, they are |
robbed of the silver which should have helped to build them
up ; and in the next place, the high lights quickly acquiring
sufficient density, the development is stopped, of necessity,
before the less illuminated portions have had time for full
development.

We think that on this view of the case it will be seen
that it is perfectly natural that keeping the plate in motion
should tend to give intensity to the lights, and keeping it
still should tend to give full value to the less illuminated
details. We have before pointed out that the use of a weak
developer tends to the production of contrast, and the use
of a strong developer to harmony, the bmdency in both
cases being due to causes similar to those we have just ex-
plained : a weak developer, acting slowly, permits of
the aggiegation of deposit by the lights, whilst a strong
developer, acting quickly, brings out the detail rapidly, and,
at the same time, preeijritates the full proportion of silver
thereon.

Our own observation has confirmed the view of the effect
of manipulation which we have here set forth ; and we doubt
not that it will be borne out by the observation of intelli-
gent photographers, especially where large plates are used,
which of course afford the best illustration of the facts in-
volved. -V knowledge of facts of this kind will not only
frequently be found useful, but will go far to explain the
jModuction of discrepant results with the same materials by
different operators.

ECHOES OF THE MONTH.

BY AX OLD BUOTOGRAPUER.

Prese.ntation Prints — Mr. Fry’s Mode op Maski.no — Pho-
tographic E.xuibition — Photographers’ Relief Fund —

False Reports — Societies.

It has often struck me that the distribution of presenta-
tion prints is one of the most useful, as well as one of the
most pleasant, of the duties of photographic societies. If
the office of the committee of selection be exercised with
judgment, the prints so distiibuted may possess a highly
educational character. Examples of novelty in process, of
skill in mechanical or chemical treatment, or excellence in
art, thus distributed by societies, often teach more forcibly
and practically than many papers or the discussions thereon.
The North and South London Societies have both admirably
carried out this function of a society. They have both been
amongst the first to present examples of carbon printing to
their members. They have both aimed at giving examples
of the work of the great masters in photography, men who
excel alike in the technical and the artistic qualities of their
work, i find the names of Bedford, Mudd, Rejlander,
Robinson, Lake Price, Blanchard, Bingham, Wilson, Vernon
Heath, Frank Good, Cherrill, and Woodbury amongst those
whose works have been distribuh'd amongst the members of
these two societies.

The last distribution of the North London Society is
surely tiie m:}st extraordinarily liberal one which was ever
made under similar circumstances. Let it be remembered
at the outset that the subscription to this Society is but
half a guinea a year, and that after the payment of necessary
expenses the balance only can be devoted to the purchase
of presentation prints. The jn-ints distributed this year
must, however, estimated commercially, have been worth
three or four times the amount of the annual subscription.
First, there was a magnificent 12 by 10 subject-picture by
Lake Price, entitled “ 'I'he Falconer,” never before published ;
next, a 10 by 12 landscape by Mr. Cherrill, with the most
glorious clouds ever produced, I think, in so large a photo-
graph ; and next, two whole-plate studies by Rejlander,
printed by Woodbury’s process. All these were mounted on
good cardboard — not plate paper — with India tinted mounts.
'I’he South London present their members with one of Rej-
lander’s charming studies, and a splendid carbon print,
1C by 12, fiom one of Robinson’s subject-pictures. The
members of the London Photographic Society have their
prints yet to receive; but ]>rints from Mayall, England, and
Robinson are promised.

The suggestion of Mr. Fry for a novel mode of masking
is very ingenious, and may doubtless, in many cases, prove
eminently useful. A photographer will, of course, always
try to produce haimonious negatives, through which the
printing of all parts will go on in due order, without mask-
ing or retarding in any part; but, despite the greatest skill,
ovei-dense, negatives will sometimes be obtained, and special
subjects will at times present special peculiarities which
render masking imperative, and the transparent positive
undoubtedly presents the best bases for a ma.sk which can
possibly be obtained. I say bases for a mask, because I
apprehend that, iu the majority of instances, the photo-
grapher of taste will see something in the light and shade
of his picture which may be modified and improved by
working on the mask.

1 have been gratified to find generally prevailing amongst
photographers whom 1 meet a pleasant anticipation ot the
forthcoming exhibition of the Photographic Society, and
of the social reunion with which it is to open. It seems
to be a general opinion that the easy absence of formality
which prevailed at the last exhibition meeting rendered it
much more agreeable than a conversazione at which evening
dre.ss is <lc riyucur. I look forward with interest to the
display of pictures, especially in the department of por-
traiture, in which I expect to see a considerable revolution

-o-

November 6, 18G8.]

THE PHOTOGRAPHIC NEWS,

531

since last year, the change being in many respects for the
better. There will doubtless be a considerable prevalence
of what a facetious friend terras “ Saloraoniac ” pictures. I
have seen many capital e.xamples. and lieard of many more.
The first impulse of many English photographers was to
wonder at the photographs of the artistic Frenchman ;
next to decry them ; and since then has come the better
phase, and the tendency is to profit by them, and we shall
see the results, doubtless, at this exhibition. Some have
been deterred from attempting anything of this kind from a
feeling of dislike to the notion of imitating. I do not
think that adopting a new style and aiming at a new
phase of excellence should be regarded as imitation. If it
were so, every one who has taken card portraits is an imi-
tator. But it is quite possible to ado[>t a style without
imitating individual examples of that style; and such adop-
tion is not only permissible, but is ofteti praiseworthy.
Taking a high place amongst the specimens of this new
style will be found the contributions of Mr. V. Blanchard,
many of which are most admirable. M. Fradelle will, 1
believe, exhibit similar pictures, in the production of which
I am told he is doing a very large business. Jlr. Fry will,
1 believe, exhibit some fine examples of the same kind. Mr.
Leake has done exceedingly good work in this direction,
and I hope he will send some specimens to Conduit Street.
I have seen some examples by Me.ssrs. Robinson and
Cherrill, which have been mistaken for Salomon’s pictures ;
and I am told that they have a fine series which I have not
seen, some of which will doubtless be sent to this exhibition.
Mr. N. Briggs, of Leamington, will doubtless send his prize
picture and others of the same kind, lie contributed to
the Falmouth exhibition something styled in the catalogue
“ Emolliotypes,” specimens of which we may hope to see,
and learn something of their character. Robinson’s “ Re-
turning Home” will doubtless bo there; and examples of
Mr. Englat^l’s last summer's work, produced by the wet
process, by the way, to which, for this season, at least, I
iindeistand, ho returned. I believe we shall have some
examples of the charming works— both in portraiture and
shipping — of Mr. Hughes ; and of the summer’s work of
Bedford, and of Gordon, and scores of others, so that the
exhibition can scarcely fail to be an attractive one.

The offer recently made in your pages of a donation of
fifty pounds towards a benevolent fund will surely stimu-
late efl'ort to initiate a society of some kind ; but it appears
to me that the proposition for forming such a fund has not
excited the universal interest which might have been
expected. Letters have appeared from time to time in your
pages referring to it as a desirable thing, but it has not
been discussed in detail. It has not been brought forward
at photographic societies, nor talked of much in the circles in
which photographers most do congregate. Is it because photo-
graphers, as a rule, are not poor, and do not see the piospect
of poverty, or because the number of those amongst them
most likely to feel the pinch of necessity do mt make their
voices heard ?

Apropos of some false reports which the editor deemed it
right to contradict, I was struck with some remarks of a
cynical philosopher in a recent number of Belgravia, on the
subject of false reports. 1 suppose it is at times necessary
to correct special misstatements, but 1 cannot help agreeing
considerably, on such subjects, with the philosopher, whose
words I will, with your permission, quote: — “If,” says he,
'• you wish to get on comfortably in this world, it is best to
allow your brother, and your sister too — by whom I mean
everybody — to lie themselves black in the face ; so long as
they refrain from forging your name, and so getting you
into pecuniary trouble, they can’t do you much harm.
Leave it to Mr. Carlyle’s Eternals in their own good time
to proclaim the truth. As a rule, it is impossible for any
man thoroughly to disprove nine hundred and ninety-nine
out of a thousand falsehoods and hence, he argues, it is
not worth the trouble to try. Dan O’Connell used to say^

“ Give a lie ten days’ start, and the truth will never overtake
it.” I object, however, to this pessimist doctrine ; I fancy
that lies, as well as curses, are like chickens, and come home
to roost, and that “ ever the truth comes uppermost, and
ever is justice done.” So mote it be.

The societies generally have recommenced their meetings.
The Xorth London had a capital paper from Mr. Cherrill, of
a character a little too abstract, perhaps, for discussion
generally, although a somewhat animated discussion arose
incidentally out of it, regarding the quality of albumin-
ized paper, and the proportion of salt employed. Some of
the members thought if they knew the proportion of chloride
used with the alliumen in preparing paper they could more
leadily determine the jiroper strciigtli of silver solution
necessary to bc’in with, and the proportion of silver
necessary to maintain tliat strength. Albuminizcr.s seem
to think that such information is not necessary : that the
skilled jH'inter will qnickl}’’ learn by experience the kind of
treatment necessary for any sample of paper, and that the
unskill ed printer is scarcely worth considering. The argu-
ment is bad, I think, in both cases; and the time will come
when the proportion of salt used will be marked on the
paper as a matter of course.

At the South London a somewhat unusual subject for a
photographic society was discussed. Mr. Blanchard ex-
hibited and described an American stereoscope. It pos-
sessed three especial points of superiority over most of the
instruments familiar at this side of the Atlantic : it was per-
fectly open ; permitted the slide to be well illuminated by
artificial light, which few ordinary instruments permit with
any convenience ; it permitted ready and extensive adjust-
ment to the focus of various eyes; and it was simple and
cheap. Mr. Blanchard thought that the introduction of
such a stereoscope to the public would give a new stimulus
to the demand for stereoscopic picture.s. I hope that the in-
strument will be shortly introduced into commerce. The
Liverpool and Edinburgh Societies have had good meetings,
but no point of especial novelty was introduced.

BACKGROUNDS AND ACCESSORIES.

DY J. .MARTI.N.

Much has been said and written upon the management and
painting of scenic backgrounds and accessories for the studio,
and many complaints have been made (with good cause) of
their unnatural and disjointed effect. I think the great
requisite — truth of perspective — has been overlooked and
neglected ; often, I fear, from a want of knowledge, both in
the photographer and the painter. It need cost no more
trouble or expense to make them correctly designed than
otherwise.

I consider the greatest requirement with pictorial back-
grounds and accessories is that they should be painted en
suite, meaning from the same point of distance. This will
be determined by the distance the camera is to be placed
from them ; this, again, must be governed in roo.st cases by
the length of the studio in which they are to be used
Thus executed they will, when arranged in their proper
situation.s, appear together in true perspective from one
certain spot which is the true point of view. At this place
the camera should stand, and, whatever the size of the photo-
graph to be produced, should always remain there, and never
be shifted either nearer to or further from the background,
or from side to side, as is often done. Following this method
it is necessary (o use cameras and lenses ol various sizes, but
not so various as might be expected, as pictorial back-
grounds and accessories are seldom needed except for full or
three part length figures or groups. Heads or busts, for
vignetting, arc best executed on plain backgrounds of a
light colour. Half or three part length portraits look well
with a graduated plain background, so arranged as to bring
the shaded side against the light side of the head. If any
accessory is used, let it be, in such pictures, some simply

532

THE PHOTOGRAPHIC NEWS.

designed solid object, placed in half shade ; in these cases
the camera may be moved ad libitum, as in plain back-
grounds ; there are no perspective lines to distort, and solid
accessories vary their perspective with truth according as the
point of sight is altered.

To prove that this proposition is founded on correct theory,
let the reader, by way of experiment, study the appearance
of solid and painted objects from various points upon the
ground glass of the camera, and he will find that solids will
retain their truth of perspective when seen from any angle
of view, whereas painted ones will, from any other than their
proper point of distance, appear distorted. How ridiculous,
then, must be the effect of a number of such articles, each
having its own pointof sight, jumbled together in one pic-
ture ! The most perfect scenic representations are to be
found at the theatres ; from them we should borrow our
theory, and, as far as possible, follow their practice in these
matters. Stage painters always arrange their perspective
from what is sometimes called the painter’s point : this is
the front box, in the lower tier, behind the pit ; from this

[November 6, 1866.

spot the scenery and side slips all unite in pictorial effect so
naturally as to appear marvellous. Now step into one of the
side boxes near the stage, and the enchantment will vanish,
the scenery will appear badly arranged, and the perspective
false, for you are no longer looking at it from the proper
point of view ; before, however, leaving this box, notice
the stage floor, and you will find that it slopes upwards to-
wards the horizontal line of the scene, and is so arranged as
to make the stage appe.ar much longer than it really is.
i’hinking that this principle might, perhaps, prove of service
where scenic effects are required, I send you a diagram
and explanation of the method of finding the correct incli-
nation of any floor, for any proposed increase of apparent
length. The diagram will explain the principle whereby
the appearance of increased depth is given to the stage by
theatrical painters, and which, 1 think, might be used to
some advantage by photographers.

Suppose, for example, a studio which will allow 30 feet
in length from the camera lens to the background ;
place the camera at A, the lens being 4 feet from the floor

or base-line B, which must be drawn to scale of such a
length as the stage is required to appear, which we will sup-
pose, in this case, to be CO feet. The height of the lens
from the ground will give the height of the horizontal line
in the scene. Now mark off from the lens upon the base-
line 15 feet, and make a mark ; this will give the space
requisite for general convenience, which in a theatre would
represent the pit or space between the front box and the
stage. Make also a perpendicular line at 30 feet ; this gives
the real length of the studio between the lens and the back-
ground ; draw a line down from the lens to the end of the
base-line at 60 feet, and where it crosses the perpendicular
line made to represent the real distance of the background
from the camera is the height to which the floor or stage is
to be raised, and it will correspond with the horizontal line
at the height given for the camera lens. The real
length of the stage is not arbitrary, but may be varied in
proportion to that of the pit ; but the rise in the floor should
not commence nearer to the lens than the width of the scene
to be represented. In short studios the apparent increase
of length will be circumscribed, as the greater the apparent
length in proportion to the real length, the greater the rise
of the floor must be, and therefore the more acute the augle
of the floor from the base-line. A low horizontal line will
be found preferable in scenic effects as accessories to por-
traiture for many reasons : it gives, for instance, a nobility
of appearance to the figure ; the head and shoulders are thus

filaced against the sky, and are not cut by the horizontal
ines in the scene ; the camera is not tilted, and the faint
colour of the sky and distance gives relief to the head with-
out needing its shadows to be heavy ; it avoids, also, the
chance of the comical efiect which might be produced by
the conical summit of some neighbouring hill appearing as
a cap of liberty on a gentleman’s head, or, in case of a pro-
file, a too strongly-marked representation of a river issuing
from his mouth. Care should, in all cases, be taken by the
painter that the scene is not too pronounced. Painters pro-
vide a platform or high chair on which they seat their
patrons, and by this means the horizontal lines are made to
conform with the picture to be painted. The horizontal
line is an attribute of vision, and its laws are unalterable ;
photographers should understand that as they do not
use their heads as cameras, or their eyes as lenses, but
instruments made by the opticians, they therefore delegate
the power of seeing and representing the intended picture to

these instruments ; hence, under whatever circumstances
and in whatever position they place them as regards the
scene before them, so accordingly will they represent the
picture they produce, and not as they themselves may vi<*w
it. Such being the case, they can only hope to obtain scenic
representations in correct perspective by placing the camera
always at the painter’s point, at the same time taking care
to have their scenes and slips executed correctly to suit it.

1 cannot well leave this subject without saying a few
words upon light and shade : these are, in fact, parts of the
study of perspective, and the correct application of their
laws is essential to truth in scenic effects. Studios, if happily
situated, do not admit the entrance of direct sunlight, or, by
the arrangement of blinds and shutters, it is prevented.
These arrangements ought to be capable of producing a
variety of effects, and of throwing the light at such angles
upon the sitter as the artist may think fit ; as the lights and
shadows of scenic backgrounds are not produced by project-
ing angles, but painted in by light and dark colours upon
a flat surface, they will not alter according to the angle of
the light in the studio. Therefore, before having his back-
grounds painted, the photographer should experiment in his
studio until he finds the most agreeable angle of light under
which he can generally operate, and then direct his scene-
painter to throw the lights and shadows ou his backgrounds.
Accordingly, thus having the perspective and light and
shade of his scenes and of his figures agreeing according to
rule, he may hope to achieve a great success in truth of
pictorial effect, provided the camera is placed at the proper
point.

INSTRUCTIONS FOR POSING.

In a letter to the bulletin Beige de la Photographic, M.
Omer Bordeau communicates the method adopted by one of
his professional photographic friends for the purpose of
rendering sitters tractable when under the influence of the
camera. The plan followed by this gentleman is to hang
up in the studio a large placard of instructions, which may
be read and thought over by those who frequent his estab-
lishment ; and the short and concise nature of these rules, as
also the ludicrous final warning held up as a punishment to
evil doers, no doubt very materially contribute towards the
creation of the cheerful and natural faces of the portraits to
be seen among his collection. For this reason we do not

November 6, 1868.]

THE PHOTOGRAPHIC NEWS.

533

hesitate to give our readers a copy of the instructions in
question, for the end justifies the means, and in photo-
graphy, especially, all methods are good which lead to good
results.

1. Choose your own natural position, without incon-
venience, affectation, or constraint.

2. Do not condemn yourself to painful immobility before
the photographer desires you to remain quiet.

3. When the time of exposure commences, which will not
last very long, preserve an absolutely immovable position,
looking steadily at any object that the photographer has
pointea out. Assume an easy attitude, and put on a pleasing
expression, so that the lens may not reproduce a fatigued,
stern, and solemn countenance which will certainly not be
your own.

4. Do not omit to close your eyes if you should feel it
necessary so to do ; but be careful to assume the same look
and expression as before immediately afterwards.

5. Ladies will do well to avoid perfectly white dresses or
bodies, which appear in the photograph as a hideous white
patch without detail.

6. The success of the portrait depends upon an intelligent
execution of these instructions.

7. In case of infraction of any of these rules the criminal
law of photography condemns you to receive a portrait
without a head. Beware !

COLLODIO-BROMIDE DRY PLATES.

BT M. CAREY LEA.*

I PUBLISHED last spring an extremely simple and easy pro-
cess for preparing dry plates During the interval I have
had inquiries from several who had tried the method, and
who had found the plates comparatively insensitive. Never
having had much trouble myself with them, I was surprised
at this complaint, but was able, however, to say that pro-
bably the sensitive mixture had not been left to stand long
enough before using. On returning to the city recently,
after an extended absence, I proceeded to prepare some of
these plates, and having previously had regular and un-
vaiying success, I took them out with me without the pre-
caution of trying the plates. I found them to require long
ex^sures, and to give a weak and poor image.

Now, having traced out without diflficulty the source of
the trouble, I find it to be exactly such as must meet
almost every one who tries the process, at the very start, and
this may deter many from prosecuting a process that
might, after all, suit them perfectly. I shall, therefore,
show the way of obviating this insensitiveness with ease and
certainty.

Those who practise any collodio-bromide method always
sensitize with nitrate of silver about twice as much collo-
dion as they want ; the residue only requires the addition of
a little plain collodion to keep for many weeks. The corre-
sponding quantity of nitrate of silver to the plain collo-
dion so added can be put in twelve hours before wanted.

The secret lies in this residue, which, if in good sensitive
order, has the property of bringing up the fresh collodion
added to a proper condition. It is where one starts afresh
after a long interval, and has no such residue to begin with,
that the trouble of insensitiveness shows itself. And this is
exactly the position of every one who tries the process for
the first time.

In order, therefore, to get a fair start, the following will
be found useful : —

Take 8 ounces of the plain bromized collodion as below,
and sensitize it with 21 J- grains of nitrate of silver to the
ounce, viz., 172 grains. Let it stand, with occasional
shaking, for ten or twelve hours. Next add some of the
same plain collodion (say 4 ounces), and let it stand, with
occasional shaking, for two or three days ; then, about ten or
twelve hours before coating the plates, add the nitrate of

* From advance sheets of the Philadelphia, FhotograpTier for November.

silver corresponding to the last addition of plain collodion
(if, as above, it were 4 ounces, add 86 grains) ; shake several
times at intervals of an hour or two ; let it stand six or
eight hoars, and either decant or filter.

After use, add about the quantity of plain collodion that
will replace what has been consumed. Ilave thick, brown
paper pasted over the bottle, and on this mark the quantity
added. Shake, and set aside. Ten or twelve hours before
the next occasion for using, add nitrate of silver according
to the quantity of plain collodion last put in and noted.

A curious change takes place in the collodion after sensi-
tizing. After some times it gives a bluish film, transparent
enough to allow exterior objects to be plainly distinguished
through it. Then it changes and gives a film so opaque
that I have often been unable to distinguish the bars of the
yellow window through it. This is the sensitive condition.
It is acquired without difficulty when there has been a resi-
due of a previous lot, but this opaque condition requires
SLveral days, sometimes, to appear with entirely fresh mate-
rial, even when the collodion is six months old.

All the above is applicable to all the varieties of the
collodio-bromide process, not especially to mine. My form
of the process is the simplest of all modes of preparing dry
plates, as there is but one bath of any kind needed, and no
washing. As I have modified my formula, I give that here
which I now use : —

Collodion.

Alcohol ...

Ether

Bromide of cadmium
Bromide of ammonia
Pyroxyliue

.. 15 ounces
- 20 „

.. 375 grains
.. 60 „

.. 210 „

Let it stand two weeks.

The cotton must be very intense. I prefer “ Helion
No. 1,” to be sensitized with very finely pulverized nitrate
of silver, 21J grains to the ounce. Fused nitrate answers
best.

The bath is prepared as follows ; —

Lead Solution. — Dissolve a quarter of an ounce of acetate
of lead in 2 pounds of acetic acid No. 8. Filter.

Oallic Solution. — Dissolve 1 ounce of gallic acid in 4J
ounces of alcohol. (Pour 4J ounces of alcohol into an ounce
bottle of gallic acid, and let stand twenty-four hours).
Filter. For 4-4 plates, or smaller, take —

Water 6 ounces

Lead solution ... ... ... 1 ounce

Gallic solution ... ... ... J ,,

Mix well ; filtering is unnecessary. I have already ex-
plained the usefulness of adding litmus to this, to colour
the plates, and prevent blurring. To such as have not
the former paper at hand I may say, briefly : Cover one
quarter pound of litmus with boiling water, and set away
in a warm place, covered, for a day or two. Throw on a
filter, and pour on hot water till about 20 ounces have run
through. Add 4 or 5 ounces alcohol to make it keep. Into
the above bath pour as much of this as will render it, in
consequence of the acetic acid contained, blood-red, 2 or 3
drachms, depending upon the quality of the litmus. The
plates should be rendered light-pink.

Into this bath of lead, gallic acid, and litmus, plates coated
with the sensitized collodion are plunged as soon as they
have set, precisely as if they were being placed in a negative
bath. Jlay remain in till all redness disappears, and then,
without any washing, before or after, are simply dried.
Nothing can be briefer or simpler.

I have generally found it necessary — or, at least, useful —
to edge all dry plates with india-rubber dissolved in benzine,
5 or 6 grains to the ounce. A camel’s hair brush is held to
a glass rod, which extends one half inch below the point of
the brush. This is run round the corner of the plate so as
to leave a rim about 3-16 inch wide. In five minutes the
plates may be coated. The brushing oil’ with a wide brush,

THE PflOTOGRAPHTC ’^lEWS.

[November 6, 1868.

53 1

to get rill of (Imt, Rliould be done immediately before collo-
dionizing, not before edging.

Since I firiit publisbed tbe process I have had an excel-
lent opportunity of testing the keeping qualities of the
plates.

Some plates prepared and intended to have been used at
once were left for near six months in the slides, and, in spite
of the almost unexampled heat of July last, were found in
September to be in good condition, and to have lost none of
their sensitiveness. In fact, they could not be distinguished
by their behaviour from plates prepared a few days before.
The importance of this quality does not need to be dwelt
upon.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Bbino Lessons in

Composition and Chiaroscuro for Piiotoorapuees.

Ur U. P. ROBINSON.

Chapter XL.

In some of the later chapters I have introduced complicated
groups of figures with landscape backgrounds, which, to
tho.se who are unacquainted with the scope of our art, may
appear impossible in photography. Indeed, some of those
who do not hesitate to show in print how limited is their
knowledge, have pointed out that a group on different
planes could not be secured by the aid of lenses and chemi-
cals, and that it was impossible to pay proper attention to
the individual constituents of a large group of figures. I
may answer, that my object in introducing these groups
from paintings has not been to offer to photographers
examples for exact imitation, but that it may be shown how
immutable laws exist in all good works of art, whether that
art is exemplified in the lowest subjects or the highest ;
that the laws of balance, contrast, unity, repetition, repose,
and harmony, are to be found in all good work, and that
the arrangement of the general form of nearly all pictures is
based on the diagonal line and the pyramid. I have
thought it of more consequence to fix these facts on the
mind of the student than to set before him examples for
imitation, however good, which he would have blindly to
follow without understanding and without profit.

But the scope of photography is wider than those who
have only taken a portrait or a landscape suppose. There
has notj been a single group introduced into these lessons
that could not have been reproduced from life by the means
our art places at our disposal. I do not mean to assert that a
subject containing so many difficulties as Goodall's “ Swing,”
for instance, has ever been done in photography, but it is
not so much the fault of the art as of the artists, that such
a picture has not been successfully attempted. It has not
been the failing of the materials, unplastic as they are when
compared with paint and pencils ; it has been the absence
of the requisite amount of skill in the photographer iu the
use of them, that will account for the dearth of great works
in photography.

To show that large groups are not only possible, but com-
paratively easy of execution when they are considered
seriously and with a determination to succeed, I introduce,
for illustration this week, one of my own pictures, taken
some years ago, when photographers had much less facilities
for producing good work than they have at the present time.
The engraving is a reduction, by Mr. Fruwirth, of one
which appeared originally in the Illustrated London
Xews, but of a larger size,* and is the only one I have given

• As any comment on the picture itself is manifestly inadmissible from
Mr. Robinson's pen, it may probably interest the reader to know how such
a picture was received, seven or eight years ago by the art critics of the
outside press. The JUuslrated London Xevos had the following remarks on
the picture when it first appeared

‘“A llOMDA'V IN THE WOOD’; Photograph from Nature. By IIbnbt
P. IlOBl.NSON.

“ PiiOTOORarnaas arc every day making determined efforts to apply their
art as a direct means of producing original pictorial compositions, showing
the mind and will of the artist iiiste,ad of the mere accidenial condition of

of my own works, one of which I should not have given as
an example at all had I been able conveniently to obtain a
picture by any other photographer that illustrated my pro-
positipnso clearly. But photographers shun this kind of work
more, I believe, because they think it less profitable than por-
traits, than from inability in some of them to do much belter
work than 1 here take for illustration. I also take this picture
because the engraver has more nearly given the effect of the
photograph than some others of mine that have been en-
graved. The original photograph is 22 by 17 inches in size,
and was taken in seven negatives, and afterwards printed
together by combination printing.

This plan, besides other advantages — such as the obtain-
ing objects on different planes, and getting larger pictures
than by any other method, with the exception of enlarge-
ment— enables the operator to devote all his attention to
a single figure or sub-group at a time, so that if any part
is imperfect from any cause, it can be substituted by another
without the loss of the whole picture, as would be the case
if taken at one operation,

I shall leave the now advanced student to determine for
himself the principles on which the composition is based,
and to do, I hope, better things in the same direction.

ON INTENSIFYING WEAK NEGATIVES.

BT M, II. A. ECKERT, OF PRAOUE.*

I DEVELOP my plate with the ordinary iron solution, and
after it has been thoroughly washed, I proceed at once with
the fixing. After this, the plate is again well washed, and
placed in a porcelain dish containing sufficient clean rain
or river water to cover the negative ; the water should, if
possible, be filtered. Every negative taken during my day’s
work, which lasts five hours, is treated in this manner, and

facts already existing ; and, hoverer we maj doubt their ever attaining to
tbe perfection they aspire to, so as to supersede the pencil or the graver,
we must admit that some of the things they have lately done are of great
merit, and strikingly effective in the result. Mr. H. P. Robinson is one of
tbe most successful labourers in this held. His painfully real little group*
picture eotitled ‘ Fading Away,’ representing a young girl leaning back in
an arm*chair, apparently in the last stages of decline, for a short season
attracted groups of admirers round tbe windows of the photograph dealers.
This year he produces a pleasanter and also a more extensive and elaborate
subject, wticn U deservedly bung iu the place of honour in *he exbibi*
tioQ of the Photographic Society, and which he entitles * A Holiday in the
Wood.’ We give an engraving of this picture, the subject of which is a
party of rustic children amusing themselves in a thickly. sliaded spot on tbe
outskirts of a wood, on a bright day in summer. In the centre, seated on
a bank, are three young girU, one of whom is weaving garlands of wild
flowers, whilst a younger companion peers over her shoulder, watching the
process with engrossing interest; tbe thiid, a healthy specimen of rude
country life, is carelessly lying on the ground, and laughing heartily at the
bashful airs of a pretty litde child in the foreground, around whose head
another of the party is inteotly engaged twining a wreath of woodbine.
Further back, and on tbe very top of the mound, is a girl with her back
towards us, vigorously hailing some of her companions who are newly
arriving at the wood. In the mid-distance, two other Iittl<* girls are seen
advancing through a woodland path, basket in hand, to Join the holiday
party. The whole scene is closed by a picturesque background of oak and
other trees, which give a cliaracter to the situation in complete harmony
with the sentiment of the little incident commemorated

** We must award high praise to Mr. Robinson for the Judgment and eye
for effect with which be lias arranged his flgures, and for the graceful coiu-
binatiou and plan of outline which Is the result. The little sitters them-
selves, also, are to be commended for the attention which they have
obviously paid to his inscruciions, and the efforts they make to appear as
much at ease as possible. Complete self-obliriousoess and spontaoeitr of
action were, of course, not to be looked for ; but as much has been done
towards their realization in the present production as could be expected.

This interesting specimen of the photographic art measures twenty-two
inches by seventeen.”

Thei>ai7y aVews of January 14, 1861, had also a long and appreciative
notice of this picture, from which we make % few brief extracts. After
some remarks on tbe great artistic knowledge ” displayed, and the power
which tbe artistic qualities bad to mnke Che picture ** dwell on the memory,”
it describes it as follows : — A number of children are playing in the recess
of a wood, which is one inextricable tangle of wildly picturesque and luxuri-
ant vegetation. The three central flgures seem bathed in sunshine, their
flaxen hair flowing like a golden halo. Placed upon a turfy pedestal, they
are arranged in attitudes of perfectly natural rustic grace, yet, withal, tbe
group they form has a chaste elegance almost Greek and monumental. The
other children are posed with almost equal felicity, and the harmonious
grouping of such subjects is quite marvellous. We think, without excep-
tion, this is the choicest and most beautiful photograph we have ever seen.”
Praise of this kind from an accomplished art critic is gratifying to all
photographers who are proud of Che triumphs of their art.^Rn. Paoro.
Newh.

* Pholographitchc Corrctp ndeiXT,

THU PHOTOGRAPHIC NEWS

November 6, 1S68.]

j*W

itr*— '.‘^C’-J '% -k ‘ViyAA

ifiiiiJiiX'xi

P

536

THE PHOTOGRAPHIC NEWS,

laid one upon the other in the dish until the whole number
of negatives has been completed.

I now proceed to intensify by means of two solutions pre-
pared as follows: —

1. Two ounces sulphate of iron dissolved in 3 pounds of
water, and filtered.

2. Half an ounce of nitrate of silver dissolved in 20 ounces
of water.

The first plate is taken from the water bath, and if, on
inspection, more density seems desirable, it is treated
thus : —

The negative is first rinsed in clean water and allowed
to drain for ten or twelve seconds, and solution 1 is then
poured on ; the liquid is allowed to flow equally over the
plate, and when the latter has been sufficiently impreg-
nated with it, the negative is again drained. Solution 2 is
now applied in such a manner that it is made to cover the
surface quickly and evenly. The manner in which the iron
solution acts upon the nitrate, changing the latter into
metallic silver, and thus strengthening the image, may be
easily observed during this operation.

By proceeding in this manner the most successful effects
may be obtained, as the operation is carried on in the light,
and may bo repeated as often as necessary, until the desired
amount of density is obtained. The shadows remain very
deep, the lights are brought out, and yet the picture does
not become hard or possessed of too much contrast, as is
often the case when pyrogallic acid is used for intensifying.

To those who employ hyposulphite of soda as a fixing
agent I would strongly recommend the placing of their
negatives, after fixing, for some time in filtered rain or river
water, as by this means the fixing material, and especially
soda, is totally removed, whereby the film is guaranteed
from splitting after it has been varnished; for it is well
known that such plates arc most liable to injury in tliis
manner which have been insufficiently washed, from the
fact that the trace of cyanide of potassium or hyposulphite
of soda still attached to them is apt to absorb moisture from
the atmosphere.

Formerly I always used soda as my fixing agent ; but I
now use cyanide of potassium, the employment of which I
certainly recommend to all photographers. Many gentle-
men would, no doubt, object to keeping plates for a
whole day in water, for fear of the collodion film becoming
separated ; but my experieace goes to prove that only those
films are liable to separation from the glass where the collo-
dion has been poured upon an insufficiently cleaned plate,
or where the collodion used has a tendency to become acid.
As a matter of course, care must be taken not to employ
water for wa.shing which is even slightly acid.

Comsgoudtna.

A BUNDLE OF OLD LETTERS.

Albusiinized Papeu and Pkintino — Noktii and South
Light — Photography and Perspective.

Sir, — Time flies apace. Here we are in November; only
two months more, and then for another year! — then for the
anxious watching for the lengthening of the days ! — then
again for the glorious work out of doors, over hills and dales,
with the summer breezes flapping the tent-cover as a delicato
intimation to gnats and other winged “ varmint ” that the
operator is at work, and must not be disturbed, even if they are
hungry !

But, meantime, the winter— the long, dreary winter — has
many a charm to the photographer. There are the glorious
meetings of the societies, the reports of all that was said and
done at them in the journals, and tlien, a week or two later,
the clumsy cribs from more respectable papers by the little ones,
who are as yet too small to have reporters of their own, or who
aro too fierce, or unfair, or untruthful, in their juvenilo enthu-
siasm, to be allowed to send reporters to the mootings. AU

[November 6, 1868.

this is great fun to those who take a real, hearty interest in
the profession. And then, too, infinite good is done by the
liberal discussion of various topics which are turned up from
time to time, either in the papers or the meetings of the
societies .

I do not think that as a profession photography would get on
well without the winter. It is a time of comparative rest ; a
time when one can sit down quietly at one’s own fireside,
and think over the next year’s pictures ; when the study of art
can be continued with so much advantage from books ; when
comparisons can so well be made between what the work of the
year has been, and what it should have been. Winter should,
in fact, be a time of repentance for all the sins and failings of
the past, and also a time for making high resolves for the en-
suing season .

Besides all this, however, winter is, above all, the time for
recording the experience gained during the season which is
past ; and I hold it the duty of all who wish to promote the
advancement of our art freely to tell, for the good of others, all
the experience they have gained, and especially when their
gains have been in a great measure the result ot the liberality
of others. There is no photographer of position or ability in
the art who would not thank even the humblest operator for a
suggestion which might prove useful, and therefore none need
tear, however small the amount of information they may have
to communicate, for it is sure to be accepted with kindly feeling
by all those whose acceptance is worth the having. It is only
those ignorant snarlers who have never made a suggestion
worth listening to who try to decry everything which does not
emanate from their own little pens ; who, incapable of under-
standing topics of general interest, are bound to keep secret
processes and improvements which they cannot explain ; or
who, having found a process in full and successful operation in
the fiands of others, hasten to relieve them of their burthen of
credit, and to claim the invention as their own.

But to turn to the matter on which it was my intention to
write. Several letters have recently appeared in various papers,
in which matters of which I have spoken or written have been
referred to with various degrees of approbation or disapproba-
tion, generosity or ungenerosity, according to the character of
the persons who wrote the letters. I will only refer to some of
these.

My first shall be the letter of Mr. Bovey in last week’s News.
Mr. Bovey is a gentleman whose acquaintance I have not yet
had any opportunity of making personally. I esteem him us
one who has a decided opinion ot his own (and that, in these
days, is a matter of great consideration), and as one who will
put forward his opinion boldly and without fear. I was cer-
tainly not aware before last Friday that I held so high a place
in the esteem of this honourable member of our profession, nor
had I the faintest notion that in my paper before the North
London Society, on November the 7th, I made such a complete
shipwreck of my reputation in his eyes. A careful perusal of
Mr. Bovey’s letter shows mo, however, that I am not so far in
the wrong as he would imply. In the first place, Mr. Bovey
has mixed up iu his mind my paper and the discussion which
followed therefrom. I did not start the discussion, and, as far
as I remember, I only took a very limited part in it. I said
nothing about salting formulae, nor do I wish ever to kuow
anything at all about them. The question of formula cropped
up in tho discussion, not in my paper. I do not care a pin
whether there are ten or twenty grains of salt in a sheet of paper,
so that it works to my satisfaction. I did, however, in the dis-
cussion, admit that to know the equivalent quantity of salt in
the paper would be a matter of convenience, as a means of
knowing how much silver was used from the bath by each
sheet. What I want in practice is, a paper that I can depend
upon for a certain class ot work, not only from one maker, but
from all makers. As an instance of what I mean, take the
following little bit of experience. When M. Adam-Salomon
was in this country some time back, he paid us a visit at Tun-
bridge Wells, and Mr. Robinson secured a very fine “ Salomon-
sized” negative of him. To print from this negative in per-
fection we used a sample of Rive’s paper sent us by Mr. Bovey
himself. Tho Saxe paper sent from the same quarter would
not, with that particular negative, give us the same quality and
richness of tone, and no other paper of any other maker which
we have yet tried will give the eame result absolutely. Now,
if we take a negative much weaker than the one I have
referred to, and another much stronger, and print them on tho
Rive’s paper I have mentioned, we shall not find the quality o

November G, 1868.]

THE PHOTOGRAPHIO NEWS.

537

the result so good as the Salomon ; therefore, wo know that
in order to produce the same effect again wo havo only to
make a negative of tlie same intensity, and print it on tlio
same paper ; in fact, keep up the same conditions, and all is
right. If wo make softer or weaker negatives, wo havo to use
another paper to get the best result. Mr. Bovey says tliat a
skilful printer can from one sheet of paper and one negative
make half a dozen diffeient kinds of prints. Many i>lioto-
graphers know to their cost that much less clever printers than
Mr. Bovey cun do the same, and do it every day, too ; but I
venture to say that on« of the half dozen will be better than any
of the other live. Now what is wanted is, when a ream ot
paper is sent out. some idea of how much silver it will consume
to excite it, and also what class of negative will best print upon
it. Photographers, when they needed the information, found
that a few polite notes, stating that unless collodions were dated
they would deal elsewhere, or go without, soon brought the
date neatly stamped on the bottles. It will be the same ere
long with paper albuminizcrs. They, too, when asked, will
give us the information we require.

Turning from Mr. Bovey and printing matters to the con-
sideration of negatives, the form of glass house is a subject of
continual discussion. I do not intend, however, to enter upon
any detailed consideration of the various remarks which have
been made upon my article on north light. I would prefer
making a few general observations on the subject. In the
first place, I do not thinic it can bo a necessary condition of
success in portraiture to place the sitter in an abnormal posi-
tion in regard to external things. Th.at cannot surely bo the
best form of studio which involves the painting of the walls
black. No one by preference wonld sit in a room with black
walls. Then why, in order to bo photographed, should one bo
put in a black hole ? My idea of a studio is a room, not a
place where people may only come for a minute or two, and
then with a feeling of mystery and awe, as if it were something
wonderful. With regard to the amount of light from the north
in comparison with the south, as 1 have had no experience of
the latter I am not able to give a decided answer ; but I can
say tbe time that pictures take with a well-arranged north
light. The longest exposure ever given yet in our studio was
forty-five seconds, which only happened on one occasion, and
that was on a dull afternoon, with a picture which, from its
peculiar arrangement, required the use of a very small stop in
the lens, and 10 by 8 plate. But this is very much the longest
exposure we have ever given. Wo often take 15 by 12 por-
traits in fifteen seconds, and twenty-five is the longest time
ever given practically to any sized picture. Carte-de-visite
pictures usually take from five to twelve seconds, and never so
much as sixteen seconds. From these facts it will bo seen that
though the light may come from tbe north, there is no reason
why it should involve slow working in the studio ; indeed,
quite the contrary, for I believe that a rapid exposure and
more general lighting are capable of producing better results
than long exposure and that quality of lighting which is
obtained by an intense beam of light with no reflections in the
room.

Before closing the present chapter, I must allude to the
courteous letter of Dr. Anthony. The letter which this gentle-
man published in the N ews of the 9th of October was certainly
to some extent condemnatory of my argument. However, I
only proposed the looking-glass experiment as an illustration of
a general principle, and not as being of itself absolutely accu-
rate. It seemed to me a convenient manner of showing an
increase in the amount of perspective, distortion, or enlarge-
ment, as the distance from which the object is viewed is
lessened. Dr. Anthony was certainly right to correct an error
when he saw it, and I thank him for the open and gentlemanly
way in which he wrote upon the subject. It seems now, how-
ever, from a letter of Mr. Wiustanley, that the Doctor is not
absolutely correct. I confess that on first reading the remarks
of Dr. Anthony I did not see his error, probably because I did
not see my own ; it was near enough for me to illustrate a
general principle without entering into absolute accuracy of
detail. However, I am glad to find I am right after alt ; and I
would take this opportunity of thanking Dr. Anthony for his
kind and honourable letter published in the News of last
Friday. How much better it would be for photographers
generally if all acted on the noble, generous principle adopted
by this gentleman, which stands in fine contrast with the
conduct of some hangers-on to the profession ! There are said
to be black sheep in every profession; but I fear in photography

there are a few in it — or hanging on to it, like parasites — more
like wolves in garments darker than black velvet.

Nelson K. CiiErwRiLL.

1, Grove Villas, Tunbridge Wells, October 31i<, 1868.

A PI10T0GU.\PIIER’S RELIEF FUND.

Sill, — In compliance with your wish in a recent “ Answer to
Correspondents,” I send you a few oriof remarks on points which
I think deserve consideration in connection with any effort to
establish a Photographer’s Relief Fund. For brevity’s sake, I
will put a few points categorically.

1. Is the time ripe for such a thing? I do not say it is not,
but I want the mutter considered ; and when I ask. Is the time
ripe ? I mean. Do photographers form a suflicisntly distinct,
numerous, and consolidated body to make the formation of a
provident society solely on their behalf desirable and practi-
cable ? Trustworthy statistics are not readily accessible, but it
is well known that in the provinces a considerable number join
the profession of photography to some other trade, such as
chemist, bookseller, actor, carver and gilder, hairdresser, &c.
Would these contribute to a provident fund, or would they be
fit candidates for the aid of a photographer’s benevolent fund?

I do not say they would not, but the questions are worth
consideration.

The transitional stage which photography, as a profession,
at present occupies, and to which you havo already alluded, is
another reason for asking, Is the time ripe? But I need not
further dwell on that part of the subject now.

I am led especially to ask. Is the time ripe? by another con-
sideration. I have just been referring to my back volumes of
the News, and find that it is four years since you first men-
tioned the desirability of forming such a fund, and pointed out
its importance in very forcible terms. Since then it has been
advocated from time to time in articles and letters, but not one
practical step has been taken to realize the idea. If the time
were ripe, and photographers really believed in the importance
of the thing, surely some attempt of a practical kind to embody
the idea would have been made ere now.

2. If the formation of some fund be desirable, surely it is
of the utmost importance that the nature of the organization
should bo first discussed, if not determined. That discussion
can bo much better managed by letters in the journals, if you,
sir, will give space for such discussion, than it could be at com-
mittee meetings, should a committoo be formed to manage such
a matter. I think that it is very desirable that we should have
the opinions of at least some of the representative men in
photography on such a subject. To aid in determining such a
question, statistics are of vital importance. Are there any means
of obtaining trustworthy figures as bases of calculation in such
a matter ?

3. If it be determined, on consideration, that some benevo-
lent or provident organization is desirable and possible, and
that the time is ripe, how is it to be initiated, and who are the
men to do it? Hero comes the practical difficulty. After the
fullest discussion in the journals, personal effort will bo required,
and that effort must be made by trustworthy men. 1 once
knew a project of the kiiid fail because one of its chief advo-
cates was a man notoriously in debt, in a chronic state of
insolvency, and no one trusted him or any scheme ho advocated.
In photography wo havo men of great ability and unimpeach-
able character. Will they undertake the hard work of be-
ginning ? “ ’Twere good they did so much for charity,’’ and I
think that if a good plan were projected, good men would not
bo wanting to carry it out. All such action must havo a
beginning, however, and this necessity is often difficult to meet.
Two possible ways occur to me of beginning; First, if the
Photographic Society of London could undertake the matter,
and appoint a committee to take steps, I think the organization
might be secured ; or, second, failing this just named, if you
would open a subscription list, eventually a committee might be
formed out of the subscribers.

4. Finally, if the time has not come, or photographers are

not sufficiently numerous to form a provident or benevolent
organization of their own, is it possible for them to join some
cognate body already established for the purpose of relieving
some class? Existing provident societies would, of course,
accept them, but would some benevolent association accept
contributions especially endorsed for photographers, and under-
take to administer to indigent photographers in the ratio of
their necessity and of the extent of funds available for them ?
— Your respectful reader, Stereo.

1

538

TH2 Photographic news.

MR. FRY’S METHOD OF MASKING.

SiK, — My attention bein" nttractefl to the leader in last
week's News, I at once proceeded to put in practice the sug-
gestion communicated liy Mr. S. Fry. Having a negative tliat
had been intensified witli mercury, and whicli by constant ex-
posure to the liglit in printing liail become untuaiiageably
dense, and having some time ago obtained a transparency from
it, I jilaced the transparency over the negative ns directed, and
was ilelighted to find that this, like many other suggestions of
^Ir. Fry, is a really valuable one.

Shoulil this hasty note bn considered worthy of insertion or
notice in your columns, my desire to servo my brother photo-
graphers will be answered. I enclose a print, that you may seo
the elfect. — I am sir, yours truly, H. C,

October '11th, 1868.

[The print enclo.sed is an admirable illustration of right ap-
plication of the principle of masking referred to ; and a round,
delicate, and well-modelled print has been obtained from a hard
negative. — Ed.]

Ueak Sir, — The letters of “ R. F.” and “Zeta” are both
founded on erroneous promises. Each assumes, in the first
jilace, that my invention for masking negatives is theoretical
only, and also that it is intended merely for the improvement
of had or too hard negatives.

First, then, I have used it in my ordinary portrait practice for
about eight months with gie 't advantage and high appreciation
from the public, and it has cioated an entirely new branch of
business with mo. although no announcement of any spccialite
has ever been made. If your correspondents will write to me, a
specimen of the result shall bo sent to each. I think I have
shown that this is a simple, practical business matter.

Second, with regard to the negative, I find the finest nega-
tives are most amenable to this method. The difference be-
tween a print before and after treatment is very groat. Take
a small transparency of a negative, and a paper print from the
same, the difference in detail is enormous ; this experiment
exactly illustrates the difference in value betw-een a plain print
and one treated according to my method. Should any further
information be necessary. I shall be happy to afford it.

Specimens of the results of this method of working, with
the negatives and also the transparencies employed, will be
exhibited at the exhibition next Tuesday, at Conduit Street.
1 am not a producer of specimen pictures, and therefore
those shown will bo the results of ordinary business work.
The application of the transparency at tho proper place and
time is as simple ns possible, and is rcailily cffecteil as an
ordinary detail of printing. As a matter of private opinion. I
never by any chaneo entrust printing of negatives to any but
thoroughly (pialified persons who have undergono a long and
careful training under my own eye and acconling to my own
notions. I do not believe in letting just any one do it. — Y^ours
faithfully, Samuei. Fry.

Surbiton, Xorembe.r 2nd, 1868.

TO STRENGTHEN VARNISHED NEGATIVES.

Dear Sir, — Tho best method of giving additional density
or printing power to varnished negatives which may be some-
what wanting in these qualities has sometimes been discussed
in your columns ; but a ]>lan I have lately adopted with much
success, and which, in my hands, is simple, efficient, and does
not destroy half-tone, I have not seen mentioned. I claim for
it no originality, for it is almost too simple not to be well known
and often practised. I seldom have to alter any negatives,
hut occasionally it is desirable to modify them ; and when I err
in intensifying, it is generally on (I fancy) tho safer side of not
carrying it quite far enough. A ready method of adding in-
tensity to a varnished negative is no doubt a valuable reserve
power to have at command.

A varnished negative that needs strengthening is to bo
treated slightly with spirits of wine, but not absolute alcohol,
for that dissolves tho film, as does also tho impure methylated
spirit. When dry, the surface will bo dull, and the intensity of
the negative much increased. 1 enclose two prints illustrative
of the effect ; the one taken from tho negative before alteration,
the other after.

Tho other carte portrait — tho little girl sitting — is a specimen
of ray gold and mercury intensifying process pure and simple.

[NovEMBtia 6, 1868.

It is a very delicate intensifier, and in tho case of a thin nega-
tive should be followed by a weak solution of iodide of potas-
sium.

These hints are at your service if you think them worth pub-
lishing in tho New.s. — Yours truly, C. T. Winter.

Cheltenham, November 2nd, 1%8.

[The difference between tho prints taken before and after
the treatment described is marvellous. Before treatment, the
negative yielded a poor, feeble print; after treatment, the
print obtained is brilliant, round, and vigorous, without loss of
delicacj-. Tho print from a negative intensified by the gold
and mercury solution, which Mr. Winter has before described
in cur columns, is very admirable. — Ei).]

PROPORTION OF SALT IN ALBUMINIZED PAPER.

Dear Sir. — I have often been struck with a singular pro-
pensity in tho tradesmen I may happen to <leal with, to know
a great deal more about what I w’ant, or w’hat 1 should want,
than I know myself. .My tailor tells me, when I remonstrate
with him for making a garment contrary to orders, that “ it is
worn so.” My butcher replies to a remark that the joint is too
fat, that “ the fat is the best part of the meat and so
on with legard to almost everything used in domestic life.

Well, sir, in these matters I grin and bear it ; but when the
same pr.actice is applied to the tools or materials of my profes-
sion, I feel disposed to make a stand against it. At one time
my optician met my request for certain improvements in lenses
by a brusque reply to the effect that photographers must im-
prove their processes, as tho lenses were perfect. Mais nous
avons change tout cela. But now albuminized paper makers
seem disposed to adopt the samo tactics. At the North Lon-
don meeting Mr. Hart complimented photographers by saying
that nine out of ten of them could make no use of the know-
ledge of how much salt was used in their albuminized paper,
as though that were a justification of tho practice of with-
holding the information from those to whom it was valuable.

Mr. Bovey goes further still; anil bec.uise Mr. Cherrill has
ventured to wish for sorr.euniformity in the quality of paper, and
some knowledgeof the amount of salt used, to guide him in making
and strengthening his nitrate bath. Mr. Bovey tells him that
he is incompetent and inexperienced in printing. I fancy that
is not true ; but if it were, it would only bo a stronger reason
for supplying information to aid tho inexjieriencod printer.

Now, sir, I respect and esteem both Mr. Hart and Mr. Bovey
very highly. Mr. Hart has often published valuable sugges-
tions in your pages. Mr. Bovey’s practical articles are full of
valuable matter; he is only dangerous when he loses his head
and gets into wordy rhapsodies. I have used tho paper of both
gentlemen, and know it to be excellent. But is it not too had
tliat I cannot ask a reasonable question without being told by
one that I cannot make any use of tho information I seek, and
by tho other that I am incompetent because I ask it?

I think, on reconsideration, that both these gentlemen will
feel that they have been le.ss considerate to photographers than
is wise, polite, or politic. — Yours, sir.

One who does not dike to work in the dark.

PORTRAITURE “ ON APPROBATION.”

Sir, — My object in writing to you is to protest against the
custom which appears to bo creeping in of taking portraits on
approbation.

People come and occupy your time for an hour or two, as the
case may be, pay nothing, and request that ” proofs may bo
sent.” They reject tho whole ns " not approved,’’ although as
photographs they may bo unexcoptionnblo ; and. when expostu-
lated with, say “it is tho practice among other respectable
photographers, and that of course they cannot think of paying
for portraits they do not like. This has happened to mo more
than once of late. Truly photographers are their own worst
enemies. — I am, sir, yours oliodiontly, George Downes.

Bedford, October '18th, 1868.

THE PHOTOGRAPHS OF THE LATE ECLIPSE TAKEN
IN INDIA.

Sir, — With reference to an article that appeared in your
impression of the 23rd. ultimo, entitled “ Failure of Photo-
graphing tho Eclipse in India,” in which you have unjustly

NoVEMBtR 6, 1866.]

THE PHOTOGRAPHIC NEW’S.

539

ezpresaod an opinion that the photographers of the Royal
Engineers detailed for th.at expedition were not “experi-
enced ” in the art of photography, I beg to inform you that
Sergeant Phillips, R.E, the senior photographer, has been
employed in Palestine on two expeditions iindei the auspices
of the Palestine Exploration Committee, and that his name is
well known in connection with the photographs published by
that Society. Ho had, therefore, groat experience of photo-
graphing in a hot climate, but, in common with other photo-
graphers, he had nut had much experience in photographing
eclipses, especially in cloudy weather.

I may add that Major Tennant has expressed an opinion
that his six negatives are equal in scientihc interest to any
that have been obtained in Spain, and he has valued them at
£150 each.

The following extract from the India Gatette speaks for
itself : —

The services of Sergeant Phillips, and Sappers Talbot and
Conway, of the Royal Engineers, have been great. They have
had a good deal of hard and harassing work in making every-
thing ready. Sergeant Phillips, in particular, has been most
useful, and I have much of the success of all preparations to
thank him for. The partial failure of the plate operations has
been from causes beyond these men’s control, and I would re-
spectfully solicit that His Excellency in Council would bo
pleased to grant a month's donation of pay to each.

(Signed) “ J. E. Tennant, Major R.E.’’

“ As recommended by you. His Excellency in Council sanc-
tions the grant of a donation of one month's pay to Sergeant
Phillips, and Sappers Talbot and Conway, of the Royal
Engineers.”

In conclusion, I may bo permitted to add that even if this
“ comparative failure ” had been the fault of the men, this
would not have been logical ground for hinting that the Royal
Engineer photographers are “ not familiar with photographic
operations.’’ Lord Napier, in his despatches, repeatedly men-
tioned the success obtained and good service rendered by tho
Royal Engineer photographers under most trying circumstances
in Abyssinia. In that expedition photography was the field
printing press. Staff officers’ reconnaisance sketches brought
in during an afternoon were at once photographed, and reduced
to a uniform scale during tho operation, in order that different
sketches, if they overlapped, might be subsequently joined
together. The sensitized paper was prepared during the night,
and impressions struck off in tho morning. The prints were
finally mounted on linen, and distributed throughout the force.
This was tho principal work of tho photographers, who had
also to take care of the mules, carry their arms, and march as
other soldiers. In addition to the large collection ot negatives
of plans, they have brought home a most valuable collection of
about eighty negatives of general views, prints from which will
bo exhibited before the Rhotographic Society this month
Sergeant Harrold, R.E., the senior photographer, shortly
before taking the interesting views of Magdala. was detailed as
one of the storming party, and for his conspicuous gallantry at
tho assualt of Magdala has obtained a medal for distinguished
conduct in the field. — I am, sir, your obedient servant,

S. Andebson, Lieut. Royal Engineers,

Assistant Instructor in Photography, &c.

Roi/al Engineer Establishment, Chatam, Nov. 4, 1858.

[We are glad to learn that the photographic operations in
connection with tho recent eclipse observations in India were
more successful than the first report indicated. Our corre-
spondent must remember, however, that our remarks were
based upon the statements of Major Tennant himself, who
described the whole of tho plates as “ covered with spots.” and
as “ showing but faint traces of tho corona and he attributed
this to tho “ concentration of the nitrate of silver solution ” by
heat. Now this is a condition of things in no wise attributable
to tho eclipse. It could only have arisen from want of care
or want of knowledge, and it is fair to assume that it was to
lack of experience, and not any more culpable cause, that such
a result was due. If we do tho Engineers in whoso care tho
photographic operations were placed any injustice, we regret
it, and can only point to Major Tennant’s report, and the con-
trast furnished by tho results ot the German expedition, in
justification of our remarks. Our correspondent mistakes us in
fancying that weimply that skilled photographers are not to be
found amongst the Engineers. Wo have before spoken highly
of the skill and success of Sergeant Ilarrold in Abyssinia, and
we have had reason to believe that it was owing to tho absence

of the most accomplished Engineer photographers in Abyssinia
that less able men were at tlio service of Major Tennant’s ex-
pedition. In our allusion to the Engineers wo merely put a
liypothetical case, saying if the men told off were not familiar
with photography, &c., &c. It is much more pleasant to us to
believe that this expedition was in some degree successful
than that it was a complete failure.— Ed.]

Salk in the JJtubio.

Obituauy. — Wo regret to announce the death of another of
the old .and valuable workers in photography. Mr. T. A.
Barber, an able chemist, well known at one time as one of the
most active and useful members of tho North London Society,
died on the 2fith ult., aged fifty-three. Some excellent contribu-
tions to the chemistry of photography by Mr. Barber will bo
found in our former volumes.

Photography and Popularity. — Tho Russian correspon-
dent of a daily contemporary reg.irds photography as a
tolerably accurate giiago ot popularity. He says:— “Tho
coming of Mdlle. Patti is looked forward to with vast im-
patience by tho opera-going world, and photographs of tho Diva
already inundate the shop windows ; while Lucca, about whom
all Petersburgh went crazy last winter, is relegated — in photo-
graphic form at least — from tho ‘ line to a higher region.’ ”

Photography at the Havre Exhibition. — The Standard,
speaking of English photography at tho Havre Exhibition,
siiys: — “This last (photography) is an art upon which tho
French, with dominant vanity, plume themselves. Our speci-
mens at Havre were few, yet tliey are admitted to bo scarcely
less than incomparable. Now it might be invidious to select
tho names of individuals or of firms without analysing tho
entire list ; but upon examination it will be found that out of
three thousand exhibitors — a very small proportion being British
— a magnificent allotment of awards fell to our share.”

“ Scientific Opinion.” — Tho first number of tho new issue
of this interesting resume of news on current science is just out,
and promises well. It contains a capital selection of articles
from tho scientific press generally, at home and abroad ; brief
but sufficient notices of the proceedings of scientific societies ;
reviews, correspondence, and condensed information in tho
shape of “ Notes, Queries, and Memoranda.’’ It is well edited,
and, as it fills a new field, it will, we doubt not, become a
favourite with the scientific public.

Fine Cloud Effects. — Mr. II. Sampson, of Southport, h.as
favoured us with stereographie examples of two magnificently
fine cloud effects, in which the sinking sun is behind grand
masses of cumulus cloud, the edges of which are gilded by the
light, which also streams in fan-like rays beneath, and is re-
flected in tho sea. A tiny vessel forms a touch of black just in
contact with the most brilliant light, and is very effective.
Mr. Sampson says: — “1 have pleasure in sending to you by
this post a couple of cloud effects, taken on the evening of 7th
ult.. therefore, as you will see, ‘ storm clouds.’ At tho time they
were taken tho wind was blowing strong from the south-west,
so as to require three of us to keep the camera rigid ; during
tho night heavy storms of hail fell, which continued at intervals
for eight days. I have several others taken the same evening,
but send these two as being most effective.” The practice
of securing passing effects is one highly commendable, and
should he followed by all who havo opportunity.

3^0 Carresgonbents.

H. S. R. II. — The fault in your transparencies is the presence of a
deposit in the portions which should be clear glass. This deposit
may arise front over-exposure, or from fog. In transparencies for
the lantern, tho parts intended to be white should be represented
by bare glass, not by the grey, foggy deposit present in yours.
This deposit obstructs light, and prevents a brilliant image being
thrown on the screen, especially when using a paraffine lamp as
tho source of illumination. Give a shorter exposure, use more
acid in your developer — or use the gelatino-iron developer — and
take especial care to avoid the presence of diffu.sed light in your
camera or dark room. One of the transparencies was broken into
a score of pieces. It is not safe to send glass through the post
unless packed in a box. If a couple of strips of wood had been
attached to the packing boards employed, so as to bear off any
pressure, and practically form a box, there would have been no
danger.

540

THE PHOTOGRAPHIC NEWS.

Venator. — The exhibition will remain open for a week, and the
public, after Tuesday eveninp:, will be admitted free. 2. The best
remedy wo can suf'pest for turbid collodion is to allow it to stand,
and then decant off the top portion. 3. When wax is applied to
a plate of doubtful cleanliness to give it a thin film of a neutral
substance, it is simuly necessary to apply the wax solution, and
then rub it nearly all otf with a clean cloth. After it is so treated,
it will fjenerally yield a clean neffativo, although it will not look
even and clean when breathed upon. A preliminary coating of
albumen causes ri.sk of injury to the silver bath.

Peter Simple. — Without some slight preliminarv knowledge of the
subject — such, for instance, as a knowledge of wlitit an enamel is —
we fear that you will not succeed in producing bumt-in pictures.
An enamel picture is a picture formed of vitreous colours which
have been submitted to sufficient heat to slightly fuse them. A
“Hux” con.sists of a mixture of powdered flint and borax, or
similar materials, which readily vitrify under the action of heat.

A flux is added at times to the colours used to aid in the process
of vitrifj'ing. Porcelain colom-s generally consist of metallic
oxides, which assume a vitreous form under the action of heat.
Vitreous colours, fluxes, and enamel tablets can be purchased
ready for use. Wo cannot tell you where; but your London
dealer will doubtless procure them for you. Our I’ifth Volume
contains a good deal of information on the subject of enamels

Wm. Connoi.1). — The pinholes in your case most probably proceed
from excess of iodide of silver in the bath. To test this, take an
ounce of the b.ath and add half an ounce of distilled or boiled
rain water. If your silver bath bo already saturated with iodide
of silver, this addition will make it turbid. The remedy is to
dilute the whole bath with an equal bulk of water, and then, after
filtration, add sufficient nitrate of silver to bring the solution to
the proper strength.

W. J. A. G. — You will best understand the directions for deve-
loping the dry plates if you bear in mind the re.spective offices of
solutions 1, 2, and 3. No. 1, the pyro solution, is the developer
propel ; No. 2, the ammonia, aids the action of the pyro; whilst
No. 3, the bromide, refcirds somewhat, its especial function being
to prevent fog. These are mixed in the proportions indicated for
the purpose of bringing out the image ; and when this is effected
the pyro and ammonia are used to secure intensity. The bromide
will not aid in this, and should not be used unless there is some
tendency to abnormal deposit on the shadows, in which ca.se a
little of it may be added. AVe have found, as a rule, that dry
plates were not satisfactory with any amount of exposure in a bad
light, and we should recommend you not to waste time and court
disappointment by exposing dry plates except when the light is
clear and bright.

Oulielmus. — As you have, as you state, carefully read all that has
appeared in the News on the subject of pinholes, it is difficult for
us to give you any fresh information. Your remark that your
difficulty generally occurs during the process of intensifying sug-
gests a possible remedy. AVe have found pinholes occur in inten-
sifying from several causes ; where, from thinness in the image, or
from under-exposure, the intensifying has reijuired pushing con-
siderably ; where a portion of the nitrate bath is added to the pjTO
instead of a fresh solution ; and where excess of nitrate has been
added to the pyro. Aim, by the use of suitable materials and
full exposure, to get a good imago in the first process of develop-
ment, and the risk of pinholes will be much reduced. Either
citric or acetic acid may be us(;d ; but we are not aware that any
difference in the result, as regards pinholes, will follow. 2. The
different statements you find a.s to the proportion of silver taken
up by a sheet of albuminized paper doubtless arise from the use,
in the experiments recorded, of different samples of paper, in which
different proportions of salt have been used. The proportion of
silver absorbed is chiefly regulated by the proportion of salt added
to the albumen ; and as the proportions used by different per.sons
vary from 5 grains per ounce to 20 grains per ounce you will see
how impossible it is to give any general statement on the subject.
The following calculation may help you : — One sheet of paper
takes up nearly an ounce of albumen solution. Suppo.se it contains
a proportion of 8 grains of chloride of ammonium, the salt on a
sheet of such paper will take up about grains of nitrate of
silver, the albumen ^vill take up a little, and the solution on the
surface, suppose it to be a 40-grain bath, will amount, probably,
to 10 grains more. In such a case you would have nearly 40 grains
of nitrate of silver consumeil by one sheet of such paper. AA’e
are glad our last advice enabled you to remove your difficult}’.

J. Smith (Halifax). — GrasshotTs Manual of Instruction for Ke-
touching Photographs is published in German, by L. Gerschel,
Berlin.

M. A. AA'^anderson. — AA^e do not know of any one who makes a
collodion specially for enamelling photographs, except Mawson and
Swan. To make some for yourself you would probably require
to make the pyroxyline also, as toughness much depends on the
chanutter of the pyroxyline. It should be made with moderately
weak acids, and at a low temperature.

Ll’X et Sales. — Thanks. You will probably have opportunity of
calling on some other occasion. Your letter in our next.

[November 6, 1868.

J. T. (Fife). — Either Mr. Bovey’s toning bath, the lime bath, or
the acetate bath will, as a rule, answer ; but double albuminized
paper is generally somewhat slow in toning. If you immerse the
prints in the toning bath without previous washing, or with but
slight washing, they will tone more readily.

Z. H. A. — The formula you state will yield you a good solution of
chloride of gold ; but as it contains a large proportion of acid, it
will not be suitable for use with an acetate bath. Your best plan
of using it will to be neutralize the portion required with chalk,
whenever you wish to use it, a few hours or a day beforehand.
If you want it for immediate use, neutralize with chalk, and add
to an ounce of the solution 5 ounces of hot water ; when cool, it
will be fit to use. It will always require a few ounces of water
adding to each ounce, as the strength you name, IJ grain per
ounce, is much too strong for toning purposes. 2. The story is a
myth. Publishers of engravings generally get as good a sub-
scription list as they can before publishing a costly plate ; but
they are under no legal obligation to destroy the plate at any
time. They sometimes make a compact with subscribers that the
plate shall be destroyed after a certain number have been printed,
with a view to prevent the subject becoming too common ; but
this is purely a matter of choice. The notion that Graves and Co.
make money by prosecuting pirates is very foolish. They have
been, perhaps, a little vindictive in these prosecutions because they
have been much wronged, and suffered much lo.ss.

Photo. — Marion and Co. are the largest photographic publishers.
The Stereoscopic Company also publishes largely. C. E. Elliott,
Spooner and Co., and some others, both publish photographs and
deal in them ; but we cannot furnish you with anything like a
complete list of such publishcr.s. 2. If you develop your solar
camera image sufficiently, then wash, and immerse in an ordinary
hypo bath, you will not lose the image.

AA'^. T. AVatson. — Received. Your reque.st shall have our attention.
The specimens arc very good. AA'e shall have pleasure in le.aming
further particulars of the mode of producing them.

B. A. Gilhert. — .\cetic luiid once added to a silver solution is very
difficult to remove. Nothing short of boiling to dryness will effect
it thoroughly.

E. Sawver. — AA'e a.scertain from our correspondent that your pic-
tures arrived at Falmouth two days after the opening of the Ex-
hibition, and as his notice was written on the first day, no notice
of your contributions was possible. Those to which you refer as
possibly yours were both by Mr. Douglas, of Edinburgh. Our
correspondent, speaking of yours, states that they are superior to
the average of coloured enlargements, and that the likeness is
admirably preserved.

“Permanent Photography.” — A corre.spondent has sent us a
paragraph cut from the Daily Telegraph with this heading, with
some severe strictures upon what he terms a “ shamelc.ss puff o
Pouncy’s process,” and his claims to the origin of carbon printing.*
The subject is not worth re-discussion. It has been thonmglily
canvassed in our pages more than once, and we have shoM-n that
M. Poitevin produced carbon pictures and patented his proce.ss
tliree vears before Mr. Pounev wivs heard of. The oil or print-
ing-ink proce.ss has many good features, and wo have seen gooil
results produced by it. It is a pity that a good process should bo
prejudiced by the injudicious claims of its inventor. Six hours’
boiling, and .six days’ baking in a furnace, are burlesque tests, and
are of no value if true.

1’. — Thanks ; in the main you are correct. AA'e simply answered
two specific points rai.sed by our correspondent ; we have no
concern with common gossip or its retailors, nor should we dream
of having any discussion with persons who do not hesitate to
invent their facts and their correspondents to meet any case. AVe
are familiar with the aliases you mention, and many more ; but
neither they nor their owner pos.sess any interest for the public.

A. B. — The plan of iodizing by the addition of a little collodion to
the bath is not to be commended. The pinholes in your first essav
are probably due to that. So far as we can see, there is not mucli
defect about the second bath. It is difficult to say from which of
two or three causes the fog may arise. It maybe that a little more
nitric acid may be required in the bath ; there is not much danger
of adding excess when you are using bromo-iodized collodion. It
may bo the want of a little more acid in the develowr. Possibly
the use of the gelatino-iron develoiier would meet the case. The
fog may possibly be due to the presence of a little white light in
the camera or dark room. It has somewhat of that effect. Try
excluding white light carefull v, and try the gelatino-iron developer,
and let us know the result. \A’e are glad our advice holpial you
out of toning difficulties.

Dealer. — You need bo under no apprehension. The first clause in
the new Act, from which we made an abstract some months ago
for our readers, distinctly states the date of its operation as “ from
and after the 31st of December, 1868;” and no “judge” has
stated an}-thing to the contrary’. K blunder on the subject was
made in a police court, whie’i nas been perpetuated by some of the
more careless or leas informed portions of the press

J Several Correspondents in our next.

NEWS

THE

C 0 N T E N T S '.

Pi 01

KxhibitinD of Ibe Pbotograpbic Society 541

Simple Plan of Obtaining Plain Paper Prints 542

Oar Printing Room. By NeUon K. Cberrill 542

Retoucbing the Negative. By Johannes GrasshoB 544

Pictorial Eflect in Photography. By H. P. Robinson 546

On the Employment of Mixed Collodions. By M. OmerBordeau 546
On the Sensitiveness of Photographic Preparations 547

PAOB

Pioceedings of Societies— North London Photographic Associa-
tion—Edinburgh Photographic Society 54S

Correspondence — A Photographer's Relief Fund- Portraits on
Approval — Albuminized Paper and Printers— Mr. Fry’s

Mode of Masking — Photography and Perspective 54H

Talk in the Studio 551

To Correspondents 552

EXHIBITION OF THE PHOTOGKAPHIC SOCIETY.
The success and satisfaction which have attended the second
experiment in opening the winter session of the Photo-
graphic Society with an exhibition of pictured and a social
reunion of the members and their friends justify us in re-
garding these as henceforth established institutions, and
we find in the fact the solution of a difficulty which had
before seemed as insuperable as it was deeply to be regretted.
The advantage of exhibitions of photographs in aiding and
stimulating progress was a thing universally admitted, and
the interest of such exhibitions was everywhere recognized.
But the cost, as they had been hitherto conducted, was simply
ruinous to the Society. Modelled, as it was natural they
should be. on the principles followed in exhibitions of pic-
tures generally, the cost was not less, whilst the income was
of necessity incomparably smaller. The rent of a large gallery
in a central position for a few months, with added cost of gas,
attendance, printing, and advertising, amounted to a heavy
sum, whilst the payments for admission from the public —
members and their friends generally entering free — and the
amount of commissions on sales, did not amount to the tenth
of a tithe of the amount usually taken in an exhibition of
paintings, in which the expenses were but little more, so
that the annual loss to the Society became very serious, and
it had become apparent for some years past that the exhibi-
tions, with all their advantages, must cease.

The project conceived and so successfully carried out last
year just met the difficulty, however, and an exhibition for
a limited period, with simple and economical arrangements
and much volunteer labour, was found not difficult to secure,
when a few willing workers and influential members of the
London Society took the matter in hand. The full educa-
tional and stimulating influence of an exhibition is secured,
without taxing the resources of the Society unfairly and
beyond the bounds of legitimate expenditure.

The exhibition which opened on Tuesday evening was
beyond precedent satisfactory and pleasant. On all hands
it was pronounced to be one of the best, if not the best,
of exhibitions ever opened, the contributions being full of
excellence and full of interest. A very large attendance of
members and their friends, many of whom had come from
the country to attend, materially contributed to enhance
the pleasure of a r6union which every one present seemed to
enjoy.

One of the first facts which strike us on glancing round
the exhibition is the illustration afforded by the large
number of contributions, of the healthy vitality of the art,
and the unflagging interest in its progress maintained by
the majority of its devotees. Here is an exhibition, an-

nounced with little circumstance, to be kept open for a week
only, offering no honours or awards, yet the most able, and
the most skilful, and the most successful exponents of the
art, professional and amateur, are sufficiently interested in
witnessing and aiding progress to produce one of the finest
collections of photographs ever brought together. Somo
few honoured names were, from various causes, not repre-
sented, but amongst the work of about a hundred contributors
were found the pictures of most of the representative men
associated with the art.

The next fact which struck us, after examining the pictures
exhibited, was the general excellence that prevailed. We
remember that in many former exhibitions the mass of the
contributions were of a very commonplace character, the
examples of great merit standing out as brilliant exceptions.
Here the bulk of the contributions are of very high standard
indeed, and indicate a very great general advance, both in
artistic and technical excellence. The progress in por-
traiture since last year is almost startling, and we may fairly
state that we never saw so much good portraiture brought
together before. As we had anticipated, the influence of the
works of M. Adam-Salomon was abundantly manifested,
not only in the large number of portraits in which his
characteristic style was adopted, but in forms of portraiture,
distinct in their characteristics from those of the great
French artist.

We may remark here, in passing, and without any egotism
that we feel considerable satisfaction in this result, because
we have been mainly instrumental in calling the attention
of photographers to these pictures, and in affording them
opportunity of becoming acquainted with them. Believing
that they possessed not only a higher excellence than pre-
vailed in this country, but that they possessed some ele-
ments of excellence scarcely dreamed of as possibilities by
English photographers, we felt assured that we were doing
them service in pressing this subject upon their atten-
tion with a degree of iteration which risked being tiresome ;
and we did this because we equally felt assured that English
portraitists only required the standard bringing under
their attention, and the spirit of emulation awakening, to
induce a resolve to hold no second position in attainable
excellence. We think the result, as illustrated in this exhi-
bition, has fully justified our convictions. It is not neces-
sary to enter into comparisons, or estimate how far English
photographers have advanced in the race for excellence ;
certain it is that they have attained a position which few
would have anticipated twelve months ago.

It is impossible, in the brief time since the exhibition, to
enter into a detailed notice of contributions so numerous and
excellent, but we may briefly allude to a few names as an
inducement to many to avail themselves of the remaining
few dajs which the gallery remains open to pay it a visit.
In landscape work we may mention a charming collection

542

THE PHOTOGRAPHIC NEWS.

[November 13, 1868.

of Mr. Bedford's recent pictures, and we may add the inter-
esting intimation that the pictures are now described as
those of G. Francis and William Bedford ; Mr. Bedford’s son
promising worthily to maintain the reputation of his father.
Mr. England sends a frame of the capital results obtained
during the summer in the Savoy. Messrs. Robinson and
Cherrill send some large landscapes with such grand clouds
as are not often seen, still less often secured in the camera.
Mr.Wardley sends some magnificent 16 by 12 landscapes by
the collodio-albumen process. Mr. R. Manners Gordon contri-
butes a few of the most exquisite little photographic gems
ever exhibited. No one should fail to see a charming little
landscape with groups of sheep, which is as nearly perfect
as possible. A view of Carnarvon Castle just above it, taken
with the gum process he has described in our pages, ought
to be seen by all who are interested in dry processes. This
plate was kept upwards of a month before exposure, and
upwards of a fortnight more before development ; and, not-
withstanding the perfection of the detail in every part, it
only received fifteen seconds’ exposure. Mr. Vernon Heath
sent a fine collection of his admirable landscapes. The
Hon. W. Petre, a gentleman quite in his novitiate as regards
photography, has sent some very capital artistic landscapes.
Some mountain and waterfall scenery by Mr. Crofton
Atkins, Mr. Beasley, Mr. Howard, Mr. Whiting, Mr. Brown-
rigg, Mr. Spode, Mr. Best, Mr. Clarke, Mr. A. Irving, Mr.
Bowen, the Royal Engineers, and others, send landscapes
well worth inspection.

In portraiture, perhaps, the exhibition is richest, and it
would be somewhat difficult to assign the order of precedence.
There is a large collection of examples of Adam-Salomon
which need no comment, art qualities and technical excel-
lence abounding in greater or less degree in every one. A
portrait of M. Salomon is exhibited by ^Messrs. Lock and
Whitfield, and another by Messrs. Robinson and Cherrill.
The only other portrait exhibited by the latter firm is a
magnificent Salomonesque portrait of Mr. Hain Friswell,
wonderful for its life-like and fine expression. Jlr. Robin-
son’s successor at Leamington, Mr. Netterville Briggs, e.x-
hibits a collection of 12 by 10 portraits, furnishing admirable
examples of the same style, one of which is the prize portrait
of the Falmouth Exhibition, and which we have already
noticed. Some very fine cabinet portraits with natural land-
scape backgrounds, and some pretty vignette pictures by a
new process, styled “Emolliotype” (of which moie hereafter),
are exhibited by the same gentleman. Mr. Blanchard has
some very satisfactory examples of the Salomon style of por-
traiture, brilliant, delicate, rich, and well modelled. Mr. Fry
has a fine collection in the same style, which have the addi-
tional interest of illustrating the results of the mode of masking
recently described in our pages. Mr. Mayland has some
brilliant examples of the same style. Mr. Leake has some
very satisfactory specimens. Mr. Burgess of Norwich, Mr.
Slingsby of Lincoln, Mr. Fradelle, ilr. Ashdowne, and
others, send some fine illustrations of the same style, some
of which we must return to next week, as well as to other
styles of portraiture.

In subject-pictures the exhibition is rich, but we can only
now mention, as contributing interesting examples in this
department, the names of Mr. Rejlander, Mr. Robinson, Mr.
Twyman, Mr. Hubbard, Mr. Jewell, Dr. Wallich, Mrs.
Cameron, Mr.Crawshay, Mr. Slingsby, Mr. Rump, and othera.
We shall return to this subject next week.

The Autotype Company had some magnificent examples
of pigment printing ; Edwards and Co. exhibited many
very line, interesting illustrations of varied applications of
pigment printing. Mr. Henderson, Mr. Bailey, and Mr.
Barnes, and an amateur, exhibited enamels which afford
satisfactory illustration of the progress which this branch
of the art is making. Collodio-chlorides, coloured pictures,
Piercytypes, a]>paratus, and man^’ other things, must receive
attention another week. Meanwhile, we may mention that
the exhibition will remain open at the Gallery, 9, Conduit
Street, until Tuesday evening.

SIMPLE PLAN OF OBTAINING PLAIN PAPER
PRINTS.

Of late years the use of alhuminized paper has been all but
universal amongst photographerp, in many establishments
such a thing as a plain paper print never by any chance
being produced. The rich, engraving-like plain prints of
Hennah, with their deep, velvety blacks, are things of the
past ; and although a protest is entered now and then
against the vulgar glo.ss of albuminized paper, yet photo-
graphers and the public have become so accustomed to it,
and the practice of printing upon it has attained such a high
degree of perfection, that it is not likely to be deposed from
its present position of universality.

It happens, however, now and then, in many establish-
ments, that a plain paper print is required for some special
purpose, and the printer is sometimes under the necessity of
making several experiments before he can produce anything
sufficiently perfect. The enquiry not unfrequently reaches
us from persons who say that they have never worked with
plain paper, “ How shall 1 proceed to get a few presentable
plain paper prints ?” Some time ago a sample of paper was
in the market entitled “ Amorphous albuminized paper,"
which had a matt surface, and gave all the vigour of
ordinary albuminized, without its gloss. We generally re-
commended the use of such paper when unalbuminized
prints were required, as it required no treatment difi'erent
from ordinary albuminized paper. The demand for the
amorphous paper has not, however, been sufficient to induce
its maker to continue the supply ; and we were informed the
other day by Mr. Rejlander, with whom this paper was a
great favourite, that it could no longer be procured.

The plan we are about to name is not, we believe, strictly
new, but is, we fear, very little known. Our attention was
recently called to it by Mr. Blanchard, who finds it answer
admirably. It consists in floating apiece of ordinary albu-
minized paper on the silver bath with the plain side in con-
tact with the solution — treating the albuminized surface, in
fact, as the wrong side. The albumen and salt applied to
one side of the paper appear to permeate the whole sub-
stance sufficiently to form a vigorous image on the other
side when treated as we have described. The print is toned
and fixed in the same manner as those with an albuminized
surface. The plain paper print thus secured is rich,
vigorous, and of excellent colour, and the nearest approxi-
mation to those yielded by the amorphous albuminized
paper, of any plain paper piints we have seen for some time.

OUR PRINTING ROOM.

BY XELSO.N K. CHERRILL.

Surely by this time there are no secrets in the printing room •
Surely the Piiotoqr.cphic News and other journals have not
reached their twelfth volumes and yet not have exhausted so
simple a subject as printing! Still I suppose it is so, if,- at
least, one may j udge by the vast amount of ignorance which
exists in the photographic world upon printing matters.
Perhaps there is another way of putting it, which is better:
all that can be said of printing may have been said ; aye, may
have been said many times over, and yet it may never have
reached the understandings of some “ intelligent printers.”
There can, <at any rate, be no harm, and may be some inte-
rest, in describing somewhat in detail the operations which
are daily carried on in our printing rooms. Those who
know all about it need not read this article ; but I trust that
there may be some one or two points worthy of note even
for the wise ones.

The first operation after taking a negative, before printing,
is the varnishing process. For my own part, I gieatly pre-
fer the use of hot water for the necessary warming to the
old plan of holding the plate to the fire. I am indebted to
.Ml-. England for the suggestion, by whom, if I am not mis-
taken, it was first made. The apparatus I use consists simply

NoVesiber 1?, 1888.]

THli PHOTOaKAPHIC NEWS.

543

of a zinc foot-warmer, filled with very hot water ; this is
placed leaning against the wall and resting on the table so
as to present a sloping surface, whereon to place the nega-
tive ; there is room for two by 4^ negatives at a time.
As soon as one is warmed through, the varnish is poured on,
and another plate is then put on the warmer ; the plate on
which the varnish is poured is well drained, and then again
placed on the warmer till quite hard. As soon as the nega-
tives are varnished, the paper for the next day is prepared
(I am taking up the operation at four or five in the after-
noon at this time of the year). As I lately explained in a
letter to these pages, we use iliree sorts of paper, being one
very strong, rich paper for large pictures, and also for those
small ones which do not work so well on the weaker papers;
another, medium quality, for general use; and yet a third,
to use when prints of an exceptionally delicate character are
required. These papers are known to us by the names of their
makers, but it is not necessary to mention them in this place.
Our silver bath consists of —

Nitrate of silver ...
Nitrate of soda ...
Water (not distilled)
Sugar (a little)

... 40 grains
... 20 „

1 ounce

... d la Bovey.

We have tried the use of the silver bath with gelatine, but
without finding much advantage from it ; the above is the
best formula for a printing bath that I know of for gener.il
purposes. Before use it is filtered, and about ten grains of
nitrate of silver are added for each sheet prepared the day
before ; the strength of the bath is thus supposed to be
kept up to its original standard. As I sometimes find, how-
ever, when using a quantity of weakly-salted paper, we add
too much silver in this way, and then the prints begin to
assume a more brilliant character, and the relation between
the character of the negative and the quality of the paper
becomes upset : a negative which would have printed abso-
lutely right on our medium paper would then be too bril-
liant, and would have to be done on some other paper. I
should also mention that we keep up the quantity of the
silver solution by adding water, and if tliere is any reason
to suppose that the bath is weaker than usual, we make up
its strength, not with plain water, but with fresh silver
solution.

The papers being floated on the bath for three minutes, as
a rule, or five minutes in the case of very thick Kives, they
arc hung up to dry by two corners, so as to drain into the
filter through which the bath was passed. As soon as
another sheet is ready, the first one is removed to another
j)lace, and a small piece of blotting-paper is pressed against
the drop of silver solution at the lowest corner. This piece
of blotting-paper adheres to the sheet, and greatly assists the
process of draining; besides, by absorbing the solution, it
prevents any mess from its dropping about, and aids in
saving the waste. The drying is finished off by the fire,
and the sheets are then rolled in tight bundles, each sort by
itself. Thus prepared, the paper keeps perfectly till the
next day, and even to the second day, but after that it
becomes very yellow, and we do not like to use it for any
but unimportant work. The sugar does not. in our hands,
very much aid in keeping the paper from discolouration,
but it is certainly of some use, though by no means so much
as we should have been led to expect from the very favour-
able accounts of it which have from time to time appeared
in your columns.* The negatives being varnished, and the
paper being prepared, the work of the day is so far
finished.

Next morning the negatives of the day before are taken
up to be named and looked through. The name of each is
neatly stuck on the back on a slip of gum paper, and each

* Mr. Cherril', we think, somewhat overlooks the nature of the service
sugar is alleged to yield. It does not prevent a slight discolouration of the
paper, but secures a condition in which the discolouiation disappears in the
fixing bath. This we find to be the general experience, even with paper
kept for many weeks.— Ed.

negative is carefully examined, not only as to its intensity,
but in order to detect any little defects which may be
obviated, or improvements which may be effected.

The printing operations are now proceeded with, and at
this time of the year it is necessary to begin early and end
early, as the light falls oft’ very soon after the middle of the
day.

There are many matters connected with the actual print-
ing which time must compel me to abbreviate as much as
possible. For vignettes we always use a simple arrange-
ment, consisting of a hole in a piece of card, and cotton wool
placed round it ; this, being placed outside the frame, gives
at once the most perfect means of securing a good vignette,
having the especial advantages of being easily made, great
cheapness, and, above all, of being easily adapted to any
size or shape picture which may be required. For oval pic-
tures we use the ready cut masks made by Mander ; and
nothing could be better for the purpose. One thing only
is needed more with them ; they should be numbered, so as
to, render it easier to order from them, and to refer to them,
when the work is going on. We have found great difficulty
in getting the makers of printing-frames to make the back-
boards fit properly ; they generally make them so very
tight; it seems to be “pride of the workshop" to make
things very accurate, and so one gets punished by frames
with backboards made so beautifully that you can hardly
open one to look at the progress of the print without being
almost certain of disturbing its position on the negative.

When the printing for the day is finished, the prints are
looked through, and all extraneous dark edges of paper cut
oft', to save the gold ; they are then immersed rapidly, one
by one, in the washing water before toning. As soon as all
are in, they are once turned over, and the water is then poured
oft', the dish again filled, and the prints again turned over ;
they are then removed to a second dish of clean water, and
from this they are transferred, a few at a time, to the toning
bath.

On some occasions during the summer we used — when
printing large composition pictures, requiring some days’
printing in the sun — a little alcohol in the first washing
water, and with very good effect; it seemed to aid consider-
ably in restoring the paper to its normal condition after the
long-continued baking in the sunshine, and it thereby
rendered the toning more certain and easy.

For toning we use the old acetate of soda bath, and until
it fails us we do not intend to use any other ; it is the most
certain of any, and gives better tones than, or at any rate
quite as good as, any that can be brought in competition
with it. The amount of gold which it uses is not extrava-
gant, but it is somewhat more than is given with some
formula:. One grain of gold will, with our bath, tone two
sheets of paper printed dark with massive shadows and but
a small quantity of high light, such as are, in character, the
pictures of M. Adam-Salomon ; but when lighter prints
are being made, the amount of work done by one grain of
gold is more in proportion. We made our gold solution
oureelves, and find it works very much better than any we
could buy ; it was made from pure gold and pure acids, and
is a fine rich reddish yellow in solution ; it does not as yet
show the least tendency to precipitate from the stock solu-
tion, which we keep carefully excluded from the light. I
have often heard it stated, by men whose experience should
lead them to know what they are speaking about, that one
grain of gold will tone from five to ten sheets of paper. I
believe then it does so in a very improper manner. The
object of the gold seems to me not only to be to give a fine
colour, but also to make a preservative layer over the silver
forming the print, and so to preserve it from the action of
evil influences; and, therefore, I think it is especially
neces.sary to use a toning bath which will ensure a thick
coating of gold. One grain to a sheet used to be thought
a proper proportion, but now some men arc called foolish
who use more than one-fifth of that quantity. For my
own part, I think they are the more honest who look as

544

THE PHOTOGRAPHIC NEWS,

[November 13, 1868.

much, or more, to the chance of a print being permanent
than to its cost of production.

After the prints have been toned, we pass them through
two changes of water, and they are then put into the hypo
solution, which is made up of a strength of 5 ounces of hypo
to a pint of water. The prints are immersed in this solu-
tion one by one. each one being turned over two or three
times to ensure the absence of air-bubbles ; this done, they are
kept moving by rocking the dish, and occasionally by
turning them over in it for fifteen minutes. They are then
taken out one by one, drained, and plunged for about five
minutes more in a fresh solution of hypo, the same strength
as before. This second solution is used again the next day
as the^wf fixing bath. By this process of double fi.xing I
believe the prints are rendered more permanent than if they
bad only one bath of hypo. I am looking out constantly
for the supply of hyposulphite of ammonia which has been
promised so long, and as soon as that comes I hope to have
some more experiments on fixing to report. After fixing,
the prints are thoroughly washed in a dish by repeated
changes of water, and are then consigned to the “ washing
machine ” for the night. I have already described our
apparatus for washing in these pages, and therefore need
not again refer to it. The prints in the morning are
removed to a dish of clean water, and brushed over, back and
front, with a large camel-hair flat brush, to remove any little
impurities which may have come upon them in the
washing trough. They are then set in a heap on a sheet
of glass, and sent up to be dried, first between blotting-
paper, and then by being spread out on a table. Starch is
used for mounting, and when waxing is required, the formula
which we first tried — and which was published in the
News in a leading article shortly after M. Adam-Salomon’s
visit to England — is preferred to any other. Indeed, I
cannot get any other used at all, as our own is so much
preferred.

RETOUCHING THE NEGATIVE.

BY JOHANNES ORASSUOFF.*

There are many methods extant for retouching negatives.
1 myself have essayed several, but shall confine myself in
the following remarks to the mode of operating which in
my opinion is the best and simplest, and which I have for
a considerable time made use of; excellent results may be
obtained with it after suitable practice, but, as a matter of
couree, perfection can only be secured by a sufficient amount
of skill and experience.

To facilitate the manipulation of the negative it is as
well to provide oneself with a retouching frame, to be had
of any dealer in photographic apparatus. The frame is
placed at the window, the negative is screwed into it in
a slanting position, and the looking glass so arranged
as to reflect the light upon the image ;by this arrangement
the negHtive is clearly and distinctly seen without incon-
venience. At the same time the operator must be careful
to seat himself with the frame in a dark locality, and not,
therefore, in the glass room ; if it is necessary to work in
the evening, the mirror in the frame cannot be used for
reflecting the light from the lamp, and it is best to have
recourse to a light placed upon a low stand furnished with
a globe of ground glass, so that the negative may be lighted
up with difluscd illumination.

The most difficult negatives to operate upon are generally
those of large portraits, and it is the face of these in parti-
cular which especially needs attention. To render the task
easier, several pieces of stout opaque paper of the same size
as the negative should be provided, all of them having
round or oval openings of different sizes cut into them ;
with these the portrait is covered, with the exception of the
head (which should be visible through the opening), and
thus one’s sight and attention are concentrated upon that
portion of the plate to be operated upon, and one is not

* Extracted from QrsssholTs Manual on the “ Uetouebing or I’hotograpbs.’’

irritated with stray light which penetrates through the
transparent poitions of the clothing, &c. Besides, by this
means the varnish is protected from friction, a matter of
some importance if the coating is still fresh.

It has often been proposed to gum the negative after
being fixed, then to retouch it, and finally to cover it with
varnish. 'I'his method of operating gives, it is true, in skilful
hands, very excellent results ; but it often happens that in
varnishing, the varnish only partially penetrates the thin film
ofgum.thusrenderingthe negative frequently useless from the
spotted character of its surface. Beyond this it is necessary
that especial care should bo exercised in the touching up
of a gummed negative, as the point of a pencil easily pene-
trates the film, and thus causes the formation of holes ; for
these reasons, therefore, it is much more desirable to do the
retouching upon a varnished film.

Negative varnish which contains an appreciable quan-
tity ot shellac does not always beat manipulation with a
pencil, which, in this description of work, plays a very im-
portant role ; I would recommend, therefore, the employ-
ment of a varnish the composition of which I give below
for the purpose ; it will be found to answer admirably, and
may likewise be used with advantage upon positive pictures.
My formula is as follows : —

Powdered sandrac ...
Camphor, broken up small
Venetian turpentine
Oil of lavender

2^ parts

\ part

i ..

The above is dissolved by means of considerable agita-
tion in

Absolute alcohol ... ... ... 15 parts.

When used, the varnish is diluted, according to circum-
stances, with a more or less quantity of alcohol which has
been previously mixed with water in the proportion of 10
or 12 parts of alcohol to 1 of water.

The older the varnish on the negative becomes the harder
it gets, and the quality of the pencil is regulated by the
state of the varnish upon the plate, a hard pencil being re-
quired for a hard varnish, and vice versa. The first thing
to be done is to work up and equalize any unevenness upon
the face of the portrait, as, for instance, summer freckles and
other dark spots ; these are manipulated with the pencil
until they are not to be distinguished from the surrounding
parts of the negative; and in like manner the large shadows
ma}' be worked up, and particularly the abrupt glaring
gradations sometimes seen upon negatives ; strongly marked
folds and other similar parts must also be softened down, in
order to render the whole picture more harmonious.

Elaboration with the pencil is, however, not always
successful, for in very transparent portions the lead is not
sufficiently opaque, as, for instance, under the eyes, &c. In
these instances a black crayon or so-called Creta polycolor,
may be used with much advantage, being employed in the
same manner as a pencil ; better results still are obtained
with ordinary black lithographic chalks, and, as the latter
are generally very soft and the particles easily disintegrated,
they impart more opacity than black lead, and answer the
purpose admirably.

When these means are unavailing, a circumstance which
sometimes happens when the pictures print too deeply and
contain shadows of too dark and heavy a character, other
methods of improvement must be tried. Ordinary black
Indian ink mixed with gum arable, and used of the con-
sistence of a syrup, may be applied with advantage. It is
well to add a little glycerine to the gum in the proportion,
perhaps, of two to four drops of the former for every ounce
of gum solution; it then becomes easier to manipulate, and
when dry is not so brittle upon the varnish, and not so
liable, therefore, to peel off from the film. By using larger
or smaller additions of gum, the opacity of the colouring
matter may be regulated with the greatest nicety ; and in
parts where one coating is insufficient to render the plate of
the requisite density, a second or often repeated application

November 13, 1868.]

THE PIIOTOGRAPIIIO NEWS.

545

of the pigment may be resorted to until the transparent
film has been worked up to the satisfaction of the operator.
One layer of colour must always be perfectly dry before
another is placed over it. and care must be taken that but
very little of the pigment is taken up in the brush at a time.

With this gum pigment it is possible to effect an even
coating over any large surfaces which may appear too trans-
parent, as, for instance, the hands or arras, light clothing,
or hair which has not been previously treated with powder ;
light brown beards or whiskers which print too deeply, par-
ticular parts of uniforms or costumes, when not too large,
may all be treated with this description of colour. The
manner of operating is to draw a large and well-filled brush
as evenly as possible over the surface, without paying very
particular attention to outlines; then, after breathing upon
the same, to keep the pigment in a perfectly fluid condition,
a softening brush is usecl to distribute the colour as much as
possible, to form a perfectly even coating. Some practice
is necessary for this description of work, but after a few ex-
periments the operator will have no difficulty in succeeding.
When dry, the e.xtraneons colour is removed from tlie out-
lines by the application of a moist brush.

Any spots or patches which may be present in the coated
parts of the negative are afterwards worked upon and re-
moved. By applying a thin solution of a black pigment
upon the reverse side of the negative (on the glass, there-
fore) in certain parts, those portions may be made to print
lighter; but in this manner, owing to the thickne.ss of the
glass, the sharpness of the outlines cannot be very well
controlled. If greater body is required, the pigment may
be used without the addition of gum. When the colour has
been applied, the surface is breathed upon and manipulated
with the finger until a pretty even grain h;is been produced.
On the reverse of the negative one need not be so particular
in the softening down of the colour.

For producing uniform tinting upon the negative, sap
red, sap blue, Prussian blue, burnt sienna, and gummi
gutti, are very frequently used, by rea.son of their transpa-
rency and the ease with which an even coating may be pro-
duced with them ; but it is much more difficult to judge of
the intensity of these colours than of black, which, when
mixed with gum, i.s almost as easy to manipulate as the
blue and red colours just named. It depends very much
upon what one has been accustomed to, for when well ac-
quainted with the character and intensity of the tints em-
ployed, the desired results are easily obtainable.

With regard to the fine pinholes and other imperfections
of the negative, these are best treated with ordinary indian-
ink without gum ; but the moistening of tire brush with
saliva should bo avoided, as the pigment thus lo.ses its bind-
ing properties, and does not furnish so opaque a coating.

There remains yet to be mentioned the method for retouch-
ing negatives of oil paintings. Plates of this description
arc, as a rule, very difficult of improvement, especially when
tliey chance to be of a very transparent nature. It some-
times happens that the different colours of the original pro-
duce the most startling contrasts upon the negative, and in
these instances it is best to cover the whole surface of the
plate with a uniform coating of dilute colour mixed with
gum solution ; this should be applied upon the varnished
side of the negative, although in very large plates the glass
side may also be coated, and when dry those portions of the
picture which appear too darkly covered may be again freed
from the tint by rubbing over with a moist brush or cloth.

Braall imperfections in the gradation of tone may be im
proved by means of a lead pencil, which can be used with
special advantage in those parts of an oil painting negative
where the direction of the brush is traceable in the shadows
and darker portions of the picture.

Finally, a few remarks are necessary on the treatment of
landscape negatives. It is not always the case that the
sky — or, rather, the atmosphere — is so transparent as it ought
to be, and then a little aid from the brush is necessary.
When, however, the atmosphere is sufficiently clear and

transparent, but somewhat detrimental to the effect of the
picture, owing to its even and monotonous appearance, which
is very often the case, its aspect may bo improved by paint-
ing in a few cloud effects. This is best done, especially
when the form of the clouds is a matter of no importance,
and it is desired only to obtain a few different tints in the
sky, by applying to the reverse side of the plate a little
Indian ink mixed with gum in such a manner that a cloud-
like gradation of tone is produced ; this need not be done
in a very elaborate manner, but may be roughly sketched
out. By crossing the strokes, and laying one over the other,
a greater or less opacity is produced, which, in the picture,
will appear as light portions of clouds. A more beautiful
effect may be obtained, and in an easier manner, by employ-
ing a fine black oil pigment mixed with a little linseed oil
or varnish, together with a small quantity of siccative
(driers). The advantage of using a colour of this description
is, that it remains longer in a moist state, and may be gradu-
ated to the finest degree, thus permitting of the elaboration
of the finest cloud effects, which may be modelled from a
pattern cloud negative taken for the purpose. The method
of actually printing in clouds from another negative does
not always yield satisfactory results, as it not unfrequently
happens that the clouds do not harmonize with the picture
to which they have been adapted ; with painted clouds an
alteration can at any time be effected. Although the thick-
ness of the glass allows of the painting being of a rough
description, still the beginner will do well to soften down
his work before finishing; it must also be remembered that
a negative treated in this way cannot be used until the oil
colour on its surface is perfectly dry. Sap red and blue are
often used for painting in cloud effects, but, as previously
stated, I always prefer to employ a black pigment for the
purpose.

When it is considered desirable to cover over the whole
of the sky by means of an opaque pigment, so that the
atmosphere is represented perfectly white, red is the best
colour to be used — as, for instance, cinnabar, Engll.sh red,
Vankyck brown, &c. A good black may also be employed.
The colour is rubbed upon a glass plate as finely as pos-
sible by means of a glass rubber and water, and then some
gum and a drop or two of glycerine are added ; it is again
thoroughly mixed to the consistence of a salve, and then
placed in a saucer ready for use But a moderate quantity
of gum only shouhl be used, and the colour, when applied
to paper or glass, should not be inclined to rub off ; the
glycerine is to prevent the pigment from becoming brittle.
The red colour is preferable for employment, as it possesses
great body, and its manipulation, especially in regard to out-
lines on the varnished side of the negative, is easily con-
trolled : and if any portion of the plate should not be very
thickly covered or marked, the red tint prevents the trans-
mission of light much more than a film of back pigment.
Thus it will be seen that red or Vandyck brown are par-
ticularly suitable for the purpose, and also for stopping out
pinholes, &c. If ordinary Indian ink is simply used for cover-
ing the sky. a pigment which in many cases is amply suf-
ficient for the purpose, a few drops of glycerine should always
be added, for reasons above stated.

It may be mentioned that instead of using gum pigments,
tempera colours may be employed ; these latter never sepa-
rate or split from the surface of the plate, an accident which
not unfrequently occurs with other pigments during great
heat. Some yolk of egg is mixed with about one-third of
its volume of an oil of some kind or another, and stirred
vigorously in a glass vessel ; a little water is also added, and
then the mixture is used with the colour instead of gum and
glycerine. Linseed oil, poppy oil, or Florence oil may be
employed for the purpose, but linseed oil varnish is the most
suitable. These temper colours allow of the application of
several layers, one over the other ; one coat does not dissolve
off the other so long as the first one is tolerably dry, and as
the pigment is somewhat difficult to dissolve in water it
should be stored away jn as moist a condition as possible.

546

riCTORIAL EFFECT IN PHOTOGRAPHY ;

Being Lessons in

Composition and Ciiiaiioscuro for Piiotograpuers.

BY U. P. ROBINSON.

Chapter XLI.

Whilst Turner is usually suppored to depend for his excel-
lence upon the rendering of the more subtle and chromatic
effects of nature, a careful examination of his pictures will
show how strict was his adherence to tlie recognised laws of
c omposition and chiaroscuro. The Temeraire and Ulysses,
pictures essentially associated with the glowing effects of
colour given by the setting and rising sun, yet, when repro-
duced in monochrome, will be seen to be singularly accurate

[November 18, 1868.

illustrations of the most simple forms of artistic arrange-
ment.

There is scarcely a picture or sketch by Turner but which
will afford a lesson in composition to the student, as I have
had frequently to point out. This is especially noticeable
in his great book of lessons, the *• Liber Studiorum.” In a
former chapter an example from this magnificent work (the
“ Stackyard ”) was given, and in Chapter 20 I gave a sketch
showing the arrangement of light and shade only of one of
the finest pictures in the collection, that known as “ Nor-
ham Castle.” This drawing is so fine, and affords such an
admirable lesson in effect to the photographer, that I have
thought it worth while giving a more accurate and detailed
reproduction of it, reduced by Mr. Fruwirth from an ad-
mirable woodcut in the Illustrated News, together with

THE PHOTOGRAPHIC NEWS.

the critical remarks app-mded to it in that journal, which
forcibly indicate its chief points of e.xcellenc3 and interest : —
“ In the ‘ Stackyard ’ we see the painter’s power of imparting
interest to the humblest incidents and homeliest occupations
of rustic life by judicious choice of the point of view, skilful
composition and distribution of light and shade, and sug-
gestive handling — the last noticeable especially in the
masses of foliage. In the ‘ Norham Castle ’ we are reminded
of lurner’s marvellous versatility. Although the cows
ilrinking at evening, the boat, the skiff, aud hut are as fami-
liar and commonplace as any of the elements of the first-
named drawing, yet ev'ery one must feel that this is as
different in its dominant sentiment of solemn serenity and
impressis'e repose as it is in its leading subject of a vener-
able, brave, aud sturdj’ stronghold, preserving its dignity
and grandeur, and even gaining in avvfulness, in ruin and
decay. Ihis drawing illustrates, also, one of Turner’s most
favourite expi-dients for securing powerful effect, with a real
persjiective, in which he has never been approached. We
allude to the placing of a tree or building immediately
before or near to the source of light. A painter thus secures
not only the power of accenting^the mass and contour of the

object so relieved in the most p.iw.-rful way, but he obtains
the utmost limit of effect by tlie opposition of his highest
light and profoundest dark, and, by this mode of giving, so
to speak, the extremities of his gamut, he enables the eye to
be sensible of and measure the tenderest tones and semitones
in other parts of the picture. We trust the reader will ap-
preciate, by looking at our engraving, the variety affordt-d
by this artistic principle to the gradations throughout, and
the luminous and aerial quality imparted to the sky. Of
the appropriateness of relieving against the setting suu that
frowning ruin and that watchturret, which has seen the
same sun sink beneath it for centuries, it would be idle to
speak.”

ON THE EMPLOYMENT OF MIXED COLLODIONS.

nr M. OMER BORDEAU.*

It is by no means of unfrequent occurrence that a photo-
grapher is sorely tried by the capricious behaviour of a
collodion which to-day yields unsatisfactory results, while
yesterday it was perfection, and may be so again to-morrow.

* Bulletin Felge de la'l’hotograjMe.

November 13, 18G8.]

THE PHOTOGRAPHIC NEWS,

547

The cause of these variations in the results obtained are
not in any way to be traced in a scientiKc manner by
analysis or otherwise, and we have, therefore, no remedy but
that of patiently bowing down before our tormentor. It is
not my intention on tlie present occasion to make known
an infallible remedy for the cure of this evil, which we all
bear witli more or less resignation ; I desire only to indicate
to my readers a method which has done me good service
from the first, in order that any one who wishes to experi-
ment with the same may do so if he deem it sufBciently
worthy of trial.

My collodion is a compound of three collodions.
No. 1 is made up of the undermentioned ingredients : —

Rectified ether ...
Alcohol...

Gun-cotton
Iodide of cadmium
Iodide of ammonium
Bromide of cadmium

70 grammes
30

I gramme

Oo

0-5

0-3

The above formula produces a liquid
and perfectly colourless.

No. 2 is thus compounded : —
Ether ..

Alcohol

Gun-cotton
Iodide of cadmium
Iodide of ammonium
Iodide of potassium
Bromide of cadmium
Bromide of ammonium

of thick cousistence.

CO grammes
40

I gramme
0-5 „

05 „

0-3 „

0-2 „

0 2

A small quantity of sublimed iodine is added sufficient
to give a pale yellowish tint to this collodion, which is more
strongly iodized and bromized than the former, and likewise
more liquid, on account of the large proportion of alcohol
which enters into its composition.

No. 3 collodion is thus made up : —

Ether ...

Alcohol...

Gun-cotton

Iodide of ammonium ...
Iodide of cadmium
Bromide of aiunioniuin

... 55 grammes
... 45

1 gramme
... OX „

... 0-3 „

... 0 5 „

This last foimula resembles that of M. Inglis, which is a
very quick-acting material; it is indispensable for the pro-
duction of children's portrait-', so beautiful when they prove
successful, so detestable when they are failures.

The mixture of these three collodions is made at the
time of their employment, equal parts of each liquid being
taken, excepting when working under certain conditions,
as every photographer will understand. Thus, in very cold
weather, a somewhat larger proportion of No. 1 is used,
which contains one-third of alcohol to two-thirds of ether;
in very hot weather I augment the proportion of No. 2, in
which the large amount of alcohol prevents the too rapid
evaporation of the ether; and finally, in dull and rainy
weather, or when children are to be photographed, the pro-
portion of No. 3 is increased by reason of its greater rapidity,
and of the larger amount of bromine in its composition.

It is regarded by many as a foregone conclusion — without,
indeed, the existence of any absolute proof — that bromide of
silver is more sensitive to weaker rays of light than the
iodide of the same metal. Everybody may have his own
opinion on this subject, pending a positive solution of the
problem ; and we are inclined to believe that the sensitive-
ness is due solely to the presence of iodo-bromide of silver
with an ammociacal base, produced by means of a double
decomposition. The third formula employed by itself
presents all the characteristics — both advantages and dis-
advantages— displayed by preparations in which iodide of
ammonium predominat.-s. Eor the purpose of comparison
in a practical manner, I prepared a collodion of the pro-
portions above indicated, so as to participate equally in the .
three formulae, but the liquid thus obtained yielded unsatis- -

factory results, whereas a mixture of the three compounds
prepared separately continued to work wonderfully.

The explanation of the fact I have mentioned reminds
one of the elaborate scientific researches which have been
made for the purpose of obtaining wider information in
respect to the formation of the photographic image. The
action of light upon iodide of silver, the existence of an
invisible image upon the sensitive plate, the action of the
reagents which render the picture visible, all these are
problems not yet solved. Notwithstanding the ingenious
theories put forward by such men as Monckhoveu, Poitevin,
Davanne, Vogel, Carey Lea, and others, the phenomena are
still unexplained.

It is for this reason, on ac-eount of this black screen placed
against the horizon of photography, and completely shut-
ting out the view beyond, that no formula for a collodion
can be recommended as practically and theoretically good.
The mathematician, by calculating the details of his work,
is abb to obtain a very correct idea of the total, as the
partial inaccuracies on one side or the other mutually destroy
one another. The mixture of the three collodions is based
upon this principle, and it gives, we repeat, the best
results.

ON THE SENSITIVENESS OF PHOTOGRAPHIC
PREPARATIONS.*

WiiEK the approach of autumn warns us that the fine
weather and the long, bright days are coming to an end,
and that we must prepare ourselves for the dull and feeble
light of winter, it is a source of regret to those among us
who do not possess an open, unconfined studio, that our pre-
sent process ot negative-taking necessitates so lengthened an
exposure. It seems quite superfluous to make any re-
marks upon the great value of short exposure.s, and it, on a
recent occasion, an English gentleman has stated that be
prefers results obtained with long exposures to those taken
with shorter periods, on account of the less astonished and
h-ss forced expression of countenance exhibited by such
portraits, we can only regard such statement in the light of
a joke, for, as a matter of course, as soon as an cflicient, in-
stantaneous process has been discovered, no extraordinary
skill will then be requis te on tbc part of tbe operator to
secure any desired facial expression. We believe that it is
matter ot importance, now that we are enabled, alter some
experience, to obtain pictures of any description we may
wish, whether vigorous or soft, sharp or bold, to turn our
attention to this subject, and to commence researches which
shall have for their end the devising of a method for increas-
ing the sensitiveness of our photographic pre])arations.
Researches in this direction are the more desirable inasmuch
as very recently great improvements have been made in pho-
tographic optics, and we are now in possession of lenses
which, in regard to depth of locus, sharpness, &c., arc some-
thiug perfectly wonderful, although, unfortunately, a longer
exposure is necessary by their employment.

One need not be a very great enthusiast in order to pro-
phe.sy a warm and eager reception to a thoroughly practical,
instantaneous process; every photographer who has essayed
children's portraits will admit this. It would then be
scarcely necessary for an artist to expose in his studio the
usual notice, worded something like the following : —
“ Cartes-de-visite, ten shillings per dozen. Children pay
double.”

When we remember that the long exposure which was
necessary in the early days of photography was considerably
shortened, first by the introduction of collodion, and after-
warils by the employment of iron development, and that
'luring the last ten years very little has been done,
except in a slight degree (by more strongly iodising the
collodion), to increase the sensitiveness of the negative,
although the subject was one that photographers have con-
tinually hoped to improve, we must admit that^our progress

* Photographitches Archiv.

548

THE PHOTOGRAPHIC NEWS.

[November 13, 1868.

has of late been very tanly ; and we cannot but side with
the optician, who, when he is asked by the photographer for
a quicker-acting lens, replies, “ My lens is a good one, it is
your plates that should be more sensitive,” thus referring to
the chemist the solution of the all-important problem. Our
present collodion process with bromo-iodide of silver and
iron development is not so sensitive in its action as the
bromide of silver collodion with alkaline development. By
the employment of an iron developer a much shorter expo-
sure is necessary than with a weak pyrogallic acid solu-
tion, and in the same ratio is gallic acid to pyrogallic acid.
(Jan we not discover a substance, or even several substances,
that are to sulphate of iron what that compound is to gallic
acid? Or must wo look for other silver compounds, or for
some other totally different material ? Bichromate of potash
has in the printing process proved itself to be three times as
sensitive as chloride of siver; is it impossible to find a salt
which is three, or even ten, times as sensitive as iodide or
bromide of silver?

groccfMitflS 0f Sacictics.

North London Photographic Association.

The usual monthly meeting of this Society was held in
Myddelton Hall, on the evening of Wednesday, November 4th,
Mr. G. Wharton Simpson in the chair.

The minutes of a previous meeting were read and approved,
and the following gentlemen elected members of tho Society :
Messrs. Maltby, Leunig, F. Hunt, J. Marnham, A. Short, G.
Colling, Thomas Hawkin.

Mr. WooDBORir exhibited some fine examples of his relief
printing process, consisting of 10 by 8 reproductions of paintings
issued by Goupil and Co., which were much admired.

The (Jhairman called attention to some fine enamels by Mr.
Henderson, brought by Mr. Taylor. Ho remarked that the
enamels of M. Lafon de Caraarsac had always been regarded as
types of perfection in photographic enamelling ; but some of
Mr. Henderson’s came very little short indeed, if any, of the
excellence of tho Parisian photographer, and ho thought it
matter for congratulation that such first-class results were pro-
duced in this country in a branch of tho art hitherto much
neglected.

No paper having been provided, tho meeting resolved itself
into a conversazione, in the course of which some amusomeut
was excited by an extract from a daily paper, to which a
member called attention, in which some curious statements
wore made on boiling and baking as tests for permanence in
photographs.

Tho proceedings then terminated.

Edinburgh Photographic Society.

The eighth annual meeting of tho Edinburgh Photographic
Society took place on tho 4th November current.

The Council’s Report, which is a very satisfactory one, states
that twenty subjects have been brought before the Society
during tho year, including three of tho popular meetings for
which the Society is famed. The number of members added
to the roll during the year has been thirty-five, which gives a
present muster roll of 184, excluding thirteen who have died or
loft the Society from various causes. Si.x new members were
balloted for and elected unanimously during the evening.

Tho following ofiico bearers were appointed for the ensuing
year ; —

President. — Sherifi’ Hullard.

Vice-Presidents. — Messrs. George II. Slight, James G. Tunny.

lion. Secretary. — Mr. William H. Davies.

lion. Treasurer. — Mr. John Hurry

Curator. — Mr. John Peat.

Auditor. — Mr. A. J. Niven.

Assisted by a Council of twelve gentlemen ns under: —
James Blackadder, Mr. W. D. Clark, Mr. Hugh Rose,
Mr. John Scott Moncrieff, Mr. Arclid. Burns, Mr. Jas. Bryson,
Mr. Jas. Ross, Mr. John McNau, Rev. D. T. K. Drummond,
Mr. Norman Macbeth, Mr. J. D. Marwick, Mr. Richard O.
Muir.

The business sketched out for the next session promises to
be full of interest, and we shall take care to keep our readers
apprised of the various meetings as they occur. One feature
of great interest in this Society is its so-called popular even-
ings, at which, by the aid of a powerful oxyhydrogen lantern,
the pictures of the members and others are exhibited to largo
audiences. Tho idea is worth tho attention of some of the
more energetic societies.

®orrtsg0ii&cnc£.

A PHOTOGRAPHER’S RELIEF FUND.

Sir, — I am willing to subscribe a pound or two, or more, a
year to such a fund as soon as a satisfactory committee be
formed. But who are tho proper persons to subscribe to and re-
ceive from such a fund ? in short, who are photographers ? In
tliis town the profession is represented thus : Branch of a London
firm, painter and glazier, shoemaker, hairdresser, glover, milk-
man, lodginghouse keeper, legitimate photographer. So you
see there are eight likeness shops in this town ; but I cannot
count more than three or four persons who ought to bo desig-
nated photographers — one who has practised sixteen years, and
two or three others who are employed as operators. Such as
stationers, chemists, hairdressers, &c., who add to their imd-
ness that of a photographer, certainly ought to be excluded.

My suggestion is simply this : Let one in every town who
has been long known to some London house in the trade con-
fer with his brother legitimate photographers in his neighbour-
hood, with a view to ascertaining their feelings on the subject,
and communicate the result to yourself, for the purpose of its
being laid before any gentlemen who might bo willing to con-
stitute a committee. Should you think my plan worth con-
sideration, perhaps you will give this a place in your valuable
Journal.

I have only to add that 1 would at once confer with the one
or two working photographers in this town who I consider to
be tho only persons who ought to subscribe to, with a view of
participating in, such a fund. — Yours obliged,

Aowem5er 9«ft, 1868. W. Matthews.

[Our correspondent very aptly illustrates some of the prac-
tical difficulties which, as wo have suggested, require considera-
tion, and which render necessary an examination and a full
discussion of tho question in its practical bearings as a pre-
liminary to organization. Wo shall have pleasure in giving
publicity to practical suggestions. — Ed.

Sir, — Tho matter of forming a Relief Fund or Provident
Society has once more become a matter of consideration. As a
provincial photographer I can only recapitulate what has been
said. I shall have great pleasure in aiding or assisting in any
good cause that tends to benefit my fellows of the profession.
Be ho artist, photographer, operator, assistant, or printer, all
within our circle, or linked to our profession, should have our
warmest sympathies. Why should we rai.se any objection, to
exclude any connected with tho art ? I may say, nothing like
the time present. We cannot commence too soon in any good
cause, so lot us at once give our names in to you, Mr. Editor, and
make a commencement, and those desirous of forming such can
then have a meeting called ; and if we reside out of London,
wo can pen our thoughts and send them, and have a voice in
tho matter. I would suggest a protident society on tho same
principle as the Oddfellows ; it would bo more independent for
its members. I would not object to a special fund for emer-
gencies or particular cases ; and I feel fully confident wo could
have a photographic bazaar, and enlist tho ladies to assist us.
I am sure, Mr. Editor, if we only commence, we shall succeed.
However, let us try ; lot some of your generous readers suggest
a subscription as entrance money or voluntary free gift ; 1 am
quite willing to chime in an I say yea with the rest. Hoping
that this time the matter will not bo lost sight of, I ask all con-
nected with photography who can afford it to come forward and
tender their mite in such a cause, or send their names for
membership ; and, Mr. Editor, I feel fully confident you will bo
most happy to publish anything any subscriber would suggest
for tho future welfare and progress of a Photographer’s Provi-
dent Society or Relief Fund.

November 13, 1868.]

f Hfi PUOTOGRAPIIIC NEWS.

549

Thanking you for past favours, and apologising for tres-
passing on your valuable pages, I remain, &c..

Lux ET Salus.

Sir,— Entirely coinciding with the suggestion of your
able correspondent “ Stereo,” in reference to establishing a
Photographer's Relief Fund, that it is desirable to have the
opinions of some of the representative men in photography
on the subject, especially as you have so kindly opened
your columns for recording such opinions, and being myself
deeply concerned in the welfare of such a fund, and be-
lieving all who are interested in our art progress need only
be appealed to for furthering so desirable an object, I take
the liberty to suggest that advertisements in the daily press
should be inserted, requesting that all persons connected in any
way with photography, and who are in favour of assisting in
the establishment of a relief fund for the above object, should
send in their names, through post, to a secretary pro Um. I
should think there would be no difiBculty in getting a gentle-
man who would kindly undertake so laudable a duty. Then,
after a sufficient time, which of conrse would be mentioned, a
public meeting should bo called in London for tho purpose of
forming a provisional committee for the purpose of drawing
up the necessary constitution of the society j which being
done, another meeting should be convened, to pass such rules
and regulations, if approved of ; and then some well known
gentleman or firm should be appointed as treasurer for all dona-
tions and subscriptions received.

The party desiring relief should be recommended by those
residing in his immediate neighbourhood, and should have
had his name inserted in tho society, either as a subscriber or
donor.

In the meantime, as funds would be required for the pay-
ment of advertisements, &c., all persons desiring to aid the
good object should send a donation to some trustworthy person
appointed, until such time as the first public meeting should be
called, when collections might be made as a nucleus for the
general fund. — I am, yours truly, J. Norris.

5, Church Road, Nortoood.

PORTRAITS ON APPROVAL.

Sir, — Mr. Downes made a very just complaint in his letter to
you last week when he said that people come and occupy
your time for an hour or two, as the case may be, pay nothing,
and request that proofs may be sent, and eventually do not or
will not approve of anything, however good, that may bo sent
them. The plan I adopt to avoid this is that of many photo-
graphers ; that is, to have a notice fi.xed in a conspicuous place,
in unmistakable language and type, to the effect that “ Visitors
are requested to pay before leaving ; ” or, “ Prepayment is the
rule.” This notice brings the servant girls up sharp, but the
“ missussea ” often do not seem to see it. When this peculiar
exhibition of amaurosis presents itself, it is the duty of the photo-
grapher to explain in a bland (that’s the wordi and gentlemanly
manner that, &c., &c. I do not do this, although it is very
proper, and probably profitable, but let them have it hot or cold,
according to tho diagnosis I form of the ofifending subject.

Let photographers respect themselves and their art more, and
not permit any man or woman, whatever their social position
may be, to impose upon them, and such troubles as Mr. Downes
complains of will not be so frequent. The other day a great
swell, in appearance and his own estimation, brought a Lady to
my studio to be taken. While she was taking ofi her bonnet
in one room, he observed in the reception room a notice that
prepayment was the rule ; he demurred at this, said Mayall
had recently taken his portrait, and he (Mayall) did not re-
quire it of him. The lady had to put on her bonnet again, and
they were both politely bowed out bj — Your obedient servant,

November 9lA, 1868. Pas-trop.

ALBUMINIZED PAPER AND PRINTERS.

Dear Sir, — It affords but a humiliating testimony to tho
much vaunted intelligence of the present age, when ” one who
holds decided opinions of bis own ” is regarded as a rare
phenomenon, who is favoured with the “ esteem ” of none but
the discerning few. And it is a subject for gloomy reflection
th at in the event of such opinions mnning contrary to popular

ideas, no small amount of moral courage, to overcome feelings
of self-interest, must be called into requisition ere the newly-
conceived thoughts may bo exposed to the jealous scrutiny of
the narrow-visioned multitude, who desire progress, but insist
on the retention of old notions that have long been favoured
because of their respectable origin. Those pseudo-progres-
sionists, apparently oblivious of the fact that genuine progress
is the oftspring of original conceptions, would have the world
stand still rather than allow their self-esteem to sufi'er the
momentary pang inflicted by the advent of any opinion that
strikes at the root of unsuspected ignorance. I readily con-
cede that an idea might be strictly original, yet decidedly
useless ; but it must be admitted that thoughts, however valu-
able their import, remain comparatively worthless until such
time as they can bo introduced into their natural sphere of
action. And if wo accept the dictum that all who can do so,
should add their mite to the general fund of knowledge, why,
I enquire, should any boldness be needed to enable the donor
to perform a duty which the world claims as just? Why
should the performance of such duties create fears of probable
displeasure and pecuniary losses? “But the world should be
wooed into complacency with softly-moulded sentences,”
observes the well-drilled disciple of the polite Chester-
field school. “ Call not a spade a spade, which jars on
the ear, and sounds harsh and unseemly ; rather name the
implement a rural excavator, and you exhibit proofs of
gentle breeding. By the same rule, if the world lack know-
ledge, hold thy peace, an you set a value on your future
fortune.” To those who consider self to bo the alpha and
omega, the doctrine thus laid down might prove profitable ;
but, speaking in my own behalf, nature never fashioned me to
act tho part of courtier. Having struggled through what little
knowledge I possess in a stern matter-of-fact school, I am
unable to robe my words in wool, or to dip my pen into the
ink of flattery or of fulsome prevarication. I write what 1
bwlieve to be the truth, and I never advance a statement
which is not borne out by an abundance of argument ready
to be “ called to the front ” if required. If I am wont to “ lose
my head in wordy rhapsodies,” my readers might depend on
the fact that I never go beyond the proofs I have at command
when I venture on personalities during the absence of my wits
without leave.

Now, sir, with reference to remarks offered by Mr. Cherrill
in your last issue, permit me to observe that my comments on
that portion of his paper which treated on printing matters
were not the results of an intermingling of Mr. Cherrill’s obser-
vations with the discussion which followed ; but any argument
hearing on that point need not now be urged, as I find the in-
ferences I drew from Mr. Cherrill's words are now recorded in
plain language in that gentleman's reply to my last communi-
cation. Mr. Cherrill considers that photographers should know
the amount of salt contained in the papers they employ. He
deems it a duty to be observed by pajier albuminizcrs that their
customers should be told what kind of negatives they must
produce, and the quantity of silver each quire of paper will
consume ; and, to bring his remarks home, he threateningly
foreshadows a revolution which will extort from the albuminizer
secrets he never valued — information he does not possess. I
venture to predict that when such change occurs, it will soon
be found that the change has changed nothing. Speaking for
myself, I would gladly adopt the hints thrown out by Mr.
Cherrill at ouce, but 1 am bound to confess myself ignorant of
knowledge I fain would impart ; I therefore ask ot that gentle-
man, as a man of science, distinct replies to the following
queries : —

1st. The amount and description of chlorides added to each
ounce of albumen being known, by what means can the quan-
tity of albumen absorbed by each sheet of paper be ascertained?
In his calculations I would have Mr. Cherrill bear the fact in
mind, that an average summary would not accurately solve the
problem, as papers differ in texture, and, consequently, in
powers of absorption ; and albumen may be said to chauge
strength after the floating of each sheet thereon.

2nd. Supposing the amount of salt each sheet contains could
be ascertained by an impracticable process of weighing before
and after its being albuminized, what amount of silver must
the albumen be credited with ?

3rd. In what manner is the silver bath to be constructed, that
in order to prevent a loss of uniformity a uniform adjustment
of free nitrate may be provided for throughout ?

I think I might, without egotism, pronounce my practice, as

550

THE PHOTOGRAPHIC NEWS.

[November 13, 1863.

described in a recent article on sensitizing baths, more practical
and infinitely less troublesome than any scheme that may be
extracted from the above series of problems.

Again. Mr. Cherrill asks uniform working qualities in the
papers supplied him, and he cites, as an instance of the uncer-
tainties that attend the papers he has in stock, his experience
with articles supplied him by myself. I heartily thank him fur
information which bears so forcibly on the argument I adopt
] declare, on my honour, that both papers described, Saxe and
Rives, were coated with a similar quality of albumen, and in
both instances the same salting formula was adopted ; yet results
difler widely. Why? In the one case (the Saxe })apcr) the
albumen rests on the outer surface ; in the other (the Rives) the
albumen was absorbed by the paper, .■>nd a surface more read ly
penetrated by the silver solution results ; hence the Saxo paper
yields an image of lesser vigour than can be secured with the
Rives sample.

The “ Salomon negative ” is doubtless a repeat of S.alomon’s
grand style ; ranging in harmonious gradation from compara-
tive opacity to clear glass. To secure the best results from such
a negative a paper moderately salted is needed, and the print-
ing should bo executed in a bright but diffused light. “Now,’’
observes Mr. Cherrill, in substance, “ if wo could depend on
a uniform supply ot a similar kind of paper, we could adopt
this Salomon negative as a standard of intensity, and produce
all our negatives in unison.” Query. Could such a plan be
made practical? If so, would such treatment be at all times
judicious? How about the negative of that imaginary scene
“ where the sun shines low over a calm summer sea, and the
only faint shadows are obtained from the darker sides of the
tiny ripples”? Observe the two extremes: one all vigour and
full of contrast ; the other a combination of flatness with weak
effect. Would a uniform paper with the most uniform treat-
ment suit both subjects? Unquestionably not, except the
jjaper was aided with judicious treatment and the requisite
modification of chemical solutions. Fact of the matter is just
this: it is not a uniform paper really needed, neither is it any
information concerning salting formulm that will remove the
plague of bad j)ictures ; what is really rcqui.sito is, an honest
recognition of the comparative ignorance that prevails in
connection with the printing department. As I have observed
elsewhere, the art of printitig in silver is held in too low an
estimation. The work is entrusteil to boys, or to no less in-
competent men ; and as long as uiiskilleil labour is employed
in the production of silver prints— as long as the employers
remain blind to their own imperfect knowledge of a subject
which requires a very large amount of experience to master —
BO long will demands bo made on the paper albnminizers, who
are unfiirly set down as the authors of every ill their produc-
tions meet with.

In conclusion, I would just state that it involves a heavy tax
on my time to prolong this discussion ; but as long as useful
matter can bo elicited from the remarks of those who may
•lesiro to discuss the question with me, I am open to all comers.
I remain, yours respectfully, W. T. Bovey.

Willesden, November 10, 18C8.

MR. FRY’S MODE OF MASKING.

Dear Sir, — I am much pleased with the prospect of great
improvement in the printing quality of negatives likely to be
realized by Mr. Fry’s new and improved method of masking.
Individually I beg to offer him my grateful thanks for his
liberality in making it |)ublic. I desire now to take advantage
of his kind offer, in last week's issue of Photographic News, of
giving all furtherinformation to anyone requiring it; and, before
doing so, I feel that an apology is due to him for my troubling
him for intormation which to j)rofessionals would, probably,
appear quite simple anil plain ; and I h.ave only to plead ns my
excuse that of my being an amateur in the art, and, conse-
quently, not learned in matters photographic, although I must
confess to being of very many years standing.

1. I would enquire of Mr. Fry how I am to make the neces-
sary transparency — whether by superposition ou a dry plate,
or any other way? And if by the first-named plan, what pro-
cess would be the most simple and effective?

2. As the transparency would lie on the same sized plate ns
the negative from which it was printed (with myself it would
be a quarter-size one), how am I to get the transparency into
immediate contact with the back of the negative, seeing that

H—i.e., the transparency — would be kept at a considerable
distance from the negative by the front projecting part or rim
of the usual little quarter-plate printing frame ? This is my
present greatest difficulty.

Ifitbenot trespassing too much on Mr. Fry’s very great
kindness. I should feel myself under an additional obligation to
him if he would oblige mo with a carte size specimen of his
new method of double printing, for which I would with plea-
sure remit him his usual charge on his naming the neces-
sary sum. May I venture to add that it must bo carte size
only, as I keep an album especially devoted to photographic
novelties ?

Would Surbiton be a sufficiently intelligible address to reach
Mr. Fry? — I am, dear sir, yours sincerely, Henry H. Hele.

Jliffh Cottage, Teignmouth, Devonshire, November 10, 1868.

Addendum. — Under my second query to Mr. Fry I might
have said that it would not be practicable to remove the nega-
tives with the partly printed impressions from the printing-
frame, in order to insert the transparencies in front of them, as
it would bo impossible to replace the three in their exact and
pi’oper places by such a procedure. fl. H. H.

[Mr. Fry will, perhaps, kindly answer our correspondent,
and so impart the information required toothers besides. — Ed.]

PHOTOGRAPHY AND PERSPECTIVE.

Dear Sir,— The subject started by Mr. Anthony is a most in-
teresting one, and although 1 believe him in error ns regards
the proportional increase in the reflection of the extended hand
in the mirror, I think he has done good service in raising the
discussion upon the relative pictorial truth of lenses ot various
length of focus. From my own experience I have reason to
believe that those that will show upon the ground-glass an
angle of view equal to one-seventh part of a circle will delineate
objects in true perspective, proviiled that they are in other
respects properly constructed: beyond this the lateral rays
become too oblique, producing angles which natural vision
could never see, and bring the points of distance almost into
the picture. The so-called panoramic lenses have this objec-
tion, and are. as far as the production of pictures in natural
perspective goes, a delusion. Panoramic pictures are not thus
designed, but in sections, some objects being introduced and so
arranged as to hide the beginning and ending of each section.
Short-focussed lenses are, undoubtedly, of service in many cases,
but they dwarf the objects in the picture. Lenses of too long a
focus, on tho contrary, make them appear too high ; this is
caused by tho former producing the lateral rays longer and tho
latter shorter than those in natural vision ; thus in botli cases
the eye refuses to recognize truth in their delineation. Place a
camera having a wide-angled lens in front of and about the
middle of a long brick wall, for an angle of 25 on each side
of the central visual ray, the courses of bricks will appear
straight ou the ground-glass, but from those points they will
appear gradually to converge on each side to the points of dis-
tance. Again, make the front elevation of a portico supported by
pillars the subject, and in this case the pillars nearest the sides
will appear larger than those in the centre, proving that with
such lenses perspective truth is out of the question.

In portraiture tho same theory holds good. I do not think
exaggeration in foreshortening will be produced by lenses of
proper tocus unless brought too near the sitter, or what is
termed strained, in the attempt to obtain tho representation of
a head of a larger size than the lens is intended to produce.
As regards reflections of objects as seen in a looking-glass, the
angle of incidence will always be found equal to the angle of
reflection, and therefore tho reflected object will always appear
ns far behind as it is before tho mirror, and the foreshortened
hand will advance its reflection accordingly. It is probable
that the demand for short-focussed lenses has been caused, in
many cases, from tho very limited space often only to be
obtained wherein to erect a studio, or from a wish to avoid tho
increased expense in tho building of a larger one, without
giving a thought — or, perhaps, having a knowledge — of their
peculiar qualities ; in out-door practice, from the desire to get as
near to the object as possible, or to obtain more subject-matter
in tho pictures. But these should all be exceptions, and not tho
rule, and their use restricted to such cases accordingly Tho
reader may form a good ideaof the effects of angular distortion by
experimenting with a toy called tho Dubosquescope. It consists
of a semi-circular mirror, which stands ou the table, and a set

November 13, 18(58.]

THE PHOTOGRAPHIC NEWS.

551

of diagrams, which, when looked at in the usual way, appear a
confused network of distorted lines, but when properly placed
before the mirror tliey resolve themselves into various objects
in proper perspective. James Martin.

1 14, High Slreel, Ilfracombe.

*-

SDalk in Stubia.

Embezzlement by a “Doorsman." — Benjamin Carmichael
was charged at Guildhall Bolice Court with embezzling ‘2-5s.
belonging to his employer. It appeared that Mr. Nippress, a
photographer, carrying on business at 87. Farringdon Street,
employed the prisoner as what was termed in the trade a “door
man ; ” that was, a man to stand at the door and solicit tlie
public to have their portraits taken, lie w.as to receive for his
services Is. 6d. per day and 2d. per customer commission. He
was put to work on Friday last, and, after being on for a little
time, the prosecutor sent him to pawn a lens for 30s. which was
worth £i. The prisoner, after trying various pawnbrokers, and
not being able to get the required amount, took it to .\Ir. Wood,
in Shoreditch, who lent him 25s. on it. The prisoner then sold
the ticket, and the lens was taken out of pledge next morning.
The prisoner never returned to his employment, and never paid
over the 25s. he received for the lens he pledged, nor the money
for which he sold the ticket. — Tlie Prisoner, in defence, said
that he was not to have wages at the rate of Is. tid. per day,
but was to bo paid 25 per cent, on the customers, lie also said
that he lost tlie money, and tliat was tlie reason ho did not go
back to Mr. Nippres’, but if time were given him ho would re-
pay the money — After considerable discussion, the prisoner
abandoned his line of defence, and pleaded guilty to embezzling
the money, so that he might bo dealt with under the Criminal
Justices Act. — He was sentenced to three months’ imprison-
ment, with hard labour. — Standard.

Cheap Collodion Filter. — A correspondent of the Phila-
delphia Photographer gives the following ; — “ Being without a
collodion filter, and being economically disposed, I thought I
would try and make one out of home material, and succeeded
in making one that answers the purpose admirably. Here is
the way : Take a half-pound cyanide bottle, with a wide mouth,
and good cork to fit ; get another one of similar capacity, but
with a small neck, which (the neck) ought to be full an inch or
more long. Turn this bottle upside down in something to
make it stand, and right at the foot of the bottle tie around
some wick saturated in alcohol ; set it on fire, and when burnt
out immerse quickly in cold water, which will cause it to break
off around the foot in a complete circle. Take off the lip from
the neck in the same manner. By cutting smoothly a hole of
the right size in the cork of bottle No. 1 you can fit the neck
of bottle No. 2 into it, which should be put in with shellac.
Then get a small glass tube, about five inches long, and with
the aid of the pincers slant off one of the ends a little ; wrap
some clean cotton round it, about an inch from the point.
This is put into the neck of the bottle to fit tolerably loose.
The end of the tube must reach about an inch from the top, so
as to leave space between it and the large cork, which is now
to be fitted nicely in the broken end. and the thing is as com-
plete as any poor picture-taker need have.’’

Curious Effect of Gelatine upon Glass. — A correspon-
dent of the Philadelphia Photographer, noticing a paragraph
which appeared in our pages a few months ago, describing the
exfoliation of glass by the contraction of gelatine on its sur-
face, says : — “ In the course of an examination of old English
and French periodicals and Transactions of Philosophical
Societies, we met a very similar instance to the above, in the
Histoire de l’Acad6mie, 1708, page 22 ‘ Exfoliated Olass. —

A person having applied on a piece of glass, about six inches
square, a paste of Spanish white and glue size, placed the
whole in the sun during the great heat of summer. The paste,
which was turned towards the sun, having been much heated,
rolled itself up, so that in this movement its under side was
raised upwards. But, what was more singular, this surface raised
with it and carried away a layer of the glass. This layer made
on the paste a species of varnish, as of porcelain, the thickness
not exceeding one-half a lino. It was astonishing that the
adherence of the paste on the glass was so strong, and equally
BO that it should be able to detach from the glass so consider-
,gble a sheet. It had been blown, and apparently they had re-

plungcd the pipe with which it was blown in tho crucible at
diftbront times, which had given it several layers, which, how-
ever, were not apparent, because they were exactly applied one
upon another. It is to Geoffroy that we owe this observation.'
Wo were always a little incredulous about this statement until
we saw tho above item from tho Photooraphic News.”

Does Water Expand on becoming ICE'i — When a bottle
of water is frozen, tho bottle is usually burst. Hitherto this
has been explained by the assertion that tho water on solidify-
ing suddenly expands. M. Barthelemy, one of tire professors
in the Lyceum of I’au, denies this explanation. In a memoir
which ho has written on the crystallization of water, he alleges
that bursting of the bottle is caused by the disengagement of i»
largo quantity ot gas — hitherto in solution— by tho water at
tho moment of its solidification. It is alleged, in support of
this, that if a bottle of water be placed outside a window in*
frosty weather, it will bo observed that the rupture takes place
at the hottest side, viz., that next the window. Some of our
correspondents must have made experiments on this point, and
we shall bo glad to hear what they have got to say to M.
Barthfclemy’s opinion. — Scientific Opinion.

The Fungus Theory of Disease. — In a short com-
munication to the Centralblatt, Drs. Bergmann and Schraiede-
borg describe a crystalline substance, to which they have applied
the name “ sulphate of sepsin, ” obtained from putrefying
materials, and which they believe represents tho proper poison
of organic substances undergoing this kind of fermentation.*
It is obtained, says tho Lancet, by diS'usion through parchment
paper, precipitation with corrosive sublimate from an alkaline*
solution, removal of tho mercury by silver, of silver by sulphu-
retted hydrogen, evaporation, and purification of tho residue.
Large, well-defined, acicular needles ate thus obtained, which
are deliquescent in the air, and, exposed to heat, melt and car-
bonise. They possess a powerfully poisonous action. A solu-
tion containing scarcely more than one-hundredth of a gramme
was injected into the veins of two dogs. Vomiting was imme-
diately induced, and after a short time diarrhoea, which in the
course of an hour became bloody. After nine hours the ani-
mals were killed, and on examination their stomachs and large
intestines wore found ecchymosed, and the small intestine con-
gested. Frogs could bo killed in the same manner.

The “Censor” on Popular Portraits. — Tho Censor,
an able journal of satire, which we have before quoted, has
the following remarks on one of the uses of photography : —
“There is a simple, somewhat pretty face to bo found in tho pho-
tographic shops— those indecent store-houses of Holywell Street
pictures of women with bare legs, arms, breasts, bare faces — bare
of any meaning but impudence, and even that of a bad quality —
of gaunt, angular forms, worn and vicious looks— of patent
wrinkles, paste, false hair, aud real folly. And tnis pretty face
looks innocent, with aserpoutino innocence— beside the raddled
and too-known actress and hetera of the day. It has a grain
more intelligence than the faces of tho Royal Family, side by side
of which (such is popularity) it stands ; aud it owns a prettier
name than Albert Ernest Edward, or Albertina, or Alberta. ’Tis
simple, short, and dallies with the tenderness of love like — itself,
‘Mabel May.’ And who is Mabel May? Simply tho most fashion-
able and most followed Lady of tho day. She is to be seen in
certain dancing-saloons, wears fifty-guinea dresses, and makes
fo,000 a year by her art — not heart. Should she be as lucky
as Mrs. Wyudham, some rich fool may marry her. What is
most curious is, that photographers are anxious for her portrait,
and hundreds of young ladies buy it for their albums. ‘ It is
so simple,’ says the grinning shopman. Simple, indeed !
Imagine a brother or a future husband looking over ‘ one’s few
frien'ds,’ and finding therein ‘ tho common spouse of half tho
town,’ as Doctor Armstrong says. Tho French would make a
drama of such an incident.”

A Good Cement. — Tho Scientific Americanaays: -“The best
cement we know of for general use is made as follows : — Isin-
glass, 2 drachms; soak 24 hours in 2 ounces of pure water;
boil it down half, add 1 ounce of rectified spirit, and while it is
hot strain through linen. Next meltone drachm of mastic and
i drachm of gum ammoniac in 1 ounce of rectified spirit ; add
tho latter s.ilution to the first, and mix thoroughly. This
may be used for joining almost anything that is broken, but is
too expensive to bo used as a substitute for glue where tho latter
will do as well. In cementing, warm the edges of the articles
to be joined, and spread the cement over as thinly as will cover
the entire surface. Slost people use too much.”

552

THE PHOTOGKAPHIC NEWS,

LNovembeb 13, 1868.

9;0 ®omsgoa&tut3.

result. Our correspondents need not apologize or feel hesitation
in presenting their difBeulties ; we have pleasure in answering
them to the utmost of our power.

T. G, — An Ebumeum print is practloally a transparency on opaline
gelatine. It is obtained by camera printing on wet collodion
2. In printing stereoscopic slides in the camera on wet collodion
no transposition in cither negative or print is neces.sarj’. The
operation of camera copying practically tunis roimd each picture
on its axis, and cfleola a similar result to transposition. Of this
you can easily satisfy yourself by experiment. The lenses you
mention will do verj' well, we have no doubt. 3. In the case you
put there is a choice of two e\’ils : at one end of the room the
evening sun will trouble the sitter a little, and at the other it would
enter the lens. We should be disposed to decide the question by
experiment, trying whether you could more easily keep it by
blinds from the sitter or the lens. 4. Hydrochloric acid alone is
sufficient to precipitate silver as a chloride from washing waters ;
but salt alone is not always safe. 5. We believe that the period
for protection by registration is expii-ed.

C. >1. writes: — “I am a chemist and druggist, and having care-
fully studied the new Pharmacy Act, have not a doubt that you
are right in stating that its provisions do not come into operation
until after the 31st of December, after which, as the first clau.se
states, ‘it shall be imlawful’ to neglect the precautions afterwards
indicated. The uncertainty felt by some seems to have originated
in an error made by a London magistrate, who fancied that the
provisions of the Act came into immediate operation, and, when
the error was pointed out, justified his position by referring to a
clause in the Act without a date. As the matter stands, it was at
best but an opinion even regarding this clause, which is clearly
governed by the preceding one giving the date. If a decision hall
been given on the assumption that the Act was in operation, we
should have heard more about it.” The subject is scarcely worth
reiterated discussion, as very few, we imagine, dealing in poi.sons
would fail to obtain the Act, from which they would gain full
information. The question docs not appear to us to admit of a
doubt by any person not h.-iving a position to maintain. The
17th Clause, defining some of the conditions under which poisons
may bo sold, is clearly, as you suggest, together with all other
clauses, governed by the loth Clause, which states that ‘‘ from and
after the 31st day of December, 1868, any person who shall fail to
conform with any regulation as to the keeping or selling poisons
made in pursuance of this Act,” &c., shall be liable to a penalty
of five pounds. This is the only penal clause regarding the sale
of poisons which the Act contains, and is therefore the clause
which defines punishment. The standard points out that Mr.
Flower cannot have read the Act verj' carefully, as he made a mis-
take in referring to “red precipitate” as a poison included in
Schedule A in the Act, whereas it is not mentioned at all.

2. Hyposulphite of ammonia in crj-stals has not yet become an
article of commerce. Mr. Losh is manufacturing it in solution,
but wo believe that the difficulties in crystallizing it on a large
scale have been found insuperable.

Archer Clarke. — The date, as well as the name, is an essential
item in the publication line of an engraving. The copjTight in en-
gravings remains in existence for twentj'-eight years from the
date of first publication, which should be distinctly stated on the
print. We shall examine your specimens, preserved by Mr.
Robinson’s syrup, with interest.

Anxious. — The coarseness of your copy of a card picture, repro-
duced the same size as original, is not due to the kind of lens used,
but to other causes. When you copy an albuminized print you
get in your negative not merely an image of the picture,
but of every little inequality in its surface, and light being
retlected from a thou.sand such inequalities will give 3’ou a
coarse, mcally, flat, imperfectly-defined picture. To get a good
copy from an albuminized print is alwaj's difficult, and this diffi-
culty is increased when j-ou copy the full size. You may, how-
ever, use several adjuncts to success. Roll the print well,' so as to
secure the smoothest possible surface, and take care thai it is illu-
minated with light equally falling upon it from all directions, so
that its inequalities may not give cait shadows. Some approve
of wetting the print and attaching it to the surface of n piece of
plate gl.ass, so as to get as perfect a surface as possible. Your
rectiliuc.ar lens will answer better for the purpose of copj’ing than
your stereo lens. There is no absolute rule for distance between
subject and lens. J udgment must be used in relation to the special
circumstances. 2. The white precipitate which j’ou say is de-
posited is doubtless cliloride of silver. Such a result should not
take place. What sample arc you employing ? Collodio-chloride
pictures on opal glass are best toned before fixing; developed
prints on iodized collodion after fixing. 3. The application of
glycerine to a prepared wot plate as a preservative docs not answer,
and will generally produce fog. If glycerine be employed as a
preservative it should bo prepared as described in our pages by
Mr. Blanchard some years ago. In all such preservative processes
there is considerable loss of sensitiveness, and some uncertainty of

C. T. U. — To become a member of any of the London societies it
isneccs.sary to be proposed at one of the monthly meetings, and
balloted for. We shall have pleasure in proposing j’ou.

J. E. W. — The removal of prints mounted with starch is not easy,
especially when they are in an album which does not admit of
soaking ; but the simplest and neatest plan is to cut pieces of thick
blotting-paper rather larger than the size of the print, and, after
saturating with water, lay upon the face of the print. After soak-
ing in this wa)', continued for some time, the prints may be gently
removed.

J. B. M. — It is a difficult thing to give a precise proportion of silver
or silver solution to be added to the printing bath, because differ-
ent samjjlcs of paper, having different proportions of salt, reduce
the strength of the bath in different degrees. Ob.servation only
c.an afford sjife guidance in this resjiect. As a rule, the replenish-
ing bath should be .stronger than the bath in use, because silver
is removed in greater proportion than either nitrate of soda or
sugar, the latter substances being removed in their due proportion
to water, and no more. 2. AVc have not had any experience in
copying horizontal tombstones, but should conceive that a lens
which gives straight lines will be necessary. If j'ou could secure
sunlight, in the morning or evening, so as to got incised letters in
shadow, we should imagine the best re.sult would be obtained.

Thomas Stothard. — In a.sking for some information on mounting
you do not state the nature of the information j’ou require ;
whether it relates to the adhesive materials to be emploj’cd, or the
mode of using them, or to the mounts, margins, &c. The adhe-
sive materials have been di.sciLssed in our pages ^vithin the last
j’car or two, and other points in fonner volumes. If you will state
on what points in regard to mounting you desire information wo
shall have pleasure in assisting j-ou. 2. Sulphate of copper is not a
restraining, but a reducing agent ; used in the developers, it modi-
fies the action of the iron salt, but its precise operation has not
received much attention. 3. Combination printing has been fullj'
described in our pages, and probably will be again. You will fin’d
a copious article on the subject in our Year-Book for 1864. It
is too comprehensive a subject for treatment in this column.

SuBSCRiRER FROM THE FiRST. — We do not know of any powder
which could be applied to the lower lip to make it come out darker
in the photograph ; nor is it probable that if we did, j’our sitters
would willingly iidopt its use. On the stage, ladies oceasionallj'
use a red salve to colour the lips, which often gives an unnatural
effect, and is .said to be injurious to health. One cause of lips
coming out light is the practice common amongst sitters, e.spoeiallj-
when they are nervous, of moistening the lip just before exposure.
This they should bo cautioned against. A touch of colour m
finishing’ the picture will generally reduce the excessive effect of
prominence.

W. E. — The cards were delayed a few days, but had been posted
before j’our letter was received.

W. J. A. G. — -An experienced dry-plate man may succeed in getting
good results in a dull light ; but the chances are against success,
and, except imdcr necessity, it is not wise to run the risk. The
peculiar markings of which j’ou send us an illustration appear like
the result of blisters ; but they may have been the result of some
defect in the preparation of the plate. The print sent is appa-
rentl)- one from a subject not very well lights : slower develop-
ment and a little more bromide would probably have been u.scful.
If J'OU send a negative we may possiblj' help j'ou more effectually.
2. Thanks : we will record your promise. True : the “ stuff”
to which J'OU refer is neither worth reading nor notice. You
should, if possible, get to the exhibition in Conduit Street. We
have no doubt that examples of many of the pictures exhibited
may be purchased.

II. C. — Thanks; we .sh.-ill have pleasure in rccei\'ing your proposed
notes of your landscape experiences.

C. H. Free writes to express his approval of a Relief Fund, and
urges imitation of the course of “ Gum Gallic ^Amateur.”
Thanks.

S. B. Barnard. — Thanks for j'our interesting letter and admir-
able cabinets, which are excellent in photographj', as well as
interesting in subject. The portrait of “ Oliver Cromwell ” affords
a sinfnilar illustration of the persistence of tj'pes, and are full of
interest. Your suggestion for a mixed album for cards and cabi-
nets is a good one, and we will try to give it effect in the right
quarters. Wo quite agree with your views on tho question of
touching, both as to its scope and legitimacj'. AVo shall refer to
your letter again.

H. II. II. — Herr Gmsshoft’s work on Colouring is only published in
German : the publisher is Louis GcrschcU, Berlin.

Several Correspondents in our next.

THE PHOTOGRAPHIC NEWS.

Vot. XII. No. 5SB.— November 20, 1868.

CONTENTS.

PAOB

The Photographic Society’s Exhibitioa 553

Chemical Action of Light 554

Does Water Expand on Freezing? 654

Visits to Notesrorthj Studios 555

On a New Series of Chemical Reactions Product by Light. By

John Tyndall, LL.D. F.R.S., etc 555

On Producing Open-air ESects in the Studio. By Oharies E.

Pearce 556

Pictoriai Eflect in Photography. By II. P. Robinson 55S

PlOB

Pioceedingsof Societies— South London Photographic Society —

Amateur Photographic Association 659

Correspondence— Lux Qraphicus on the Wing — Albuminized
Paper and Printers— The Late Solar Eclipse— Photogra-
pher's Relief Fund — Printing Formula) — Portraits on

Approval — 560

Talk in the Studio — 663

To Correspondents 563

Photographs Registered 564

THE PHOTOGRAPHIC SOCIETY;S EXHIBITION.

A SECOND visit to the Exhibition of Photographs in the
Society’s rooms in Conduit Street confirms the favourable
impression we first received, and we feel an additional satis-
faction wo had scarcely anticipated in noting the order,
symmetry, and general good effect of the hanging, a result
which at six o’clock on the evening of exhibition we had
not believed possible, seeing that important contributions
had not at that hour ceased to arrive. By the hearty and
judicious labours, however, of the hanging committee and
volunteer friends, the pictures w<>re all hung before the
public arrived, and no good pictures got really bad places.

Another fact struck our attention, which is worth noting,
namely, that the mode of mounting and framing, as well as
the stylo of portraiture, of M. Salomon had produced a revolu-
tion in the practice of portraitists. Instead of the universal
white mount with a margin of a few inches wide, we have
now many pictures framed close up, some with gold frames,
some with gold and black. In many cas.'s this is an im-
provement ; but it chiefly interested us because it indicated
a disposition on the part of photographers to get out of the
groove in this respect, and exercise individual taste, which
we regard as a healtiiy symptom. Indeed, we regard the
tendency to what may, in some degree, be regarded as imi-
tation of M. Salomon as satisfactory, not simply for the un-
questionably fine results already presented, but for the
promise they give of further excellence in probably various
styles, when the influence of suggestion has passed, and
equally fine pictures, with more distinctive individualism,
shall be produced.

It is not our intention to enter into minute or detailed
eriticism of the pictures displayed, as the shoit duration of
the Exhibition renders such notice comparatively useless.
^Vhen an exhibition is open for a prolonged period, and the
pictures can be examined after a criticism has been read,
comment and observation may often be suggestive and
instructive ; but as the Exhibition will be closed before these
remarks can reach the reader, but little lesson could be con-
veyed by extended notice. In reference to the portraits by
M. Salomon, which constituted a chief feature of attraction,
we may remark that they scarcely did him as much justice as
those in a former exhibition. Those we sent last year from our
own examples of his work were a fair but selected average ;
those sent this year were, with one or two exceptions, a
number of old specimens, sent off at the last moment because
they chanced to be ready. But, with these drawbacks, they
arrested general attention, and won universal admiration.

Of the dozen persons who exhibited portraits in the same
style, all succeeded more or less, and in much higher degree
than might have been anticipated. Perhaps most completely
approximating to those of the master of this especial school
are the contributions of Mr, Blanchard, who contributes a

dozen exceedingly good examples, full of force, delicacy, and
modelling, and having fine chiaroscuro. Messrs. Robinson
and Cherrill only exhibit two portraits : one of M. Salomon,
and one of Mr. Ilain Friswell, a well-known litterateur.
The latter we have heard pronounced the finest portrait in
the room ; it is singularly solid and well-modelled, delicate
and rich, and the expression is rarely life-like and satisfac-
tory. Mr. Netterville Briggs stands very high indeed : his
pictures are a little larger than the mass of examples of this
style, and in excellence leave little to be desired. Mr. May-
land, of Cambridge, contributes half-a-dozen examples of
this style, all fine ; but one of which — a gentleman engaged
in painting — is of surpassing e.xcellence. Mr. Slingsby, of
Lincoln, has some very capital examples, both in single
figures and groups ; a lady in a black velvet dress being
singularly luminous, as well as rich in effect. Mr. Burgess,
whose eburneum pictures are well known, exhibits portraits
based on the style to which we have been referring, but with
distinct characteristics, one large head of himself resembling
a reproduction from an old master. Ills standing portrait
of Mr. F. Sutton, of Norwich, was very excellent. Of the
especial qualities of the examples by Mr. Fry we have
before spoken ; but we may again refer to the portrait of an
elderly gentleman as especially good, tranquil in feeling,
and round and rich in effect. Messrs. Fradelle and Leach
exhibited whole-plates in the same style. These are not
framed close up, but have buff mounts, which are not ineffec-
tive ; many of the pictures are very fine in taste and execu-
tion. Mr. Leake has a fine frame close by those just men-
tioned, which are exceedingly effective, but somewhat more
' worked upon than the majority of the Salomonesque pic-
tures here exhibited, which, for the most part, exhibited
very little touching indeed, some of the best being quite un-
touched. Some similar portraits by Mr. Dunmore possess
very good qualities, and are very effective. Mr. Ash-
down has some examples in the same style. Air. Gillo,
who contributes largely, has some very spirited pictures, in
some respects resembling the style under notice.

Some fine examples of other forms of portraiture are ex-
hibited. Air. H. U. Heath, amongst other good examples,
sends some especially fine portraits of babies, charmingly
arranged, happy in expression, and fine in execution. A
frame by Alessrs. Lucas and Box displays fine taste and
skilful execution. A group of three children with natural
background, by Alessis. Robinson and Cherrill, is admirable
in grouping ; the background is an admirable landscape,
and the picture most effective. Air. Duncan Cooke exhibited
some good portraits. Air. Henry Herring’s vignettes are
very delicate and round. Air. R. Gillo exhibited some very
pretty and artistic cards, and some good cabinets, amongst
which were examples of transferred collodion prints. Some
very fine cards and cabinets, displaying much taste, were
exhibited by Mr. Godbold. Air. Hewitt’s cards and whole-

554

THE PHOTOGRAPHIC NEWS.

[November 20, 1868.

plate pictures were good. Mr. Bowen’s portraits were spoiled
by a noisy mount. The cabinets with natural backgrounds,
by Mr. N. Briggs, were exceedingly perfect. A variety of
styles of portraiture, all displaying very fine taste, were ex-
hibited by Dr. Wallich. Mr. Downe’s portraits were deli-
cate, forcible, and well arranged. Mr. B. J. Edwards
exhibited some portraits possessing excellent qualities in a
rare degree ; they were singularly fine in texture, solid, well
modelled, delicate, and artistic in feeling. Jlr. Bateman,
of Canterbury, has some very admirable vignettes, at once
delicate and forcible. Jlr. J. H. Ilediu, the Governor of
Carlisle Gaol, has a frame of capital portraits fixed with
hyposulphite of ammonia; nothing could be finer than the
tone and quality; time alone will, of course, be the true test
of the superior value of the fixing agent. Messrs. Bullock
Brothers also exhibited some good portraits. In the absence
of a catalogue it is easy to neglect the mention of some
meritorious pictures, but wo have mentioned the chief
examples of plain portraiture which came under our
attention.

The pictorial compositions and artstudies inthis exhibition
are, for the most part, of unusual excellence. Occupying a
place of honour, Mr. Ilobinson’s “Returning Home” formed a
constant centre of interest to visitors. We have before fully
described this picture, and need not enter into further criti-
cism. Mr. Rej lander has a splendid collection, both on the
walls and in a portfolio. Few artists, either in photography
or painting, have ever exceeded him in giving expression
to a thought iu the treatment of a single figure, and here
are dozens of examples illustrating that photography is
wonderfully plastic in the hands of a true artist. Perhaps
nothing in the exhibition exceeds in beanty and artistic
feeling a little study by Mr. Hubbard, representing a young
girl looking out of the window upon a street scene, admi-
rably made out, yet perfectly atmospheric. It is a small
picture, about five inches by four inches, and is obtained by
double printing, the result being charming. Some other
artistic pictures of the same size are exhibited by Mr.
Hubbard, and a twelve by ten study, which is full of clever-
ness. It represents the interior of a cottage with large, old-
fashioned fire-place, and various articles of furniture spread
around. An old woman sits peeling potatoes, and forms
the centre of interest in the picture. The perfect harmony
and keeping of the picture, the quietue.ss with which every
accessory keeps its place, the admirable blending of the real
objects with the painted background, all form a most effec-
tive picture, which half the visitors pronounced unhesita-
tingly a copy of a painting. Mrs. Cameron sent some good
examples of her peculiar style, amongst which were some
fine examples of artistic feeling, with less slovenliness of
execution than we have before pointed out. Mr. C. Twy-
man’s picture, “ Be asy, now!” is another of the examples of
the plastic power of photography in which this exhibition
abounds, and is one of the cleverest pictures in the exhibi-
tion. Mr. Crawshay sends several studies, in which the
photography is very excellent indeed: we prefer “ What can
he be doing?” as a picture. Mr. Brewer's “ life studies ”
arc fine vigorous heads with fine expression. Mr. H. R.
Rump had some fine large character portraits, which were
very effective. Mr. E. W. Dallas, whose name used to be
familiar to photographers a dozen years ago, sent a single
study, entitled “Samuel,” which had many fine qualities.
Amongst portrait studies, a fine rugged head, entitled “ On
the look out,” by Mr. Ashdown, may be mentioned. Be-
longing to this branch of photography, also, may be men-
tioned some pretty cattle studies by Mr. Archer Clarke,
some horseback pictures bv Mr. Avey, and some small
pictures of animals by Jlr. .lewell, and some others, all very
excellent.

We had hoped to complete our brief notice of the exhibi-
tion, which must possess the character more of a chronicle
of facts, than a criticism, this week; but we find that specia-
lities, processes, coloured pictures, and apparatus must be
deferred until our next.

CHEMICAL ACTION OF LIGHT.

We print on another page an account of a series of exceed-
ingly interesting experiments on the Chemical Action of
Light, presented by Professor Tyndall to the Royal Society.
To men of no profession can research of this kind present so
much interest as to photographers. Upon the chemical
action of light is based every possibility in their pursuit ;
and although its practical operation in their art is at present
limited within a comparatively narrow range, and has refer-
ence to a small number of substances only, yet every step
which widens the field of research, and every discovery
which extends the domain of knowledge in this especial
direction, are of value to the photographer, if not in pre-
senting materials for immediate application, at least for
enlarging the possibilities of hie art.

The interesting researches of Professor Tyndall as to the
action of light on certain vapours aud liquids may have no
immediate effect upon the practice of photography, but it is
impossible to say at what point in his discoveries a pi-acti-
cal application may become obvious. Let us illustrate by
a speculation upon the possibilities attending his recent
discoveries. In his paper before the Royal Society he states
that actinic light decomposes the vapour of nitrite and nitrate
of amyl. Amyl is a radical analogous to ethyl and methyl,
the hydrated oxide of amyl being known as fusel oil,
as the hydrated oxide of ethyl is known as ethylic, or
common alcohol, and the hydrated oxide of methyl is
known as methylic alcohol. Fusel oil is known to be a
common impurity in ordinary alcohol, and its presence in
collodion has long been regarded as injurious, and conducive
to fog, without any knowledge of the reason why it should
produce mischief. Prof. Tyndall’s experiments suggest a
series of possibilities. When fusel oil is in collodion, and
comes into contact with nitric acid, either free in the bath
or liberated by action of free iodine in the collodion, a trace
of nitrate of amyl may be formed, and this body, being
present in the film when exposed to the action of light, and
possibly decomposed, would, under some circumstances,
yield, as a product of decomposition, valerianic acid, a sub-
stance answering to acetic acid, as the product of the oxida-
tion of common alcohol, or formic acid in methylic alcohol.
Or, possibly, in the decomposition, intermediate bodies
analogous to acetone or aldehyde, might be formed, with a
well-known tendency to produce fog when present in a
collodion film. Such a series of possibilities exist, and
might furnish a clue to the fogging action of fusel oil when
present in collodion, which, arguing from ordinary analogies,
ought not to be more inimical to success than the ordinary
alcohol employed in the manulacture of collodion.

DOES WATER EXPAND ON FREEZING?

We gave in our last an extract from Scientific Opinion,
in which M. Barthelemy denied the commonly-received
opinion that water expands on freezing. The subject,
although not strictly photographic, is one which will
interest our readers sufficiently to justify a few more words
on the question, which tend to negative the statement of the
French savant. We append a letter from one of our readers
who is a most shrewd and intelligent observer, in which be
describes a fact which could not be accounted for on M.
Barthelemy's theory. Our correspondent says : —

“ A short extract in your last impression on the above
subject calls to my mind a curious circumstance that camo
under my notice two winters ago. My operator, at night,
filled a stoppered bottle with water, and in the morning the
stopper w.as driven out, and projecting from the mouth of the
bottle was a rod of ice about two inches long, perfectly smooth
and transparent ; the whole contents of the bottle was solid
ice. I considered the case sufficiently curious to keep the
bottle for some days to show some friends. The bottle was
unbroken. What explanation could M. Barthelemy ofi’er to
I this? — Yours, respectfully, A. L. IIendekson.”

November 50, 186S.]

O'riE PHOTOORAPfliC NEWS.

555

A letter from Mr. D. Forbes, F.R.S., ia ScientiAc Opinion,
also refutes M. Barthelemy. Mr. Forbes says : —

“ The behaviour of water uuder these circumstances is so
intimately connected with the study of many important
natural phenomena, that from a very early period it became
the subject of rigid scientific investigation, the result arrived
at being that water, if cooled, contracts until it acquires a
temperature of 40“ (4“ C.), when it attains its maximum
density, but that afterwards it expands to the freezing
point.

“ The fact of ice swimming upon water would in itself
indicate that an expansion had taken place ; but the expe-
riments of Hope, Ilallstrora, Despretz, and others, appeared
to have settled this question beyond even a shadow of a
doubt, and to render anj further evidence quite superfluous.”

“ N ow as to the question of the gases. To dispel any doubts
on this head also, the following experiment was made yester-
day : — A quantity of pure distilled water, in a flask, was
boiled for some time until every trace of gas had been
evolved, and then cooled down to near the freezing point.
A bottle completely filled up with this gas-free water, at
this low temperature, was hermetically closed, and the water
inside converted into ice (by using a frigorific mixture of
sulphate of soda with hydrochloric acid);, the bottle was at
once split to pieces by the expansion of the water, which, of
course, could not have taken place had JI. Barthelemy’s new
theory been correct.”

VISITS TO NOTEWORTHY STUDIOS.

Mr. Sawyer's Studio at Norwich.

In the course of our recent visit to Norwich during the
meetings of the British Association, we visited the studio of
Mr. J. R. Sawyer, which possesses some especial points of
interest, as yielding very good work with a very unusual
kind of lighting. As Mr. Sawyer was engaged in taking
the portraits of the principal members of the Association
for publication, and his studio and reception room were,
when we called, thronged with savans, ready to sit, our
examination of the arrangements was necessarily hasty, and
our description must be brief.

Passing through a handsome shop, devoted to the sale of
optical instruments and other wares with which we have no
concern, we will pass on, and, neglecting the reception room
for the present, ascend to the studio, which is at the top
of the building, and extends nearly over the whole of its
area. It is 33 feet in length by 24 feet in breadth, the portion
in use being a square space of 24 feet ; there is no side light
whatever, all the light entering through a glazed ridge roof,
18 feet high at the ridge, and 12 feet high at the eaves.
The only light entering the studio is through this lofty
skylight, which extends all over the studio ; but the light so
admitted is notgenerally permitted to reach the sitter directly.
A series of narrow vertical blinds, arranged somewhat on the
principle identified with Mr. McLachlan’s name, cut off the
direct light from reaching the sitter. A considerable flood
of soft diffused light seems to fill the room, and the direct
illumination of the sitter is effected by means of ingeniously
contrived reflecting screens. These consist of light frames,
some C or 8 feet long by 3 feet wide, covered with
white calico. These are placed in diftercut parts of the room
at various angles, as circumstances may render necessary.’
When we inspected the studio, the screens in use were
leaning against a wall at an angle of about 30“ at the side
and a little in front of the sitter, whose face would receive
a strong reflected light from the screens so placed.

At fii-st sight nothing would appear more opposed to the
recognized conditions of perfect lighting. The general rule
is to have as much direct light as can be used, and as little
diffused light as possible; to have, in fact, no light in the
studio except that which directly illumines the subject to
form the picture. Here we have the studio filled with soft,
diffused light, and some portion of the direct light, which

enters the room, but does not reach the sitter, received by re-
flecting screens and thrown on him and on the accessories
at second hand. Nevertheless, such a mode of lighting
having been thoroughly mastered, Mr. Sawyer assured us he
preferred it to any other, as it gave him more varied control
over the light, and permitted more varied effects than could
bo readily produced by a direct light, which would be much
less completely under control. Any modification of the
angle, of the position, or of the number of reflecting screens,
he stated, gave a modified effect in the light and shade and
in the quality of the modelling, whilst the amount of light
was quite sufficient for rapid working, the exposures
averaging from eight to ten seconds on a day with light
clouds, using Dallmeyer’s and Voightlander's card lenses.

The work produced in the studio was very good, generally
tending to vigour and brilliancy. In such of the portraits
of members of the Association as we have seen, no indication
of lack of direct light is perceptible, and amongst the speci-
mens in the reception-room were many examples of very
excellent and artistic work. The lesson we deduce is, that
this is the most convenient and efficient form of lighting,
but that a skilful man will produce good work under almost
any conditions when he has become familiar with them.
Mr. T. R. Williams works in a studio with a top light only,
but which, by skilful arrangement of blinds, he converts
practically into a high side-light. Whilst Mons. Adam-
Salomon’s best pictures are produced in a studio with a high
side-light, facing north, he at times works from choice in
a studio facing the south, without any clear glass to admit
direct light whatever ; and nothing can exceed the beauty
of the pictures produced in this studio. Such facts may
afford encouragement to those who must obtain their light as
they can, and not as they would ; but it will not induce any
one as a matter of choice to select the conditions involving
the most trouble.

In the reception-room we found many evidences of artistic
taste. One fine portrait of a lady attracted our attention
from its admirable reproduction of the position in the well-
known painting of Titian’s daughter. Some tine examples
of the carbon process were hung around ; and Mr. Sawyer's
enlargements are some of the finest we have seen.

A startling estimate of the enormously large number of
card photographs which must have been produced through-
out the country is suggested by the figures Mr. Sawyer gave
us. Very many flourishing photographic establishments
now in existence sprung up, we know, during and in con-
sequence of the card mania, and only imperfect statistics
could be gleaned from such. Mr. Sawyer has been engaged
as a professional photographer in Norwich for fifteen years :
it is of course only during the last eight years that an}'-
serious accumulation of negatives can have taken place ;
nevertheless, he has stored and registered 25,000 negatives,
each containing two different positions — practically, 50,000
negiitives in one provincial establishment, making an
average oi 6,000 negatives a year during the period which
has elapsed since cards were introduced. The average num-
ber of card prints issued from his establishment, Mr. Sawyer
states to be about 50,000 per annum.

— ■■ o ■ —

ON A NEW SERIES OF CHEMICAL REACTIONS
PRODUCED BY LIGHT.

BY JOHN TYNDALL, LL.D., F.R.8,, ETC.*

I ASK permission of the Royal Society to draw the attention
of chemists to a form or method of experiment which, though
obvious, is, I am informed, unknown, and which, 1 doubt
not, will in their hands become a new experimental power.
It consists in subjecting the vapours of volatile liquids to
the action of concentrated sunlight, or to the concentrated
beam of the electric light.

* Oomnanicated to the Ro7al Society.

556

THE PHOTOGRAPHIC NEWS.

[November 20, 1868.

Action of the Electric Light.

A glass tube 2-8 feet long, and of 2'5 inches internal
diameter, frequently employed in my researches on radiant
heat, was supported horizontally. At one end of it was
placed an electric lamp, the height and position of both
j^ing so arranged that the axis of the glass tube and that
of the parallel beam issuing from the lamp were coincident.
The tube in the first experiments was closed by plates of
rock salt, and subsequently by plates of glass.

As on former occasions, for the sake of distinction, I will
call this tube the experimental tube.

The experimental tube was connected with an air-pump,
and also with a series of drying and other tubes used for the
purification of the air.

A number of test-tubes (I suppose I have used fifty of
them in all) were converted into Woulfe’s flasks. Each of
them was stopped by a cork, through which passed two
glass tubes ; one of these tubes (a) ended immediately below
the cork, while the other (6) descended to the bottom of the
flask, being drawn out at its lower end to an orifice about
0 03 of an inch in diameter. It was found necessary to coat
the cork carefully with cement.

The little flask thus formed was partially filled with the
liquid whose vapour was to be examined ; it was then intro-
duced into the path of the purified current of air.

The experimental tube being exhausted, and the cock
which cut off the supply of purified air being cautiously
turned on, the air entered the flask through the tube b, and
escaped by tbe small orifice at the lower end of b into the
liquid. Through this it bubbled, loading itself with vapour,
after which the mixed air and vapour, passing from the flask
by the tube a, entered the experimental tube, where they
were subjected to the action of light.

The power of the electric beam to reveal the existence of
anything within the experimental tube, or the impurities
of the tube itself, is extraordinary. When the experiment
is made in a darkened room, a tube which in ordinary day-
light appears absolutely clean is often shown, by the present
mode of examination, to be exceedingly filthy.

The following are some of the results obtained with this
arrangement : —

Nitrite of Amyl (boiling point 91® to 96“ C.). — The
vapour of this liquid was, in the first instance, permitted to
enter the experimental tube while the beam from the electric
lamp was passing through it. Curious clouds were observed
to form near the place of entry, which were afterwards
whirled through the tube.

The tube being again exhausted, the mixed air and vapour
were allowed to enter it in the dark. The slightly conver-
gent beam of the electric light was then sent through the
tube from end to end. For a moment the tube was optically
empty; nothing whatever was seen within it; but before a
second had elapsed a shower of liquid spherules was pre-
cipitated on the beam, thus generating a cloud within the
tune. This cloud became denser as the light continued to
act, showing at some places a vivid iridescence.

The beam of the electric lamp was now converged so as to
form within the tube, between its end and the focus, a cone
of rays about eight inches long. The tube was cleansed,
and again filled in darkness. When the light was sent
through it, the precipitation upon the beam was so rapid
and intense that the cone, which a moment before was in-
visible, flashed suddenly forth like a solid luminous spear.

The effect was the same when the air and vapour were
allowed to enter the tube in diffuse daylight. The cloud,
however, which shone with such extraordinary radiance
under the electric beam, was invisible in the ordinary light
of the laboratory.

The quantity of mixed air and vapour within the experi-
mental tube could, of course, be regulated at pleasure. The
rapidity of the action diminished with the attenuation of
the vapour. When, for example, the mercurial column
associated with the experiment^ tube was depressed only
five inches, the action was not nearly so rapid as when the

tube was full. In such cases, however, it was exceedingly
interesting to observe, after some seconds of waiting, a thin
streamer of delicate bluish-white cloud slowly forming along
the axis of the tube, and finally swelling so as to fill it.

When dry oxygen was employed to carry in the vapoui,
the effect was the same as that obtained with air.

When dry hydrogen was used as a vehicle, the effect was
also the same.

The effect, therefore, is not due to any interaction between
the vapour of the nitrite and its vehicle.

This was further demonstrated by the deportment of the
vapour itself. When it was permitted to enter the experi-
mental tube unmixed with air or any other gas, the effect
was substantially the same. Hence the scat of the observed
action is the vapour itself.

With reference to the air and the glass of the experimental
tube, the beam employed in these experiments was perfectly
cold. It had been sifted by passing it through a solution
of alum, and through the thick double-convex lens of the
lamp. When the unsifted beam of the lamp was employed,
the effect was still the same ; the obscure calorific rays did
not appear to interfere with the result.

I have taken no means to determine strictly the character
of the action here described, my object being simply to
point out to chemists a method of experiment which reveals
a new and beautiful series of reactions ; to them I leave the
examination of the products of decomposition. The mole-
cule of the nitrite of amyl is shaken asunder by certain
specific waves of the electric beam, forming nitric oxide and
other products, of which the nitrate of amyl is probably
one. The brown fumes of nitrous acid were seen to mingle
with the cloud within the experimental tube.

The nitrate of amyl, being less volatile than the nitrite,
could not maintain itself in the condition of vapour, but
would be precipitated in liquid spherules along the track of
the beam.

In the anterior portions of the tube a sifting action of the
vapour occurs, which diminishes the chemical action in the
posterior portions. In some experiments the precipitated
cloud only extended half-way down the tube. When, under
these circumstances, the lamp was shifted so as to send the
beam through the other end of the tube, precipitation
occurred there also.

Action of Sunlight.

The solar light also eflects the decomposition of the nitrite-
of-amyl vapour. On the lOth of October I partially darkened
a small room in the Royal Institution into which the sun
shone, permitting the light to enter through an open portion
of the window-shutter. In the track of the beam was placed
a large plano-convex lens which formed a fine convergent
cone in the dust of the room behind it. The experimental
tube was filled in the laboratory, covered with a black cloth,
and carried into the partially darkened room. On thrusting
one end of the tube into the cone of rays behind the lens,
precipitation within the cone was copious and immediate.
The vapour at the distant end of the tube was in part shielded
by that in front, and was also more feebly acted on through
the divergence of the rays. On reversing the tube, a second
and similar cone was precipitated.

{To be continued.)

ON PRODUCING OPEN-AIR EFFECTS IN THE
STUDIO.

BY CHARLES K. PEARCE.*

When I promised, at the June meeting of the present year,
to read a paper on the subject of double printing, I had
hoped to have worked out a method which would enable us
to introduce, with facility, backgrounds from nature into
card and cabinet pictures — not merely a method by which,

* Read at a meeUng of the Sooth Loodoa Photographie Society,
November 12, 1S68.

November 20, 1808.]

THE PHOTOGRAPHIC NEWS.

557

after a great deal of vexation and a number of spoiled prints,
one or tnro presentable examples might be obtained, but a
practical method, to bo introduced into’the ordinary way of
business. I have not been able to fulfil my intention at
present. However, the subject of the paper this evening
has somewhat grown from the preliminary preparations
which were necessary to carry out the former idea. »

To convey the impression of open-air scenes it is necessary
to have the foreground arranged with natural objects ; the
ground must look like ground ; the grass and shrubs must
be real, or the deception will be at once apparent. And here,
at the outset, is a difficulty which would require a number
of “ dodges ” to overcome.

I dare say most photographers are familiar with the
appearance of the studio when, in some moment of enthu-
siasm, they have essayed to produce an open-air scene, and
have called in the assistance of natural objects. Every-
thing of a vegetable nature within reach is pressed into
service. Stones, straw, and I have even heard of cinders,
are made available, and in five or six minutes the studio
presents an appearance of something between a stable and a
pigsty : and, if these “ accessories ” are suffered to remain
until next day, the appearance of the whole, with its droop-
ing grass and leaves, is thoroughly wretched. The room
has to be cleansed before a fresh sitter can be introduced,
and the photographer is tempted to make a vow that he
will have nothing henceforth to do with natural properties,
until a fresh resolution seizes him, and the same scene is
re-enacted.

I felt, on commencing these pictures, that it wa'< absolutely
necessary to have some control over the foregrounds ; that
they should be ready at a moment's notice ; that they should
be portable, and present somewhat of an orderly appear-
ance. These desiilerata, to a certain extent, 1 have obtained,
and have no difficulty in arranging foregrounds with the
same grass and bushes that I used during the summer
months.

I first tried the plan of a woorlen tray, about six feet long
by two feet broad, containing mould in which weeds and
grass were planted. This I soon gave up ; it was unwieldy
and awkward to use, and, although quite large enough to be
continually in the way, was not large enough to produce
any effect without the assistance of other objects.

The next idea was to form a permanent ground which
would be always ready, with plenty of room to j)lace the
sitter and to build up the foreground in parts ; and that is
the plan I now adopt, and which I find most convenient.
The ground may be formed of canvas or carpet (of course,
quite plain). I myself use a material termed “ wincey,”
which I found was suitable and cheap. Over this is strewed
a little hay, and it is on this account that a fluffy material
is best, because the hay adheres to it, and is prevented
from littering the other parts of the room. The grass is
kept available by planting tufts in wooden boxes. The
boxes are about nine or ten inches square, and the sides
about an inch and a quarter high. The gra.ss is simply dug
out in patches, with the mould adhering to the roots, placed
in the boxes ; and the blades falling over the sides entirely
conceal the framework. Any number of these boxes can
be made ; some I have contain common weeds, such as
groundsel, nettles, docks, &c., which are very effective, and
the whole being easily moved about, the arrangement can
be varied without any trouble.

A weed, a sample of which I have brought to night, I
have found very useful. The leaves and stalks are of a very
hard nature, and, when dried, retain their shape perfectly ;
the flower, which is something like that of groundsel, goes
to seed on drying, but retains its shape for a considerable

ririod, and the whole photographs remarkably well. This
turned to account in the manufacture of bushes, by tying
the stalks together in bundles, and then nailing these
bundles in layers to pieces of wood, arranging them so as to
make the loose part of one bundle cover the nailed part of
another. The wood having a foot to enable it to stand up-

right, the bush is complete. 1 do not apprehend there
would be any difficulty in procuring weeds of a similar
character — sorrel possibly might be useful in this way ; but,
at all events, weeds of a soft, succulent nature are unsuitable,
and not fitted for drying.

Another picturesque object will be found in the stump of
a tree ; it need not be very large, and if it has many roots
attached to it, so much the better. The long, dried, feathery
grass can be had cheap, and will bo found very useful.

Some might be disposed to say. Why go to the trouble
of making artificial bu.shc.s whetr living plants can be
obtained. But I think the necessity of concealing the flower,
pots will be found an inconvenience, to say nothing of the
risk of damage to which they arc constantly exposed ; for
instance (I speak from experience), a lady’s dress catching
in part of the plant, and turning it, together with the mould,
on to the floor. However, if any be disposed to living plants
in pots, the box tree, arbor vitae, and American aloe may be
suggested as being suitable ; and, if placed behind some of
the artificial bushes, will have a good effect.

With regard to introducing water into the picture, I have
endeavoured to produce the effects with sheets of polished
tin : with what result these pictures will show. I should bo
glad if any member, who has seen real water introduced into
pictures of this kind, would point out the defects and the
difference between the real and the imitation. The tin has
at least the merit of being exceedingly convenient to use.
The shape of the water can be altered .at will, and a few
imitation flags, or a stone placed so iis to show the reflections,
will assist in giving the appearance of water.

With regard to the backgrounds. That every photo-
grapher should paint his own I regard as a sinequd non, and
it will be found desirable to have it as large as the room will
permit, so as to prevent the necessity of using exactly the
same portion for each picture. The chief point to be
observed in the background is the agreeable distribution of
light and shade, so as to be in harmony with the rest of the
picture ; and, while giving force to the figure, at the same
time producing an effect of atmosphere. Of course, each
man must judge for himself the kind of background best
suited to his method of lighting. As to the amount of
scenery represented, the loss there is the better. I have found
the indication of a clump of trees to be quite sufficient.
One important point to be observed is to have the sitter a
considerable distance in advance, so as to throw the back-
ground well out of focus, and also to separate it from the
figure.

Concerning the vexed question of the horizon : whether
it should be high or low, I do not pretend to decide ; but,
for my own part, I am inclined to give the preference to a
position about one-third or a little more from the bottom of
the picture. In most cases, if it be merely suggested, and
no distinct line made out, it will be all that is necessary.

In conclusion, I would say that I do not offer these pic-
tures as specimens of photography, but simply as the result
of an endeavour to extricate oneself from the groove into
which photographers appear to have fallen ; and however
imperfect these attempts may be, the pleasure I have derived
and the instruction I have gained, perhaps unconsciously,
have more than rewarded me for the trouble.

There is one quality which particularly recommends this
class of picture, and that is the infinite variety one may
obtain with a few materials — an advantage which every
photographer who pins his faith to chairs and tables must
have sighed for in vain. It not only takes away the
machine-like character which too many photographs, excel-
lent in other respects, have, and gives an individuality to
each picture, but it stimulates the invention of the photo-
grapher, which must necessarily benefit him.

I have only to say that if we endeavoured to originate, and
not be content with slavishly copying each other, we should
feel more interest in our work, and instead of sitting down
and saying complacently, “ The public will have this and no
other,” we should try to educate the taste of the public.

558

THE PHOTOGRAPHIC NEWS.

[November 20, 186^.

who are not so blind as some of our brethren would have us
believe: and we should find ourselves repaid, not only in
the additional instruction we should gain, but in a much
more material sense.

PICTORIAL EFFECT IN PHOTOGRAPHY;
Beino Lessohs in

Composition and Chiaroscuro for Photooraphers.

BY n. P. ROBINSON.

Chapter XLII.

Ai this is my penultimate chapter, I take the opportunity
of introducing an example of portraiture, that I may say a
few final words on that important subject to the photo-
grapher.

The illustration is engraved from a picture by Desanges,

one of the most graceful portrait painters we have, but who,
perhaps, will he better known to the reader as the painter
of the Victoria Gallery, illustrating the principal actions for
which the Victoria cross was awarded, and which for some
years formed one of the chief attractions of the Crystal
Palace. In this picture will be found nearly every quality
that goes to the making of a good portrait — breadth, sim-
licity, and unity ; balance, contrast, and variety. It is
ignified and graceful, refined in feeling and expression,
and the figure is set before the spectator for itself alone, and
without any distracting embellishments which, without
adding to the interest of a portrait, often suggest departure
from truth. Our illustration is a reduction, by Mr. Fru-
wirth, of a wood engraving in the Art Journal.

Photographic portraiture has not, in a broad sense, yet
arrived sufficiently far on the road to perfection to make its

professors as a body very proud of their art, but during the
last two or three years it has made great strides. Several
causes have combined to help it to advance more rapidly
of late than in former years. The exhibition of M. Adam-
Salomon’s pictures last year at the French Exhibition, and
their introduction to the great body of English photo-
graphers by the Editor of the News, gave an enormous
impulse to the production of good work ; even those who
most believed in the beauty of their own work saw that

in photographic portraiture there was something beyond ;
they saw a certainty that the end of the art had not been
reached, and these pictures gave the promise of a possibility
of something still more glorious being achieved in por-
traiture by their art. Some were, no doubt, sorry for this,
as they felt they must give up the hope of ever approaching
the works of the great master ; while others, more reliant
and hopeful, buckled on their armour, and fought honestly
to win some honour in the same path. Whether many will

THU t>HOTOGRAt>HIC NEWS.

659

November 20, 1868.]

ever equal the original Works is problematical ; but the
present result is not doubtful — better work has been done.
That this is so was almost ludicrously shown at the Exhibi-
tion of the Photographic Society recently held, the walls
having been covered by portraits of every degree of merit,
from the lowest to the highest, which had evidently been in-
spired by the works of M. Salomon. Deprecating, as I do,
this servile copying of any man’s work, to which English
photographers, for lack of originality in themselves, are
much too prone, it must be patent to all impartial minds
that an advance has been made in photographic portraiture
all over the country which could scarcely have been antici-
pated or believed. Photographers have shown that they
have the capacity to imitate a good thing ; let them advance
another and yet more difficult step : those who follow are
always behind ; let them rise above mere imitation, and pro-
duce original works. There is one fault visible in most of
these ‘‘ Salomoniac” pictures from which even the originals
are not quite free, and against which it is perhaps as well
to warn the student. In the endeavour to arrive at technical
excellence and fine chiaroscuro, expression seems to have been
almost forgotten, and the portraits suffer from the neglect.

Another cause of the improvement in the art has been
the depression in the business. Many who were not fitted
for it have had to return to their former employments. It
is. perhaps, a cruel thing to say, but the art is all the
stronger because the weak ones have been killed off. The
public, who would take any rubbish a few years ago, is now
more discriminating, and will not accept bad pictures, how-
ever cheaply (I would rather say low in price, for bad
things are not cheap) soot and whitewash abortions may
be offered by despairing “ artists " who have mistaken their
vocations. But one of the chief causes for this cheering
advance in the quality of the pictures produced at the pre-
sent time — if I may say so without being thought to refer
to my own writing — is the sound and practical art know-
ledge that has been given to photographers of late years by
the Photoge.\phic News, and which is so opposed to the
mystic and “ high-falutin " substitute for common sense
with which the art had been previously surrounded.

Before the advent of these several causes of improvement,
the art, except in the hands of a few, was very like that
described by the Vicar of Wakefield, when he tells us of
the painting of his great family picture. As ridicule is
sometimes as good a teacher as sober sense, I am tempted to
extract the passage.

“ My wife and daughters, happening to return a visit at
neighbour Flamborough’s, found that family had lately got
their pictures drawn by a limner who travelled the country
and took likenesses for fifteen shillings a head. As this
family and ours had long a sort of rivalry in point of taste,
our spirit took the alarm at this stolen march upon us, and,
notwithstanding all I could say — and I said much — it was
resolved that we should have our pictures done too. Having,
therefore, engaged the limner, our next deliberation was to
show the superiority of our taste in the attitudes. As for
our neighbour’s family, there were seven of them, and they
were drawn with seven oranges — a thing quite out of taste,
no variety in life, no composition in the world. We desired
to have something in a brighter style ; and, after many
debates, at length came to a unanimous resolution of being
drawn together in one large historical family-piece. This
would be cheaper, since one frame would serve for all. and
it would be infinitely more genteel ; for all the families of
any taste were now drawn in the same manner. As we did
not immediately recollect an historical subject to hit us, we
were contented each with being drawn as independent his-
torical figures. My wife desired to be represented as Venus,
and the painter was requested not to be too frugal of his
diamonds in her stomacher and hair ; her two little ones
were to be as Cupids by her side ; while I, in my gown and
band, was to present her with my books on the Whistonian
controversy. Olivia would be drawn as an Amazon, sitting
upon a bank of flowers, dressed in a green Joseph richly

laced with gold, and a whip in her hand ; Sophia was to
be a shepherdess, with as many sheep as the painter could

Eut in for nothing ; and Moses was to be dressed out with a
at and white feather.”

Everybody remembers— for it has become proverbial — the
fate of this grand historical portrait picture : how it was too
big to allow of its being got through any of the doors of
the house, and how it was obliged to remain in the kitchen
The description of it is but a very slight exaggeration
of the absurd anacreonisms perpetrated in the last century,
a subject on which I touched in Chapter 20. And do not
we now, in the nineteenth century, when everything is
matter-of-fact, see in photography, which should not lie,
the most absurd, the most grotesque blunders possible ?
Columns, curtains, pedestals, profile pianos, pilasters, sham
windows, wooden fireplaces, — do not these words call up
visions of artistic abominations, horrible to the now more
cultivated eye ’? It has been the reproach of photography
that its results fade. The fault I find with it is, that they are
too permanent ; and early, and to me awful, prints are con-
tinually rising up in all their ghastliness to shame their
makers.

What photographer takes up an old album in a friend’s
house without a sort of fear of opening it, and being re-
proached by his own handiwork ? But he may take heart
of grace ; the very disgust he feels at looking at his early
productions shows that he is not only a better photographer
and a better artist now than he was then, but that he is on
the way to still greater success.

grorffbhifjs of

South London Photographic Society.

The usual monthly meeting of this Society was held in the
City of London College on the evening of Thursday, November
12th, the Rev. F. F. Statham, M.A., in the chair.

The minutes of a previous meeting having been read and
confirmed, the following gentlemen were elected members of
the Society : Messrs. F. East, C. Annand. and J. Quarm.

The Chairman then announced that the presentation prints
were ready for distribution, and also reminded members that
the subscriptions for the current year were due. He also
announced that the annual dinner of the Society would be held
on the evening of Saturday, the 12th of December, at the same
place aud hour ns last year; due notice of details would be
given by circulars addressed to the members.

A frame of Mr. Henderson’s very fine enamels were exhibited,
and a conversation thereon followed, in the course of which
Mr. Henderson stated, in answer to a question, that the cost of a
large specimen, in the Chairman’s hand, would be about
15s. , with 30 per cent, discount off.

Mr. C. Pearce then read a paper “ On Producing Open Air
Eft'ects in the Studio” (see p. 556). The paper was illustrated
by some very excellent examples of card portraiture by Mr.
Pearce ; and Mr. Taylor passed round some examples of cards
with landscape backgrounds by Mr. Parry, of Preston.

The Chairman, in offering to Mr. Pearce a vote of thanks,
spoke of the interest he felt in seeing photographers endea-
vouring to get out of the common-place groove, and aim at more
specific pictorial effect in portraiture.

An animated but desultory conversation followed, in which
the Chairman. Mr. Bockett, Mr. Simpson, Mr. Pearce, and
others took part.

Mr. SEBA.STIAN Davis, referring to the landscape back-
grounds, remarked that he did not think the horizon line should
be placed too high, as it detracted much from the effect of the
figure.

Mr. Pearce said it would, of course, be opposite the eye of
the spectator ; or, in photography, opposite the lens or eye of
the camera.

Mr. Davies said, of course, and for that reason the latitude
the photographer had in fixing the height of his camera gave
him some latitude in respect to the horizon line.

Mr. Hart suggested that when a background contained
open air effects it was important to avoid the strongly marked

560

THE PHOTOGRAPHIC NEWS,

[November 20, 1868.

light and shade on the face, which indicated that the figure
was really ta^en in a studio. Especially the portraits should
not have one side of the face in deep shadow.

Mr. Peabce said, undoubtedly portraits with landscape back-
grounds should be well exjwsed ; but at the same time, he
thought a slight sacrifice ot literal truth might, without serious
impropriety, be made to pictorial effect. It was done by artists
constantly, as might be seen on consulting any collection of
engravings.

Mr. Davis thought that much would depend on circum-
stances. Even in the open air strong effects of light and shade
would often be observed. In Mr. Robinson’s “ Returning
Home” the face was, in some degree, in shadow, but the cha-
racter of the light and sky seemed to justify it.

Mr. Haet said the hat in that case over-shadowed the
face.

Mr. Simpson thought that whilst circumstances might often
produce a face in the open air with strongly marked light and
shade, yet, as a general rule, observation of Mr. Hart’s sugges-
tion was most important. It was certainly incongruous to see
a figure in an open plain, yet distinctly lighted with the side-
light of a studio. As a rule, open air lighting had the effect ot
top-lighting.

After some turther conversation the subject was dismissed.

Mr. Taylor exhibited Messrs. Geymet and Alker’s Jumelle
JRhotographique, an opera-glass camera, with a changing box
to hold filly dry plates, about one and a half inches square.
This box was very ingeniously contrived, being circular, with
fifty grooves radiating from the centre like the spokes of a wheel.
Each groove could be brought in succession opposite an orifice,
from whence it was dropped, when required, into the groove in
the camera for exposure. The attachment between the
changing box and camera was provided with an automatic
arrangement, by which both apertures were closed by the act
of detachment.

Mr. Taylor said that some little attention having recently
been called to miniature cameras, he thought that this might
interest members. He did not introduce it as a new thing, for
it had been described early in 1867.

After some conversation,

Mr. Howard exhibited a very charming series of landscapes,
the results of his summer rambles. He called attention, as a
feature of interest, to the fact that these pictures were taken two
on one plate, 7J by in size, the two halves exposed in succes-
sion, thus giving the prints about 3J by 2|. He found the plan
very convenient with his camera intended for 7}- plates. Some
of the collodio-albumen plates had one-half exposed five
minutes, and the other half only a few seconds, so that a little
judgment and skill in development had boon necessary ; but he
had found no serious difficulty.

After some conversation and much admiration of the charm-
ing little views, the subject was dropped.

The Chairman mentioned that in the Mirror for 1826 he
had recently noticed a photographic experiment mentioned. A
bottle was filled with some lime-water, to which a little nitrate
of silver was added, and the bottle was covered with paper in
which some device was cut out, and then submitted to the
action of light. It was interesting as one of the pioneer expe-
riments in the art.

Some conversation as to the consideration of certain ques-
tions in the Question-Box took place, and it was resolved that
should no paper be provided, Mr. Davis should introduce the
first question at the next meeting, which was as to the cause
of pinholes in dry plates. The subjects of other questions were
apportioned to other members, who were requested to give
them a little consideration, and introduce them when occasion
occurred.

The proceedings then terminated.

Amateur Photographic Association.

A COUNCIL meeting of the above Society was held on Tuesday,
the 17th inst., at 12, York Place, Portman Square, James
Qlaisher, Esq., F.R.S., in the chair.

The minutes of the last meeting having been read and con-
firmed, the following members and subscribers were elected : —
Captain Grimston, Captain Arbuckle, R.M.,W. H. Saville, Esq.,
R. E. Chidley, Esq., Mrs. Leslie, J. B. Hodgkin, Esq., Robert
Brown, Esq., F.R.O.S.E., Rev, T. Hedley, Arthur Lascelles,
Em., F. S. Schivale, Esq., E. Heasman, Esq., Ed. Roper, Esq.

The Secretary then laid before the meeting the pictures for

the current year, which greatly exceed in number those of any
previous occasion ; it was, however, found impossible to come to
a decision relative to the prizes that day, and the meeting
was therefore adjourned A. J. Melhuish, Hon. Sec.

LUX GRAPIIICUS ON THE WING.

Ills Flight to and from the Exhibition of the Photo-
graphic Society.

Dear Mr. Editor, — On Tuesday night last I took the
liberty of looking into the rooms of the Architectural Society,
to see the photographs, and listen to the gossip of the visitors
at the conversazione of the Photographic Society. To hear the
complimentary remarks and the exclamations of pleasure was
as delightful to my ear as the first song of the lark in spring.

The assemblage — not brilliant, but genial, pleasant, and
happy — was as refreshing to the eye as th^e first glimpse of the
vernal flowers ; and the pictures hung upon the walls and
screens, and laid upon the tables, were, in more senses than
one, a fhast to the mind almost without alloy. For my own
part, I felt so joyful, 1 could not help fluttering my wings,
shaking my feathers, and flitting about from one place to another,
chirping, chattering, and pecking lovingly about this pretty
thing, and at that old friend, till long after my usual time of
going to roost. And when I did at last tear myself away and
fly home, I could not help exclaiming. Well, there never was a
pleasanter evening nor a nicer exhibition in the whole history
of the Society ! But I could not sleep ; I put my head under
my wing, shook my feathers, and tried to settle into the most
comfortable and cosy positions, but it was no use. The pretty
landscapes and pleasing portraits I had seen shone brighter and
brighter before mo ; I was compelled to mentally review them ;
and here follows the result of my incubations. My first
thoughts were to work the pleasures of the evening by a kind of
rule-of-three process, by considering the value of the landscapes
and portraits exhibited, to arrive at the worth of the exhibition
but not so much in a money point of view, as in the merits of;
the works, and their probable influences on the workers.

Taking the landscape portion of the exhibition, as first in
the order into which I had mentally catalogued the pictures,
it was an easy and delightful thing to skim over such a vast
extent of this world’s surface that evening. To journey to and
from the glens of Scotland, the dales of England and Wales,
the lakes of Ireland, the mountains of the Tyrol, to Abyssinia
and the famous heights of Magdala, was but the work of a few
minutes, thanks to the purveyors of that mental banquet.
But to do full justice to the exhibitors I must endeavour to
enumerate their principal works, and comment thereon with
the utmost impartiality. Most unquestionably the gems of
the landscap>e portion of the exhibition were eight exquisite
little pictures by Mr. Russell Manners Gordon, affordiug un-
mistakable proof of what the gum-gallico dry process is
capable of yielding in his hands. It is almost, if not quite,
equal to the wet process for detail and delicacy. This is par-
ticularly noticeable in the view of Carnarvon Castle. Indeed,
Mr. Bedford’s picture of the same subject — which, I presume,
is by the wet process — on the other side of the screen, contrasts
rather unfavourably with it. Mr. Gordon’s selection of his
point of sight, and general treatment of that subject alone, are
unmistakable proofs of his refined taste and feeling for the
art capabilities of landscape photography. The wet-collodion
pictures by Mr. Gordon are also beautiful examples of the art.
His cottages with sheep browsing in the foreground, which is
an instantaneous picture, is remarkable for its beauty and
arrangement. These pictures are beautifully priuted, and
possess a tone which harmonizes charmingly with the subjects.
Amongst the other landscape photographers Mr. England and
Mr. Bedford stand unrivalled in their peculiar branches. The
views in the Tyrol, lately taken by Mr. England, are so excel-
lent that they cannot but add to that gentleman’s high reputa-
tion.

Mr. Bedford’s views are also quite equal, if not superior, to
his previously exhibited works. Some pretty views of the
Lakes of Killamey by Mr. Archibald Irvine were well worthy
of notice. Mr. F. Beaslev, Junr., exhibited some very excellent
examples of the Fothergill process ; some printed in silver, and
others in carbon, fiom the same negatives. I think the carbon

THE PHOTOGRAPHIC NEWS.

661

November 20, 1868.]

prints wero superior in colour, but the silver prints possess most
detail and depth. Views of Wimbledon and other places by
Mr. Vernon Heath were also good examples of that gentleman's
photography. Some beautiful cloud effects by Messrs. Robin-
son and Cherrill, of Tunbridge Wells, and Mr. Fox, of Brighton,
attracted considerable attention, and elicited great praise. The
large composition picture, “ Returning Home,” by Mr. Robin-
son, was greatly admired by nearly everyone that looked at it.
One or two ill-natured or ignorant remarks were made about
that picture, but I candidly think it is the very best picture
that Mr. Robinson has produced. The sunshine on the one
side of the picture, and the rain storm sweeping over the other,
are Doth cleverly and artistically managed. I am sorry I can-
not say the same of the group of children which hung near the
latter. The group, though perfect in its photographic details
and tone, is too suggestive of scissors and paste to bo a good
picture, in my estimation.

Mr. Wardley’s large Taupenot pictures wore very excellent.
The very interesting pictures of Abyssinnia by the 10th Com-
pany of Engineers were very attractive. Groups of the cap-
tives—political. religious, and artisan, with their families — and
the officers of the Expedition formed interesting pictures. The
views of Magdala, Theodore’s house, the mushroom fortifica-
tions, and other flimsy defences, as revealed by the truth-telling
camera, seemed to lessen considerably the glory of the capture
ot Magdala.

Having dismissed the landscape portion of the exhibition
without mentioning all the many excellent contributions thereto,
I next turned my thoughts again to the contributions of por-
traits. The examples of that branch of photography were
nearly all of first-rate excellence, a large number of them being
d la Salomon, M. Adam-Salomon himself contributing no less
than fifteen. With one or two remarkable exceptions, these
pictures were not equal to those exhibited last year, and a
general feeling prevailed that they were neither his later works,
nor the best of his former ; still, they were a. very effective dis-
play, and attracted great and deserved attention. As I have,
on a former occasion, expressed my opinion on the great excel-
lence of M. Salomon’s works, I shall not comment further
thereon at present, but proceed to notice those which most
nearly approached them in photographic and artistic essentials.
Undoubtedly Mr. Valentine Blanchard’s contributions, both in
number and quality, come nearer to M. Salomon’s works than
any other contributor’s. Mr. Blanchard exhibited ten portraits
d la Salomon, some of which are quite equal to the French
artist’s best works, without the elaborate working-up which the
latter exhibit. Mr. Blanchard has not been at all times
fortunate in his sitters, which is very much to be regrettod, for
we all know how much a beautiful subject helps a good photo-
graph. Hitherto, Mr. Blanchard has been an exhibitor chiefly
as a landscape and figure-study photographer. Now that he
has taken more kindly to portraiture, and exhibits such capa-
bilities for its successful practice, I hope he will find it suffi-
ciently remunerative to induce him to be a steady and perse-
vering disciple of M. Salomon. Messrs. Robinson and Cherrill
also exhibited two beautiful and Salomon-like portraits : one of
M. Salomon himself, and one of Mr. Hain Friswell ; the latter,
I think, is decidedly the best. Mr. Mayland, of Cambridge,
sent six very excellent portraits in Salomon’s style, all very
good but one ; a gentleman in a velvet coat was particularly
successful.

The pictures exhibited by Mr. Briggs, of Leamington,
though extremely forcible and beautiful, were not exactly an
imitation of the style of M. Salomon.

Mr. Leake, of Comhill, had a frame containing six very capital
portraits in the style of the eminent French photographer, but
a little over-done in aiter-touching — too much elaborated.
In this respect he far outdid his great prototype. Messrs.
Fradello and Leach also exhibited a number of whole-plate
pictures d la Salomon, which were very good indeed. Messrs.
Slingsby, Burgess, Ashdown, Hunmore, and S. Fry, were also
exhibitors of the same style of portraits, ten by eight size ; but
it is a pity the latter did himself the injustice of exhibiting so
many, for there was only one — an old gentleman with a grey
beard — that was really worthy of him. Never did any man’s
joke recoil more forcibly on himself than that of Mr. Fry’s.
The faces of some of his female portraits — one in particular —
were, in my estimation, as flat, white, and shadowless as a piece
or knob of sal-ammoniac itself ; but 1 must say that the portrait
of the gentleman above referred to was all that could bo
desired as an artistic photograph.

Amongst tho cabinet pictures exhibited by English photo-
graphers, I think those by Mr. Hubbard were decidedly the
finest. One entitled “The Toilet,” and another of a lady
seated at a window, which might be named “ A Sultry Day in
Town,” are charmingly artistic photographs. A composition
picture by the same artist was also very skilfully treated;
indeed, it was mistaken by many to ne a copy of a picture,
and might easily have been taken for a copy of a painting by
T. Faed. Mr. Briggs, Mr. Godbold (of Hastings), Mr. Gillo,
Messrs. Lucas and Box, also exhibited soma beautiful cabinet
pictures.

Cartes-do-visito in their ordinary form wero somewhat scarce,
but Ur. Wallich, Mr. Charles Heath, Mr. Bateman, and others,
made a good show of vignettes.

Mrs. Cameron exhibited some large pictures in her peculiar
tyles ; but my own opinion and that of others was, that she is
imp oving.

Mr. Ernest Edwards exhibited a large collection of carbon
pictures, in black and other colours ; some mounted on chromo-
tinted paper, and some excellent enlargements in carbon.
The Autotype Company exhibited a fine copy of Lord Belhaven,
which I noticed some time ago ; also a very valuable and
beautiful collection of copies from drawings by old masters, all
bound together, making a handsome and very interesting
collection.

Mr. Rejlander had a largo collection of his art photographs
on view, all of which wore clever, some facetious and many very
beautiful conceptions.

A frame of coloured enamels by Mr. Bailey, and some in black-
and-white by Mr Henderson and Mr. Barnes, also attracted
considerable notice.

The eburneumtypes by Mr. Burgess, a coloured collodio-
chloride portrait on ivory by Mr. .1. Edwards, and other collo-
dio-chloride and opalotype pictures, were very much admired.
Tho cabinet vignettes by Reutlinger, and the cabinet pictures
by Wenderoth, were both in request at the table, on account of
their beauty and interest.

I must not forget to mention a very interesting series of
twenty-four stereoscopic pictures by Mr. Alfieri, illustrative of
“ The Potter’s Art.”

Mr. Jabez Hughes and Mr. Meagher were both exhibitors of
very excellent and useful apparatus — cameras, camera-stands,
and rolling presses.

Now 1 think such an exhibition as I have but partially de-
scribed cannot fail to have produced a pleasing and beneficial
eflect on the minds of all who saw it, and ought, on tho whole,
to have given infinite pleasure and satisfaction to both exhibi-
tors and visitors. Yet I think I heard one or two growls of
discontent about the hanging from some one whose pictures or
whose friend’s pictures were not on the line ; but I think I
may safely say there never was a case of hanging yet that
was not objected to by one individual at least. Even the
hangers of the Royal Academy do not escape censure, and they
are supposed to have far more skill, taste, and experience in
hanging than the volunteer hangers of the late photographic
exhibition. I think, however, that the hangers performed their
duties both conscientiously and creditably, especially when it is
considered in how very short a time the work had to be done.
Any one who felt aggrieved, and expressed himself churlishly
on that point, must surely have been in that unenviable state
which the French very adroitly designate Hire marquiau B.

After these reflections I felt too drowsy to reflect any more,
and was barely awake enough to subscribe myself — Yours
very truly. Lux Graphicus.

November 10<A, 1868.

ALBUMINIZED PAPER AND PRINTERS.

Sir, — In reply to Mr. Bovey, I would ask you to publish the
following, after wliich I shall not again trouble you upon this
subject, as it is not worth while to continue a discussion which,
however useful it might be in the abstract, or however inter-
esting in its practical application, seems to be somewhat
distasteful to your correspondent.

I will confine my attention to the more practical part of Mr.
Bovey’s communication.

The “ three questions ” which Mr. Bovey put to me to answer
have nothing whatever to do with the matter on hand, and the
very fact of Mr. Bovey putting them in the manner which ha
has adopted, shows how completely he has mistaken both my
object and my meaning. I wUl, however, consider them.

562

fflE photoghaphic news.

LKovbmbbb 20, 186S.

First. It is not of the slightest consequence to me how
much albumen each sheet of paper absorbs ; that is a question
which belongs entirely to the makers of albuminized paper.
All that I want to know in respect of quantities is, speaking
roughly, how much silver it will take to sensitize a quire of a
certain sample of paper.

Second. It is no consequence to me what amount of silver
goes to the albumen, and what to the salt, so that I know,
speaking roughly, how much silver it will take to sensitize a
quire of a certain sample of paper.

Thirdly. If photographers knew how much silver each quire
of paper removed from their sensitizing bath, they could easily
ensure uniformity in their solutions which would bo suffi-
cient for all practical purposes ; they do so now, but if some in-
formation were given tliem as to the amount of silver used, it
would bo easier.

Mr. Bovey will observe hero that I have never laid any
stress upon the importance of knowing the strength of salting
solution, &c. I have only said that a little information on this
subject would be useful ; and so I hold it would.

The important part of the matter is yet to come ; what has
gone before has been only preliminary. I hold that it would
be a great advantage to photographers generally if they knew
what intensity of negative would produce the best result with
each sample of paper sent them ; as it is, with every sample of
paper, it has to tie made a matter of experiment. I do not, and
never did. ask for the “ uniformity ’’ which Mr. Bovey wishes
to speak ot ; nor is the sense of my paper such ridiculous non-
sense as Mr. Bovey tries to make out. Hero is the point, in
Mr. Bovey’s own words : Hence the Saxe paper* yields an

image of lesser vigour than can bo secured with the Rive
sample." Now. the information I want is, what must be the
comparative intensities of two negatives, the one to print best
on one paper, and the other on the other paper ? I am per-
fectly aware that there is no standard at present by which
the comparative densities or intensities of negatives can be
compared ; but the adoption of such a standard was the very
point which I ventured to suggest at the North London
meeting. I said it would be a good thing if such a standard
were adopted. If such were the case, the more ditferent kinds
of paper we had the better, so that each might be uniform
with itself, and each having some definite relation to the other.
Yours truly. Nelson K. Uhehrill.

THE LATE SOLAR ECLIPSE.

Sir, — I see a letter in your .Journal from Ur. Vogel, giving
an account of his photographic operations during the eclipse of
the sun at Aden. He states, incidentally, that Dr. Weiss, of
Vienna, first called attention to this eclipse. Dr. Vogel, pro-
bably, saw only the Astronomische Nachrichten ; but Dr. Weiss
was not the first to notice it. A letter of mine to the Secretary
of the Royal Astronomical Society is in the January number of
their Notices, and you will find more information than Dr.
Weiss gives (before his publication) in the number for March of
the Notices. My paper was ready on the 1st February, and I
had communicated both with the Astronomer-Royal and the
Director of the Imperial Observatory at Paris before the reading
of my paper, which was necessarily deferred, owing to the
Annual Meeting of the Astronomical Society in February.

I am happy to say I, too, have six photographs, done by a
Serjeant and two Sappers of the Royal Engineers under my
superintendence, and I have myself examined the spectra, both
of the great horn described by M. Vogel, and of the corona.
The polarization of their light was examined by Captain
BranUII, of the G. T. Survey.

When our photographs were taken (at Guntoor) the height
of that horn was 90,000 English miles, or more ; and my pho-
tographs show clearly its extraordinary structure.

1 trust that you will reclaim the honour of having first drawn
attention to tho most remarkable eclipse in history for an
Englishman. The Astronomer-Royal, and Mr. Stone, Chief
Assistant of tho Royal Observatory, and, probably, any working
Fellow of the Astronomical Society, can confirm all I have
brought forward. — I am, yours faithtully,

J. E. Tennant, Major R.E.,

In Charge Eclipse Expedition of the
Government ot India.

Calcutta. October 16tA, 1868.

• Mr. Bovey !• mistakea when he says use his Saxe paper ; I did not
refer to it.

[It affords us much satisfaction to reclaim for our own
countryman the honour of priority in calling attention to the
late eclipse, the more so that we recently lamented tho absence
of perfect success in oiir photographic operations. This at
least balances honours between the two expeditions. — Ed.]

PHOTOGRAPHER’S RELIEF FUND.

Dear Sir, — I think your correspondent in last week’s
Journal, although very liberal in offering to subscribe one, two,
or more pounds to the proposed Relief Fund, would wish to
make it far too exclusive. It should bo for those who have met
with misfortune, or require assistance, and deserve it ; whether
or not they had carried on the business of a photographer only,
or in conjunction with another, should make but little differ-
ence. The more generally a fund of this sort is distributed tho
more liber.ally will tho world subscribe.

Another of your correspondents suggests a society on tho
same principles as the Odd Fellows. I should like to know
what they are. We have lots of Odd Fellows amongst us, and
it might suit us to do as they do ; but what are their rules and
regulations? — I remain, yours truly,

Southsea, November 16fA, 1868. Gum Gallic Amateur.

[Tho Odd Fellows form a Benefit Society pure and simple,
the relation between relief and payment being carefully calcu-
lated by an actuary. It forms an organization much too com-
plex. wo fear, for the limited number of photographers who
would bo likely to join it, and would require more time and
Labour than any individual or committee could give it at pre-
sent. Besides, those amongst photographers who desire to
belong to a benefit society can, if they choose, join the Odd
Fellows, or similar body, which admits all trades or professions.
So far as we can see, it is to the formation of a Benevolent
Fund that attention should be directed at present. We have
received a few oilers of donations and annual subscriptions in
response to our recent appeal ; but we expect to receive many
more. — Ed.]

PRINTING FORMULA.

Dear Sir, — In an article on “ Our Printing Room,” in lost
week’s News, Mr. Nelson K. Cherrill gives an account of tho
methods he employs in preparing, using, and keeping in order
the nitrate printing bath. This is a matter to which I have
for many years given a very careful attention myself, and on
which I have, in times gone by, written in your valuable paper;
and having arrived at a conclusion differing considerably from
Mr. Cherrill, I beg you to allow mo to lay before your readers
the points of dissidenco, and the reasons therefor.

Mr. Cherrill’s bath is thus prepared : —

Nitrate silver
Nitrate soda
Water
Sugar

... 40 grains
... 20 „

... 1 ounce

... a little.

Now, sir, if there be any one thing on which practical photo-
graphers insist more than any other, it is on knowing what
their materials are. Mr. Cherrill admits this when express-
ing his anxiety to know the strength of his albumen paper ;
but with the bath he uses he would not apply in any way
such knowledge, if he could obtain it. Starting to-day with
(say) 100 ouuccs of this sensitizing bath, you float 20 sheets
of paper, and then add lO grains of silver — in all 200— lo
ieep up the strength. I say, and from practical experience, that
you are now at sea completely as to the strength of your bath ;
any computation as to its strength becomes mere guesswork,
and, as Mr. Cherrill himself says, "the relation between the
character of the negative and the quality of the paper becomes
upset.” Of course it does ; and as you are completely in the
dark as to tho strength of the bath, it requires time and experi-
ments before it can bo set right.

All this I have gone through with extreme care years ago,
and therefore gave up entirely the cause of all this trouble — the
nitrate of soda — and came to a goo<l, honest, uncontaminated
bath of silver of 70 grains to the ounce, and have been freed
from no end of troubles.

I observe certain of our valued friends who write to these
pages seem to vie with one another in a rather “ high falutin ”
stylo ; quote freely from tho poets, some sacred, some profane,
and, generally, indulge in a good deal of imaginary, doubtless

November 20, 1868.]

THE PHOTOGRAPHIC NEWS.

56^

very appropriate, but, as it sometimes strikes me, rather too
far fetched. Now, I should like, without anthing of that kind,
just to show why I abandoned nitrate of soda, and why I found
a good many others did.

First. For the reason given above, that you cannot estimate
correctly the strength of your bath, as the argentoraeter cannot
bo used when other matters are in solution along with the
silver.

Secondly. Becauso the nitrate of soda, being a deliquescent
■alt, in damp weather larger pictures were not sharp ; the ex-
pansion and contraction of a 24 by 19 sheet with nitrate of
soda sometimes amounted to five-eighths of an inch. We
tried putting it out in every conceivable stage of dryness and
dampness without avail ; as the atmosphere changed, so did the
paper.

Thirdly. Because such is the solvent action of nitrate of soda,
a good deal of which is washed off after printing in an un-
altered state, upon the residuary chloride of silver, that it was
found very difficult— almost impossible — to get it to settle
down, and tho loss of silver was very great in this way, as even
when clear, this liquor was, in fact, chloride of silver dissolved
in a solution of nitrate of soda. We found, on abandoning
nitrate of soda, this source of serious loss disappear at once.

Fourthly. 1 abandoned nitrate of soda becauso it was found
to be a complete delusion, and entirely worthless for printing
purposes. No mortal man could select, from their superiority,
prints so done out of a batch, nor could the producer, unless
they were intentionally kept in view.

I had, for a length of time, in order to get at the real truth
of the matter, a great number of prints done each way, and
would try to pick them out when finished ; but it was entirely
guesswork, I feel sure Mr. Cherrill will perceive that I have
no other object in view than the elucidation of truth. Tho
subject is a peculiarly interesting one, and on that ground I
must beg both yourself and Mr. Cherrill to pardon my inter-
ferences. Samuel Fby.

PORTRAITS ON APPROVAL.

Sib, — 1 do not endorse tho two letters, one by Mr. Downes,
the other by Pas-trop, on the subject of taking portraits on
approval. I have adopted tho plan from the first of my going
into the black art, and find it answers perfectly. The public
like it, and it gives greater satisfaction to both parties. I get
very few returned to mo ; but if the first sitting is not preferred,
1 give a second. I find it secures more trade, as the general
public like to know what they are going to got for their money.
My plan is to make a charge, for the first specimen, of 2s. 6d.
(it is paid cheerfully), send the specimen home requesting an
answer if more are required in a week's time. I in general get
the remaining order in a day or two ; if an order for half-a-
dozen, my price for which is 5s.. the remainder are sent home
and the other half-crown paid, and a receipt given. With this
plan I get a very good trade without any advertising or puff of
any description. — Yours, &c., A Counteyman.

3LaIk w tbf ^tubio.

The Photographic Society’s Exhibitiox. — The complete
success of the exhibition of photographs in Conduit Street is
well illustrated by the large number of visitors which have
been present. We learn from tho attendant of the gallery
that not less than five thousand persons have visited the exhi-
bition during the week that it remained open. Two or three
considerations are deducible from this : first, that already
acknowledged, namely, that the exhibition is a very excellent
one, and possesses sufficient interest to secure many visitors ;
next, that there is no decadence in the public interest in photo-
graphy as an art ; and, hence, that the commercial prospects of
photography are not altogether dreary.

Plain Paper Prints from Albuminized Paper. — A
correspondent calls our attention to tho fact that the plan of
printing on the back of albuminized paper is not new, but was
proposed many years ago by Mr. Hughes, who mentions it in
his Manual. Wo did not mention it as a novelty, but as some-
thing old and useful which was not sufliciently generally
known, as was evidenced by the frequent enquiries which
reached us asking for a simple plain paper process. We have

much pleasure in accrediting tho idea to Mr.- Ilughes, whose
prior proposal had escaped our attention.

Brilliant Prists and Albu.minized Paper.— 'Wo' receivetf
from Mr. Bovey, too late for noting in connection with his
letter in our last, three albuminized prints intended to iiyuistrate'
his position that the quality and brilliancy of the print deponed
much upon the printer, independent of the quality of ftiw
paper ; and that with the same p.aper and the same negative,
brilliant or flat prints may be produced at will. Tho three
prints are from a good but somewhat soft 10 by 8 nega-
tive, and are labelled Nos. 1,2, and 3. No. 1 is printed on Saxe
paper, and is somewhat weak and flat ; No. 2 is on Rive paper,
and is vigorous and brilliant ; No. 3 is on tho paper again,
but with a somewhat modified treatment, and is as rich and
brilliant as No. 2 on the Rive paper, and of as rich and wann
tone. Mr. Bovey sends us another letter this week, in which,
referring to Mr. Cherrill’s preference for the acetate bath ex-
pressed last week, he mentions that it has not always proved
certain and trustworthy in Mr. Cherrill’s hands, as some months
ago it failed, and Mr. Bovey’s instructions were adopted to get
rid of the difficulty. The failure of a process throogh accident
or error would scarcely furnish an argument of general applica-
tion, and as a discussion ceases to be instructive when it begins
to hinge on individual experiences and involves anything of
personal considerations, wo think the controversy on albnittiB.-
ized paper had better now terminate.

Sensitiveness of Gum Guiacum to Light. — correspon-
dent says : — “ An alcoholic solution of this gum, spread upon
paper, prints green, and as rapidly as bichromate of potash. If,
after exposure, the picture is placed in a dilute solution of
chloride of gold, it becomes of a brilliant blue, quite equal to
cobalt in colour. I know no v;ay of fixing the picture. Salts
of gold or silver added to tho solution of gum causes a blue
precipitate.”

2D0

Henry Williams, — A charcoal stove will not bo injurious in a
studio if it have a proper chimney. 2. Good transparencies
may be produced either on dry plates with contact printing, or
on wet collodion by camera printing. Our advice as to which
was best to employ would be governed by the querist’s experi-
ence and opportunities. Dry plates, to those skilled in their
manipulation, have the advantage of permitting night work.
The difference in the quality of the results is, as a rule, that
those on dry plates are often most vigorous, and have the
warmest tones ; those on wet plates generally the most delicacy.
3. For producing transparencies on wet collodion, a well-exposed
and not over-intensified negative is best.

H. Dixon. — The glaze on the card you enclose is obtained by the
process which has been termed “ enamelling,” in which a coat-
ing of gelatine is attached to the print by means of a coating of
gelatine, the tine surface being that of tho plate glass upon
which the collodion and gelatine are poured as a step in tho pro-
cess. The method was first described in the Photographic
News about eight years ago by Dr. Liesegang, and general
attention was revived to it in 1864 and 1863, in which years you
will find various communications on the subject in the News. On
pages 447 and 448 of our Eighth Volume (September 16, 1864),
you will find detailed instructions. The print has been returned.

J. H. >1. — For the economical printing of photographic reduc-
tions of maps we do not think you can use any better process
than that of photo-zincography as practised at Southampton,
or the analogous process of photo-lithography. Tho series of
articles minutely describing the operations, by Lieut. Water-
house, which have been given in our present Volume, and an
article in our Year-Book for 1867, by Mr, Butter, give the
fullest practical information on the subject. We do not know
of any one who is practising this process for the public, nor do
we know prices.

A. B. — The simplest mode of forming the double chloride of gold
and sodium, with the two separate salts, is to mix them in
their atomic proportions in a concentrated solution, and then
evaporate to dryness ; in the course of this evaporation all
excess of hydrochloric acid is driven off ; the two chlorides com-
bined as a neutral double salt are left. The atomic weight of
chloride of gold is 303'3, and that of chloride of sodium 58'5.

Londonstone. — If you prefer a studio with sloping front- light,
that designed in your rough sketch seems to be a very good one ;
but our own predilections are in favour of the ordinary oblong
ridge-roof with north aspect. 2. The No. 4D is not suitable
for card pictures.

A Youth of Fifteen. — Your failure may proceed from a variety

564

THE PHOTOGRAPHIC NEWS.

[Novembbb 20, 1868.

of oausea, of which wo may suggest some. The appearance of
the card numbered 2 suggests under-exposure. It may be that
you simply give too little exposure of the deteriorated light of
winter ; it may b^that your bath Isgetting e.xhausted and weak ;
or it may be that your collodion is old and insensitive. If you
have not considerably increased your exposures since summer,
do so at once ; if your bath has been much used, try a new one ;
if your collodion is old, try a new sample. In any case, much
longer exposure in the camera would have improved No. 2 ;
under-exposure begets the tendency to push development, and
that induces fog, as it has probably done in your case, which
may account for the fog manifestly present in the negative of
No. 2. Try again, and let us know the result.

E. Juba. — For ordinary dry-plate work it is not well to use salts
of cadmium entirely in preparing the collodion, unless you are
going to keep the collodion some time, as when the collodion so
prepared is used new it is apt to be glutinous. In order to pre-
pare any commercial sample of collodion for dry-plate work, the
addition of an extra proportion of bromide to the iodizer will
generally answer well. Take the collodion you mention, and
add to the proportion of iodizer necessary for each ounce of
coliodion about IJ grain of iodide of cadmium. The papers
have been forwarded. We have heard of balsam of tolu having
been used as a preservative, but we do not remember details.

T. W. J. — Wo are not personally familiar with Gray's solution,
but presume, from the statement of our correspondent, that it
is known amongst house painters. We have used nothing our-
.selves for cleaning varnished plates which has answered better
than a hot, strong solution of common washing soda, which
quickly removes the film, after which, friction with woollen cloth
and dilute nitric acid is employed ; but at best such plates are
uncertain. 2. For a strong developer of the double sulphate of
iron and ammonia use 50 grains of the salt in an ounce of water
and 30 minims of acetic acid. 3. We have no personal know-
ledge of the lens in question ; it is, we believe, pretty good,
but not equal to those of the best English makers.

C. T. N. — The annual subscription to the North London Society
is lOs 6d. That amount paid now will entitle you to the pre-
sentation prints for the current year, to which we recently re-
ferred. The year terminated in March.

J. T. — There are two carbon processes by which half-tone can
be produced — Swan’s and Pouncey’s — but both are patented,
and the details of the latter are kept secret as well. The sensi-
tive agent in the latter is bitumen, in the former bichromate of
potash and gelatine. There is no other carbon process of a prac-
tical character, that we know of, by which half-tone can be pro-
duced. Fargier’s process will render half-tone, but it is scarcely
practicable on a commercial scale. For subjects without half-
tone there are processes available. Let us know what you re-
quire, and we can possibly help you.

Gulielmus. — You have not sutticientlycarefully noted the instruc-
tions to which you refer, in which it is stated that 15 grains of
carbonate of soda are to be dissolved in water, and part of this
added to a bath. When you add carbonate of soda to a solution
of nitrate of silver, of cour.se it will effervesce, and will gradu-
ally precipitate the whole of the silver ns c.arbonate of silver,
leaving nitrate of soda in solution. The yellow precipitate you
describe is carbonate of silver. It will gradually redissolve on
adding nitric acid ; but you will have irrevocably a large amount
of nitrate of soda in your bath. In future, when you attempt to
neutralize a bath, remember that a very few grains of carbonate
of soda can bo required. Make a 10-grain solution of the car-
bonate, and add a few drops at a time ; then shake the bottle con-
taining the nitrate solution, and, if it remain clear, add a little
more. Cease adding the soda solution as soon as the nitrate
solution shows a permanent turbidity, for then all acid is neutral-
ized, and a slight precipitation has commenced. It is quite pos-
sible to proceed systematically to rectify a bath and secure
certainty of perfect conditions, but you must follow instructions
minutely, and not add, at random, 3 drachms of carbonate of
soda, when instructions say take part of 15 grains.

James Maycock. — The chief source of crapiness in the film is
water in the collodion, too early immersion in the bath, and some-
times dampness from breathing on the plate, or other causes.
There is at this season of the year a common risk of immersing
the film too soon, as the evaporation of the ether is much less
rapid. 2. Sometimes we have known fog arise from excess of
alcohol in the developer ; but in the circumstances you describe
it is probable that the change from gelatino-developer required
other changes to prevent fog, as gelatine is a powerful restrain-
ing agent. We shall be glad to see the examples you mention.
We only know the correspondent you mention by the initials
given. It is not necessary that correspondents seeking aid
should give their full name.

G. R. Gill. — We will insert your letter in our next. Try float-
ing the paper for a shorter time, so as to leave a little of the salt
in the paper unconverted into silver salt; or add a trace of
chloride of sodium to the developer.

Ignoramus, — Mr. Carey Lea’s formula for a solution for cleaning
the hands is bichromate of potash 1 part, hydrochloric acid
2 parts, and water 20 parts, and not, as you state it, water
20 ounces. It is clear that when the word parts is used you may
make up the preparation in any quantity you like. If you take
ounces, you will nave 1 ounce of the first, 2 ounces of the second,
and 20 ounces of the third. If this quantity, which gives ^ou
upwards of a pint, bn too much, you can take drachms, which
will give you nearly 3 ounces. 2. There is no difference between
liquid and solid weight, if parts by weight are stated. The rela-
tion between weight and measure in dealing with chemicals may
be stated as follows : — X grain in weight is equivalent to a
minim by measure ; hence a drachm contains 60 grains of a solid
or 60 minims of a liquid. An ounce of a solid contains 480 grains,
and an ounce of a liquid contains 480 minims.

W. Herbert. — The photograph has some good qualities. It is a
little too red in tone, and the vignette is a little too formal.
OiONiENSis. — For landscapes solely, nothing can bo_ better
than the lens you mark A. Mr. England used for his views
in the Tyrol a large variety of lenses, generally travelling with
about twenty different lenses, in order to use precisely the length
of focus and character of instrument which each subject requires.
He uses those chiefly of the first maker you name. We hope he
will be induced to record the facts you refer to. 2. Your sugges-
tion as to the cause of the bitterness to which you refer is doubt-
less correct. The only “clique” we know of consists of
three or four disaiipointed persons, the diyecta membra of estab-
lished journals and societies. Thanks for your kind expressions.
The Year-Book will be ready by the end of the year. We are
obliged to defer it until then in order to secure all information
necessary for such an annual.

Thomas Stothard. — From the general description of your plan
of mounting, we do not see any reason for imperfection in the
result, if the manipulation be performed neatly. We will, how-
ever, consider your letter carefully, and possibly comment upon
it in a future number. 2. You cannot have a good card lens
with which a distance of only ten feet would be necessary between
lens and sitter ; the focus must, in such case, be necessarily too
short to do justice to a standing figure. The stereoscopic lens
of No. 1 will be as near as any we know.

One of the Eight, referring to a letter on the Photographers’
Relief Fund by Mr. Matthews (in which he pointed out that in
the town from' which he wrote a iarge number of photographers
also practised other professions), charges Mr. Matthews with
injuring the profession by low prices. It must be seen at once
that questions concerning individuals cannot be discussed in our
pages. The broad question of what class of persons should bo
relieved may be discussed incur pages, but not what individuals.
The question of low prices may be discussed and condemned, but
not the individuals who charge low prices.

E. Hassell.— Mr. Trubner, of Paternoster Row, is the London
agent for the “ Silver Sunbeam.’’

G. Robert Fitt.— The splitting of the film in collodio-chlorido
wo have generally found due to the use of a too horny and con-
tractile collodion, and the same cause tends to the production
of irregular and patchy toning, the aqueous solutions not
readily permeating the repellent film. Keeping for some time,
with excess of free nitrate, has a tendency to produce the con-
ditions which cause the film to split. The sulphocyanide tints
are. pleasant. The lighting relieved by reflecting screens is very
effective. Thanks.

W. J, A. G. — Mr. England this year chiefly used the wet process,
because he did not find the dry process work to his satisfaction
when the plates were prepared by an assistant. The card you
enclose is very good indeed. Y ou will be fortunate in obtaining
an introduction to and information from the amateur you name ;
he is a very courteous gentleman, and one of the ablest photo-
graphers we know. If you will send us an addressed envelope
we have a communication for you respecting your Liverpooi
plates.

T. Gulliver— Many thanks. Wo will write shortly.

II. K ELS ALL. — Many thanks.

A. W. IIosMER. — We duly received your offer. Thanks.

W. II Pullen. — Received. Thanks.

Several Correspondents in our next.

^(otograpgs Kegistrrrh.

Mr. T.Kiekbt, Trenthsm.

Two Photop-aphs of Mr. Q. Peake.

Mr. D. Phillips, Aberdare.

Photograph of Right Uon. U. A. Bruce, M.P.
Mr. Thos. Millbe, Wellingboro’,

Photograph of Right Uon. Q. W. Hunt.

THE PHOT0HRJ?PmC NEWS.

Voi. XIL 27, 1868.

CONTENTS.

PAOR

rogginf- of Developed PrinU.— New Remedy 505

Amntcul Criticism ;• V’*’V»"

Poslnp, Phrenologically and Psychologically Considered. By

Rapid DeTelopment Printing Process. ByJ. W. ^^aterhousc 668

Experiments, Intentional and Otherwise. By Ed. heeley oj*®

Photography i= Upper Kgypt. By Dr. Vogel »09

Pictorial Kflect in Photography. By II. P. Robinson...... o70

On a New Series of Chemical Reactions Produced.by Light. My
John Tyndall, LL.D. F.R.S., ole oil

PAQE

Micro-photography. By M. Jules Girard 572

On the Formation of Peroxide of Silver by Ozone. By M. F.

tVoehler 572

Correspondence — Photographers’ Relief Fuml — Amateur Criti-
cism— Projiortion of Salt in Albuminized Pajier — Paper
turning Brown on Development— Mr. Bovey’s Slethod of

Toning— Portraits upon Graves— Printing Formula: 572

Talk in the Studio 575

To Correspondents 578

FOGGING OF DEVELOPED PPvINTS.— NEW
P.EMEDY.

We have recently been enjtaofed in some experiments for
the prevention of fo}z> or the "eneral browning of the
paper during the process of jirinting by development, and,
so far as we can at present judge, the remedy we ])ropose
promises the highest success. 'I’he fogging of paper
jirints during development is by no means uncommon.
On another page we print a letter whicli describes this
dilliculty in a form not unfrequent, we believe, with begin-
ners in this mode of ])rinting ; the example accompanying
the letter being one of a class which often reaches us, with
anxious enquiries for a remedy. The print, instead of
possessing pure lights and deep shadows of brown or
black, pos-sesscs dull-grey whites and weak-brown shades,
whilst by transmitted light the whole presents a mottled-
browi effect. The silver salt, in short, instead of being
reduced in the exact ratio of the action of light in forming
the image, is reduced in some «legree throughout the whole
of the paper, and a dirty, foggy, imperfoet picture is the
residt.

Ilefore proceeding to .speak of our experiments, we men-
tion two or three of the most common causes to which this
defect may be referred. One of the most frequent is the
action of diffused light. It is ditlicult to bring the novice
who has been accustomed to the ordinary jirocess of print-
ing fully out, in which the action on the jiaper of a feeble
light is not regarded, to believe that in ])rinting by deve-
lopment, light should be as carefully excluded from the
])repared paper as from an excited collodion plate. And
hence a little white light being permitted to reach the paper
at some stage of the ojierations, degraded whites or general
reduetion is the re.snlt. It is probable that the corre-
sjiondeiit to whose letter we have referred, who is an I’xiie-
rienced and Ingenious photogi'apher, wouhl scarcely neglect
])roj)cr j)recautions in this respect, and, indeed, an example
of good results, obtained by the same formula as the failure,
suggests that no white light had been permitted to enter
the dark room in its ])rodnction.

lUit there are two or three causes to which the defect in
question may be due. In the first jilace, the formula
employed, whilst it is one which will cloubtless give great
sensitiveness, is one which will also very readily give fog
the moment any of the conditions necessary to success
cease to be present in the precise form. His paper is
prepared with a salting solution containing about 17 grains
of iodide of pota-ssium, and under 6 grains of bromide of
pota.ssium in an ounce of water, and excited on a (lO-grain
nitrate bath. There is no .acid in either the salting or
exciting bath, tlonqtare this with a formula recently
given in our p.ages, described as giving very rapid and
excellent results. In the latter formula we find the salting

bath contained about grains of iodide of potassium and
18 grains of chloride of potassium, together with 7 or 8
drojjs of lemon-juice and ‘J grains of tapioca, in an ounce
of water ; whilst the silver liath, which is a little weaker
than our corresjiondent’s, also contains about grains of
citric acid to e.ach ounce. In the latter formula everything
tends to lessen the chances of fog or abnormal reduction —
the decreased quantity of iodide, the large proportion of
chloride, and the free use of citric acid. The conqiarison
of the two formula) will bo so suggestive to all working in
this direction th.at we need not enter into lengthened
comment on the matter.

Another cause of this fog, or abnorm.al reduction, arises
from the paper being kept after it is excited. It is always
desirable that jiaper should be exposed and developed as
soon after exciting as possible. Most printers are fami-
liar with the fact that in any kind of excited p.aper which
is long kept there is a tendency to decomposition in the
compound formed between silver and the size of the jiaper,
and if this decomposition be only incipient, it will inevi-
tably be completed in the proce.ss of development.

Another cause of discoloured lights, and a general dirty
yellow, mottled effect being produced throughout the print,
is inqjerfect fixation. Either from carelessness, or with a
view to improve the tone, some jiliotographers place the
developed jirint in the hypo at once, either with very little
washing, or none at all. If the hypo bo weak or old, the
papoi-, saturated with nitrate of silver .and gallic acid, causes
a decomposition in the hypo, which sulphurizes the print,
or, worse still, leaves it with undissolved hyposuliihite of
silver in the body of the paper, which, decomposing, pro-
duces the dirty yellow, mottled effect familiar to some who
have failed in cnl.arging by development jirinting.

The remedy for some of the defects we have mentioned
is obvious enough : it is simply to avoid the e.auses we have
iiubcated as operative in producing the defects. There is
a remedy for the fog caused by neutral and excessively
sensitive conditions, which, in relation to development
ju'inting, has never, we believe, been suggested, but which,
from recent experiments, we have re.ason to think will be
very effectual, and will especially meet the case of the
correspondent whose letter appears on another page. His
especial dilliculty is that the same conditions which at times
give him perfect ])rints, at other times — without, so far as
he knows, any change in causes — yield only fogged prints.
We have repe.ated the experiment, and have been able to
produce .at will, without any ch.ange in the materials used,
either clean jirints, or j)rints utterly fogged, and havetraeed
the cause .and remedy.

The cleanne.ss or fogging depends on the jiresenee or
absence of an unconverted haloid salt in the paper. If the
paper be lloatcd suHiciently long on the silver bath to con-
vert the whole of the iodide or bromide uito silver sidts, the

566

THS PHOTOGKAPEnC NEWS.

I November 27, 1868.

tendency will be towards fog ; and where excess of iodide
and little bromide or chloricle is used, the complete conver-
sion is much the most readily effected. If the floating be
short, and especially if a full proportion of bromide be pre-
sent, a portion of it is not converted into a silver salt, and
its presence during development oj)erates as a powerful
preventive of fog in the print.

AVe have tried adding a trace of bromide or chloride to
the gallic acid used for development, and find it a most
effectual preventive of fog ; but if used in excess, it will
very seriously retard development, and will also tend to
the production of a print wanting in force and richness.
It must be used, therefore, with great caution. Our
experiments have not been sufliciently c.xtensivc to enable
us to decide on the best formula or jiroportions ; but that
is a matter which will be easily decided by the experi-
mentali.st himself, the more so that the exact proportion
required will doubtless vary with circum.stances. Let it
be under.stood here that the novelty of the remedy consists
in the apjilication to development printing on paper of a
principle already found of value in (Iry-plate photography,
and first suggested in regard to dry plates, if we remember
aright, by the late Mr. (Jlover. The presence of a free
bromide in securing immunity from fog in dry ])lates is
undoubted ; and our experiments suggest an equal advan-
tage in its i>resence, or that of a chloride, during develop-
ment of paper prints.

AMATEUR CRITICISM.

The letter of a correspondent on anotUer page, protesting
against “ amateur and anonymous criticism,” suggests the
necessity of a few brief remarks on the subject generally.
Criticism of pictures affects and interests in relative degrees
three classes of pereons : the exhibitors, whom it may gratify
or displease, and, possibly, instruct; that portion of the public
who, having the opportunity of seeing the picturescriticised,
arc led to examine, compare, and exercise their judgment,
and who, whether they endorse or condemn the criticism,
and whether the}’’ are in.structed or not by the remarks in
the criticism, are benefited by the exercise of the analytical
faculty induced ; and the general readers, who, having no
opportunity of examining the pictures criticised, neverthe-
less have two sources of interest in the subject ; first, in the
information they derive as to the character and degree ot
the progress which is going on in the photographic world
at large, with which they have little opportunity of coming
into direct contact ; and, second, the instruction they derive
from a description of faults to be avoided, or of beauties to
be aimed at.

It is desirable that each of these classes should be con-
sidered in a criticism, and, if possible, satisfied; but it may
bo affirmed — and the statement should not be regarded as
disrespectful or offensive — that the first class mentioned
should be the last aud least considered by the critic. It is
the second and third cla.ss, comprising the public at large,
for whom a criticism should be especially written. It is
desirable foi each that the criticism should be discriminating
and able ; it is imperative for all that it should be honest.
All criticism must, it is scarcely nccessaiy to observe, be but
the exprc.ssion of an individual opinion, and must, therefore,
necessarily derive part of its value from the authority which
attaches to the judgment and honesty of the writer. If it
bear a well-known and trusted name, ot if it have the edi-
torial sanction of a journal of repute, it posse.s.ses more
weight, and its instruction is of more value, than can
possibly attach to the dictum of an anonymous writer, or
that ot a journal of no character.

But in a certain sense, and in some degree, all criticism,
anonymousorothenvi.se, written with a fair degree of ability,
and not absolutely tedious or intolerably ignorant, po-ssesses
its value, especially to the last and largest of the classes we
have named. To them, without the me.ans of testing the
precise accuracy of the writer’s judgment by an examination

of the pictures commented on, the discussion of qualities in
pictures possesses the value of iterated instruction. If the
writer attach value to artistic qualities — his criticism dwell-
ing, as he passes picture after picture under review, on
various forms ot pictorial beauty, praising this for its perfect
compos’tion, that for its expression, another for the rare
feeling of space and atmosphere, and a fourth for the massive
grandeur of its light and shade ; or blaming others for
awkward lines, spottiness, hardness, andwantof transparency,
or general feebleness — the mere reading of his criticism,
if it be written with any ability, is instructive, as it im-
presses the student with an increased interest in qualities to
be sought, and defects to be avoided. If the critic have a
technical mind he will dwell on definition, cleanness, fine
tone.s, pure lights, &c., as virtues ; or on slovenliness, fog,
stains, bad definition, distortion, &c., as abominations.
This in its degree may be instructive ; and in all this the
instruction will be in some measure irrespective of the
precise aptness of the writer’s judgment, or the exactitude
of the relation of his remarks to pictures which the reader
cannot see or compare.

In thus examining the function of criticism, let us refer
to the letter of the correspondent above mentioned, who pro-
tests against ” amateur aud anonymous criticism and in
doing this we must again digress a moment to refer to the
varied degrees of editorial responsibility in relation to com-
munications which appear in a journal. This responsibility
possesses three degrees. For editorial articles the conductor
of a journal is absolutely responsible; whether he is dealing
with facts or principles, theory or practice, he is solely
answerable for the good faith and capacity involved in such
articles. For the character of articles bearing the name of
the writer he is responsible in a less degree, the facts and
arguments resting generally on the authority of the con-
tributor, the editor being chiefly concerned to avoid the
appearance of violations of known facts, and of unimportant
or offensive matter. For a third class of contributions,
which at times forms a feature of considerable interest in
photographic journals, the editor is still less responsible:
we refer to letters addressed to the editor, which appear
under the general head of “correspondence.” For the facts,
opinions, or ability embodied in such letters the editor is
avowedly not responsible, lie is simply concerned to see
that they are not unfair, that they do not violate good taste,
and, if they contain statements of fact affecting injuriously
the interests or feelings of individuals, that they should be
substantiated by the name of the writer.

Having briefly stated these conditions, wo return to the
letter of “ Lu.x in Tenebras.” In reply to his suggestion of
a doubt as to the propriety of giving insertion to the amateur
criticism of an anonymous correspondent, we might briefly
answer that we did so because we believed it would be inter-
esting to a large number of our readers ; but it is worth
while to make n few further remarks. Besides the interest
of comments on pictures illustrating progress from a different
and, possibly, opposite point of view to our own, wo should
state that the gentleman who chooses to be known to
photographers as “ Lu.x Graphicus ” possesses in many re-
spects eminent qualifications for presenting an interesting
sketch of such an exhibition. He is an old photographer,
and a still older art-student, as well as a shrewd observer,
possessing facile and graceful expression; and we know that
his letters are read with interest, and in most points we
cordially coincide with his views. That we need not do so
in all we have already shown, and we may at once frankly
admit that in somcof the points towhich “Lux in Tenebras”
refers our judgment is distinctly opposed to that of “Lux
Graphicus.”

In the first case cited, that of a group by Messrs. Robinson
and Cherrill. mentioned by the latter correspondent os “ too
suggestive of scissors and paste,” it appears to us that a
knowledge that such a picture must of necessity have been
produced by combination printing has unconsciously sug-
gested the criticism, for it strikes us as in all respects

THE PHOTOGRAPIIIO NEWS.

567

Notember 27, 1868.]

singularly free, in its art qualities, from the most distant
suggestion of such a mode of production, and as being in
reality one of the noblest works of its class we have seen.
The landscape background is a perfect picture in itself,
full of light, space, and atmosphere. Three fine children,
and manifestly charming portraits, admirably grouped,
and composing most harmoniously with the landscape,
occupy the foreground, and complete a picture full of life
and interest. We see not only no mechanical joins, but no
suggestion of piecemeal work ; and a pervading sense of
unity and harmony, which indicates that the artist conceived
the work in its wholeness, mechanical exigencies being
entirely subservient to the conception.

We might in like manner take exception to the sweeping
remarks on Mr. Fry’s pictuies, in which, as our correspon-
dent suggests, the temptation to make a joke perhaps gave
rise to exaggeration. Mr. Fry's contribution contained
pictures of varied qualities, some illustrating the extreniest
contrasts, others the greatest softness possible without dingi-
ness. It is probable that these gradations in style were
specifically intended as experimental effects, something in
the fashion in which the Laureate some time ago gave
the literary world his experiments, in the Cornhill Maga-
tine, in varied metres.

The remarks of "‘Lux Graphicus ” on Mr. Blanchard’s
pictures, to which our protesting correspondent takes some
exception, we, on the contrary, thoroughly endorse ; no-
thing could well be liner than the majority of his con-
tributions.

As to the question on the amount of retouching on M.
Salomon’s pictures, it is not worth while to revive the
discussion. That some of them have a good deal of retouch-
ing no one, we believe, denies ; and it is not worth while to
dispute about the term “ elaborate.” That the finest of
them are not retouched in any degree worth mentioning,
if at all, all who have had the best means of enquiry and
examination are thoroughly satisfied.

That difi'erent opinions must prevail on all questions of
art criticism, even as to perception of matters of f.ict, is a
manifest necessity, for it should always bo remembered that
“ the eye only sees that it brings with it the power to see.”

FUSING, PHBENOLOGICALLY AND PSYCHO-
LOGICALLY CONSIDEJIED.

BY JOHX BE.VTTIE.

Tins paper may, at fiist sight, seem somewhat out of place
in the Photooeaphic News, and my way of treating it
faulty, yet I think the subject worthy of a little thought.

Whatever theory of mind we adopt, whether that of special
creation, that of evolution, or development, tliis much is
true — there is, and must be, more than the mere momenta or
assumed forces bound up in the molecules forming the first
principles of organic life. In spite of the brilliant lalent
now employed, and, to a great extent, successfully so, to
prove that in matter there slumber forces adequate to the
production of the higher organisms, and, therefore, of man,
to the incisive mind the reasoning employed seems incon-
clusive. I say it matters not whether the completed organ-
ism is the educt from, or product of, a germ. We cannot
conceive of a part being the effect of a pre-existing part, and
that in its turn the cause of other parts, the completed pro-
duct being man. We cannot conceive, I say, such a result
possible from all the apparently subtle and combined phe-
nomena of matter ; nor is it necc.ssary to go out of the
organism for the formative force, for that would be what
Mr. Lewis would call a theological idea. Philosophers have
a great objection to a creative intelligence. There seems
to me to be clearly set forth this principle, that the active
forces revealed to us, and called physical forces, are the
result of disturbance in subtle substances that defy all
analysis ; when they are at rest, we have no intimation of
their exbtence ; yet these are subject to, and pliant in, the

hands of a higher force, which I call spiritual; they are not
transmutable, the one substance active, the other passive ;
the one moral, the other material ; one conscious, the other
unconscious.

The spiritual organic being, therefore, that permeates and
circulates through every part of the physical organism is the
conscious man. And as the spiritual organism unfolds
itself, whether by evolution or otherwise, so doe.s the phy-
sical organism. There will not be one secret or sleeping
force in the spiritual germ that will not awake and clothe
itself in material covering in form and arrangement exactly
in harmony with all the tendencies of the inner and
conscious being. That this is so, all who care to think will
admit ; it is but the formative law in action. Base affections
are always clothed with vicious forms : see the principles
in the various animals. Here I must refrain from details.

The complicated phenomena of perception clearly proves
that all appearances are but the outgrowth of mind. Wo
have nearly all physical eyes, but to what a limited extent
do most of us see! It was said, “ He that hath ears to ear,
let him ear and it might likewise have been said. He that
hath eyes to see, let him see. How difficult it is to sec the
immense depth of this philosophy! To sec into things is
the function of the spiritual eye ; to see that external forms
are outbirths of internal qualities or affections ; to see that
the whole outward anatomy or mechanism of man is a per-
fect index to the true or spiritual man ; to see that not
only are the sum total of exquisite mouldings in the human
face, but the whole osseous and muscular structure of the
body, indicative of character, from the strong to the weak,
from the intelligent to the imbecile, and fiom the pure to
the sensual and base. In a word, before we can give
character in portraiture, wo must underetand those fine ap-
pearances upon which such character depends. All this will
depend upon our f aculty of seeing ; and our faculty for seeing
depends upon our true spiritual idiosyncracy.

There can be seen so much of the artist in every work he
produces. For instance, one artist may have a keen percep-
tion of colour and beauty of form, but a feebler perception
of moral and religious beauty; another may have both.
Portraits of some ot our eminent men by such artists would
differ much. 'Jake, for instance, Mr. Bright, with his bril-
liant intellect, his lofty moral nature, and his impetuous
emotions. The former artist would look at his fine physique,
place him with the chin prominent, exhibiting the heavy
jaw, and, to some extent, the fish-shaped mouth, with a
long, though sensitive top lip, and, throwing back the
splendid intellectual part, giving secondary effect to the keen
eye, thus bringing out in the portrait, with undue promi-
nence, the lowest qualities of his nature. The latter of the
two would study the head carefully, and so place it that
the lower parts of this face, representing the emotional part
of his nature, should be in due abeyance, and the parts re-
presenting the noblest part of the man brought most for-
ward ; thus not only a likeness, but a portrait in the
highest sense, would be the result.

To illustrate my idea further, I could send you, from my
own city, portraits of men who, if you once met, you would
see by their fine, symmetrical heads and faces, that they
were men of many and noble parts. But look at their pho-
tographs . True, you will know them, not because they arc
portraits, for were you to judge of the man by the picture,
every fine point is so ignorantly concealed by the pose of
the head that you would surely take the photographer for
a fool.

I fear I am going to ask you for too much space, but 1
must have a few words more upon the pose of the figure from
the same standpoint.

How often do we see the limbs of a male figure like props
to keep the figure up, instead of parts under the control of
a graceful mind ! Again, in the lady figure tliere are parts,
when badly draped, and unduly prominent, indicate gross
vulgarity of taste on the part of the artist. Suppose a lady
with the strongest balance of face under the eyes, the upper

568

THE PHOTOGRAPHIC NEWS. [November 27, 1868.

lip long, the nose somewhat of a pug, luxurious hair, with
rather a good figure, richly attired in wedding costume,
placed as I saw one the other day, sitting with full front
face, head well back, the stomacher all exposed, one arm on
a table, the other thrown away on the skirt of the dress, the
face saying — Now look at me !— the effect to the cultured
eye one so common-place that you could only conceive it to
be the work of a “ commercial,” and not an artistic, photo-
grapher.

I must refrain from further illustrations, and si mply say,
that as photographic portraiture has passed through all the
lower phases of development, its professors must, to succeed,
be men versed in all the relations mind holds to matter and
form ; they must see clearly that form is a product of mind,
and not the converse, and thus be able to give prominence to
all the fine points of form and figure, the result being, in all
cases, true portraits, in both a mental and physical sense.
Look at the sublime ruggedness of Carlisle’s head, the
picturesqueness of Longfellow’s and Tennyson’s, the fine
symmetry of Slill’s, the angularity of Gladstone’s. In all
cases the soul and form are harmonious.

RAPID DEVELOPMENT PRINTING PROCESS.
USUD POK Multiplyinq Maps in tub Belgian W.ar Office.

nr J. W. WATERHOUSE.

I SEE a query, in this week’s News, from a corespondent,
J. II. M., who asks for an economical method of printing
photographic reductions of maps. He may possibly find the
following process more convenient to practise than photo-
lithography, while it is much more economical than the
ordinary silver printing processes, and has the advantage
of being worked with great rapidity. It is extensively used
in the Belgian War Office, and answers the purpose exceed-
ingly well, the prinks produced being very clean, and of a
good black colour. The details are as follows: —

Thin Stoinbach Saxe paper is salted by floating it for one
minute on a solution composed of^ —

Chloride of ammonium ... ... 2 parts

Citrate of soda ... ... ... 2 ,,

Water ... ... ... ... 100 „

Sufficient citric acid should be added to make the solution
just acid. The paper is then dried, and may be kept for
use.

To sensitize it, float for three minutes on a bath contain-
ing four or five per cent, of nitrate of silver rendered acid
with citric acid. This operation and the drying must be
performed in a perfectly non-actinic light, as the paper is
very sensitive.

The exposure under the negative varies from a few
seconds to one or two minutes, according to circumstances.

When the prints are ready, thej' are developed as
follows : —

Prepare stock solutions of —

A. — Acetate of lead ... ... ... 1 part

Water ... ... ... ... 100 parts

B. — Gallic acid 1 part

Alcohol ... ... ... ... 8 parts

To 4,000 parts of water, 50 parts of solution A and

8 parts of solution B are added (if the weaather is warm,
or the prints have been over-exposed, a little acetic acid
may be added with advantage), and the mixture is filtered
into a large dish. The prints are immersed one by one, and
constantly moved about, to ensure the even action of the
solution. The detail gradually strenghtens, and, after about
a quarter of an hour, appears of a good black colour. They
are then removed to a bath of hyposulphite of soda at 30 per
cent., and remain in it with constant movement for ten
minutes or a quarter of an hour, and are then well washed
with several changes of water. No toning is necessary, but,
if required, the prints can be toned in the ordinary way ;

but in that case they must be well washed after removed
from the gallic acid bath.

I may also draw your correspondent’s attention to two
other processes which give very good results, and are, at the
same time, economical and rapid, with the extra advantage
of producing permanent prints.

The first of these is the original carbon process of adding
some Indian ink or other fine black pigment to a mixture of
bichromate of potash and gelatine, and coating paper with
it. After exposure to light, the prints are washed in tepid
water till the unaltered gelatine is removed. This process
is very simple, and gives very good results for copies of
maps or line work.

The second is somewhat similar, and consists in coating
thick Baxe or Rive paper with the mixture of gelatine and
bichromate of potash recommended for photozincography,
exposing to light in the same way ; but, instead of inking
with soft transfer ink, the prints are inked, after exposure,
with hard printer's ink, to which a small quantity of dryers
may be added. The prints are then washed with warm water
in the same way as photozincographic transfers, and dried.
The advantage of the last method is, that the progress of
printing can be seen, which is not the case in the first pro-
cess, though, with a little experience, the duration of the ex-
posure is readily guessed. It is, however, chiefly applicable
in cases where the small number of prints required will not
justify the extra trouble of transferring to stone oi zinc.
When successful, the prints are very clean, and infinitely
sharper than photolithographs. I have also seen some very
passable prints in half-tones produced by this process on
rough drawing-paper.

40, Hamilton Teirace, N.W., November 21 sf, 18G8.

EXPERIMEN’l’S, INTENTIONAL AND OTHERWISE.

IIY ED. SEELEY.

Permanganate in the Bath Precipitating Iodide.
When permanganate of potash is used to clear a silver bath
of organic matter, it appears to precipitate the iodide as
well. Perhaps it would do so perfectly if excess were used.

“Another Guy”!

I have used both glycerine and treacle to preserve nega-
tives in a moist condition. With glycerine there is a
tendency to slight fog, but none at all with treacle. Once,
when at work in the dark-room, I was startled by a loud
explosion, and found a bottle had been blown to minute
pieces. To my astonishment, I found it was one I had used
a week or ten days previously for dilute golden syrup (about
two-thirds water). The bottle had been left nearly half
full, and, I suppo.se, fermented. It might have been awk-
ward. “ From my example warning take ”!

Sun-Printing in the Shade.

As sunshine is rather scarce now, a plan which will enable
unlucky photographers who have harsh negatives to get
the same softness in the shade as they could in the sun may
be to some extent useful. It is very simple, consisting
only in placing next the paper a pad of cloth, dried more
or less according to the degree of softness required. My
attention was drawn to it some time since by finding some
very flat, poor prints among a batch otherwise very satis-
factory. This continued for a few days. Naturally, as Mr.
Bovey says, I blamed the paper, for I knew (not guessed)
that the chemicals were right. But careful observation
showed that good and bad prints were sometimes produced
fro7n the same sheet. Bo the paper was out of the question.

I then found that the printers, finding some of the cloth
pads u.sed in printing were damp (after wet weather), had
dried them. Bo we put out several pictures with pads dried
in different degrees. They came in softened in correspond-
ing ratio. One was brought in with this remark, “ Please,
sir, this won’t go any darker; it hasn’t gone on at all the
last hour or so !” In this case both paper and pail had been
put in quite dry and warm. The lights were printed through.

K November 27, 18G8.]

THE PHOTOGRAPHIC NEWS.

569

while the deepest shades were hardly more than middle
tints, and the whole horridly mealy.

For still further proof a picture was printed with a dried
pad behind one half, and an ordinary one behind the other.
The proof was complete !

Though this plan may with care be sometimes useful in
reducing passable prints from negatives otherwise too
arsh, it must be remembered that uot only is it very easy
to spoil them quite, but that, at the best, the softness is of
the character of mealiness to some extent. So, when circum-
stances admit of a better plan, do not use this. It is uot,
however, to recommend its use that I mention this, but
because I think it explains a frequent cause of failure.

Many writers advise drying the paper thoroughly ; and in
dry weather the pads will also get rather dry ; then the
printing is bad, and both paper and toning bath are blamed,
when perhaps neither are in fault.

Possibly it may help to throw light on other subjects, as :
the difference in the time required in printing on paper, and
with collodio-chloride on glass ; and also why organic
matter is necessary with collodio-chloride and with negative
dry processes.

Since making the above experiments, the subject has been
slightly referred to in the News as a cause of failure.

Foo V. Mi.sx.

Some time since nitrate of baryta was recommended as an
occasional cure for foggy baths. I tried it with an old one,
at first with apparently little advantage ; so, as excess was
said to do no harm beyond increasing density, I gave it a
good dose. “A perfect cure,” I tliought, while the negative
was under the iron ; but when I looked through it the density
was unmistakable ; it was all like ground glass ; and when
the film was removed, a white ghost of the picture remained
on the glass! A little reflection explained it. A mixture
of nit. baryta and sulph. iron instantly gives sulph. baryta.

So much for taking advice without thinking !

PHOTOGRAPHY IN UPPER EGYPT.

BY Dtt. VOGEL.

We are now arrived at Deuderah, fifty miles from Cairo, the
second station on our photographic journey. The roof of
the temple of Hathor is our lodging, the quarter for night
being established in a chamber without roof — I could almost
say without walls. The temple beneath is a horrible chaos,
once a wonderful piece of work covered with sculpture,
paintings, and gold. It is now destroyed by the tooth of
time, half-buried by dust, offering a shelter to masses of
flittermice, extinguishing with their wings the candle of the
harmless traveller, grazing his face, and infecting the vaults
by their stench. Every now and then a lizard is gliding
along the blackened walls, uttering, in the evening hours, a
peculiar smacking noise, and called, therefore, the Egyptian
nightingale. For variety’s sake, a scorpion joins them, and
we cannot therefore be astonished that the Arabians are
afraid of these horrible rooms during night, and assert that
abode within them after the day is past brings death.

Our adventures in this place began with a misfortune ;
when the Arabians transported our effects on the roof of the
temple, one of them fell in one of the apertures which afford
the only light to the inner rooms of the temple. It was in
the night ; we therefore descended with lanterns, and found
him with his arm twice broken ; but, happily, alive. One of
the company. Dr. Fritsche, instantly applied a provisional
bandage, and the following day we transported aim to the
hospital of Kennee. Nor were we ourselves spared the evils
which generally reach all who travel in Egypt. One victim
is covered hy pustules (Egyptian boils), which prevent him
from sitting and lying ; another suffers of a cramp in the
stomach ; whilst a third suffers from ophthalmia. I myself
have been spared the sufferings, but, in compensation for this,
1 have undergone several photographic troubles, which
make working very difficult. Our provision of twenty

quarts of distilled water from Berlin had been almost entirely
spent at Aden. At Cairo wo had procured a new stock at
the rate of tenpence for a litre.

The very exterior of this aqua purissima discouraged us, a
slight milky-tint arousing the suspicion that it had been
distilled on the same apparatus which had been employed
foi distilling ctheric oils, without any previous rinsing.
Much more suspicious, however, was its behaviour in pre-
sence of silver salt. In a very short time a bath prepared
with this water became brown j after every plate it became
more insensible. Sunning was of no use ; after having been
placed in direct Egyptian sunlight, which is very intense,
for twenty-four hours, the brown colour had been changed
into a blue one.

Equally fatal was the influence of this water on an old
bath which 1 had intensified by a solution of silver in the
before-mentioned water. At 18° K. (72° F.), crystals of
iodide of silver were precipitated in masses, and from this
moment it became insensitive, and afforded plates with pin-
holes. Filtering and cooling (ice cannot be purchased here)
was of some use ; but as soon as the heat increased the same
(fuld) fault again arose, and from eleven o’clock the bath
could not be used the whole day. At last I took refuge in
use of the old bath at Aden, put aside because it gave spotty
plates. The organic substances in it were destroyed by per-
manganate of potash, and now the bath works admirably.
After this happy cure I very successfully treated the second
bath with the same permanganate, and I may warmly re-
commend this remedy to every photographer.

The fabulously dryness threatened our materials, con-
structed of too fresh a wood. First of all our tripod-stand
became full of fissures ; afterwards the framework of my
camera inclined to part.* The first was tolerably repaired,
the other smeared out with wax. In order to secure the
other camera we kept it wet day and night.

Our photographic operations often began by retouching
the originals, being often obliged to scrape the dirt from the
walla in order to make visible the hieroglyphics. Other dif-
ficulties— as, for instance, the gases produced by the dirt of
the flittermice, which caused many evils, especially with long
exposures ; the north wind perpetually blowing, which often
made exposures in open air impossible.

Mr. Bedford is known to be a very excellent landscape
photographer, and his productions highly appreciated. I felt
a little disappointed when I first saw his Egyptian pictures
immediately before my departure. These prints were not
equal to his other productions. Now I am no more aston-
ished at this circumstance.

In spite of .all the.se difficulties, we have been pretty
successtul, securing at Dcnderah alone about fifty negatives,
a result by which we may be satisfied. We are now work-
ing in the inner of the temple, making visible the dark
corners by sunlight, reflected to them by mirrors ; magne-
sium light is only to be made use of if the flame can bo
situated quite near the object. If the light be removed
further than 25' it is of no effect. On such occasions we
have often burnt six grammes of magnesium wire without
success. On the short distances of Sakara the magnesium
light was much more useful.

Most of the reliefs and walls were taken with Steinheil’s
aplanatic lens, which works admirably, in consequence of
its flat field and great aperture.

But now I muct conclude. It is late in the evening, and
my “ fanous ” (lantern) is nearly extinguished. Our
Arabian guard, two men armed with guns with match-
locks, is just arriving in order to protect us. The rumour,
however, goes, that these fellows alone would not have
courage enough to sleep on the temple, so much are they
afraid of the Afrit (ghost) residing in the temple. When
Dr. Dumichen, the Egyptologist, had taken quarter in the
Temple of Edfula, the inhabitants of the village made com-
plaints to the “ schech ” (mayor) that ho had driven out

* The camera was a very excellent one, by an English maker, constructed
after the idea of Mr. Wharton Simpson.

570

THE PHOTOGRAPHIC NEWS.

th(! Afrit, who w,is now haunting the village. The schech
en*leavonre(t to induce T^r. Duinichen to leave his f^uaiter
in the temple. But Duinichen did not go. Now the
inhabitants made complaints to the “ mudir ” (sheriff), who
decided that whoever would be tormented by the Afrit
should come to him ; he would give him a hundred l.whes.
From this moment nobody ever complained of the Afrit.

With blows you get farther than with love; and for my
own part, especially, as I do not know enough of the Arabian
tongue. I was forced to purchase a whip of hippopotamus
skin. This instrument and the revolver form a very im-
portant part of my travelling equipage.

Dendcrah, September 2G//i, 18C8.

PICTORIAL EFFECT IN PHOTOGRAPHY ;

Beino Lessons in

Composition and Chiaroscuko for Piiotoquapuers.

BY H. P. ROBINSON.

CuAPTER XLHL, AND Last.

"I trust these lessons will have served to dissip.ate the idea th.st to acquire
art to a useful and (tratifying e.xtent, a genius is needed: that tliey have
proved a knowled;;e of to oc Uio result of education ; and that art may be
possessed by all in h valuable degree, if it can only be attained by few in a
remarkable degree.”— J. D. Hakdino.

My task is done. Beginning with the simplest elements of
composition, but avoiding all learned preliminary disquisi-
tions on the theory, quality, or moral signification of geo-
metrical forms, with which some writers occasionally risk con-
fusing their readers at the commencement of works of this
kind, but which are not useful, I think, to the photographer,
I have led the student through the mazes of this often com-
plicated subject, using the simplest language I could com-
mand, and often preferring to state a great principle more
than once rather than it should not be made perfectly plain
to the reader, preferring plain, unvarnished statements to
the wonderful flights of fancy by which art has been
sometimes made to look so formidable to the photographer.
J have endeavoured to keep the subject clear of those *• awe-
inspiring mysteries ” with which tliose who have nothing
practical to teach have endeavoured to surroiiud it. There
is often as much art in knowing where to stop as in proceed-
ing in a proper manner ; and 1 have especially endeavoured to
avoid teaching too much — that is, leading the photographer
further into the depths of the subject than his art can fol-
low : as I said in my first chapter, I have endeavoured to
show how the body is constructed, leaving the soul to
others. Babes thiive better on milk than on curacoa, and
I have been writing for the youngest student in art. One
of the easiest modes of escaping from the difficulties of
analysis and the perils of explanation is to go oft’ into fits
of wonder, and talk mysteriously of mystery. The fear of
being thought shallow has not deterred me from being
clear ; 1 have not tried to appear profound because I was
uuableto fathom my ownideas ; and I have avoided, as much
as possible, technical language, which is often the refuge of
obscurity, and the pompous sham which is often required to
be taken for depth.

Sir Joshua Reynolds, in his last di.scoursc, says, “ 1 am
convinced that one short essay, written by a painter, will
contribute more to advance the theory of our art than a
thousand such volumes as we sometimes see ; the purpose of
wliich appears to be rather to display the refinement of the
author's own conceptions of impossible practice than to
convey useful knowledge or instruction of any kind what-
ever. Au artist knows what is and what ii; not within the
juovince of his art to perform, and is not likely to bo for
ever teaziiig the jioor student witli the beauties of mixed
passions, or to perplex liim with an imaginary union of
excellences incompatible with cacli other.” It was with
this sentence in my mind that 1 commenced this series of
papers. Without much previous practice iu writing a sus-
tained series of papers, 1 relied on my knowledge of the sub-
ject for success — knowledge of the few simple but immutable

[November 27, 1868.

laws of art which I had learnt as a painter, and found of im-
mense value in my practice as a photographer. Thus much
for the matter. For the manner I must claim indulgence. I
have written as I should have spoken to a pupil, not for the
purpose of displaying eloquence, but with the intention of
teaching art. What I have written I have practised ; and
what 1 have practised I have written. In these articles, to
quote Sir Jos’aua again, “ I have, in no part of them, lent
my assistance to foster new-hatched, unfledged opinions,
or endeavoured to support paradoxes, however tempting
may have been their novelty, or however ingenious I
might, for a minute, fancy them to be ; nor shall I, I hope,
anywhere be found to have imposed on the minds of young
students declamations for argument, a smooth period for a
sound precept. I have pursued a plain and honest method,
and I have taken up the art simply as I found it exemplified
in the practice of the most approved painters.”

So much of myself and my intentions. Now, again, a few
more words to the student, and for the la.st time There is
something more in art than what I Lave endeavoured to
teach ; something more than composition, chiaroscuro, and
pictorial eft’ect. Composition may be called the skeleton of
a picture, and chiaroscuro the flesli in which that skeleton is
clothed ; but there is something beyond this. As the living
body has a living soul, so has art ; something that the
French try to express by the term " Je ne sais i^uoi that
indefinite something about wliich those who know least
write most, because it is indefinite and intangible, and
about which the ignorant world take rhapsody for know-
ledge. Who can penetrate into the dim regions of the un-
known, teach the unteachable ? Who can describe and reduce
to lessons the “know not what?” Yet, without this indefi-
nite, intangible, hidden, unknown soul, a picture is but a
scientific performance, and gives no more idea of nature than
does a rag doll represent the life. “So, then,” it may be
said, “ art comes by inspiration — comes by second nature.”
In its highest phases it perhaps does ; hut nevertheless, it
comes by laws that it is possible to note, and which it is
possible to teach. Those laws govern the forms which art
takes, and a knowledge of these laws prepares the student
for the higher inspiration.

It has been said, “The poet’s born, not made but Ben
Joiison, with a higher and wider truth, and on an occasion
when the first proposition may have been held to bo true in
a very eminent degree, in his address “ To the memory of
my beloved Mr. William Shakespeare,”' said, —

“ For though the poet’s matter Nature be,

Hi.s Art doth give the fa.shion. And, tliat he.

Who casts to write a living line, must sweat,

(Such as thine are) and strike the second heat
Upon the muse’s anvil : turn the same,

(And himself with it) that he thinks to frame ;

Or for the laurel he may gain a scorn,

For a good poet' s made as tcell as oorn."

And so it is with the artist. Innate taste is not sufficient to
make a painter or a photographer. As a poet has to learn
the grammar of the language iu which he wiites, so must the
artist learn the principles on which his work is based. If
the student trusts to that vague thing called taste, ho trusts
to a broken reed : let him rather endeavour to acquire that
more certain and profitable culture which comes from stuily
and practice.

In conclusion, I cannot do better than impress upon my
reader the absolute necessity, if he wishes to become an
artist, of incessant application, not only to study, but to tho
production of the results of study — pictures. To call your-
self an artist before you have produced a picture is but to
give youi-self an empty name. To be an artist it is neces-
sary to do something more than take an occasional bad land-
scape or portrait in photography, or to paint a jioor back-
ground, spoil a photograph with colour, or make crude sketches
with the brush. Nothing beyond this can be done without
hard work. The greatest coinpliment ilichael Angelo ever
paid Raphael — although it is doubtful if he thought so at the
time — was, that Raphael did not get so far by his genius as

THW PHOTOGRAPHIC NEWS.

571

November 27, 1868.]

by his industry. This industry means nothing else than
the success an artist seeks in the unwearied improvement of
his work. Industry is not so much persevering activity or
diligence in general as absorption in the one thing to be
accomplished. The mark should bo right before the student ;
the higher the better ; ambition is a grand quality, so that
it does not degenerate into egotism, and is more productive
of good and great work than any other desire of man.
tStriko high, and do not believe in failure ; work incessantly
and rightly, and good work will bo the result.

ON A NEW SERIES OF OIIEMICAL REACTIONS
PRODUCED BY LIGHT.

BY JOHN TYNDALL, LL.D., F.R.S,, ETC.*

Physical Consideb.vtions.

I sought to determine the particular portion of the white
beam which produced the foregoing effects. When, previous
to entering the experimental tube, the beam was caused to
pass through a red glass, the effect was greatly weakened,
but not extinguished. This was also the case with various
samples of yellow glass. A blue glass being introduced
before the removal of the yellow or the red, on taking the
latter away augmented precipitation occurred along the
track of the blue beam. Hence, in this ciise, the more re-
frangible rays are the most chemically active.

The colour of the liquid nitrite of amyl indicates that this
must be the case ; it is a feeble but distinct yellow ; in other
words, the yellow portion of the beam is most freely trans-
mitted. It is not, however, the transmitted portion of any
beam which produces chemical action, but the absorbed por-
tion. Blue, as the complementary colour to yellow, is here
absorbed, and heuee the more energetic action of the blue
rays. This reasoning, however, assumes that the same rays
are absorbed by the liquid and its vapour.

A solution of the yellow chromate of pota.sh, the colour of
which may be made almost, if not altogether, identical with
that of the liquid nitrite of amyl, was found far more effec-
tive in stopping the chemical rays than either the red or the
yellow glass. But of all substances, the nitrite itself is
most potent in arresting the rays which act upon its vapour.
A layer one-eiiihth of an inch in thickness, which scarcely
perceptibly aftected the luminous intensity, sufficed to
absorb the entire chemical energy of the concentrated beam
of the electric light.

The close relation subsisting between a liquid and its
vapour, as regards their action upon radiant heat, has been
already amply demonstrated.f As regards the nitrite of
amyl, this relation is more specific than in the cases hitherto
adduced, for here the special constituent of the beam which
provokes the decomposition of the vapour is shown to be
arrested by the liquid.

A question of extreme importance in molecular phj'sics
hereuri.ses; What is the real mechanism of this absorption,
and where is its seat ? J

I figure, as others d >, a molecule as a group of atoms, held
together by their mutual forces, but still capable of motion
among themselves. Tlie vapour of the nitrite of amyl is to
be regarded as an assemblage of such molecules. The ques-
tion now before us is this: In the act of absorption, is it

the molecules that are effective, or is it their constituent
atoms? Is the n’.v viva of the intercepted waves transferred
to the molecule as a whole, or to its constituent parts?

The molecule as a whole can only vibrate in virtue of
the forces exerted between it and its neighbour molecules.
The intensity of the.se forces, and consequently the rate of
vibration, would, in this case, be a function of the distance
between the molecules. Now the identical absorption of the
liquid and of the vaporous nitrite of amyl indicatesan identical

♦ i'ontlnued from p. 556.

t Phil. Tr*n9. 1804.

X My attention wa? very forcibly directed to this subject some years ago
by a coDversatioD with iny eiceUent friend Professor Clausius.

vibrating period on the part of liquid and vapour, and this,
to my mind, amounts to au experimental demonstration
that the absorption occurs in the main ivithin the molecule.
For it can hardly be supposed, if the absorption were the
act of the molecule as a whole, that it could continue to
affect waves of the same period after the subtance had passed
from the vaporous to the liquid state.

In point of fact, the decomposition of the nitrite of amyl
is itself, to some extent, an illustration of this internal mole
cular absorption ; for were the absorption the act of the
molecule as a whole, the relative motions of its constituent
atoms would remain unchanged, and there would be no
mechanical cause for their separation. It is probably the
synchronism of the vibrations of one portion of the molecule
with the incident waves which enables the amplitude of
j those vibrations to augment until the chain whicti binds
I the parts of the molecule together is snapped asunder.

! The liquid nitrite of amyl is probably also decomposed
I by light; but the reaction, if it exists, is incomparably less
j rapid and distinct than that of the vapour. Niiriteof amyl
has been subjected to the concentrated solar rays until it
boiled, and it has been permitted to continue boiling for a
considerable time, without any distinctly apparent change
occurring in the liquid.*

I I anticipate wide, if not entire, generality for the fact that
a liquid and its vapour absorb the same rays. A cell of
liquid chlorine now preparing for me will, 1 imagine,
deprive light more effectually of its power of causing chlorine
and hydrogen to combine than any other filter of the
j luminous rays. The rays which give chlorine its colour
have nothing to do with thi.s combination, those that are
' absorbed by the chlorine being the really effective rays. A
highly sensitive bulb containing chlorine and hydrogen in
the exact proportions necessary for the formation of hydro-
chloric acid was placed at one end of tlie experimental
tube, the beam of the electric lamp being sent through it
from the other. The bulb did not explode when the tube
was filled with chlorine, while the explosion was violent and
immediate when the tube was filled with air. I anticipate
for the liquid chlorine an action similar to, but still moio
energetic than, that exhibited by the gas. If this should
prove to be the case, it will favour the view that chlorine
itself is molecular, and not monatomic. Other cases of this
kind I hope, at no distant day, to bring before the Royal
Society.

I Production of Sky-blue by the Decomposition of
Nitrite of Amyl.

When the quantity of nitrite vapour is considerable, and
the light intense, the chemical action is exceedingly rapid,
the particles precipitated being so large as to whiten the
luminous beam. Not so, however, when a well-mixed and
highly-attenuated vapour fills the experimental tube. The
effect now to be described was obtained in the greatest per-
fection when the vapour of the nitrite was derived from a
residue of the moisture of its liquid, which had been acci-
dentally intoduced into the passage through which the dry
I air flowed into the experimental tube.

j In this case the electric beam traversed the tube for
! several seconds before any action was visible. Decomposi-
! tion then visibly commenced, and advanced slowly. The
j particles first precipitated were too small to be distinguished
by an eye-gla.ss ; and, when the light was very strong, the
, cloud appeared of a milky-blue. When, on the contrary,
the intensity Wiis moderate, the blue was pure and deep. In
Brucke’s iinportaiu experiments on the blue of the sky and
[ the morning and evening red, pure mastic is dissolved in
alcohol, and then dropped into water well stirred. When
the propoition of mastic to alcohol is correct, the resin is
precipitated so finely as to elude the highest microscopic
power. By reflected light such a medium appears bluish,
by transmitted light yellowish, which latter colour, by

* On the 21st of October Mr. Ernest Chapman mentioned to me in conver-
sation that he once exposed nitrite-of-amyl vapour to the action of light
I With what result I do not know.

572

THE PHOTOGRAPHIC NEWS.

[November 27, 1868.

augmenting the quantity of the precipitate, can be caused
to pass into orange or red.

But the deTelopmcnt of colour in the attenuated nitrite-
of-amyl vapour, though admitting of the same explanation,
is doubtless more similar to what takes place in our atmo-
sphere. The blue, moreover, is purer and more sky-like than
that obtained from Brucke’s turbid medium. There could
scarcely be a more impressive illustration of Newtou’s mode
of regarding the generation of the colour of the firmament
than that here exhibited ; for never, even in the skies of the
Alps, have I seen a richer or a purer blue than that attain-
able by a suitable disposition of the light falling upon the
precipitated vapour. May not the., aqueous vapour of our
atmosphere act in a similar manner? and may we not fairly
refer to liquid particles of infinitesimal size the hues observed
by Principal Forbes over the safety-valve of a locomotive,
and so skilfully connected by him with the colours of the
sky ?

In exhausting the tube containing the mixed air and
nitritc-of-amyl vapour, it was difficult to avoid explosions
under the pistons of the air-pump, similar to those which I
have already described as occurring with the vapours of
bisulphide of carbon and other substances. Though the
quantity of vapour present in these cases must have been
infinitesimal, its explosion was sufficient to destroy the
valves of the pump.

Iodide of Allyl (boiling point 101'’ C.). — Among the
liquids hitherto subjected to the concentrated electric light,
iodide of allyl, in point of rapidity and intensity of action,
comes next to the nitrite of amyl. With the iodide of allyl
I have employed both oxygen and hydrogen, as well as air,
as a vehicle, and found the effect in all cases substantially
the same. The cloud column here was exquisitely beautiful,
but its forms were different from those of the nitrite of amyl.
The whole column revolved round the axis of the decom-
posing beam ; it was nipped at certain places like an hour-
glass, and round the two bells of the glass delicate cloud-
filaments twisted themselves in spirals. It also folded itself
into convolutions resembling those of shells. In certain con-
ditions of the atmosphere in the Alps I have often observed
clouds of a special pearly lustre ; when hydrogen was made
the vehicle of the iodide of-allyl vapour a similar lustre was
most exquisitely shown. With a suitable disposition of the
light, the purple hue of iodine- vapour came out very strongly
in the tube.

The remark already made as to the bearing of the decom-
position of nitrite of amyl by light on the question of mole-
cular absorption applies here also ; for were the absorption
the work of the molecule as a whole, the iodine would not
be dislodged from the allyl with which it is combined. The
non-synchronism of iodine with the waves of obscure heat is
illustrated by its marvellous transparency to such heat.
May not its synchronism with the waves of light in the pre-
sent instance be the cause of its divorce from the allyl ?
Further experiments on this point are in preparation.

(To be continued.)

MICRO-PIIOTOGKAPIIY.

BY M. JULES GIRARD.*

The pictures which I have the pleasure of presenting to your
notice this evening are the result of powerful enlargements
of diatoms varying from 800 to 1,200 diametres, diatoms
being plants of the most minute description, growing both
in fresh and salt water. The beauty and perfection of their
details, despite their infinite smallness, render them specially
adapted for the production of enlargements of the greatest
dimensions. They are composed of cellules ot silica, some-
times hollowed out, sometimes in relief, and always pos-
sessing the greatest geometrical regularity in their organic
structure.

To obtain clearobjects suitable for enlargement, it is neces-
sary to establish a relation between the lens and the length
* Bead before the Breach Thotographic iiociet;.

of the camera ; and the more powerful the lens, and longer
the camera used, the greater will be this relation. There
exists, however, a very variable limit, which is incapable of
being passed without alteiing the sharpness of the object,
and which is the result of experimental trials between these
two combinations.

As the intensity of the light diminishes proportionally to
the distance of the object, it is necessary to have recourse to
a condenser often composed of several lenses corrected so as
to prevent distortion, which gives sufficient illumination
to impress the sensitive surface. The focussing must be
rigorously exact, as the most inappreciable digression of the
microscopic screw is sufficient to injure the sharpness of the
object.

If enlargements of extraordinary size are required, a pro-
cess similar to that used for making ordinary photographic
enlargements may be employed. A small negative may first
be obtained upon a thin strip of glass, which is afterwards
magnified by means of the microscope. This method is a
very delicate one, and necessitates very careful focussing
with a magnifier, in order that the most minute details may
be rendered as sharply as possible. In developing, there is
likewise the difficulty of obtaining a suitable degree of
intensity for the object : if the process is pushed too far,
the light will be unable to penetrate; if the development is
insufficient, the negative will lack clearness. Thus the
pictures taken direct possess the double advantage of being
easy to produce, and more exact copies of the original.

ON THE FORMATION OF PEROXIDE OF SILVER
BY OZONE.

BY M. F. WOEHLER.*

If in the clcctrolosis of acidulated water a strip of silver is
employed as the positive pole, the metallic surface soon
becomes covered with a black substance ; this body is no
other than peroxide of silver, which effervesces with ammonia,
disengaging nitrogen. It is amorphous, and not crystalline,
as in the electrolosis of a salt of silver. This formation is a
very interesting one, as it leads to the belief that, in all pro-
bability, ozone is produced at the negative pole. The current
made use of was sufficiently strong to liberate ozone in
employing platinum wires as electrodes, but with silver no
trace of ozone was disengaged, and it is to be inferred, there-
fore, that the latter helps to bring about the oxidation of the
silver.

When a film of peroxide of a certain thickness has been
formed, bubbles of oxygen become liberated from the strip of
silver, and, at the same time, metallic silver in an amorphous
state is precipitated at the negative pole, there being, like-
wise, a small quantity of silver in solution. This is due,
probably, to a secondary action produced by the sulphuric
acid (used in acidulating the water) which accumulates
round the positive pole.

The same phenomena are observed with a strip of silver
plunged into a solution of sulphate of soda. With a solution
of nitrate of potash no peroxide is formed, but the whole of
the liquid becomes filled with finely-precipitated oxide cf
silver of a light-brown tint. In a solution ot ferro-cyanide
of potassium the silver becomes covered with a white deposit
of ferrocyauide of silver. Finally, in a solution of bichro-
mate, the metal strip is covered with crystalline chromate of
silver, free from peroxide.

®orr£Sp0n5tnf£.

PHOTOGRAPHERS’ RELIEF FUND.

Mr. Editor, — \\ith reference to a photographers’ relief
fund, the question may bo asked. Who is it that is a photo-
grapher ? And, further, is it intended to select the sheep from
the goats? Photographers will, 1 have no donbt, contribute
liberally, at once, if the principles be organized and made

* A nnalen der Chemie und Pharmacie.

November 27, 1868.]

THE PHOTOGEAPHIC NEWS.

573

known. In fact, for my part, I am prepared to pay in f 5 at
first, and £2 lOs. yearly, or as may bo agreed upon by the
committee : and to make up a fund not less from any person
would, I think, bo worth the trouble. Not that I ever e.\.poct
any benefit from such a fund, but still I consider at the old age
of some photographers assistance may bo required. If it were
for nothing more than to show the spoil-trade geutlomeu how
they stand in the estimation of the profession, a distinction
should bo made. Lot the arrangements bo made on similar
principles to mechanics’ funds and the like, and there will bo
no doubt of success. — Am Old D.vauEUUEOTYPisT.

AMATEUIi CRITICISM.

Sir, — As I conclude, from the appearance of the letter of
“ Lux Graphicus,” that you occasionally admit into your pages
amateur criticism, will you permit mo to say a few words on
that gentleman’s remarks, in which I will endeavour to be as
good-natured and as plain-spoken as he. <

Firstly, let me ask him what ho moans by saying that Messrs.
Robinson and Chorrill’s group of children is too suggestive of
scissors and paste to be a good picture '? Does ho mean that
“scissors and paste ’’ aro illegitimate aids, and should not be
used ? If so, ho condemns, of course, all combination printing.
Well and good ; but why does ho not say so at once, instead of
sneering at an individual picture? If, on the other hand, ho
admits the legitimacy of combination printing, why sneer at
“ scissors and paste ?’’ Ho might as well say the picture was
too suggestive of the printing-frame or of the albumiuirod
paper.

If he meant to say that the means by which the picture was
produced were too palpable, it becomes a matter of individual
judgment, and one ought to know who “ Lux Graphicus ’’
is before one can attach much weight to the judgment. I, for
one, do not agree with him. I suppose, from its character, that
the group in question must have boon produced from more than
one negative, but I must confess that I cannot detect it ; and I
examined very closely indeed for joins, or signs of what the
envious call “ patchwork.” In many respects, indeed, I con-
sidered this group as the finest picture in the exhibition, and as
full of noble qualities. Rut this is a more opinion, of no more
value than that of your correspondent, whether ho writes under
the name of “ Lux Graphicus,” or that of “ £cco Veritas,” as ho
clearly does in other pages.

Again, this unknown gentleman, commenting upon the works
of known gentlemen, says of the portraits of Mr. Fry (or, at
least, of some of them) that they aro as “ fiat, white, and sha-
dowless as a knob of sal-ammoniac itself.” This, of course,
everybody sees, is a piece of exaggeration, indulged in to intro-
duce a toeble joke : the statement is not true. The pictures
have too much contrast — at least, some of them have — to please
my taste ; the aim to secure brilliancy has in some cases been
carried too far ; but it is worth recording that I heard more
than one person — of cultivated taste, too — point to these very
pictures as amongst the gems of the room, whilst they styled
Mr. Blanchard’s — which 1, as well as “ Lux Graphicus,’,’ much
admire — as “ soft, but lacking brilliancy.” As for the latter
gentleman’s pictures being equal to Adam-Salomon's “best
works, without the elaborate touching-up which the latter
exhibit,” the statement strikes me as absurd. Mr. Blanchard s
specimens are very first-class, especially photographically ; but
if he bo the modest and discriminating gentleman he is reputed
to be, none would so soon declare that liis work still remained
far behind the best work of the Frenchman in many points.
The remark about the “ elaborate working-up ” of Salomon’s
pictures appears to me equally untrue and unfair. When his
pictures are worked up there is nothing elaborate about it : it is
plain, bold, and palpable, though generally judicious, as many
of the specimens clearly showed. The two best — a lady in
white, and one with a shepherd’s plaid scarf— appeared to have
scarcely a touch upon them.

My object in writing was to protest against dogmatic con-
demnation in amateur and anonymous criticism. I fear that I
may have seemed in some degree to have been guilty of the sin
against which I protest ; if so, it will simply illustrate the evil,
and suggest that it is scarcely in keeping with the wisdom you
generally manifest, Mr. Editor, in conducting your journal, to
admit amateur and anonymous criticism at all. — Your obliged
servant. Lux in Tenebras.

f Wo do not, by any means, endorse all the opinions of “ Lux
Graphicus but if ho wero not known to us as a photographer

and artist of longoxpcrionco, his views on the exhibition would
not bo placed before our readers. Wo have a fow remarks on
Amateur Criticism elsewhere. — Ed.]

PROPORTION OF SALT IN ALBUMINIZED PAPER.

Dear Sir, — In your Studio Talk of last week you expressed
an opinion that the discussion on albuminized paper should bo
closed, I presume, with Mr. Cherrill’s reply, inserted in tho
same number of the News. As a personal favour I bog you
will give publicity to tho present communication, as the question
at issue is one of tho greatest importance, not merely to paper
albuminizers and dealers, but to tho whole community of photo-
graphers; for in tho event of Mr. Cherrill’s erroneous ideas
being allowed to pass unchallenged, the class first described
will continue to sulfer injustice, whilst the last alluded to will
fail to perceive that a fair amount of skill only is required to
overcome the want of uniformity which, for so many years, has
been attributed to “ that abominable paper.”

It will be remembered th.at in my last letter 1 addressed to
Mr. Cherrill a series of questions to which I requested distinct
replies. The answers returned might be condensed into one
short sentence ; “ We desire bricks ; I cannot give you straw,
but make bricks, though you employ base stubble.” In other
words : “ I do not care by what method you arrive at conclu-
sions, as long as you impart tho information wo can and will
demand.” Mr. Cherrill, however, is not too exacting ; he per-
ceives tho difficulties, therefore has no objection to a little
rough guessing. Surely he must have overlooked tho fact
that for years past dealers in photographic papers have been
supplying their customers with tlie guess-atablo information
so ardently desired — silver nit. 60 grains, and so on. And
the method adopted is a sound one for those who supply an
honest paper. Know that as long as tho silver b.ath is kept
up to a certain strength, tho paper they provide, when floated
thereon, can bo made capable of yielding tho best results ; and
as Mr. Cherrill requires no greater amount of accuracy than
can be obtained from rough guessing, what can ho desire better
than tho information ho might find in every publication
devoted to tho rudiments of photography, if ho is not satisfied
with tho directions offered by tho dealer?

Again, Mr. Cherrill would exact information from tho albu-
minizer concerning the class of negative needed to suit a given
paper. Mr. Cherrill is once more at fault. But fow paper albu-
ininizorsaro practical printers; eryo, those who aro unacquainted
with practical printing aro not in a position to afford the infor-
mation ; whilst those who are thoroughly up in printing matters
know full well that io competent hands a paper can bo made to
suit any class of negative.

“ But how about uniformity ?” enquires Mr. Cherrill. I reply,
suspect that dealer of ignorance or dishonesty who would hold
out the fiiiulest hopes of uniformity being attainable with the
papers ho supplies, as long as “ the old acetate bath ” is made
to do duty in tho way indicated and practised by Mr. Cherrill,
who prefers toning his prints “ few at a time,” and yet asks
uniformity. As well expect nniformity in ordinary typo print-
ing by bidding the printer add oil to the ink after each dozen
of proofs are struck off. The reason why, I have fully ex-
plained elsewhere, and need not recapitulate.

I now leave this question to my readers. Promising I shall
trouble you no further in this matter, I remain, &c.,

Willesdcn, November 23rd, 1868. W. T. Bovey.

ASCERTAINING THE AMOUNT OF SALT IN
ALBUMINIZED PAPER.

Sir, — After tho reading of Mr. Cherrill’s paper on tho “ Rela-
tion of Intensity to Tone,” recently, there appears to have
arisen some discussion as to the means of ascertaining the
amount of salt in any sample of albuminized paper. One
gentleman having suggested a method of doing so by chemical
means, another observed that it was like “using a steam eng;ine
to draw a cork.” While duly admitting both the force and
originality of the remark, may I be permitted to observe that
it is possible by a much more simple instrument, though
certainly at times a dangerous one, to draw, if not a cork, at
least an inference as to the strength of salt present.

1 hope no respected female ancestor of mine (photographically
speaking) will accuse me of <t desire to impart, unasked, in-
struction in that simple, yet to many persons, gratifying opera-
tion, tho art of sucking eggs ; but in such case tho mode i

5U

THE PHOTOGRAPHIC NEWS.

[Novembeh 27, 1868.

adopt is as follows : — Brin"in<' the sheet of paper in a vertical
position before ino, I simply project the tip of ray tongue so as
to come in contact with the albuminized surface, and I am
thus enabled to form a sufficiently accurate estimate of the
amount of salt present for all practical purposes. I need
scarcely add that the value of the above method will he
greatly enhanced when employed by a person oi cultivated latte.
— [ am, sir, yours obediently, Buomo.

London, November 18</(, 1868.

PAPER TURNING BROWN ON DEVELOPMENT.

Dear Sir,— I have often received great help through your
valuable paper, and knowing how many must have received
assistance from time to time through the difficulties of others
being cleared up, I send you a confession of ray own inability
to discover the cause of paper fogging under development
with gallic acid. The paper is treated in the same way at all
times ; yet some prints remain clean and white, whilst others fog,
or turn red quite through the paper, as if taken upon brown paper.
The etl’ect at times is not bad, but very trying when you wish
a clean white face. The process is as follows : —

Saxe paper, salted with

Water ounces

lodiilo potassium ,.. ... ... 1 drachm

Bromide potassium ... 1 scruple

Silvered with a GO-grain solution.

Probable causes, temperature, want of acid in the developer
under certain conditions. — Believe me, y’ours obediently,

G. R. Gill.

381, Kentish Town Hoad, November 16M, 1868.

[Possibly some of our readers, who may have had ex-
perience in enlarging j)rocesses by development, can give our
Correspondent a hint. On another page we add a few remarks
on the subject. — Ed.]

MR. BOVEY’S METHOD OF TONING.

Sir, —May I be permitted to offer my testimony to the great
value of the system of toning publislied in your columns by
your correspondent. Mr. Bovey. I am indebted to him for a
release from some of the worst of those annoyances which have
hitherto itccompanied the practice of silver printing, at the
same time that I am enabled to obtain good results from nega-
tives which heretofore would have been scarcely worth print-
ing at all. The advantages I find are, among others, the
entire absence of bleaching, with its attendant imp, “ meali-
ness,” and all the vexations thereto appertaining, particularly
in the the case of weak and *• forced up ” negatives, which have
always been a source of trouble from this cause; the perfect
preservation of the delicato tints just below the highest lights,
on the presence of which the beauty of the photograph so
much depends (presuming, that is, that they already exist in
the negative, which is unfortunately not always the case) ;
also the extreme purity of the whites, and the rounduess and
depth of the picture generally. The difference in the latter
respect between prints treated by the usual process and those
from the same negative by Mr. Bovey’s plan I have, in many
instances, found to be most remarkable. I feel that wo owe
our fhanks to Mr. Bovey, both for the valuable improvement
ho has originated, and for the liberal and unselfish manner in
which he has made it known to the photographic world. — I
am. sir. yours obediently, Charlas W. Smartt.

Stocheell, November 'lAth, 1868.

PORTRAITS UPON GRAVES.

— With reference to the subject of placing portraits of
deceased persons upon their graves, which was mentioned in
your columns a few weeks ago, it is, perhaps, worthy of note,
that the custom is by no means a now one.

Ten years ago I stayed for some time at a little village named
Lungern, in the valley of Sarnen, at the foot of the Brunig
Pass in Switzerland. The little churchyard attached to the
village contained about a couple of hundred gravestones — or,
Mther, grave-boards— on the majority of which were painted,
in a very crude manner, the supposed likeness of the deceased.
Weather and age had been so destructive to the paintings that
the most distant date traceable upon them was thirty years
bock. The custom had probably been introduced by some

native artist, and afterwards kept up by the inhabitants of the
village, for in none of the graveyards in the vicinity which I
visited did the same practice obtain. — I am, sir, your obedient
servant, H. Badem Pritchard.

General Ehotographic Establishment of the IF ar Department,
Woolwich, November 2oth, 1863.

PRINTING FORMULA.

Dear Sir, — I have just seen in your paper a letter from Mr.
Fry, containing several statements utterly at variance with my
experience of printing matters.

1 do not wish to enter into any controversy with Mr. Fry,
but I merely write to point out that one or two of his remarks
are apt to mislead those who are not well-up in printing
matters.

According to my experience, it is quite as difficult to determine
the strength of a nitrate bath made without nitrate of soda as
it is when that salt is present. “ Argentometers," as they are
called, are quite useless when the solution has been used n few
times, and I find it is only by observation and experiment that
the right quantity of silver to add to the bath for each grain of
paper can be determined. If a sheet of paper is salted with
chloride of sodium, as soon as it is floated on the nitrate bath
chloride of silver is formed on the surface of the paper, and
nitrate of soda in the bath, and then, as Mr. Fry very justly
remarks, “ the argentomoter cannot be used when other mat-
ters are in solution along with the silver.”

It has never been my experience to find the excessive con-
traction from the use of nitrate of soda of which Mr. Fry
speaks. He must, indeed, have had considerable trouble from
his paper under such very trying circumstances as he mentions.
I should not have been surprised if the paper had been said to
contract or expand one-sixteenth of an inch, or even one-
eighth, in a whole sheet ; though even that would be more than
I have over seen during printing operations. But when Mr.
Fry says that a sheet of paper contracts five-eighths of an inch,
owing to the use of nitrate of soda in the printing bath, I cun
only say that such a statement reads so like one of Mr. Fry's
very best jokes, that it is enough to make one, like Artemus
Ward, “git up nights and larf.” But, seriously, I have printed,
this year, hundreds of pictures, of largo size, and every one of
them has been perfectly sharp, though I always uso nitrate of
soda in the printing bath.

Mr. Fry’s statement that it was impossible to select from a
batch of prints those in which nitrate of soda had been used,
and those in which it had not been used, is, to me, a great
argument in favour of the uso of the soda salt ; for if prints
can be done with 40 grains of silver, and soda, equal to those
with 70 grains silver to the ounce, it seems to mo there must bo
a saving in using the weaker bath.

1 do not think that if plenty of hydrochloric acid is added to
the first washings of the prints, any more difficulty will be
found in collecting the silver when nitrate of soda is present
than when it is absent. —I remain, dear sir, yours truly, Anq.v.

Dear Sir, — I have perused Mr. Cherrill’s paper in the News
on “ Our Printing Room,” and particularly that portion of it
referring to the use of nitrate of soda in the printing bath, &c.,
where he supposes the bath to be kept up by the addition of
10 grains of silver to each sheet of pajier, and occasionally of
fresh silver solution.

I have also read Mr. Fry’s letter, stating with what extreme
care he experimented years ago, when, having strayed from
shore without a pilot, after considerable drifting, he lauded
himself (or his paper) safely again on the good, honest 70-graiu
bath.

It appears that both these gentlemen are satisfied with the
results from the combination of nitrate of soda with the silver,
and, ns far as I have experienced for many months, I have pre-
ferred it to the strong uncontaminuted silver till a few weeks
since, when I was in ns great a dilemma as Mr. Fry ; but not
being disposed to give up that which I believed to produce
superior results at less cost, I considered the whole matter, and
it appeared to mo that a certain amount of silver was essential
to i>rodnce certain results, much more or much less would
disturb the balance. I had jireviously tested, by the ordinary
argentometer, silver and soda, separately and combinod, pre-
viously to working, but it was impossible for me at the expira-
tion ol three or four months to determine the relative propor-
tions of each.

November 27, 1868.]

THE PHOTOGRAPHIC NEWS.

575

I was thus working in tho dark, so 1 obtained from Mr. Hart
a volumetric apparatus, and found, upon testing a bath, that
instead of there being from 36 to 38 grains of silver, as I sup-
posed (the old argentoraeter registering 51), it stood thus :
silver 28 grains, and consc(]^ueutly nitrate soda, &c., 26.
Having thus discovered my position, 1 sot matters right at once
by strengthening with silver to what suits my method of work-
ing, and at present all goes on well. By occasional testing I
believe I shall keep the bath in good and constant order, ad
infinitum. The trouble is a mere bagatelle, and the expense
even less.

Having derived much benefit from the experiences of both
these gentlemen, I venture, through the News, to give one of
my own, that not only tho one may be relieved from his sup-
position, and the other saved from his driftings (should he
again venture out), but that others having a fixed datum upon
which to work may bo able, at any time, to ascertain for them-
selves tho actual strength of their silver bath. — I remain, yours
truly, Fouwaed.

Southsea, Novembir 23rd, 1.868.

?['alk in the ^tubio.

The Photoorapric E.'UUbitiox. — \ contributor to tho late
exhibition in Conduit Street writes to the effect that although
he did not call to remove his pictures until two days after the
nominal close of the exhibition, it was somewhat difficult to
get them away without rudeness, so constant was the flow of
visitors into tho room.

Mr. Howard’s Pictures at the South London Meet-
ing.— Mr. Howard calls our attention to an error of figures in
describing his charming little pictures exhibited at tho last
South London Meeting. The report stated that ho took two
pictures on a 71 by 51 plate, but the pictures were described as
31 by 21, instead of 5 by 31, which is obviously the actual size,
and abo, as it will bo seen, a better proportion than that de-
scribed by the erroneous figures.

Plain Prints on Albuminized Paper. — A correspondent
says : — “ I had just written a note intending to ask your
opinion on printing on tho back of albuminized paper, when I
observed your notice of the same in the last News. I have
used it so for some time, because I could not obtain plain
paper. I have written to different houses in London for plain
paper without success. First I placed tho back of the albumin-
ized paper on tho negative after being floated in the ordinary
way, but the print was not vigorous enough ; then I floated it
on its back, and found it answer very well indeed. I have often
used it for very hard negatives, ns it gives softer pictures than
when printed on tho albuminized side. The albumen also is a
capital sticking stuff for mounting. I run a thin coating of gum
arabic over the albumen, which together sticks better than
anything I have tried.” *

Abyssinian Scenery, etc. — Tho Times has the following
“ Some photographs now being exhibited at Maclean’s, in tho
Haymarket, suggest a question which we should like to ask the
War Office, or whatever may bo the proper authority. They
are photographs of Abyssinian scenery from sketches taken on
the spot by Major Hogg, who served in the Quartermaster-
General’s Department from Zoolla to Magdala, anil they give
an admirably accurate idea of places, always interesting, if only
from their peculiar picturesqueness, but now specially iuterest-
i ng from their association with historical events of which tho
nation has so much reason to be proud. The sketch of
Magdala, for instance, is singularly faithful. We want to ask
why the authorities — whoever they may bo— do not follow
Major Hogg's example, and give tho British public tho benefit
of tbs photographs taken in Abyssinia by Major Pritchard’s
company ? No labour was spared in taking them, they are
admirably done, and so full of interest that it is a great pity
they should “ waste their sweetness on tho desert air ” of a few
military offices. Do there exist any reasons of State for not
publishing them ? Economy can scarcely bo the motive, for
their sale would, wo arc sure, far more than defray all tho ex-
penses attending pablication.” Mr. H. B. Pritchard, in answer
to this, informed readers of the Times that the pictures were
exhibited at the Photographic Society’s rooms in Conduit
Street, and added that it was intended, he lielieved, to issue
from tho Royal Engineer establishment at Chatham complete

sots of the prints to tho British and South Kensington Museums,
and also to tho various learned societies, so that tho labours of
the photographic staft’ in Abyssinia will be turned to very good
account. Wo may add, that as all military officers can pur-
chase copies, possibly many interested in their possession may
bo able to procure them through military friends.

New Source of Citric Acid.— Tho Scientific Reviero says
Professor O.Silvostri, ofthe Univorsityof Catania, has recently
discovered an abundant quantity of citric acid in tho fruit of
Cyphomandra betacea, a plant of tho family of Solaneas (tho
Soianum betaceum of Cavanilles). This plant is found hero and
there in tho gardens of Sicily. It is a native of New Spain or
Mexico, whence it has diffused itself into Peru and other parts
of South America, where it is called Tomate de la pax. It is a
ligneous perennial, and attains in Sicily some four yards in
height. Its fruit yields to analysis one to one and a-half per
cent, of pure citric acid. This acid, which probably exists also
in our tomato sauce, has already been discovered by Bertagnini
in the potato, and will, doubtless, bo found in tho fruit of all
other plants of the family of Solaneo'.

Portrait Discovered. — A daily contemporary says : — “ An
interesting discovery has just boon made at Paris of a portrait of
Mario do Medicis, of the date of 1602, when tho Queen was ‘28
years of age. Her Majesty is represented in the florid stylo of
Rubens, with a largo collar of guipure on her neck, half cover-
ing a necklace of white pearls, to which is attached a cross
in bright steel over a dark silk moirue dress, with a band sot
with precious stones round tlio waist. Tho blond hair is crisped
and rolled round tho head, and surmounted with a small black
cap. Tho treatment of the accessories and the execution of
the work leave no doubt that it is tho production of the younger
Porbus.

Constitution of the Sun. — Mr. Balfour Stewart, writing to
the Athenceum, described a double discovery — that is, a coinci-
dent discovery by two persons — of certain important facts in
connection with tho physical constitution of tho sun, and of tho
possibility of making spectroscopic research into the character
of the red prominences without waiting for thooccurronco of an
eclipse. Mr. Norman Lockyer, assisted by the Royal Society
with means, has for some time been engaged in the spectro-
scopic examination. During the late eclipse M. Janssen, the
French observer, settled tho quest ions that had been raised
regarding the constitution of tho red flames, proving that these
were composed of incandescent gas, inasmuch as their spectra
consist of bright lines, and tho results received afterwards from
Capt. Herschel and Major Tennant, our Indian observers, con-
firmed tho truth of these observations. Mr. Lockyer, writing
to Mr. Stewart on tho ‘20th ofOctober, says: — ‘‘Got a prominence
with tho new spectroscope ; got tho positions of three linos ;
one corresponding to C absolutely, one to F very nearly, one
eight or nine degrees of Kirchholl’s scale more refrangible than
tho moat refrangible D line.” M. Janssen, writing ofthe eclipse,
says “ Immediately after the totality two magnificent protu-
berances made their appearance ; one of them, of more than
throe minutes in height, shone with a splendour which it is dif-
ficult to imagine. An analysis of its light showed me directly
that it was formed by an immense column of incandescent gas,
principally composed of hydrogen. . . Tho most important
result ot these observations is tho discovery of a method of
which the principle was conceived during the eclipse itself, and
which will allow of the study of protuberances and of tho
regions surrounding tho sun at all times, without its being
necessary to have recourse to the interposition of an opaque
body before tho sun’s disc. This method is founded upon tho
spectral properties of the light of the protuberances— light
which resolves itself into a small number of very luminous
pencils corresponding to the obscure rays of the solar spectrum.
The day after the eclipse tho method was applied with success.
I was enabled to assist at a new eclipse, as it were, which lasted
throughout the entire day. The old protuberances were greatly
modified— there remained scarcely any trace of the great pro-
tuberance, and the distribution of tho gaseous matter was very
difterent.” Mr. Steward says;— ‘‘ Here, then, we have a very
marked instance of two observers, quite independently of each
other, observing the same fact with certain dilTerenccs. M.
Janssen, it will be noticed, declares for hydrogen, but names
no lines; ho considers the bright lines as coincident with the
dark lines ot the spectrum. Mr. Lockyer, however, has not
obtained this coincidence — in fact, in a further communication
received from him, ho lays stress on the want of complete coin-
cidence except in one case, without in the meantime attempting

676

THE PHOTOGRAPHIC NEWS.

[November 27, 1868.

to interpret the cause. Probably his spectroscope is more
powerful than that of M. Janssen. But for this point, and
doubtless many others, we must wait for the promised detailed
communication to the Royal Society. These differences of fact,
while they render the problem of groat scientific interest, are
not the only differonces which ought to be borne in mind.
Although the priority of observation is duo to M. Janssen, yet
the possibility of the discovery was suggested by Mr. Lockyer
more than two years ago, and to my knowledge ho has been
working at it sinco that time ; whereas M. Janssen frankly
acknowledges that the idea only occurred to him during the
eclipse itself.”

®ormyo«bcnts.

Strike-a-Lioht says: — “I prepared several collodio-broinido
lates according to Messrs. Sayce and Brother’s plan, one of which
exposed and developed the other day. Finding that the inten-
sity was not siiilicient for printing, I intensified (or, rather, did
not) with bichloride of mercury, wlicn, to my astonishment, the
picture, on drying, vanislied altogether.” The circumstance de-
scribed by our correspondent is very curious, and, although we
are familiar with the fact, wo cannot with certainty explain it.

1 here is a singular difference in the behaviour of images simply
consisting (like those of aii iron developed M-et collodion jilate) of
reduced silver, and those formed partially from an organic siilt of
silver — as we believe all dry-iilate images are. ' The latter ]>ro-
bahly consist of metallic silver and oxide of silver. Certain it is
that such images behave very diU'erently to the onlinary iron
dcveloj)ed image under the action of chloride of mercury. A
pyrogallic doycloj)ed image on a wet plate frcciuontly bleaches
under the action of mercury, but does not ac(iuire intensity. All
dry-plate negatives almost arc injured by the action of chloride of
mercury : they assume a faint bluish white tint by reflected light,
^vhilst the intensity is reduced to a mere iihantom, scarcely j)crcep-
fiblo, by transmitted light. The best mode of intc-nsifying dry-
plates is by the use of silver and pyro; or, if it be desired to change
their colour, it is probable that the method of intensifying by
permanganate of potash would be found available.

W. J. A. G. — The chief defect in Xo. 1 is in the plate. A fr.aco
longer exposure, or a little more ]>aticnce in devcloi)ment, would
have been useful ; but the subject is not well lighted. Remem-
ber that in landscatK) j'hotography it is of the first importance
that the scene should be so lighted as to produce i)ictorially a. satis-
factory amount of light and shade. If it be illuminated with an
etiually diffused light all round, a tame, flat, unsatisfactory picture
must be the re.sult. Kifher from sunlight or the action of bright
clouds, it is desirable to h.ive the subject illuminated from one
source, which should be preferably from one side. The same defect
char.actcri/,(» No. 2, which is really a little over-exposed. No. 3
rcijuired better lighting, and a little more patience and bromide
in devclojauent. Look to the .shading of the lens from all skylight
not forniing tho picture. No. 4 is chiefly spoiled by defects in the
plate. The negative from which the trans])iircncy was ])rinted
appears to have been a little hard. Nothing but the extremest
ctire and cleanliness will iiroducc clean backgrounds in such a
ca.se; great care to avoid du.st on the plates, great cleanliness in
devcloping-cups, great care that the solutions <lo not become
turbid, and precision tbroughout. When you .see Mr. Gordon’s
ojH'rations, note fhe extreme care and cleanliness of every detail.
1 heoxymol proce.ss is one of thc(ddest of the jirc.scrvative ]iroccs.scs,
and one which produces very good results. It fell into disuse
chiefly becau.se of tho somewhat sticky surface of the plates. We
have posted a letter to you.

Astomous. — Mr. Solomon’s apparatus for enlarging by means of
the magnesium light umaxirs to be very excellent. We believe
that Mr. Solomon supi)lies tJic paper ready for sensitizing, and
instructions for tho best mode of working. See an article on
printing by development in present number. A saturated solution
of gallic acid is generally tho best developer hjr paj)cr prints.
Whether acid is necessary with it, or not, depends somcwliat on
tho preparation of the paper.

J* pint of fre.sh fixing solution containing 4 ounces of hypo-

sulphito of soda will very .safely fix half a dozen twelve by ten
pictures, whether they be put in altogether, or singly in sueces-sion.
2. Old silver stains are more diflicult to remove than new ones.
Apply tincture of iodine freely to the stain, and then apply strong
hypo or cyairide.

Photos.— Mr. Englimd’s photograidis can, we believe, be obtained
of Marion *uid Co. ; his own address is St. James’s S(|uare,
Netting Hill. 2. AVe do not know of any means whereby' you
can procure one of M. Salomon’s pictures. It is probable that
you can jjrocurc an example of the style of i)icture ho issues by-
applying to some one of the gentlemen who have exhibited such

pictures at Conduit Street, whose names you will find mentioned
in our recent notice of the exhibition. 3. A bag is placed in tho
aperture at the bottom of the box, just largo enough to contain
the bath.

C. T. Newbery. — Wo will duly forward tho P.O. order to tho
treasm'or of tho North London Society.

Citric Acii>. — There will be no impropriety in your increasing tho
strength of your developing solution for winter use ; but the chief
cause of your difficulty is in the u-seless obstruction of light. A
north light always is a diffused light, and when y-ou “putty”
your north side for the purpose of di ffusing the light, you simply
waste a great deal of light, not only by the obstruction, but by tho
yellow tint it soon acquires. Remove all this from your north
side-light at once, and you will find a great reduction in tho time
of sitting; if that is not sufficient, remove the paint from tho
north top-light, which will still further reduce tho exposure. Let
us know the re.sult.

N. C. FIvanoff. — Your work generally appears to be very good ;
it is clean, brilliant, and round. There is just a little too much
top-light, which causes some tendency in the .shadows under tho
upper lip, the chin, &c., to bo a little blacker than is desirable.

F. D. — The plan is a very good one ; but, as we have not seen such
a studio in use, we cannot say that it is tho best. AVo can see,
however, no disadvantage in the form, and should prefer it to a
roof of half-cylindrical form recommended by the same writer.
P'luted glass is only of service where direct sunlight is concerned.
P’or a south light, it is useful as assisting in diffusing the light ;
for a north light, wo should not use the fluted glass.

Oi.i) D.ujueuueotvfist. — AVe publish your letter referring to tho
Relief Fund. You are surely in error, however, in supposing
that the best men in idiotograjiliy have secrets to propose. All tho
men who have done tho highest and best work in photogr.iphy,
and who have achieved the highest success, have been the most
ready to communicate and describe most fully all their operations.

G. II. (Manchester). — You are scarcely s])ocific enough in your
(luestion. You do not state whether you wish to tnuisfer to plain
paper or tho “porcelain” paper; nor do you state which method
of transferring you adopt, nor where you fail. Tho glazed or
“porcelain” paper is sold ready prci)ared toreccive thetransfcmxl
film, but plain paper you must prei)are for your own use. AVe
have described as fully as we can both the wet and dry methods of
transferring; but if you will stati> which method you employ,
and in what point especially you fail, wo will endeavour to help
you. AVe regret that we hiive not time to enter into private corre-
spondence on points of this kind.

lONOUAMUS. — A variety of theoretical reasons for the use of nitrate
of soda in the printing bath have been given ; but, on tho whole,
it .seems a little uncertain as to what is its juecise function. Tho
fiict, however, is allirmedby many very able printers that there is a
considerable advantage in its use, and that it ]>ermits tho use of a
weak silver bath without risk of bad prints. Moi t printers are
agreed that an old silver bii^h gives better iirints than a p<‘rfectly
new one; and as an old bath has ac([uired an accumulation of
nitrate of soda or of ammonia, tho addition of such salts to tho
bath \s .said to give the advantage of an old bath. Tho value of
tho addition is still a subject of discussion, but the balance of
evidence seems to be in its favour, and wo think wo could, if space
permitted, give some good roii.sons why it may be u.scful.

Thomas ?<tothaki). — The Year-Book for 1SG9 will bo out .at tho
latter end of December. That for lStl4 forwarded. AA'e did not
find the group of statuary to which you refer in your letter.

11. Dixon. — AVo have made ini|uiry, and lind that tho envelope
containing tho card Wius )k)sI(s1 at a pillar-post in the northern
district on AA'ednesJay tho ISth. AA'e arc sorrv' you have not re-
ceived it. The best plan will bo to apply to tho FostiUiistiT-Gene-
ral by letter, de.scribing tho envcloixj and address, aud stating
circumstiinces.

A. 15. — L’pon treating tho precipitated sulphide of silver with nitric
acid, and warming in a test-tube, the silver will be taken into
solution, and can be roadilv detected by the addition of common
salt to a few drops of the fiquid. AVith regard to the sulphur,
much of this will commonly be left insoluble, and a.ssumo tho
form of a semi-fused globule ; there will, however, always be a
small projiortiou oxidized and di.ssolved, and thiscmi bo recognized
in solution by one of tho usual tests for sulphatc.s, viz., nitrate of
barvla, jiroducing a white precipitate insoluble in dilute nitric
acid.

T. G. — Thanks.

A CoRUESFONDENT M'lTliouT RlONATi’nE. — Tho letter was duly
forward (h1.

D. AVinstani.ey in our next.

Our final Notice of tho I’hotographic Exhibition, together with
several articles in tyi>e, are coiuiielled to stand over until our
next.

Several Correspondents in our next.

THE PHOTOGRAPHIC NEWS.

V0£. XII. No. bZb.— December 4, 1868.

CONTENTS.

PAG8

The Ooddard Relief Fund 577

The New Secretary to the Photographic Society 878

A Photographers’ Relief Fund 578

Rxhibition of the Photographic Society 579

Echoes of the Month. By an Old Photographer 580

Foreign Miscellanea 582

The Ooddard Fund— Report of the Committee 583

PAG 8

On a New Series of Chemical Reactions Produced by Light. Bv

John Tyndall, LL.D. F.R.S., etc 534

Correspondence— A Photopaphers’ Relief Fund— Lux Gra-
phicus in Defence— Iodide of Mercury Intensi^ing— Amor-

phous Albuminized Paper 535

Talk In the Studio sgy

To Correspondents 687

Photographs Registered 588

THE GODDARD RELIEF FUND.

We feel sure that we shall be pardoned by the generality
of our readers for occupying part of our space this week
with an official report and a few remarks on a matter which,
in a direct manner, concerns only a few of tliem — the sub-
scribers to the Goddard Relief Fund, less than three hundred in
number. Besides these, the subject may possess an incidental
interest to those whose attention has of late been fixed on the
importance of a geiieral relief fund for photographers ; and

iiossibly also to the still smaller number who may have
elt any interest in the foolish rumours circulated by a few
mischievous persons as to alleged malversation in connection
with the fund in question. And, finally, in justification of
devoting some space to the matter now, it should be stated
that a good proportion of the money was contributed
through this Journal in response to an appeal made in its
pages ; and there is a fitness in publishing the final report
of the committee in the same columns.

The stoiy is pretty well known, but we may very briefly re-
state the leading facts. Mr. J. F. Goddard, originally a lec-
turer on popular science, became, in 1840, connected with the
then newly-discovered art of photography, and by his early
experiments materially contributed, if not to make
Daguerreotype portraiture a general possibility, at lea.st to
improve its quality and practice. After many years of
connection with the art, he was left behind in the struggle
for profit and honours, and old age found him with enfeebled
and precarious health, mental and bodily, and still more
enfeebled and precarious means. He was old, infirm, and
very poor. His only resources for subsistence were a few
pounds subscribed annually by the friends who knew some-
thing of his history, and believed in his necessities, if not in
bis great services to the art.* Mr. T. R. Williams was the
almoner of these few contributions, which averaged, so far
AS we remember, not more than about £15 a year, which
just kept the recipient from actual starvation. We were
amongst the limited number of contributors, which we
occasionally attempted to extend ; and in such efforts we
chanced to bring the matter under the attention of Mr.
Jabez Hughes, who, with characteristic energy and gene-
rosity, at once proposed a general appeal to photographers
for means of immediate, if not of permanent, relief. We
cordially seconded the idea, which was at once carried out.
“ A few facts and an appeal ” in connection with the dis-
coverer of the use of bromine in collodion were written by
Mr. Hughes, and inserted willingly in the journals con-
nected with photography, the editors of which (namely. Dr.
Diamond, Mr. Shad bolt, and ourselves) as well as Mr. T. R.

* It is perhaps due to the memory of the late Mr. Claudet, also now gone,
to say, tlut whilst he systematically denied the nature and extent of the
claims made for or by Mr. Goddard, he was one of these subscribers, as be
was afterwards a liberal contributor to the relief fond.

Williams and Mr. Hughes, undertaking to receive sub-
scriptions. Besides these appeals, upwards of two thousand
circulars and many hundred of letters, written personally,
were issued by Mr. Hughes, and sent all over the world
where photographers could bo discovered. The response to
this appeal was liberal, and upwards of £370 were contri-
buted. We may incidentally mention here, as a matter of his-
toric interest, that in the exuberant desire to present
the claim strongly, Mr. Hughes discovered, in the course of
the immense correspondence which followed, that he had
somewhat exceeded fact in his statement, and various pro-
tests accompanied some of the contributions. In America
Mr. Goddard’s claim to the application of bromine to the
Daguerreotype process was altogether ignored, and it was
ascertained also, from published documents, that both Sir
John Herschel and Mr. Fox Talbot had preceded Mr.
Goddard in the use of bromine. That Mr. Goddard was
honourably connected with early progress in the art there
can be no doubt ; and upon this subject it is not necessary
to enter into further detail here.

On the receipt of liberal contributions a new question
arose. No organization and no responsible body existed
for dispensing them. It became something like a necessity,
therefore, that those through whom the funds were contri-
buted should form a committee to consider their disposal ;
and the gentlemen we have named assumed that office, Mr.
Hughes, to whom the bulk of the subscriptions were sent,
practically becoming treasurer, conjointly with Mr. T. R.
Williams, who also, being in most constant contact with
Mr. Goddard, became dispenser of the fund. Very early
after subscriptions began to be received, Mr. Goddard was
relieved from the pressure of immediate want by a portion
of the money contributed ; but It became apparent, on a
little reflection, that no permanent method of relief could be
carried out on that system.

In the appeal first made it was proposed to relieve Mr.
Goddard from immediate need, and a hope was expressed
that his remaining years might be spent “ free at
least from the anxieties of physical want;” and, as funds
began to flow in, it became important to consider how the
committee could carry out their implied pledge to care for
his remaining yeare. The purchase of an annuity was
the obvious means of meeting the end, and in the two
thousand circulars and many hundreds of personal letters
to which wo have referred, the appeal for funds to purchase
an annuity was expressly made, and by far the larger
proportion of the amount was contributed under those
conditions.

But here a new difficulty arose. Mr. Goddard wished to
have the whole of the funds placed unconditionally at his
disposal, and a series of schemes for its appropriation were
proposed by him in succession, in none of which was any
security offered for his future subsistence. His antecedents

578

THE PHOTOGRAPHIC NEWS.

[December 4, 1868.

presented a saiUlening recortl of his unfitness to have irre-
sponsible charge of his own welfare, which age had in no-
wise removed. We pause at this stage, without entering
into a history of the troubles of the administrators, and
remember the good old maxim, de mortuis nil nisi lonum.
Suffice it to say here, that it was pointed out to him that the
committee felt they had no alternative in the matter. Pru-
dence rendered it desirable that the fund should be invested
in an annuity ; good faith to the subscribers of more than
two-thirds of the amount rendered it imperative. Whilst
anxious to obtain the uncontrolled use of the whole sum, he
promised oft. and as often evaded, the signing of the official
document identifying him with the annuity policy, and
without which it could not be completed ; and before any
definite step was effected, he died.

During the whole of the period in which the fund was in
course of collection, during the time which the medical man
required for observation before he could give promise of
possibly prolonged life, and during which Mr. Goddard de-
layed from time to time the necessary signature for securing
an annuity — a period of something less than three years — he
was in the receipt of an income from the fund sufficient to
supply moderate wants. He had gratuitous residence, with-
out food, in St. Joseph’s Retreat, at Hammersmith, and the
amounts he received from the committee averaged, during the
period in which he was practically in their charge, about six-
teen shillings weekly. The figures before us in the treasurer's
account stand thus Payments made to Mr. Goddard,
£104 18s. 8d. ; tailor’s and doctor’s bills, incurred during
these three years, paid for him, £4 12s. ; a furthur sum of
£5 paid to Mr. Goddard, but for which, no signature having
been obtained, Mr. Williams declines to charge, making alto-
gether £114 lOs. 8d. The funeral expenses, which the com-
mittee paid, amounted, in round numbers, to about £20 ;
for other disbursements we refer the reader to the balance-
sheet.

Our object in this brief analysis is simply to show those
of our readers interested in the question, that the de-
clining years of the unfortunate gentleman were relieved
from the pressure or fear of actnal want, the grim spectre
which had stood at his threshold during the years imme-
diately preceding the existence of this fund. At the latter
end of 1866, bronchitis — from which, in a chronic form, he
had sutlered for years— attacked him in an acute form, and
he went to Middlesex Hospital, where, after remaining a few
weeks, he died in the December of that year. Perhaps one
of the most satisfactory assurances of the sufficiency of the
relief he continued to receive from the fund collected is de-
rived from the fact that a few pounds — six or seven sovereigns
in gold — were found in his pocket after his death by the
ward attendant at the hospital, and handed over to ilr.
Brothers, who claimed to act as tlie representatB’e of the
deceased gentleman.

After his death the balance of the fund naturally reverted
to the subscribers. But now another trouble arose. A
gentleman named Mr. G. Brothers, of whom the committee
until then had known nothing, produced a will, made
at an early period in the history of the subscription,
in which Mr. Goddard — acting under the assumption that
the funds would be placed in his own hands — had disposed
of the prospective contributions, ilr. Brothets, as executor
under this will, claimed the balance of the fund. On taking
legal advice the committee learned that their own first im-
pression was correct : that they held the money in trust for
a special purpose ; that this purpose having been as far as
possible consummated, the balance belonged to the subscribers,
and could not be applied in any other manner. What fol-
lowed, and the cause of delay in closing their duty, those
concerned already know, and we refer any others interested
to the report for details. The balance in the ratio of their
subscriptions is now in course of distribution to the original
donors.

With this brief statement, the history of the Goddard
Fund, in our pages, closes. Undertaken in kindness, carried

out in steadfast good faith, not without an amount of labour,
difficulty, and anxiety far beyond what could have been
anticipated, the committee have, we think, one specific source
of satisfaction : that, so far as we know, every subscriber who
has communicated with them— and the number has been
large — has signified cordial approval of the course they have
pursued. And when we speak ot the committee, let us do
an act of justice by a remark which we are in the best posi-
tion to make: whilst, as the report states, the committee
were in perfect unanimity iu all their decisions, and each
one accepted any share of duty or responsibility which fell
to him, the chief labours were performed by two gentlemen,
Mr. Jabez Hughes and Mr. T. R. Williams. In response to
the single effort of Mr. Hughes, the greater part of the
money was contributed. With the exception of about £100
— upwards of £')0 of which were contributed through the
PuoroGRAPiiic News, and the remainder through two other
journals and Mr. Williams — the total amount was sent to
Mr. Hughes in reply to scores ot personal applications, hun-
dreds of written letter’s, and two thousand circulars, ad-
drcs.sed by himself to photographers in all parts of the
world. The duty — not always pleasant under the circum-
stances— of administrator was undertaken by Mr. Williams ;
and to these two gentlemen the subscribers are chiefly
indebted for discharging, on their behalf, the arduous task
just completed.

One word more. Suggestions well-meant, and rumours
ill-meant, have reached the committee, hinting the desir-
ability, or imputing the intention, of employing the balance
as a nucleus of a general relief fund. After reading the
brief history of the case, the kindly-disposed gentlemen who
have suggested the desirability ot such a couree will perceive
that any steps which could have been taken in such a direc-
tion would have added too seriously to the complications of
a sufficiently troublesome responsibility.

THE NEW SECRETARY TO THE PHOTOGRAPHIC
SOCIETY.

A SOMEWHAT premature announcement in a contemporary
states that Mr. John Spiller, F.C.S., has been appointed
secretary to the London Photographic Society. It will
interest many of our readers to learn that Dr. Diamond,
who has been for some time anxious to retire from the
duties of secretary to the Society as soon as a suitable
successor could be found, recently tendered his resignation
to the Society, and asked the council to take steps to
relieve him from the discharge of duties which the state of
his health and his numerous other engagements rendered
too exacting. His resignation will take effect at the
end of the Society’s year in February next; at which time
ho will have completed, we believe, his eleventh year as
secretary to the Society and editor of its Journal. Mr.
John Spiller has been appointed by the council, on the
resignation of Dr. Diamond, as honorary secretary, in which
duties he will probably have the assistance of another
honorary secretary. Mr. Spiller will also act as editor of
the Journal. The appointment is one which cannot fail to
give general satisfaction, both from Mr. Spiller’s standing
as a photographer and a man of science, and from his
estimable personal character which wins many friends,
and makes no enemies. His ability, activity, and zeal
cannot fail to be of great service to the Society. Other
changes in the officers of the Society will bo announced in
due course.

A PHOTOGRAPHERS’ RELIEF FUND.

As the probability of the establishment of a photographers’
relief fund acquires more definite shape amoug the photo-
graphic public, some points regarding the nature of the
organization and the limitation of its operation begin to be
discussed. 'I'he question especially arises, For whose benefit

Dsckmb£r 4, 1868.]

THL’ PHOTOGRAPHIC NEWS,

57!)

is such a fund proposed? The answe"s|which will be given
by different persons are illustrated in letters in our present
and recent issues, and these aretypes of others we have already
published. One class would limit the aid to those only who
could present proper credentials of their sole devotion to
photography as a profession ; whilst another class would
extend the aid to all who needed it who may in any way
have been connected with photography.

It is clear from the different views held on the subject
that it needs a little discussion. One of our correspondents
is under the impression that we raised the question as to
whether^hangers-on of the profession should be recognized
in such a benevolent scheme. He is in error; we simply
gave expression, as we at the time stated, to the question as
raised by a metropolitan photographer of many years’ stand-
ing in the profession, who wished that the question should
be discussed, but himself rarely expressed his thoughts in
writing. No matter, however, by whom the question is
raised ; if a fund have to be established, the subject should be
discussed. At this stage of the inquiry it is nut a matter of
sentiment, but one of necessary prudence. It is a very
plausible affectation of large-hearted generosity for a man
to exclaim, “ Ob, I would give to all without limitation,
necessity alone constituting a fitting claim.” But if the
professor of this ample liberality were literally without
means whereby his liberality might be tested his words
would be of little avail. iSo if a system were established
whereby funds could not be obtained, it would be quite use-
less, however comprehensive its professed charity. From the
tenor of some of these letters we have received, the writers
would be unwilling to subscribe to a fund which would ex-
tend help indiscriminately to all who had been connected
with photography, whether it had been their sole profession
or not; but they would readily contribute to a fund exclu-
sive in its aims. Here we have a class — possibly a large
class — representing a probably large annual subscribing
power, who will contribute on conditions ; and the question
very properly arises. Can these conditions be met?

Although we have raised the question by giving expres-
sion to the voice of others, we have expressed no opinion on
the subject ourselves. We hold, nevertheless, a very strong
conviction on the subject. It is, that narrowness or exclu-
siveness will be the very worst course as a matter of policy,
as well os a matter of benevolence, which can be taken ; and
we think that due redection on two or three considerations
will satisfy that class who at present are only prepared to
subscribe on condition that photographer-mechanics, photo-
grapher-barbers, et hoc genus omne, shall be excluded from
the provisions of the organization. First, let it be remem-
bered that the probable largest contributors to such a fund
will be wealthy amateurs, and these will he inspired with no
sympathy with the notion of excluding from the fund all bat
the most precisely-defined professional photographer. The
offer of X50, already made, is from an amateur, and no more
sure means of cooling the interest of such gentlemen could
bo devised than the introduction of any spirit of nar-
rowness into such a scheme, and no surer means of evoking
warm and extended aid can be conceived than a spirit of
catholic, but not reckless, comprehensiveness, in considering
the objects of benevolence. As a question of policy, profes-
sional photographers have far more to gain than to lose by
avoiding exclusiveness.

rally indicates some degree of taste and ingenuity ; and the
conjunction of photography with some other business gene-
rally suggests a desire to “ provide things honest in the sight
of all men,” and, therefore, such conjunction is, we think,
a “ failing which leans to virtue’s side,” always provided
there is an aim to do good work and secure fair prices.
But, in any case, the alliance of the two businesses gene-
rally argues thrift, and the thrifty man is the least likely to
become an applicant for benevolence.

A third condition of prudence is, that there is a very
large class, consisting of those employed in the manufac-
ture of lenses, cameras, and photographic apparatus and
materials generally, who would be just as probably contri-
butors as applicants to such a fund ; and that, in short, to
attempt to limit its aid to the “photographer” only,
according to the narrowest definition, would be probably to
limit its contributions to the same class, a course which
must of necessity seriously contract the chances of its estab-
lishment.

Finally, it might be asked. On what ground should ex-
clusiveness be practised? What occult fitness is possessed
by the photographer, according to the present definition,
which he whose occupations are associated with photo-
graphy does not possess ? It may be answered — in fact, has
been ansrvered — that there are “ hangers-on ” to photo-
graphy— men more likely to need the fund than to contri-
bute to it — and that this should be provided against. In a
benefit society such considerations would be of importance,
but in relation to a benevolent organization such a con-
sideration has no weight whatever. We presume that nine-
tenths of the contributors will never contemplate the bare
po.ssibility of their own need of aid from such a source.
The fitness of a claimant for relief out of the funds of a pho-
tographic benevolent fund will, wo presume, be duly con-
sidered by the administrative otlicers who may be appointed,
and the broader the basis upon which the claims shall be
estimated the more in accordance it is likely to be, we
believe, with the desires of the most important of the
contributors.

The mere discussion of the subject now might be con-
sidered premature, if it were not for the fact that some are
indisposed to promise to contribute until they know how
wide or horv narrow a basis is contemplated ; and as we are
anxious to be able to give the photographic world, in si.x
months, some estimate of the amount in donations and sub-
scriptions which may be anticipated if an organization is
formed, we wish to remove any objection which might
e.\ist, on the score we have indicated, to make a conditional
promise.

EXHIBITION OF THE PHOTOGUATHIC
SOCIETY.

Fix.vi. Notice.

So far a.s any descriptive memoranda on the prints enable
us to judge, the bulk of the contributions were jiroduced
by the wet process. The dry proce.sses, however, although
not extensively illustrated, present some very admirable
examples, and these go far to prove that in the hands of
skilful and careful men, almost every process will yield
The oldest, the Taupenot, in Mr. Wardley's

good results.

hands and in those of Mr. F. Howard, gives some marvel-
There is another consideration of policy worth a moment’s lously fine landscapes ; and the newest, Mr. Gordon’s gum
'' ' ■ 1 1 1 .1 - r., , 1 process, gives in his hands prints which leave nothing to

be desired. Mr. Whiting also exhibits some excellent

attention. It is very improbable that many of the class who
join photography to another occupation will ever be likely
to become dependants on such a fund ; for however uudig- i results obtained by the gum process, and soine scarcely le.ss
nified it may be — and it i.s, perhaps, a little painful to the I excellent by the tannin j)rocess. Mr. II . II . Kings prints
dignity of some to see the professions of “chimney-sweep ' of tropical plants in Kew (iardens, taken with the tannin
and photographer” conjoined on one sign-board — yet it j process, are very excellent. Mr. Beasley, as usual, excels
should be remembered that such persons are rarely un- | with the Fothergill process. And these names, so far as
thrifty. We may possibly lose caste in the estimation of | we know, comprehended the names of all the dry-plate
some of our readers, when we confess to some degree of men who contributed.

sympathy with those who .so dwell on the border-land of The wet-plate workers were legion. Besides the charm-
photography. The attempt to practise photography gene- i iiig Welsh views of Bedford, those in the lyrol by

580

THE PHOTOGRAPHIC NEWS.

[Dkcsmbkr 4, 1868. ™

"1

England, the exquisitely delicate work of Mr. Gordon, the
beautiful little bits of ^Ir. F. Howard, which tread closely
on the heels of those of !Mr. Gordon, the admirable land-
scapes of Mr. Vernon Heath, of !Mr. Spode. of Mr. Hrown-
rigg, and others, whose works are well known, and the
excellent and interesting Abyssinian photographs taken
by the Royal Engineers during the recent war, which we
have already noticed, there are very attractive j)ictures,
possessing line qualities, both artistic and photographic,
by men whose names are less familiar to the photographic
public. Amongst these, we may mention some singularly
delicate landsca])e bits by Mr. Fernely, of Melton !Mow-
bray. Without lacking any force, there was a delicacy of
treatment which resembled that of a clever pencil drawing,
and a crispness of definition like that of a steel engr.aving.
Mr. Archer Clarke exhibited some fine land.scapes, which
were described as having been treated with the golden
syrup solution recently described in our pages. Also
amongst the exhibitors of excellent landscape werk
Averc Mr. t’rofton Atkins, whose bold mountain and
cataract scenery was rendered Avith much picturesque
effect ; Mr. A. Irving, avIio exhibited some charming
Killarney A'icAvs ; IVIr. Greene, whose vicAvs in the iilauritius
possessed much interest ; IMr. Fox, Avho exhibited effective
sea and cloud pieces ; Mr. Heaviside, Avlio exhibited some
fine vieAvs in the picturesque neighbourhood of Durham ;
Mr. J. R. Best, Avho, Avith others, exhibited good pictures.

Most striking amongst the illustrations of special pro-
cesses Avas the portrait of Lord Belhaven, reproduced by
i\Ir. Annan from a painting in the last exhibition of the
Academy. It Avas j)rinted in carbon by the Autotype
Company, and resembled a fine mezzotint engraving, Avhich,
hoAvever, in many respects, it surpassed. 'I’he same Com-
pany exhibited a portfolio of splendid carbon reproduc-
tions from old ma.sters. Edwards and Co. exhibitecl a large
and interesting collection of carbon or pigment pictures,
consisting of portraits, enlargements, and examples of
different applications and difi'erent tints. Mr. W. 11.
Smith exhibited some A'ery interesting applications of
2)hotography to decorative work on Avood, in which pic-
torial subjects, Avith bonlers, imitating the gi-ain of orna-
mental Avoods, Avere both produced by jihotography, the
method employed being, Ave believe, the gelatino-chloride
of silver jirocess.

Dr. IMann’s ethnological studies from South .Vfrica Avere
strikingly full of character. 'I'he enamels of IMr. Hender-
son Ave have before mentioned as exceedingly perfect.
Mr. Barnes also exhibited some good enamels, plain and
coloured; and a gentleman in Hull, Avho described his
work as that of an amateur, exhibited some very good
enamels. ^Ir. Britton’s collodio-chloride pictures on opal
glass Avere very attractive. .Mr. Alfieri exhibited a frame
of excellent Avork, and full of interest, illustrating the art
of pottery by a Icavs of the men at work in the various
operations of ])otting. :Mr. .JeAvell's ilogs, and :Mr.
Avery's horseback j)ictures, received and Avere well worth
attention. With the exception of the carbon rcjAroductions
already named, very fcAV illustrations of this branch of
j)hotography Avere exhibited. Mr. Fred. Hollyer exhibited
a fine reproduction of a painting by Rosa Boidieur ; the
Misses Bertollacci exhibited some capital re})roductions
from engravings of Turner’s Avorks, and ,Mr. Hubbard also
exhibited a feAv good e.xamples of copying. Mr. H. Dixon
exhibited one or two of his fine reproductions and some
other jiictures, chicHy Avith a vicAv to illustrate the effect
of a preserA’ative varnish Avhicli Avill effectually protect
the print from the action of external agencies, and so con-
tribute to the permanency of the print.

Of the coloureil Avork AAe can only briefly indicate the
character of the contributions. A A*cry charming j)ortrait,
produced by the collodio-chloride process on ivory, and
coloured in Avater colours, Avas exhibited by IMr. B. J.
Edwards ; and a water-coloured eburueum jneture, ex-
hibited by Mr. Burgess, Avas very interesting, and

closely resembling the effect of ivory. The bulk of the
coloured work consisted of enlargements, some by Mr.
Blumridge striking us as amongst the finest we have seen.
The oil-coloured AVork of Mr. EdAvin Davis Avas of very
high character. Mr. J. II. Wills exhibited work of
various qualities: a vignetted coloured hearl on a grey
board Avas exceedingly fine. I.iOck and I\’ bitfield’s work
in AA'ater-colours wa.s, as usual, of the highest excellence.
Messrs. SaAvyer, of NeAvcastle-on-Tyne, exhibited two
good eidargments, coloured in oil, one of which especially
pleased us. Lenthall, Herring, Rees, Cunningham, Mon-
nickendain. Palmer, and some others, exhibited very
good coloured enlargements. Some coloured enamels by
Mr. Bailey Avere especially fine and artistic in quality.
iMr. Piercy’s examples of his patented method of treating
photographs Avere exceedingly excellent, and full of artistic
finish.

Raines’ panoramic camera, exhibited by Mr. Ross, and
some photographs produced by it and by Mr. Ross’s doublet,
excited much interest. The method of obtaining a pano-
ramic jjicture is very simple, and is analogous to that
Avhich has occasionally been effected by means of a stereo-
scopic camera : one-half of a view is first taken on one-
half of the plate, the camera is then moved so as to bring
the next half of the vieAv accurately into position, and the
front of the camera holding the lens moved so as to bring
the second half of the vieAV on the second half of the
plate. 'Pile especial feature of this camera is the presence
of an endless band, Avith serrated edges, placed just in
front of the plate at the part where the two halves of the
vieAv join. This being kept in revolution during the ex-
posure ])ractically vignettes each half into the other, and
so jArevents any appearance of joining. A panoramic
landscajje exhibited by Mr. "Wardley w:is produced from
tAvo negatives printed in succession on the same paper,
and is admirably joined. A small {pocket-camera was ex-
hibited by Messrs. Xegretti and Zambia. One of the
most complete, convenient, and handsome camera-stands
Ave have seen Avas exhibited by ^Ir. Hughes. Some ad-
mirable examples of folding-cameras, and some capital
stands, Avere exhibited by Mr. Meagher.

Of the apparatus exhibited nothing Avas more interesting
than the examples of the Holmes stereoscope, which Mr.
Blanchard has recently called attention to. Air. Meagher
exhibited some handsome examples in polished Avalnut
wood, Avhich excited much attention and admiration.

ECHOES OF THE MONTH.

Bt AS OLD PHOTOGRAPHER.

Thk L.ati; E.\iuiiiTioN — Secketap.ysiiip of the Puoto-
(iu.u'Hic SociF.TY — The Relief Find— Poktuaits ox
A PFliOVA I Tl I E Soci ETIES.

No photographic eA'ent duiing the month — in fact, none
dnring the year — has possessed half the interest of the
exhibition of the Photographic Society held in Conduit
Street. A jjhotograiihic exhibition is always interesting to
a photographer, but this possesed a startling inte-rest, from
the degree of excellence possessed by the mass of the con-
tributions, being so much in advance of anything which
could have been anticipated. Technically, everything was
perfect, and there Avas not a bad photograph exhibited ;
but, Avhat Avas of far higher importance, the art qualities
Avere so much in advance, in portraiture especially, of
anything previously exhibited, that everyone was taken by
surprise. 'That the great impetus in this direction was
given by the attention Avhich has been called to the pictures
of AI. Salomon seems to be generally admitted ; but it is
veiy gratifying to see so many good men willing to learn,
and capable of learning ; and it is pleasant to note, too,
that even in Avhat are, I presume, confessedly imitations,
so much indiA’idualism is manifested — an individualism
which will necessarily become more specific and marked,

Bbcbmasr 4, 1868,]

THE PHOTOGRAPHIC NEWS.

681

and prcKluce diveraity of style, with, it is to be liopo<l, uni-
formity of excellence.

The exhibition has been so fully noticed that I shall not
venture to comment upon any of the pictures. 'I'here is
one reflection in connection with the subject somewliat apt
to be forgotten, which 1 should like to impress upon the
minds of photograj)hers, as being very appropriate at the
close of such a satisfactory e.xhibition. 1 would suggest how
important it is for all interested in the art to strengthen the
hands of the Photographic Society. Despite the heavy
losses it has sustained through the maintenance of exhibi-
tions in former years, being impressed with the viust
importance of such exliibitions in a«ivaucing tlie art, and of
their interest and value to photographers, the council, it
appears, have resolved to maintain as an annual institution
this exhibition inauguration of the winter session. How-
ever economically it may be done, it is clear that it involves
some serious expenses and a vast amount of labour for
somebody ; and, although 1 believe that the Society does
already include the mass of the respectable metropolitan
photographers, and many in the provinces, I cannot help
thinking that a society which undertakes the trouble and ex-
pense of opening gratuitously to photographers and the public
such an exhibition every year, has a claim upon the support
of everyone interested in the art. I have been led to these
remarks by having observed in print — truly, in a very
iusignifleant quarter, but still showing there are minds
small enough for the kind of thought it embodied — a phrase
alluding to tlie “ exhibition in the Photographic Society’s
rooms, not the exhibition of the Photographic Society.”
As the trouble of arranging, hanging, managing, and open-
ing gratuitously to the public for a week, audall theexpenses
of doing this, are undertaken and borne by the Photographic
Society, I should like to know whose exhibition it is, if
not that of the Society. Some of the exhibitors were not
members of the Society, it will be said. True, although
by far the greater part of them were. But there is nothing
affecting the matter in this. At least nine-tenths of the
pictures in the exhibition opened every May, in Trafalgar
Square, are not by members of the Iloyal Academy ; but
who dreams of speaking of the display as other than the
Iloyal Academy Exhibition V

Apropos of the Photographic Society, I see an announce-
ment in the Chemical News to the effect that Mr. John
Spiller has been appointed Secretary of the Photographic
Society. It has been known for some time, 1 believe, that
Dr. Diamond was anxious to resign whenever the council
could release him from his duties ; but I cannot help
fancying that an announcement of a new appointment in
the middle of the session must be premature.* In any
case, however, 1 think that everyone will readily admit
that Mr. Spiller will be the right man in the right place.
A veteran in photography and photographic reputation,
although scarcely yet in the prime of life, having attained
high recognition in the scientific world as an accomplished
chemist, and a man of pre-eminently courteous and conci-
liatory personal bearing, it would have been dillicult, 1
think, to make a more efficient or a more popular appoint-
ment.

Last month, I ventured to hint that the subject of a
Photographic Relief F und had not been discussed in detail,
and did not seem to have excited the general interest it
deserved. The correspondence in your pages the last few
weeks indicates a more general desire on the part of pho-
tographers to give attention to the matter. 1 am sorry,
however, to see a spirit of jealous narrowness in some of
the letters, and a disposition to exclude from prospective
benefits the dwellers in the border-land of photography, or
hangers-on to the art. I think that all considerations as
to the claims of applicants for relief may very well be left
to the consideration of the committee or officers of any
organization which may be formed. Your proposed “ test-

* Sm remarks in another page,— £n.

operation ” is, I think, a happy idea. If all who are dis-
posed to aid the formation of such a fund will forward to
you intimation of their willingness to contribute, it will
be easy to estimate the probable success of the project ;
and as the promise will be conditional, and depend upon
the formation of a trustworthy committee, no one need fear
the risk of promising aid to a project which might even-
tually fall into bad hands.

A recent letter in your pages, by Mr. Downes, raises a
question of considerable importance. He protests against
taking portraits on approval, a praetice which is, he
alleges, becoming common, so that a portraitist may have
an hour or two of valuable time wasted in producing two or
three negatives, j^roofs may be printed from them, and
the sitter, from some whim, after disapproving of them,
coolly leave the photographer with his labour for his pains.
1 should hoj)C that such cases would not, under any circum-
stfinces, be common ; but it is clear that if the practice of
taking portraits on .approval were established, they might
e.asily occur. The case of the sitter may seem reasonable
enough when he s.ays that he cannot think of piiying for
portraits which are not like. But what is the practice of
other trades in such matters V If a tailor or a shoem,aker
make a misfit, he will cither alter the article or make
another. But the customer would be considered as acting
unfairly and dishonourably if he declined to allow a second
trial, but withdrew his order altogether. Now, if he deal on
this wise with the photographer, his conduct becomes as
nearly dishonest as it is dishonourable. To engage the
time of the portraitist in tivking a negative, and then
decline either to .accept what is done or to sit again, when
possibly the defect in the first attempt is due to the sitter
himself, is clearly dishonest.

On the other hand, 1 think that portraitists will, as a
rule, find their account in giving re-sits wherever a cus-
tomer is dissatisfied. Suppose he decline to do so, and the
customer, with a bad grace, pays for the smallest number
of the prints he can order ; it is quite certain that no more
copies will be required from that negative. But if, for
some real or supposed fault, the first portrait does not
please, and a second sitting is given, the customer is pro-
pitiated and in a humour to be pleased with the next
attempt ; and, being pleased, probably gives a large order
for prints, and, possibly, continues ordering for some time
from the same negative. It is clearly the interest of the
photographer to please his customer, even at the cost of a
little extra and even unreasonable trouble, especially in
these days, when it is not uncommon to order many copies
of prints from one negative. Of course, there will always
be fidgetty, unreasonable people whom it is impossible to
please, but as these cannot be cured they must be endured.
1 remember an old portraitist who had a curious rule on
the subject of re-sits. When customers found fault with
a portrait, and jisked to sit again, he fouiul in many
instances, not that the first was unsatisfactory, but that
they wished to have the choice of two effects of dress. He
made it a rule, therefore, to consent to a re-sit, on one
condition, namely, that the first negative should be de-
stroyed before the second was t.aken, and that the cus-
tomer should consent, in any case, to accept the result of
the second trial. In the majority of cases this was declined,
and the first accepted, showing that there was, in reality,
very little objection to the first, seeing that the customer
would not take the chance of getting something better,
seeing it might also be something worse. In the days
when one or two copies were the common orders, such <a
plan answered ; but now it is the photographer’s interest
to keep all the negatives he takes, with a view to possible
orders from all.

The proper remedy for any misunderstanding between
the photographer and his customer I hold to be prepay-
ment. Let a rule be systematically carried out, that the
sitter’s name and instructions be at once entered in a book,
and his money taken before he sits for his negative, as a

582

THE PHOTOGEAPHIO NEWS.

[pBCEMBfeB 4^. 1868.

traveller pays for his railway ticket before commencing
his journey, or for his concert ticket before listening to
the music.

The photographic societies have all commenced their
winter sittings. The l.oudon Society had an interesting
conversazione at the opening of the exhibition in place of
a meeting. The North London, in the absence of a paper,
had a conversational meeting. At tlie South Mr. Pearce
reml a modest and interesting paper on natural backgrounds
and open air effects in portraiture, ttpon wliich an infer-
esting discussion followed. At the Edinburgh the auiVual
meeting was held for reporting progress and appointing
ofticers. A cajntal suggestion was made in the “ curator’s ’
report, to the effect that every member shouhl present to
the society his card ])ortrait with his autograph appended,
and so form a gallery of the members. At the Manchester
Society the chief bu.si ness was an interesting magic Ian*
tern display.

J'orc'Kjn j^iscfKanfa:.

At the last meeting of the French Photographic Society
M. Pacbelo again called attentlou to the formation of spots
upon positive prints, which he attributed to some injurious
material iu the mouutiug boards, whereupon M. Girard
stated that as the cardboard is manufactured in the same
factory as the mounts with gilt edges, it is very possible that
the Injury complained of arises from tiuely-dividcd metallic
particles deposited upon the card, us pointed out by him
some time since.

At tie same meeting, M. DespaquU exhibited several
transparent carbon photographs mounted upon glo.ss, and
obtained by means of a film of so-called leather collodion
{collodion-cuir). The material is well adapted to the pro-
duction of pictures of this description, as favourable results
are obtainable even from inferior negatives; a film of the
material is merely exposed under a negative, washerl in
warm water, and then mounted upon glass. The pictures
have created so favourable an impression that many of the
principal photographers of Paris are experimenting with it —
to wit, JIM. Disderi, Reutlinger, Lejeune, &c.

JIM. Geymet and Alker, in a letter to the Moniteur de ia
Photographie, state that in dull weather they can use the
magnesium light fortheirenamelling process.* For printing
a negative, a pose of forty seconds’ expoture will give an
image sufliciently good for transferring ; and for reproducing
■lesigns by means of the camera, an exposure of two minutes
is necessary.

Under the title of “ Recent Progress in Science," a series
of articles have been published in the Revue des I)eux
Mondes, by JI. Radau. One of these articles, on Photo-
graphic Chemistry, although containing no novelty, is, on
account of its simplicity and clearness, worthy of perusal by
photographers. Referring to a t&j of light which is decom-
posed by a prism into six principal colours — red, orange,
yellow, green, blue, and violet — JI. Radau says : — “ These
rays, which affect the retina of the eye, constitute what is
called visible light. They are warm rays, and capable
of acti^ chemically upon certain substances which are
called impressionable fsensitive), but they do not produce
all the calorific and chemical effects obtained with sunlight.
The visible spectrum is prolonged on each side by obscilre
rays; beyond the red line extends the region of obscure
heat ; and beyond the violet aro the chemical or ultra-violet
rays. The latter become visible under certain conditions,
when they appear of a light-grey lavender tint; they do
not produce heat, but they exert a powerful action upon
impressionable substances.’’

* This sas done by Mr, Joubert a year vr two ago.— Eo.

In stating that the theory of photographic phenomena is
still enveloped in obscurity, M. liadau proceeds : —

Nevertheless, one may endeavour to group known obser-
vations and effects under several general cat^ories. There
are. first of all, the reducing agents. Under the inflnence
of solar rays, oxygen aud haloid bodies have a tendency to
abandon the metals. Chloride and nitrate of silver become
decomposed, and it is the same, generally speaking, with
chlorides, bromides, iodides, cyanides of the less oxidisable
metals, the oxides, or suroxygenated acids, &G. In these
cases light has the effect of destroying the affinities. There
are, besides, the combining agents, in which affinities are,
on the contrary, brought about by light. Oxygen, chlorine,
bromine, &c., have a tendency, under the influence of light,
to combine with hydrogen, and organic bodies. A mixture
of chlorine and hydrogen may be preserved for an indefinite
period iu obscurity, bat if exposed to light it liquefies and
gives birth to hydrochloric acid. BitumeD'of ,Tudea be-
comes insoluble under the action of light, because it absorbs
oxygen ; and a large number of essences aud varnishes like-
wise become oxidised by liebt ; gum-guaiacum assumes a
bluish tint on oxidising. In mixing together a substance
which tends to become decomposed under the action of li^ht
with another inclined to absorb one of the borlles which
is separated, more energetic effects are produced. It is iu
this manner that organic matter facilitates the reduction of
salts of silver by absorbing the oxygen disengaged. But what
is most remarkable is the fact that if one only of two sensitive
substauces is exposed to sunlight, aud both are afterwards
placed in contact, the molecular action developed by the
sunlight continues after the withdrawal of the substance
from exposure, and, by bringing together the two substances,
the same effect is produced as if they had both been sub-
jected to the direct action of solar rays. Thus, for Instance,
in order to facilitate the reduction of iodide of silver, it is
placed iu contact with gallic acid after one of these sub-
stances has been exposed to sunlight, or even both have
been exposed together. The effect produced as regards in-
'tenrity is nearly always the same. Photographers donomi-
nate as sensitive, or impressionable, any material which re-
ceives and preserves the action of light, and give the name
of developer to any substance capable of developing the
image or completing the chemical reaction ; but this dis-
tinction is of no essential value, inasmuch as the roles
played by the two descriptions of bodies may be inverted."

Collodio-chloridc paper is now made commercially in
Germany, and advertised largely for sale. Each sheet is
stated to contain three grammes of nitrate of silver, which
is in most part recoverable from residues. The prices asked
are somewhat hi"h, being twenty-four shillings per quire of
sheets 20J by 12, or six shillings per gross of papers suit-
able for printing cartes-de-visite.

At a recent meeting of the Berlin Photographic Society,
JI. Stolze stated that he had experimented with good result
upon a silver bath with permauganatc of potash ; the bath
contained 4,000 cubic centimetre.s of solution, which was
quite nnserviceable, giving rise to pinholes and other impci-
fections. To this it wa.s found necessary to add as much as
200 cubic centixaetres of saturated poimanganate solution in
order to impart to the bath a red tinge. The precipitation
and discolouration did not take place so rapidly ac jf. Stolse
had been led to expect, as hours elapsed before the red colour
changed to yellow. After a few days a yellowish turbidity
of the bath was perceived, although tlie solution had pre-
viously been filtered, aud it was not until the liquid had
been sunned aud treated with a few drops of cyanide of
potassium that the difficulty was overcome. M. Stolze re-
commends the employment of permanganate for restoring
silver printing baths to which sugar has been added for the
purpose of preserving the whites of the albuminized paper.

JI. Johannes Grassboff' publishes in the Mittheilungen a
few remarks upon backgrounds and effects. lie criticises the
carpets generally used by photographers, intimating that os

Okcehbbr 4, 1868.]

THE PHOTOGRAPHIC NEWS.

583

a rule thej arc too good and showy, and that a qoiet pattern,
free from glare, should be employed. On this account a
worn and bleached material will turnish better results than
a span new article, ns in the photograph the carpet should
not be a prominent object, but very subdued in character.
He remarks upon the occasional inconsistency of photo-
graphers who sometimes produce standing Hgures upon deal
boards with a grand landscape background, and states that
the time is evidently not far distant when the public will be
treated with open-air scenery with hne carpeted foregrounds.
To reader an ordinary floor more suitable for landscape
backgrounds, M. Grasshofl' suggests the use of a wooden
ledge, three or four inches wide, and about one inch thick,
placed against the background. The ledge must be placed
diagonally, so as to slope downwards to the floor, and painted
of a dark colour, and covered thickly with glue, upon which
dried moss or other similar materials are made to adhere ;
the join between the margin of the ledge and the floor
should be as imperceptible as possible.

Some discussion has taken place at the last two meetings
of the Berlin Photographic Society respecting certain collo-
dion gun-cotton which has been received from New York,

Sossessing a yellowish tint, which it imparts to the collo-
ioD. M. Kruger experimented with it, and found that the
colour was not due to free acid, and that the material when
boiled in alcohol remained unchanged, whereas the ordi-
nary kinds were considerably swollen by the treatment ;
on adding a little iodide of cadmium to the alcoholic liquid
obtained from the Vmerican sample, a yellowish colouring
of the fluid was perceived, which did,not take place in the
fluids from the other specimens. M. Kruger's results led
him to believe that the American gun-cotton had either
been prepared in a liquid in the compounding of which the
acids haa not been used in the right proportion, or the acids
themselves were too weak. M. Kleiiel had also examined
the gun-cotton, but had come to a different conclusion,
believing that the colour was due to the acid mixture
having been of too high a temperature. lie found that the
un-cotton in question did not produce a transparent collo-
ion, but one of a very friable character, when dry ; neither
did it dissolve entirely in ether.

At the same Society, a few remarks were made relative to
the precipitation of residues. It was stated that chemically
pure muriatic acid at once threw down the precipitate and
clarified the water, whereas ordinary commercial acid often
failed after some days in biinging about the same result.
M. Junghans suggested the warming of waste liquids to
facilitate precipition, and Dr. Jacobsen recommended the
addition of a solution of glue or gelatine to the same, which
seemed to possess the property of combining with the preci-
tate, and falling down with it.

THE GODD.\RD FUND.— REPORT OF THE
COMMITTEE.

[Wk have been requested to publish the following official Re-
port of the Committee of the Goddard Fund.]

The Committee that undertook the management of this
Fund beg to lay the following Report before their fellow-
Suhscribers : —

It will be remembered that in December, 1803, an appeal was
made by Mr. Jabcz Hughes to raise a fund to relieve the
urgent necessities ot Mr. J. F. Goddard, in consideration of
services rendered to photography in its early days. This
appeal was endorsed by Dr. Diamond, Q. Shadbolt, Esq., G.
Wharton Simpson, Esq. (the Editors of the Journals in which
the appeal was made), and T. R. Williams, Esq., who had
personally known Mr. Goddard for many years; and these
gentlemen accordingly formed themselves into a Committee.
The response to the appeal was the handsome amount of
£ZH 2s. The original intention was immediately to purchase
an annuity with the money raised ; but as Mr. G. was then in
feeble health, it was thought that if his life were likely to be
a short one, it would be better to administer the money in

larger amounts than could be realized from a purchased
annuity. To estimate how long he might probably live, the
advice of a skilful physician was taken, who reported, after
examining Mr. G., that though ho was suiTuring from bronchial
disease and affection of the heart, there was no immediate
danger, and he proposed to make another examination after
the lapse of twelve months, so that from the progress of the
disease in the interval he could more accurately estimate the
probable length of Mr. G.’s life. Mr. Goddard was therefore
maintained by means of the fund, and at the end of the year
underwent another examination. The report then given was
that, though the disease had made progress, yet, the constitu-
tion being generally a strong one, it was not improbable that
Mr. G. might live several years. It was now felt that the
wisest course would be to carry out the original intention, and
purchase an annuity with the balance of the money. Accord-
ingly, after careful enquiry, an Annuity Office was selected
where the largest annual sura could be obtained for the money,
and the necessary papers for signature provided. To this Mr.
G. objected. Indeed, he had all along demanded that the
whole sum should bo given to him to expend in any manner
ho thought proper. The gentlemen who had raised the money
felt it impossible to listen to this proposition ; they represented
to Mr. G. that the money was subscribed, in the words of the
appeal, to relieve his necessities, and preserve his remaining years
from the anxieties of physical want ; and that if they parted
with the monoy they had no guarantee that the original
purpose would be secured. The truth is, that the Committee,
from the information supplied by one of their members who
had known him longest, hod no confidence in Mr. G.'s
judgment and prudence in the employment of the monoy.
They were well grounded in this conviction, not only from
this knowledge of his past history, but also by the crude schemes
by which ho proposed to dispose of the fund ; the probability
being that at the end of six months not a penny would be
left, and that he would be in os great distress as ever. Other-
wise, nothing would have been more gratifying than in this
manner to have terminated the self-imposed trust. But it was
felt that it would be neither real kindness to Mr. G. nor justice
to the Subscribers — the greater proportion of whom had con-
tributed with an express understanding that an annuity was
contemplated — to have to end the matter in this unsatisfactory
manner.

The Committee, who have acted all along with perfect un-
animity, urgently pressed on Mr. G. the propriety of accepting
the money in the form proposed, and promises were made
by Mr. G., from time to time, that he would sign the Annuity
Office papers ; but these promises were as regularly broken.
Meanwhile, he was in the constant receipt of suras of money
at least equal to the amount he would have received from the
Office, and very much larger than ho had been receiving from
precarious charity at the time when the appeal for help was
made.

During these proceedings it was the source of great pain and
trouble to those who dispensed the fund to find their best
endeavours thwarted by the recipient of the bounty. In this
state of the affairs Mr. G., after a short illness, died. Soon
after, a Mr. G. Brothers produced a will, and, as executor,
claimed that the balance of the fund should be placed in his
hands, ho (Mr. G. Brothers) being one of the chief legatees.
On consulting a solicitor, the Committee were informed that
they had no power to devote the fund to any purpose but that
for which it was raised ; namely, to relievo the necessities of
Mr. Goddard. That object being, as far as possible achieved,
the balance at his death reverted to the original Subscribers.
On this advice action would immediately have been taken to
distribute the money among the donors, but, litigation being
threatened, they were advised, legally, that it was desirable to
delay fiual proceedings. Sufficient time having elapsed, the
Committee are unwilling to permit further delay in the removal
of their responsibility in regard to the balance of ffinds, and,
as nothing prevents the legal advice being carried out, the
money wilt at once be distributed. The remaining balance in
hand will permit a return of l‘2s. Gd. in the £ to the Subscribers,
which sum, where their addresses are known, will be imme-
diately remitted.

In making this repayment, it is gratifying to the Commitee,
and will be to the Subscribers, to know that — despite all the
troubles that have arisen — Mr. Q. was relieved from the deep
penury in which he was found, that ho received during bis
I life more than he would have done from an annuity, and that

f 684

The photographic news.

[December 4, 1868.

kU expenses incurred in his illness, and in connection with his
death and burial, including a memorial over his grave, have
been defrayed out of the funds so munificently contributed.

STATEMENT OP INC03VTE AND EXPENSES.

Cr. £ ». cf.

Amount of subscription ... STS 2 0
Onpaid subscriptions ... 5 0 0

374 2 0

Interest 25 3 4

£ t. d.

Payments to Mr. Ooddard
(lurini; bis life, and for
medicai, funeral, and
buriai expenses ... 130 1 8

Printing. stationery,
postage, and other ex-
penses in coiiecting the

fund 22 4 2

Legal expenses, unavoid-
ably incurred 8 8 0

Estimated expenses of
distributing baiance of
fund ... ... ... 5 16 6

Baiance to return to Sub-
scribers ... 233 15 0

£399 6 4

£399 5 4

Signed, on behaif of the Committee,

Novemhtr, 1868.

JABEZ IlUailES.

ON A NEW SERIES OP UIIEMICAL REACTIONS
PRODUCED BY LIGHT.

BY JOHV TT.SD.4LL, LL.D., F.R.S,, ETC.*

Iodide of Isopropyl. — The action of light upon the vapour
of this description is at first more languid than upon iodide
of allyl ; indeed, many beautiful reactions may be overlooked
in consequence of this languor at the commencement.
After some minutes’ exposure, however, clouds begin to
form, which grow in density and in beauty as the light con-
tinues to act. In every experiment hitherto made with this
snbstance, the column of cloud which filled the experimental
tube was divided into two distinct parts near the middle of
the tube. In one experiment a globe of cloud formed at the
centre, from which, right and left, issued an axis which
united the globe with the two adjacent cylinders. Both
globe and cylinders were animated by a common motion
of rotation. As the action continued, paroxysms of mo-
tion were manifested ; the various parts of the cloud would
rush through each other with sudden violence. During
these motions beautiful and grotesque cloud-forms were
developed. At some places the nebulous mass would become
ribbed so as to resemble the graining of wood ; a longitu-
dinal motion would at times generate in it a series of curved
transverse bands, the retarding influence of the sides of the
tube causing an appearance resembling, on a small scale,
the dirt-bands of the Mer de Glace. In the anterior portion
of the tube those sudden commotions were mo.st intense;
here buds of cloud would sprout forth, and grow, in a few
seconds, into perfect flower-like forms. The mo.st curious
appearance that 1 noticed was that of a cloud resembling a
serpent’s head : it grew rapidly ; a mouth was formed, and
from the mouth a cord of clou! resembling a tongue was
rapidly discharged. The cloud of iodide of isopropyl had a
character of its own, and differed materially from all others
that I had seen. A gorgeous mauve colour was developed
in the last twelve inches of the tube ; the vapour of iodine
was present, and it may have been the sky-blue produced by
the precipitated particles which, mingling with the purple
of the iodine, produced this splendid mauve. As in all
other cases hero adduced, the effects were proved to bo due
to the light ; they never occurred in darkness.

I should like to guard myself against saying more than
the facts warrant regarding the chemical effects produced
by light in the following three substances ; but the physical
appearances are so exceedingly singular that I do not hesi-
tate to describe them.

Hydrobroinic Acid. — The aqueous solution of this acid was
placed in a small Woulfe’s flask, and carried into the ex-
perimental tube by a current of air.

* Continued bom p. 573.

The tube being filled with the mixture of acid, aqueous
vapour, and air, the beam was sent through it, the lens at
the same time being so placed as to produce a cone of very
intense light. Two minutes elapsed before anything was
visible; but at the end of this time a faint bluish cloud
appeared to hang itself on the most concentrated portion of
the beam.

Soon afterwards a second cloud was formed five inches
further down the experimental tube. Both clouds were
united by a slender cord of cloud of the same bluish tint as
themselves.

As the action of the light continued, the first cloud gradu-
ally resolved itself into a scries of parallel disks of exquisite
delicacy ; the disks rotated round an axis perpendicular to
their surfaces, and finally they blended together to produce
a screw surface with an inclined generatrix. This surface
gradually changed into a filmy funnel, from the end ot
which the “ cord " extended to the cloud in advance. This
alse underwent modification. It resolved itself into a series
of strata resembling those of the electric discharge. After
a little time, and through changes which it was difficult to
follow, both clouds presented the appearance of a series of
concentric funnels set one within the other, the interior ones
being seen through the spectral walls of the outer ones ;
those of the distant cloud resembled claret-glasses in shape.
As many as six funnels were thus concentrically set together,
the two series being united by the delicate cord of cloud
already reterred to. Other cords and slender tubes were
afterwards formed, and they coiled themselves in spirals
around and along the funnels.

Rendering the light along the connecting-cord more in-
tense, it diminished in thickness and became whiter; this
was a consequence of the enlargement of its particles. The
cord finally disappeared, while the funnels melted into two
ghost-like films, shaped like parasols. The films were
barely visible, being of an exceedingly delicate blue tint ;
they seemed woven of blue air. To compare them with cob-
web or with gauze would be to liken them to something infi-
nitely grosser than themselves.

In a second trial the result was very much the same. A
cloud which soon assumed the parasol shape was formed in
front, and five inches lower down another cloud was formed,
in which the funnels already referred to were considerably
sharpened. It was connected as before by a filament with
the cloud in front, and it ended in a spear-point which ex-
tended twelve inches further down the tube.

After many changes, the film in front assumed the shape
of a bell, to the convex surface of which a hollow cylinder
about two inches long attached itself. After some time
this cylinder broke away from the bell and formed itself
into an iridescent ring, which, without apparent connection
with anything else, rotated on its axis in the middle of
the tube. The inner diameter of this ring was nearly an
inch in length, and its outer diameter nearly an inch and a
half.

The whole cloud composed of these heterogeneous parts
was animated throughout by a motion of rotation. The
rapidity of the rotation could be augmented by intensifying
the beam. The disks, funnels, strata, and convolutions of
the cloud exhibited at times diffraction colours, which
changed colour with every motion of the observer’s eye.

Moisture appeared to be favourable to the pioduction of
these appearances ; and it hence became a question how far
they were really produced by the light ; hydrobromic acid,
even from its solution, fumes when it comes into contact
with the aqueous vapour of the air ; its residence in water
does not appear to satisfy its appetite for the liquid. The
same effect, as everybody knows, is observed in the solution
of hydrochloric acid. Might not, then, those wonderfully
shaped clouds bo produced by an action of this kind, the
presence of the light being an unnecessary accident?

The hydrobromic acid was permitted to enter the experi-
mental tube and remain in diffuse daylight for five minutes.
On darkening the room and sending the electric beam

Dkcemaer 4, 1868.]

THE PHOTOQKAPHIC NEWS.

585

through it, the tube wa.s optically empty, Two minutes’
action of the light caused the clouds to appear, and they
afterwards went through the same variety of changes ns
before.

No matter bow long the hydrobroraic acid was allowed
to remain in the tube, no action occurred until the luminous
bjam was brought into play, Tlic tube filled with the mi.x-
ture of air, aqueous vapour, and hydrobromic acid was per-
mitted to remain for fifteen minutes in the dark. On send-
ing the beem through the tube it was found optically empty ;
but two minutes’ action of the light developed the clouds as
before.

Permitting the beam to pass through a layer of water
before entering the experimental tube, no diminution of its
chemical energy was observed. Permitting it to pass
through a solution of hydrobromic acid, of the same thick-
ness, the chemical energy of the beam was wholly destroyed.
This shows that the vibrations of the dissolved acid are
synchronous with those of the gaseous acid, and is a new
proof that the constituent atoms of the molecule, and net the
molecule itself, is the seat of absorption.

Hydrochloric Acid. — The aqueous solution of this acid w.as
also employed, and treated like the solution of hydrobromic
acid. 1 intend to invoke the aid of an artistic friend in an
effort to reproduce the effects observed during (he decompo-
sition, if such it be, of Irydrochloric acid by light. But
artistic skill must, 1 fear, fail to convey a notion of them.
The cloud was of slow growth, requiring fifteen to twenty
minutes for its full development. It was then divided into
four or five sections, every adjacent two of which were united
by a slender axial cord. Each of these sections possessed an
exceedingly complex and ornate structure, ejfhibiting ribs,
spears, funnels, leaves, involved scrolls, ami iridescent fleur.s-
de-lis. Still the structure of the cloud, from beginning to
end, was perfectly symmetrical ; it was a cloud of revolu-
tion, its corresponding points being at equal distances from
the axis of the beam. ■ There are many points of resemblance
between the clouds of hydrochloric and hydrobromic acid,
and both are perfectly distinct from anything obtainable
from the substances previously mentioned ; in fact, every
liquid appears to have its own special cloud, varying only
within narrow limits from a normal type. The formation
of the cloud depends rather upon its own inherent forces
than upon the environment. It is true that, by warming or
chilling the experimental tube at certain points, extraordi-
nary flexures and whirlwinds may be produced ; but with a
perfectly constant condition of tube, specific dift'erences of
cloud structure are revealed, the peculiarity of each substance
stamping itself apparently upon the precipitated vapour
derived from its decomposition.

When the beam, before entering the experimental tube,
was sent through a layer of the aqueous acid, thirteen
minutes’ exposure produced no action. A layer of water
being substituteil for the layer of acid, one minute’s expo-
sure sufficed to set up the decomposition.

Hydriodic Acid. — The aqueous solution of this acid was
also employed. On first subjecting it to the action of light
no visible effect was produced ; but subsequent trials deve-
loped a very extraordinary one. A family resemblance per-
vades the nebula; of hydriodic, hydrobromic, and hydro-
chloric acids. In all three cases, for example, the action
commenced by the formation of two small clouds united by
a cord ; it was very slow, and the growth of the cloud in
density and beauty very gradual. The most vivid green
and crimson that I have yet observed were exhibited by this
substance in the earlier stages of the action. The develop-
ment of the cloud was like that of an organism, from a more
or less formless mass at the commencement to a structure of
marvellous complexity. I have seen nothing so astonishing
as the effect obtained, on the 28th of October, with hydriodic
acid. The cloud extended for about eighteen inches along
the tube, and gradually shifted its position from the end

nearest the lamp to the most distant end. The portion
quitted by the cloud proper was filled by an amorphous
haxe, the decomposition which was progressing lower down
being here apparently complete. A spectral cone turned its
apex towards the distant end of the tube, and from its
circular base filmy drapery seemed to fall. Placed on the
base of the cone was an exquisite vase, from the interior of
which sprung another vase of similar shape; over the edges
of these v.ases fell the faintest clouds, resembling spectral
sheets of liquid. From the centre of the upper vase a
straight cord of clo;id passed for some distance along the
axis of the experimental tube, and at each side of this cord
two involved and highly-iridescent vortices were generated.
The frontal portion of the cloud, which the cord penetrated,
assumed in succession the forms of roses, tulips, and sun-
flowers. It also passed through the appearance of a series of
beautifully-shaped bottles placed one within the other.
Once it presented the shape of a fish, with eyes, gills, and
feelers. The light was suspended for several minutes, and
the tube and its cloud permitted to remain undisturbed in
darkness. On re-igniting the lamp the cloud was seen ap-
parently motionless within the tube ; much of its colour had
gone, but its beauty of form was unimpaired. Many of its
parts were calculated to remind one of (iassiot’s discharges;
but in complexity’, and, indeed, in beauty’, the discharges
would not bear comparison with thes3 arrangements of cloud.
A friend to whom 1 showed the cloud likened it to one of
those jelly-like marine organisms which a film barely
capable ot reflecting the light renderc visible. Indeed no
other comparison is so suitable ; and not only did the per-
fect symmetry of the exterior suggest this idea, but the
exquisite casing and folding of film within film suggested
the internal economy of a highly-coraplex organism.
The twone-is of the animal form was displayed throughout,
and no coil, disk, or speck existed on one side of the axis of
the tube that had not its exact counterpart at an equal dis-
tance on the other. I looked in wonder at this extra-
ordinary production for nearly two hours.*

The precise conditions necessary to render the production
of the effects observed with hydrobromic, hydrochloric, and
hydriodic acids a certainty, have not yet been determined.
Air, moreover, is the only vehicle which has been employed
here. I hazard no opinion as to the chemical nature of
these reactions. The dry acids, moreover, I have not yet
examined.

Comsponiieiift.

A PHOTOGRAPHERS’ RELIEF FUND.

Deau Sir, — I think that a serious error will bo committed
if, in forming a Relief Fund, a spirit of exclusiveness be per-
mitted to govern the arrangements. Some of your eorro-
spondents seem anxious to draw a rigid line in defining who
may be legitimately styled photographers, and so bo properly
qualified to claim aid from such a fund. And I notice that in
a leader you raise the question whether the “ hangers-on ” to
photography may not possibly l>e induced to continue in that
equivocal position, with a view to the aid such a fund would
supply. I think that distinctions between photographers pur
sang and those of a more hybrid character are inadmissible
here. The fitness of a claimant, both as to the extent of his
necessities and the nature of his claims, will doubtless be con-
sidered by the committee in charge of the Fund ; and it is
scarcely worth while considering how the benefits of such a
fund may be best narrowed until, at least, it is in existence.

Although not a professional photographer, nor one who by
any stretch of probability would be likely to need the aid of

• *' It is os perfect »s if turned in a lathe.” “ It would prove exceedingly
valuable to pattero-deaigners/’ were remarks made by my assistants as
they watched the experiment. Mr. Ladd, who is intimately acquainted
with the phenomena of the electric discharge through rarefied media,
remarked that no effect he had ever seen could compete in point of beauty
and complexity with the appearance here imperfectly described I mention
this to indicate how the phenomena affected other eyes than mine.

586

THE PHOTOGRAPHIC NEWS,

Buch a fuad, I will subscribe a guiaea a year. — Your obliged
servanti P.

N oVember 20th, 1868i

SiH, — The plan of your correspondent who is ready to pay in
£5, and thinks to make up a fund not less from any person,
Would bo worth the trouble — would, I think, be a bar to making
up a respectable fund. How many employes have £o to spare ?
But a small portion. I fear. Let the employes subscribe £2 to
£o, according to their moans, and the prineiiHils not less
than £j.

For iny part, I have a five-pound note ready. — I am, yours,
&c., W. Mathews, Another Old Daguerreotypist.

liury-St. •Edmunds, November 30.

[We conceive that any committee who may undertake the
management of such a fund will regard no sum as too small to
accept and duly enter into their accounts. In the list of
promises already sent to us there are sums ranging from 5s.
to £50.— Ed.]

LUX GRAPHICUS IN DEFENCE.

My DEAii Sib, — .\.lthough the clear and able defence of your
right to conduct your journal on the wise and broad principles
you have so lucidly laid down in your article entitled ‘'Amateur
Criticism ” renders a reply from mo almost unnecessary. I
will, if you please, answer those questions and remarks which
are most directly addressed to me by your correspon<lent “ Lux
in Tenebras,” and honestly endeavour to throw a little more
light on the darkness in which he is evidently enveloped, not
relative, however, to my real name, but to my reasons for giving
the opinions to which he fakes exception.

Answering his quesli:.ns in the order in which he puts them,
I assign the following reasons lor saying that Messrs. Robinson
and Cherrill’s group of children was *• too suggestive of scissors
and paste to bo a good picture.” Firstly, the figures are too much
scattered and detached, in my estimation, to present that
appearance of unity and relation which is absolutely necessary
in good composition, no matter whether the picture bo produced
by combination printing or from one negative. Secondly, the
boy seated on the right hand side of the picture, and placed
against a dark mass of foreground, presented to my oyc the
appearance of flatness — of being cut out, and laid or pasted on
that portion of the picture. Hence tho origin of tho term I
used. It may not have been the softest phrase I could have
employed, but. such ns it w.as, it presented itself to my mind
while writing the critique, and has the merit, at least, of being
outspoken candour. I cordially agree with all that you and
your correspondent say concerning the photographic beauties
of Messrs. Robinson .tnd Cherrill's picture of the group of
children, and had it not been for tho defects which 1 noticed
and have described, 1 would have unhesitatingly pronounced
it a noble picture.

The second question which “Lux in Tenebras” puts to me,
“ Does ho mean that scissors and jiaste are illegitimate aids,
&c?" is best answered by referring him to my comments on
Messrs. Robinson and Cherrill’s picture of •* Returning Home,”
which picture is produced by similar means, but much more
successfully. If “ Lux in Tenebras ” cannot see as I do, or
coincide with iny opinions, I do not blame him. He has ns
much right to hold his own views and give expression to
individual judgment as I have. It is such freedom of thought
and action that has made photography what it is, both artisti-
cally and scientifically considered.

Your ot/i<r *• unknown gentleman ” also takes exception to
what I said about Mr. Fry's and Mr. Blanchard’s pictures, and
charges me with “ a piece of exaggeration, indulged in to
introduce a feeble joke.” Granted. The exaggeration was too
apparent to escape tho notice of tho least observant, and tho
joke was of necessity “ feeble,” seeing that it was but a dim
reflection of a weak original. Jokes are not iny “forte points.”
Nevertheless, what I said of Mr. Fry’s pictures was true. With
one or two beautiful exceptions they were too white ajid chalky,
possessing a great deal too much contrast. As to their being
“ the gems of tho room ” is an idea too absurd to bo enter-
tained for a moment. What I said of Mr. Blanchard’s works
I readily confirm. But, be it understood, that my encomiums

[Decemaer 4, 1868.

were not unqualified. When alluding to his pictures in my
critique I said, “ Some of which are quite equal to the French
artist’s best works,” &c. As far as my judgment could guide
me I gave, in all cases, a fair and honest criticism, according
to my own convictions ; neither sfiaring praise nor condem-
nation where I thought it was merited. If a critique be made
at all, it should bo done honestly and fearlessly, without preju-
dice or bi.as of any description, and in a spirit of fairness that
cannot be imputed to any unworthy motives. Otherwise, if a
critique consist of unqualified praise when Censure is merited,
it would not be criticism, but blind, ignorant, or venal adulation.
And as such it should be received, by exhibitors in particular.

In conclusion, I beg to tender my thanks to “ Lux in Tene-
bras” for his outspoken objections to the opinions I advanced.
Though he indulg-s in the practice of what he condemns, he
is, at least, fair and honourable in challenging me to fight with
ir.y own weapons, which is a much more manly and straight-
forward course than to use others at random and in tho dark,
which would be much more likely to strike and injure an
innocent friend than wound a supposed enemy. — I am, sir,
yours very truly. Lux Graphicu.s.

November 30lh, 18G8.

IODIDE OF MERCURY INTENSIFYING.

Sib, — A few weeks ago you favoured the readers of the
News with an article on intensifying with mercury. That
article was doubly interesting to me, ns I had daring the
summer used the process for the first time, and I found several
discrepancies in my practice fully and satisfactorily explained.
One discrepancy, however, I do not understand, and it is that
having produced a negative with the olive tint and put it by to
dry, I next morning found it perfectly yellow, whilst three or
four more negatives produced at the same time retained their
colour. In every case I used a final wash of very dilute hydro-
sulphate of ammonia, as recommended in tho Y^eak-Book of
18U7, and it is tho absence of this chemical in the article
referred to that induces mo to trouble you with this letter.
May 1 therefore ask you what part the hydrosulphate of ammo-
nia is supposed to take in tho final operation of intensifying,
and whether it is bettor that, when tho mercury process is
employed, the developing solution should not contain gelatine,
honey, sugar, or any such organic substances ? — I am, sir, your
obedient servant, Amateub.

London, November 20th, 1868.

[It is not custom,ary to apply a solution of hydroaulphale of
ammonia when tho iodide of mercury intensifying process is
used. Some operators apply this solution after bichloride of
mercury, the object being to produce a film of sulphide of
mercury, which is black, or very dark brown, but, as a rule,
gives a less delicate negative than tho iodide. Where the
mercury intensifying process is used, it is not desirable to
employ orgauico-irou developers. — Ed.]

AMORPHOUS ALBUMINIZED PAPER.

Sib, — In calling your attention to this subject, mentioned in
your issue of the Idthinst., I wish to say that I hod formerly great
dilliculty in procuring a continuous supply of this very useful
paper, till I got a photographic chemist in this town to procure
some from Berlin, where it was raado expressly for me. 1
much regret that so useful a paper should be neglected, .as its
advantage over the simply salted paper is, that it not only pro-
duces a more brilliant print, but, what is of more importance
for worked-up pictures, tho artist can put one wash of colour
over another almost as well as on drawing paper.

II any gentleman would wish to know where 1 get this matt
albumen paper from, I should have groat pleasure in informing
him. — And remain, yours obediently, Joiix W. Bubton.

3, Haymarket, Leicester, N ovember ‘20th, 1868.

PS. — I forgot to say that using tho bock of albumen paper
is a good makeshift, but the watermarks are a decided draw-
back.

Dscshber 4, 18G8.]

THE PHOTOGRAPHIC NEWS.

587

S-alk in tbf Situbio,

South liONDOH An.nual Dinnkk.— Tho annual dinner of
the South London Photographic Society will be held on Satur-
day, the 12th inst, at the Salutation Tavern, Newgate Street,
at five o’clock. Mombors can procure their tickets at the
regular meeting on tho evening of the 10th, or of Mr. How,
Foster Lane.

Sale of Poisoks. — We notice that some of the photographic
dealers are issuing circulars calling attention to tho fact that
the new Sale of Poisons Act will come into operation at the
end of this year, and recommending photographers to lay in a
stock, which they offer, until the end of tho year, on favourable
terras, after which time they will cease to supply cyanide of
potassium, bichloride of mercury, &c., in accordance with tho
provisions of tho Act.

Artistic Copyright. — At the opening of a new session of
the Society of Arts, London, Henry Lennox, in tho inaugural
address, referred to this subject as follows: — “First, I may allude
to the Artistic Copyright Bill, drawn up by the Council, which
it is intended to again introduce during the coming session.
You are all aware that it was last year introduced by Lord
Westbury, but, owing to circumstances which I need not
further allude to, it did not pass into law. I believe there is
no one belonging to this Society who does not entirely approve
of the objects of that bill, which is to supplement the Act of
1862, also the work of this Society, and, by consolidating and
amending the laws ..f artistie copyright generally, to bring this
branch of the law into one consistent whole, worthy of the
nation, and more in harmony with tho laws which regulate this
subject in foreign countries. It must also bo borne in mind
that it is not ourselves only who are concerned in this matter,
but also various foreign states, at present thirteen in number,
with whom we have conventions for international copyright,
and who feel deeply the present defective state of our artistic
copyright law.”

Studio Accessories. — Wo have received from Mr. D. H.
Cussans, of Southport, some photographs of very excellent
studio accessories, such as a posing-chair, cabinet, and table.
The designs are very good, and free from vulgarity. We un-
derstand that they are free from composition or tinsel of any
kind, being manufactured in walnut wood, and covered, where
necessary, in Utrecht velvet. The manufacture of this kind of
studio furniture is a step in the right direction, and should be
encouraged by photographers.

Amateur Photographic Society. — At a recent meeting of
this Society, notice of which reaches us just as wo go to press,
prizes to the amount of about £80 were awarded.

Piracy. — Solomon Alber, a Jew, of 1, Great Prescott Street,
Whitechapel, appeared before Mr. Paget to answer 25 sum-
monses taken out against him by Mr. Henry Graves, the
printseller and picture dealer of Pall Mall, for pirating copies
of the engravings of the “ Railway Station,’’ by Frith, “ My
First Sermon,” “ My Second Sermon,” the “Anxious Mother.”
and the “ Parable of the Lost Piece of Money,” of which
Mr. Graves possessed the copyright. The defendant was
also charged with importing a copy of paintings prepared from
the same designs. The pienalties amounted to £126. Mr.
Graves said the painting and engraving of the “ Railway Sta-
tion ” cost him £24,000. Ho was still in possession of tho
original, which was not consumed when his gallery was
destroyed by fire. After some discussion between tho parties
the defendant agreed to pay Mr. Graves £70 and all the costs,
and to sign an undertaking in writing not to repeat tho
offence.

A Novel Photographic Gallery. — General Grant is
coming to Now York to spend a week or two. We take the
liberty of letting out one of his secrets. He intends to get tho
photograph of every place-hunter that approaches him, and to
send all off to Washington, to bo filed in a conspicuous place
for his information during the entire term of his administra-
tion.—York Times.

' Natural Negatives. — A provincial journal says: — “Mr.
James Thompson, of Glasgow, has contrived a new method of

producing photographic negatives of geological specimens. He
saws from tho stones thin slices containing fossil remains or
other specimens ; these, when polished, are so thin and trans-
parent that they may be used as negatives for photographic
printing upon the usual sensitive paper. Boaiitifal prints are
thus obtained, having all the fidelity of nature itself.

Photographs to Measure. — We find amongst tho facetise
of a contemporary tho following : — “ A photographer in Suffolk
was recently visited by a young woman, who with sweet sim-
plicity asked, ‘ How long does it take to get my photograph
after leaving my measure ?’ ”

o-

No Theori.st send.s a somewhat strongly-worded letter, comment-
ing on the letter of Mr. Fry resjiecting the u.se of nitrate of soda
in the printing bath, in tho course of which ho says : — “ I have
yet to learn that because I cannot give a good theoretical reason
for everything I do in photography I am to abandon it. You have
often re|)catcd, sir, that pr.iclice is a-head of theory in photography.
If a formula seemed wrong, and yet gave me good pictures, I
should stick to it ; much more shall I stick to the use of nitrate of
soda, the advantage of which I have practically proved for years,
seeing that, so far from seeming wrong, I think that a score of
good theoretical reasons could la* given to show tliat it ought to Itf
of service in tho printing batin’ ’ We should have preferred to iii'
sert our correspondent’s letter in its entirety, as it was sent for
publication, but for three reasons : It consists chiefly of as.scrtif»n»
anil opinions, it is strongly worded, and it is anonymou*.
Anonymous letters are (juite eligible for publication if they con-
tain instruction or reasoning ; but anonvmously expressed opinions
merely, carry no weight with them. If anonymous opinions are
unsuitable for publication, they are still less suitable if they are
cxpres,sed in strong language, addressed against some ono who
has signed his name to hi.s communication. If a war of opinions
were desirable, it would be obviously unfair whilst one writes in
his proper person for tho other to shelter himself under an
anonyme. Take a notorious illustration, familiar to metropolitan
photographic circles, of the necessary unfairness and occasional
dishonesty of such a ca.so : a person who occasionally \vrites in
another journal, on subjects connected with photography, in his
own name, also wTites under some other apparently real name,
confirming his own statements, and complimenting himself bv
the application to his first communication of such words as able
and honest ; and then generally writes a few anonymous notes,
still further supporting tho statementa made in tho article under
his own name. Although such a course is seen through, and ex-
cites contempt, it deceives .some, as it is intended to do. As a
general rule, it will be seen that letters of mere ojiinion possess
more value if they bear the writer’s name ; imperatively they
should do so if they make statements or comments affecting the
interests or feeling.s of others. An abstract argument loses nothing
by being anonymous, as it should stand or fall by its own force
and letters devoted to the discussion of a subject, or devoted to
practical matters, need not necessarily bear the name of tho writer
Our correspondent thinks he could give a score of good theoretical
reasons for tho use of nitrate of soda. Why did he not devote
part of his letter to their statement, instead of indulging in personal
remarks which are smart, but not instructive. Wc, who have
many reasons for approving of the use of nitrate of soda, should
have been glad to give them publicity.

Looker-oh. — We place the answer to “ Looker-on ’’ in immediate
contact with that of “ No Theorist,” because ho writes on the same
subject, and although with opposite views, yet much of our reply
to “ No Theorist ” is applicable to the letter of “ Looker-on.” Ho
says: — “Whatever photographers may think of Mr. Fry’s con-
demnation of nitrate of soda in the printing bath, I for ono agree
with him in regarding it as an abomination.” He gives no reasons
any more than does “ No Theorist,” but further proceeds to ex
press approval of Mr. Fry’s condemnation of tho “ high-falutin
style ” of some ^vritcrs, and to add further condemnatory comments
of his own, kindly giWng the Editor some advice as to the proptr
mode of dealing with the articles of professors of the “ high-falu
tin” school, for which we are duly grateful. Personally, we have
a strong objection to “ high-falutin,” and believe that, in a
scientific journal, either a stilted or a flippant style is out of place ;
brevity, clearness, terseness are require in writings intended to
instruct ; but when gentlemen have instruction to convey, there is
some degree of fairness in permitting them, within reasonable
bounds, to do it in their own stylo and in their own language.

588

THE PHOTOGRAPHIC NEWS.

[December 4, 1868.

O. P. — With the exception of the manuul of instructions issued by
Mr. Hughes, and the second part of the “ Practical Photography ”
published by Messrs. Negretti and Zambra, and our own Year-
Books, we know of no work containing any extended account of
the various dry processes. There is no work devoted exclusively to
that subject. It would not be piracy to compile such a work if
care be taken that the matter is rc-written, cr, when any other
work is made to contribute, that due acknowledgment be made.
Lot us know if you contemplate such a step.

W. J. A. G. — Photograjjhy in winter is always more difficult thim
in summer ; but in clear frosty weather there is generally some
good light. It is desirable to maintain a moderately warm tempera-
ture, both in the studio and in the dark room ; but it is not neces-
sary to keep it as high as 63“, nor would it be easy to do so. Keep
it somewhere between .50“ and 60“, taking care, if possible, to
avoid a lower temperature than 50“. Use a 40-grain silver bath,
and a tolerably strong plain iron and acetic acid Uevelo]K‘r. As a
rule, avoid warming bath and developer much beyond the tempe-
rature of the room, and, as a rule, not at all. Use as much light as
you can admit, and as large apertures in your len.ses as the subject
will permit, and give full exposures. While reflecting sirreens are
often useful. Read an article in our Year-Book for 1867 on
Photographing in Winter, which is full of valuable hints. The
print you enclose is very good, but a little under-exposed. There
is every promi.se of your success by that process if you persevere ;
but, so far as possible, use the wot process in winter.

Feni.an (Belfast). — The repeated immersion of coated plates in your
bath, and leaving them all night, is most pnffiably the cau.se of
your pinholes. The bath has become supersaturated with iodide of
silver, one of the most fertile causes of pinholes. Add to your
bath an equal bulk of distilled water (this will precipitate a large
portion of the iodide), filter, and then add crystals of nitrate of
silver in proportion to the water which has been added. The
markings you indicate are suggestive of a damp or dirty plate.
Crape markings chiefly arise from excess of water in the collodion,
which is scarcely likely to be the case with the sample you describe.
It may arise from immersing the plate too soon after coating. Let
it set well, and keep the plate in motion all the time immediately
after immersion. 2. The maker you mention in question 2 will
supply you with a good article, we believe. 3. The wa.shing appa-
ratus you describe will, we doubt not, answer very well.

Hypo. — As a rule, publishers prefer to buy prints rather than nega-
tives. We cannot tell you of any one who, as a rule, purchases
negatives. Such homses as Marion and Co., or the London Stereo-
scopic Company, are the best to apply to.

X. Y. — The lenses you name are moderately good ; certainly not
equal to those of the best English makers. 2. Your question is
scarcely sufficiently definite. In speaking of eight or ten feet of
skylight you doubtless mean that amount in length, but you do
not refer to the width, nor do you state whether there is to be any
side-light, nor how much. Write again a little more exj)licitly,
and we will give our best attention to your query.

J. Turner. — See article in our last on dirty whites in developed
prints. 2. Allow the prints to remain in the fixing bath about
twenty minutes. It depends on the size of the print and the
quantity of solution as to whether you should use it fresh for
each print. It may not always be necessary to have it fresh ;
but wpffi largo prints it is a good preeaution to use it so. Wo
have published very full information on enlarging from time to
time. If you have the volumes, look through them, and you will
find information on every point connected with enlarging. Any
special difficulties we shall have pleasure in advising you about ;
but it is difficult in this column to give general information on any
topic.

A. Parry. — We do not know of any place where silk or linen is
sold with an especial view to photography ; nor do wo think that
any special fitness is necessary. Ordinary fine linen cambric, or
muslin, and fine white silk will servo. Perhaps some of our corre-
spondents who may have worked in this direction will stale whether
tney have found any especial kind desirable, and where it can bo
procured.

Collodion. — The rapid rectilinear is better for out-of-door work
and general purposes than the D, the latter better for portraiture ;
but the first is the most generally useful. 2. Our personal confi-
dence is not shaken in England’s process, but the experience he
has had shows how imperative is extreme care in manipulation.
This is the case in all the dry processes to a mueh greater extent
tnan in the wet. The results of the last exhibition would suggest
the superiority of the gum process, and nothing, indeed, could bo
better in careful hands ; but for general trustworthiness we still
believe that the coUodio-albumen is the safest. Thanks for your
suggestion. We aim to consider the interests of all photographers,
professional and amateur, alike i but, as a rule, all that interests

professional photographers is also interesting to amateurs. There
is no point and no process interesting to amateurs, that we know
of, in regard to which we do not give the fullest information.

H. S. — The oxyhydrogen light is more powerful than the oxycalcium
light. You will find very full information on the subject in a
pamphlet published by Negretti and Zambra, price one smiling.

Ve.vator.— We always recommend the wet process in preference to
any dry process, where it can conveniently be used ; but the gum
]dates yield such delicate and rapid results that in the hands of a
skilled manipulator they may save much trouble in the class of
work you name. 2. Clean rain water, purified by means of a little
peniiimganate of potash, is the best substitute for distilled water,
.knimal cliarcoal is not quite admissible as a purifier, as some of the
phosphates it contains would be dissolved by the water, and would

. interfere with the results. Your specimens have not reached us at
the time we write. It is notneces.sary to use fresh water for wash-
ing each idate, unless a very small quantity is used.

Carl Meixerth (Newburj’port, U.S.) — Thunks for the specimens
and your interesting letter. It is always pleasant to us to receive
such long friendly and confidential letters from our readers at a
distance. We shall notice the cards shortly ; they admirably
illustrate the effect of printing in varied degrees of deviation from
perfect contact, and so securing varied degrees of the softening
effect. It is very singular how jealous photographers have ever
been of any of their body attempting to secure his ideas by means
of a patent, especially in cases where a special method of definitely
producing something is devised, in regard to which some indefi-
nite ideas have been floating about.

Thomas Gulliver. — Thanks.

J. Martin. — Received.

W.M. Blair (Perth). — Received, with many thanks. The examples
of the simplified processes arc very admirable. We shall havo
something to say upon the subject shortly.

A. Brothers. — Thanks.

Dr. Lieseoang. — Received. Thanks.

Dr. Jacorsex. — Received. Thanks. Wo will write shortly.

J. W. Smith. — Wo shall havo pleasure in proposing you. You
will, on election and piijTiient, be entitled to this year's presenta-
tion prints.

H. Neale. — Thanks. In our ne.xt.

OxoxiEXsls and several Correspondents in our next.

Several .\rticles in type are necessarily deferred for luck uf space.

{ptiotogiaptis laegifitereti.

Mr. J. B. OiBsos, Uexham,

Photograph of Countess of Derwentirater

Mr. J. OOLLisos, Cardiff,

Two Photographs of .Mr. U. S. Qiffard.

Mr. Tollkbtos. Lincoln,

Two Photographs of Mr. J. II. Palmer, M.P.

Mr. Oaixx, Coventry.

Pour Photographs of A. S. Hill, Esq., Q.C.

Mr. W. Lawrencb, Dublin,

Five Photographs of Prince Edward of Saxe Weimar.

Mr. H. J Brooks, Abingdon,

Photograi>h of 0. Lusbington, Esq.

Mr. W. IlRCTOR, Crediton,

Photograph of Oakmeur Valley, Devon.

Mr. DONMAX, Northampton,

Photograph of Mr. Ward Hunt.

Mrs. H. K. Williams, Bath,

Photograph of Rev. U. F. Lyte.

• • All photographs forwarded to the Publieher for registration receive
‘attention at once ; but the pressure on our space sometimes compels ua
to defer the acknowledgment in this column. It should be borne In
mind, therefore, that non-acknowledgment at once does not necessarily
imply non-receipt or non-registration.

All CoramunicatiouB for the Editor to be addressed to 1*6
Gough Square, Fleet Street, London, E.C.

THE PHOTQGJ^APHIC

_

11, 1868.

\y ^'.L

NEWS,

'^n\\<>y

~CinrTENT8'.

FAOB

Simplified Carbon Printing 589

Warming the Dark Room and Chemicals 589

An Art Critic on the Lace Gxhibition 589

Copyright in Photogiaphs in America 590

Prints on Approval. By Nelson K. Cherrill 591

Photographic Marking Ink. By II. Neal 592

A Visit to the Photographic Studio of the Imperial Military

Oeographical Institute in Vienna. By Alois Nigg 592

The Printing Press.— Its Use to Photographers. By Thomas

aulliver 593

Dry Plates.— Hints. By M. Carey Lea 593

Means of Equalizing Exposure with Wide-angle Lenses. By

John M. Blake 594

The Use of Paraffine in Photography

Proceedings of Societies — North London Photographic Associa-
tion— London Photographic Society — Amateur Photographic

Association 595

Correspondence— Cleaning the Hands— Photographers’ Relief

Fund 698

Talk in the Studio 599

To Correspondents 600

SIMPLIFIED CARBON PRINTING.

We were favoured a few weeks ago by Mr. Blair, of Perth,
with an admirable selection of examples of carbon printing
by the simplified methods upon which he has lor some
time been engaged in experiment, and in which he has
attained a degree of success which gives them the highest
interest.

The prints consist of two classes, of each of which we
have several excellent examples. The first class, amongst
which we have both portraits and landscapes, consists of
prints produced upon a tissue similar to Mr. Swan’s, but
with only a single transfer. Instead of the tissue being
mounted on a temporary support for the purpose of develop-
ment, and afterwards again transferred to the paper which
serves as its permanent basis, the tissue here, after exposure,
is mounted at once, face downwards, on the paper which
is intended to form part of the picture, and is developed
and finished upon that paper. Various modes of effecting
this end have been attempted before ; but in tlie prints
before us Mr. Blair has secured an unusual degree of
success. Another interesting peculiarity of some of these
examples is found in the fact, that in preparing the tissue,
a double layer of colour, of two distinct tints, has been used,
which gives to the lighter half-tones a peculiarly warm and
pleasant glow. The negatives used in producing the carbon
prints with a single transfer are of course reversed or trans-
ferred negatives.

Still more interesting than these is another scries, in which
no transfer whatever is used. Two of these arc on plain
paper, and two on albuminized paper, and in all of them
there is a degree of excellence which presents something
considerably more than merely good promise. Although
obtained direct without transfer, they possess an admirable
degree of half-tone. A “ Bit of Quarrymill Dam,” a land-
scape with some fine foliage and water, is a veiy charming
picture. “ Marshall's Monument, Perth,” is an architectural
subject produced without transfer on albuminized paper, a
pleasing picture with good half-tone, as, indeed, have all the
examples. A portrait by the same process which we received
from Mr. Blair two or three months ago was not equal in
half-tone to these landscapes. Whether this indicates pro-
gress in the process, or its greater suitability for landscape
work, wo cannot say ; but we shall look with interest for
further indications of tho capabilities of the process, as
well as for some account of tho modus operandi employed
in producing the excellent results.

On this score any remarks we can ofter can only be con-
jecture, and we may say at once that, so far as we can sec,
only two methods would have been available : one, the pre-

aration of a very thin coating of pigment, gelatine, and

ichromate, thoroughly rubbed into the texture of the paper,
which, on developing, presenting various degrees of insolu-

bility, according to tho more or less perfect action of light,
would give some degree of half-tone ; but not nearly so
much, we believe, as Mr. Blair has obtained here. Tho
other method would consist in printing through the pre-
pared paper, probably after washing the back, to remove tho
yellow tint caused by the bichromate. Possibly Mr.
Blair has some new and improved method of effecting these
known operations, or possibly he has a method not dreamed
of by others. Certain it is that the devotion of years to
the carbon process — and few men have remained more con-
stant to a very early love — has, in his hands, produced most
excellent results.

WARMING THE DARK ROOM AND CHEMICALS.

Some recent enquiries have reached us as to the best mode
of keeping the temperature of the dark room and of tho
chemicals used therein from falling too low during tho cold
winter months. The best plan much depends on the espe-
cial circumstances of each case. For most cases nothing can
be better than the heating and ventilating stove described
by Mr. Hodkin in our last Year-Book. We may, however,
mention a plan of exceeding simplicity and economy which
we have recently seen.

It is unnecessary here to enter into any preliminary com-
ment on the injurious effect of extreme cold in retarding
photographic operations, or on tho importance of keeping
all the solutions at one temperature, and that, if possible,
not much lower than 50“ Fahrenheit. Tho arrangement to
which we refer, which seemed as efficient as simple, was in ope-
ration in Mr. Blanchard’s dark room, and consisted of a small
ring gas burner turned on so as to give a very small flame.
As, however, the products of the combustion of gas might
be injurious if constantly present in a dark room, Mr. Blan-
chard had improvised a very simple method of getting rid
of them. A large tin funnel was inverted over the burner,
and to the small end a piece of tin pipe was attached, and
carried out of the window. This arrangement served two
purposes : it provided a chimney to carry off the products of
combustion, and it concentrated the heat in the neighbour-
hood where it was required, keeping the nitrate bath, and
other solutions all placed near, at a satisfactory temperature.
It is probable that a small lamp treated the same way would
answer the same purpose.

AN ART CRITIC ON THE LATE EXHIBITION.

It is sometimes good to see ourselves as others see us,
although we may have a profound conviction that “ those
others” are wrong, and their views shared by few. We
subjoin a criticism on the late exhibition in Conduit Street,
given amongst the “ Notes and Incidents ” of the month in

590

[1)ecbmdeu 11, 1SG8.

THE PHOTOGRAPHIC NEWS.

the last number of tho OeiUleman's Magazine. It runs as
follows ; —

Wlien the photographic fever was at its height, anil every hobby-
rider was buying cameras and dirtying his fingers with silver solu-
tions, exhibitions of sun-pictures were of ns regular recurrence as
those of the painter’s productions. But as the fever subsided,
the shows lost interest., and were discontinued. Now Biey have
been revived on a modest scale, the London I’hotographic^ Society'
having last year and this invited the artists to send specimens in
an informal way, to make a collection for a conversazione exliibi-
tion. The walls of tho Architectural Societies' rooms in Conduit
Stireet were thus richly covered on tho 10th of the past month, and
an opportunity offered for forming a tolerably fair estimate of the
progress that eight or ten years have wrought in the light-painter s
art. This is less than might have been expected. The majority
of the specimens shown were portraits ; landscapes were few, and
of no higher merit than many produced a dozen years ago ; this
branch of photography has remained at a standstill. But the por-
traits were far in advance of older works ; manipulatory detoils
having been mastered, artistic matters have come in for attention ;
posing, lighting, accessories, and the score of trifles that are
necessary to approach perfection, have in turn been studied, and
tho effects are very marked. Further, a new master of portrait
art has arisen, M. Salomon, who.se exhibits in this line at the
French Exhibition astounded and abashed the photographers.
They went half crazed about him : invaded his studio, brought him
to England, studied his methods, puzzled out his secrets — such us
they were, mere exercises of a master mind — and in the end have
done their very best to imitate him. Half tho portraits in the
Conduit Street show were Salomonised ; some of the imitations
were successful, others were almost parodies of the Frenchman s
system. Tho peculiarities of M. Salomon’s art are chiefly the
introduction of masses of dark drapery, deep backgrounds, with
few accessories ; and here lies the main secret— the use of brain in
every part of the process. Ho has, too, abolished the whito
mounting hitherto universal, and surrounds all his pictures with
narrow gold borders, placed, if necessary, in larger frames.
Every secondary point is made to retire to give prominence to the
leading one — the face of the sitter. How this matter has hitherto
been neglected by jihotographers every one knows. When we
have noted the effects of this Salomon influence, we have noted
the chief novelty of the exhibition. But we ought not to omit
mention of the laudable attempts to make ideal pictures which
some of tho more ambitious artists displayed. These, as usual,
were beautifully executed, and very pretty, but they missed their
mark, as such productions must always do. A picture that is
anything else than a mere portrait must bear the impress of a soul,
and there is no soul in a photographic camera.

Precisely so : a true picture must bear the impress of a
soul, and there is no soul in a photographic camera. Of
course there is not, any more than there is in pencils and
palette, or in chisel and mallet. But ate no pictures pro-
duced by soulless pencils? — no sculpture by soulless chisels ?

“ But the artist who employs them has a soul which he
impresses on his work.”

Precisely so, once more. It is the artist whose soul must
impress the work, not the artist's tools ; and the camera is
the artist’s tool, when an artist chooses to use it, exactly as
are the pencil and chisel ; a fool somewhat less controllable,
working in materials somewhat less plastic, and therefore
making the triumph the greater when it is achieved. The
successor of Sylvanus Urban repeats the same old story,
which has been refuted a thousand times, in which he mis-
takes the artist’s tool for the artist, and apparently fancies
that pictures are ground out of a camera like tunes out of a
barrel-organ. But if this weie so, whence the “ use of
brain ” to which the critic refers as the source of Adam-
Salomon’s success ?

COPYRIGET IN PHOTOGRAPHS IN AMERICA.

ENGLisn photographers have not unfrequently expressed dis-
satisfaction with the working of the Copyright Act in this
country, so far as it relates to photographs. A cousidera-
,tion, however, of our own laws and those of the United
” States in this respect will probably tend to satisfy our
readers that they are highly privileged when compared with
their American brethren. We condense from the 2‘hila-
delphia Photographer an account of an important case which
has just terminated unsatisfactorily for the photographer, and
in the course of which the old, stale fallacies as to the inferior

and mechanical character of photography are revived, and
made to do duty for arguments t — “ The action was brought
by Mr. F. Gutekunst against Messrs. Weise and Co., litho-
graphers, of this city, to recover damages for the violation of
the copyright of his photograph of General Grant. Mr.
Gutekunst had duly entered his title in the court ofiSce as
required by law. The next step was to impress upon tho
face of the photograph that he had made the entry and
secured his exclusive title. The Act of Congress requires
that this notilication shall be upon “the respective copies
of every edition,” and “ upon the face thereof.” Instead of
scratching this imprint upon one corner of the negative, so
that every impression should necessarily present the in-
formation of the copyright, the notice was, as usual among
the fraternity, printed upon the card-board. Tho print
could, therefore, be floated off from the card-board, and then
it would bo without tho copyright noti<?e, and the card
bearing that notice would be ready to receive any other print.
Judge Grier decided that, under the Act of Congress, it was
for the jury to decide as a matter of fact whether the notifi-
cation was impressed upon the face of the photograph,
and, of course, the decision was necessarily against Mr.
Gutekunst.”

From this it would seem that to obtain any chance of
protection a card picture would require to be defaced by
having printed on the picture itself the name of tho photi^
grapher, the date, and an intimation that the picture has
been duly entered according to the Act of Congress.

Our contemporary further points out that even if tho pro-
per jirecaution had been taken, it seems very doubtful
whether the United States Copyright law would protect pho-
tographers ; and he quotes the argument of tho counsel for
the defendant to explain the difficulty. Photographers will
read with a little .surprise the remarks of this gentleman, M.
Constant Guillou — made, it is true, as an advocate on behalf
of his client — when they are informed that he is an able
amateur photographer, and was recently president of tho
Philadelphia Photographic Society. He states that the Act
of Congress under which photographic copyright is supposed
to be obtained is ba.sed upon the following clause in the
Constitution : — “ Sec. viii. Congress shall have power to pro-
mote tho progress of science and useful arts, by securing for
limited times, to authors and inventors, the exclusive right
to their respective writings and discoveries.” M. Guillon
remarks in relation to this as follows : — “ A photographer
in the usual exercise of his profession, employing the ordi
nary instruments and known processes, is certainly no ‘ in-
ventor,’ and has no claim for a ‘ discovery :’ it is equally
clear that he is not an ‘ author,’ and his negative is not
‘ writing.’ Congre.ss has power to grant exclusive privileges
only to authors and inventors — to no one else ; and as a
photographer is not in either of these classes. Congress has
no power to pass an Act giving him such privilege. If there
was no such power, then the passage of the Act was unwar-
ranted, and the law is null and void.”

It is not necessary that we should discuss the question
here. Whenever it arises for absolute decision capable
champions of photography will doubtless be found amongst
our American brethren ; but we remark, in passing, that,
according to every comprehensive construction of the word
a photographer is an “ author.” Not only does the common
use of the word, to indicate a producer, justify the compre-
hensive application, but its derivation leaves no doubt of its
fit use to describe not simply the writer of a book, but also
the contriver ot a thing, and its especial fitness to describe
the producer of a photograph. Our Philadelphia con-
temporary well adds : — “ Is tliere no invention in posing a
figure gracefully and manfully, and in lighting it so as to
produce a likeness and a work of art ? Should he have no
credit or protection for this? Where does tho skilful pho-
tographic artist get his attitudes that attract and please so
much? He invents them. By whose method does he pro-
duce such charming eflects of light and shade ? By those
of his own invention. Tho sun does all this, says the

THE PHOTOGRAPHIC NEWS.

591

December ll, 18GS.]

learned counsel in his argument, not the photographer . May
he not say with equal force, that the water saws the fanciful
scroll-work from the solid piece, and not the slender blade
guided by the hands and the inventive brain of the skilful
workman ? or that steam weaves the brilliant-coloured
threads into beauteous patterns, and not the intricate
machine produced from and by man's inventive genius?”

Q

PRINTS ON APPROVAL.

nr NELSON K. CIIERRILL.

How can a portrait he more utterly (condemned, than by
being “ not approved of? It matters not how artistiu the
pose may bo ; it matters little how good the picture may
be; it matters absolutely nothing how good the photo-
graph may be ; if the portrait is not approved of, its con-
demnation is complete ; and if a picture is condemned, who
is to blame — the sitter, or the artist? Certainly, in nine
hundred and ninety-nine cases out of a thousand, not the
sitter. The sitter usually comes and places himself or her-
self for the time quite at the photographer’s command ; the
sitter will, as a rule, obey orders (if the artist knows how to
give them), and if not, the photographer has the simple re-
course of objecting to proceed with his work; so that almost
invariably iailuro must be laid, not at the door of the
victim, but to the charge of the unskilful executioner.

It is to be confessed that some faces are easier to take
than others, and that some persons are more capable of
being managed than others, and so often make better pic-
tures, as well as better portraits ; but even the most difficult
to manage, and the most ugly to look upon, have some
phases of action, or expression ; which, if not decidedly
elegant or pleasing, are at any rate, very much better than
any other ; and in these cases it becomes the chief part of
the photographer’s duty, first to find, and then to draw out
by conversation and manner, the most excellent characteristics
of the model. No man, however great his practice or skill,
can always do this at first sight ; indeed, with the majority
of men, it is a matter of long study to see anything at all,
much more to see the whole so perfectly as to accept the
good and reject the bad. For this reason, if for no other, pho-
tographers should only be too glad to have an opportunity of
taking the portraits of their more difficult customers over
again a second, or even a third time. And if by this trouble a
picture is obtained which is perfect as a work of art, and as
a faithful portrait of the sitter, surely it is worth all the
labour; and even if never paid for, such work must in reputa-
tion more than make up for the loss of time and trouble it
has taken to produce it. To take a successful photographic
portrait is a much more wonderful thing than many people
seem to think. Persons who have known each other, and
who have been constantly in each other’s society for a long
coiu'se of years, naturally know infinitely more of each other
than tho.se who meet only for a few minutes only once,
perhaps, in the course of a lifetime ; and yet the photo-
grapher is often blamed if, after five minutes’ conversation
with a person whom he has never before seen, he cannot
call up in the portrait he produces the very best expression
ever seen, by even the most intimate friends of the sitter.
M’hat, then, can the photographer do but try again? lie may
find with some sitters no cause to bo ashamed if the speci-
mens are “ not approved.”

There is. therefore, I conceive, no reason, so far as the art
considerations of photography arc concerned, why prints
should not be sent •* on approviil” ; but there arc, I imagine,
the very strongest reasons, on the other hand, why pictures
should be sent out in this way. The public has a right to
bo its own judge as to the excellence of portraits for which
it has to pay, and therefore no photographer can complain,
with any show of justice, if his pictures are required to
pass the ordeal of public approval. There is no photo-
grapher in the world, however high he may rank as an
artist, who is, o at any rate ought to be, above having his

pictures “ approved” of; he may refuse to take them again,
but he cannot refuse the public the right to judge them.

The case is just this: a man wants his portrait taken;
he goes to a photographer, and asks him to take him ;
he looks at specimens, and decides the general style in
which his picture shall be executed. He is taken ; the
proofs arc sent home. Now, if these proofs are not con-
sidered good, there arc, it seems to me, only three posi-
tions left for the photographer to choose. He can first
(and, if a wise man, he probably will) say ho is very
sorry, and if he may have another try he will do better
next time, and so on (for half an hour if necessary) ; or ho
may, if of an abrupt temperament, at once give his customer
“ the lie direct,” on which, of course, legal action will be
taken, and the whole profession be put to disgrace. An
intermediate course is also possible, and fome will adopt it,
by saying. “ If you do not like the pictures, I am sorry; as,
however, I am the best photographer in the world, and as
you are a very plain-looking man, I tell you {entre nous)
you cannot get anything better ; if you will have these, well
and good ; if not, good morning!”

The wrangling between a photographer and his discon-
tented customer may in a measure be likened to the quarrel
between Touchstone and the courtier in respect of the latter
gentleman’s beard. With a slight adaptation it would read
thus : —

Touch I did dislike the taking of a certain

photographer’s pictures. lie sent me word, if I said his
pictures were not well done, he was in the mind they were :
this is called the Retort Courteous. If I sent him word
again. They were not well done, ho would send mo word,
lie took them to please himself : this is called the Quip
Modest. If, again. They were not well done, ho disabled
my judgment : this is called the Reply Churlish. If, again.
They were not well done, he would answer, I spake not true :
this is called the Reproof Valiant. If, again. They were
not well done, he would say. I lied ; this is called the
Countercheck Quarrelsome ; and so to the Lie Circumstantial
and the Lie Direct.

Jag. — And how oft did you say his pictures were not well
done ?

Touch. — I durst go no further than the Lie Circum-
stantial, nor he durst not give me fhe Lie Direct ; and so
we measured words, and parted.

Jag. — Can you nominate in order now the degrees of
badness in photographs?

Touch. — No, by no means; it is a thing past my com-
prehension.

I do not think, however, that photographers and tho
public often quarrel about pictures, both parties fighting
rather shy of any such proceeding ; but there is constantly
in the mind of inferior photographers tho idea that the
public would like to swindle them if it could. They seem
to think that when pictures are not approved of, it is from
some underhand design of getting a certain number of
proofs for nothing; but this will not stand a moment’s
rea.soning ; the public is not so fond of having its portrait
taken that it will reject pictures unless they are absolutely
too bad. There are, indeed, many people who would sooner
put up with a bad portrait than have tho trouble of sitting
again. And if the photographer has his wits about him, ho
can at all times recover his rejected specimens, on the
simple pica that ho does not care to be represented by pic-
tures which arc not approved of.

We make a regular system now of having a " day-book”
specially for specimens, and every one that is sent out is
cliarged at a very high price, and this entry is not cancelled
till the pictures are returned, either as ordered, or as not
approved of. In tho latter case, when the pictures are taken
again, the new proofs are also entered in the specimen day-
books when sent out, and by this means a most perfect
check is given as to the number of pictures out on ap-
proval, and the number returned, and so on.

59

THE PHOTOGRAPHIC NEWS. [December 11, 1868.

PHOTOGRAPinC MARKING INK.

BT U. NEALE.

The following method ol marking or producing design-s
on linen, &c., which I have long been going to send you,
and although, perhaps, known to some ol your readers, I
cannot remember having seen published, may be of service
to many. Proceed thus : — Make a 20-grain solution of am-
monia nitrate of silver by the usual method, adding suffi-
cient gum mucilage to make it flow better from the pen.
Damp slightly the linen or other fabric with a solution of
pyrogallic and citric acids (the ordinary redeveloping solu-
tion) ; let dry ; then, with a quill pen and the silver solution,
trace the design on the linen. The effect seems magical,
as the instant the design is formed — in fact, as fast as the
pen goes — the design appears of a rich black colour, and is
perfectly permanent, requiring no fixing, and will bear any
amount of washing.

The above idea might probably be utilized in block
printing on linen, &c., as designs could be produced as
quickly as by the ordinary printing press.

A VISIT TO THE PHOTOGRAPHIC STUDIO OF
THE IMPERIAL MILITARY GEOGRAPHICAL
INSTITUTE IN VIENNA.

BY ALOIS SICG.*

Having recently occasion to pay a business visit to my
friend M. Frank Fink, the Assistant-Director of the above-
named establ’shment, during the ordinary working hours of
the department, it was my good fortune to obtain permis-
sion to witness the mode of operating pursued at this de-
servedly-celebrated photographic studio. This favour I
appreciated the more fully from the knowledge that an in-
dulgence of the kind is rarely granted to strangers, on
account of the hindrance to work which such a proceeding
generally involves.

The establishment is under the careful direction of Lieut.-
Colonel Johann Schopf, and the excellent work which has
been produced therein has acquired for it such a reputation
that no laudable commendation is necessary on my part ; at
the same time, notwithstanding the high character of the
studio, I believe that there are some among my colleagues
who do not at all envy me the opportunity I have enjoyed ;
more especially, I would mention, those gentlemen who are
not accustomed to the manipulation of large plates, and
those, likewise, who, with the most anxious care, tenaciously
hold fast to the methods of operating with which they first
become familiar ; for in this establishment those orthodox
rules and regulations which are generally considered indis-
pensable to proper manipulation, and an infringement of
which would, to many minds, inevitably bring about the
most disastrous consequences, are simply regarded as null
and void ; and it would seem almost as if even the chemical
reagents had been placed under military discipline to obey
in all thinOT, and in no way to disregard, the commands or
wishes of the operator.

As regards the situation and construction of the dift’erent
work-rooms, they have all been arranged and built accoid-
ing to the necessary requirements ; such, in fact, as could
only be the case with a government institute. In an ex-
posed and isolated position upon the roof of the building is
constructed the studio, lighted from all four points of the
compass. Here the negatives are taken from the original
maps and drawing, which are screwed in an upright posi-
tion to movable Irames. placeable against any of the walls
of the studio. The top and side-light windows are remov-
able, so that work may be performed, if necessary, in the
open daylight, or even sunlight, which streams uninter-
ruptedly upon the object to be reproduced ; white reflect-
ing screens may likewise be used on the two opposite sides
from those whence the light enters, to prevent the casting of
any shadow by the roughness and texture of the paper, an

* PkotOfrajihische Correspondtm.

effect which often occurs when the surface of the object is
strongly lighted.

The giant camera -stands upon a table capable of being
lengthened out or shortened, and provided with iron rollers
running upon rails ; by this means a picture of any size
may be sharply focussed in an incredibly short space of time
by a couple of assistants who have had some experience in
working together. I am a great stickler at military dis-
cipline and working by word of command, but if such satis-
factory results were always produced by its means as those
shown at this establishment, it is, I think, to be regretted that
a certain amount of soldierlike character cannot be infused
into every photographic studio. I had the pleasure of per-
sonally witnessing the process of copying a map of the same
size as the original, which was a drawing composed of four
sheets of paper, and the whole operation conducted in such
an efficient and original manner that I cannot refrain from
giving a detailed description of the same.

A sheet of plate-glass measuring from twenty-five to thirty
inches, and roughened all round the margin to the extent of
a quarter of an inch by means of a flintstone, was placed upon
a frame in the form of a cross, which was supported on a
movable socket exactly in the centre. At all four extremi-
ties of the cross are clamps, which, being packed together,
fasten the plate down, aucl, at the same time, keep it in the
centre of the stand in perfectly horizontal position. By
means of an arm fitted underneath the cross, the same may
be depressed oi elevated at will, so that the glass plate may
be turned or tilted in any way without being touched. This
description of cross has been used by many photographers for
the manipulation of small plates, and I do not allude to it,
therefore, as any special novelty : the manner, however, of
applying the collodion is, I believe, a perfectly new one.

M. Fink seated himself comfortably to perform this bold
operation, pulling sideways towards him the horizontally-
swinging plate, and pouring the collodion thereon from a half-
pound measure in a thin stream, in the manner indicated by the

lines a, b, c in the ac-
companying sketch.
He commenced at the
furthest edge of the
plate, and allowed the
stream of liquid to fall
in a parallel line to the
same, about two inches
distant, tracing ahorse-
shoe figure backwards
and forwards with the
collodion. A soon as
the latter, by means of
a little skilful hand-
ling, had been made to
spread itself over the
plate to the extent of
a hand's-breadth, as shown by d e, the operation was
repeated in the same manner at a more advanced part of the
plate at e, d, g, and the collodion so manipulated that it ex-
tended to and combined with that previously poured on ;
in this way the plate was coated until there remained but a
margin of about three inches uncovered, as shown at t h.
Under those corners of the plate which were still dry, vessels
were placed for the reception of the .superfluous collodion,
and the cross-stand was next very slowly and carefully tilted
by means of the handle in such a manner that the material
flowed evenly over that part of the plate which was yet un-
covered. From the commencement of the operation of collo-
dionizing the plate until this moment a period of not less
than six minutes had elapsed, and until the material had set
sufiiciently to allow of the plate being placed in a perfectly
upright position at least ten minutes had gone.

The coated plate is now placed in a horizontal sensitizing
bath, the collodionized surtace uppermost, and allowed to
remain therein quietly for a quarter of an hour. It is stated
that the plate should never remain immersed in the bath for

1)eckmber 11, 1868.]

THE PHOTOGRAPHIC NEWS.

593

a longer period than twenty minutes, as otherwise the iodide
of silver formed becomes dissolved to too great a degree.
During the time required for sensitizing, the object to be
reproduced is placed in position, and focussed ready for
operating, all of which can be undertaken during the
interval.

M. Fink concealed himself behind the black cloth which
covers the ground-glass of the camera, and then gave the
words of command to his a.ssistants, posted at the frame con-
taining the original drawing or map to be copied, the fol-
lowing orders being called out at difterent intervals : — “ To
the right!” “Halt!” “The bottom more forward!”
“Halt!” “To the left!” “Halt!” “Again!” “All
right !”

I was astonished at the rapidity of the manoeuvres, and
of the appearance upon the focussing glass of the faultlessly-
straight lines and sharply-defined image, depicted of the
same size as the original, which, in order to produce such an
effect, must have been placed in position with mathematical
correctness. The institute pos-sesses for this description of
work a three-inch lens of Dallmeyer’s, which is almost ex-
clusively used for the purpose, and which fulfils the neces-
sary requirements of equal distribution and sharpness in the
highest degree.

The exposure which took place in my presence was, by
reason of the unfavourable state of weather, a somewhat long
one, lasting five minutes and a quarter ; in a good light two
minutes only is required ; while in the sunshine the duration
of the exposure is but half a minute.

The same degree of novelty and originality exhibited by
the application of the collodion was displayed in the deve-
lopment and fixing of the plate, these operations being con-
ducted in a manner which was perfectly new to me.

In the middle of a sufliciently large receptacle there had
been constructed a raised, somewhat convex, and rounded
wooden ball, resembling in appearance the buffer of a rail-
way carriage. The plate was placed crosswise upon this
rest, being held at one of the corners, that side of the glass
furthest from the operator being depressed somewhat ; the
developing fluid was then poured from a vessel — which, to
my thinking, was scarcely large enough for the purpose —
close along the upper margin of the plate, from right to
left, and allowed to flow downwards over the surface. I
observed the liquid flow slowly towards the lower edge of
the plate in disconnected streams, and, more slowly still, by
careful tilting to and fro of the negative, finally spread
equally over the whole surface, until gradually a clean pic-
ture was developed, to the certainly unexpected astonishment
of your humble servant. The word “ Intensifier !” was
uttered, and the assistant immediately handed a vessel con-
taining citrate of iron, with which the same process was gone
throu^ as with the developer. “Water!” is called for,
supplied, and the plate therewith washed. “ Soda !” A hand
reaches out the fixing agent. “Water!” Here it is. “Mer-
cury ! ” One hand takes away the empty vessel, while
another supplies the required solution.

The treatment with the bichloride of mercury is the same
as that pursued with the iron developer ; the same divided
streams are allowed to flow heedlessly over the picture,
forming long, inky-black streaks. “ Will not these stains
destroy the negative altogether ?” I asked. “ They will soon
become equalized,” was the curt reply of the operator ; and,
so saying, he rapidly turned the plate round, and poured cn
the liquid from the opposite end ; the negative was then
lifted up and examined by transmitted light, and afterwards
again treated with the mercury solution, the latter being
allowed to rest for a short time on any parts where the film
did not appear to be sufliciently intense. “Water!” was
then orderea. “Water over the hands!” “Wash the back
of the plate !” And the finished negative was then placed in
my hands for inspection prior to its despatch to another part
of the building.

If it had been my express desire to produce a negative of
the most fogged description, it would, perhaps, have been

possible for mo to have performed the different manipula-
tions with the same nonchalance and disregard of all estab-
lished rules and precautions ; and I must frankly avow, that
I deemed it an impossibility, by such means as I have
described, to produce a negative without the presence of
innumerable spots and blemishes. I was therefore already
beginning to congratulate myself on being able to point
out the evil consequences inevitable to such an extraordinary
manner of carrying a photographic process. But, notwith-
standing the most diligent and searching examination, 1
was unable to discover therein any faulty appearances
whatsoever.

[To be continued.)

THE PRINTING PRESS.— ITS USE TO PHOTO-
GRAPHERS.

BY THOMAS GULUVER.

Hatixg had one in use for several years, and found many
advantages from the possession of one, I venture to recommend
the addition of a printing-press to the usual stock of appa-
ratus to be found in a photographic establishment. It need
not be an expensive one, only such a one as would work off
a neat circular, small handbill, list of prices, bill-head,
carte-de-visite mount for landscapes, &c.. &c.

I may be told that all this is a printer’s business, not a
photographer’s ; but it often happens that said printers have
a large job on the press that they must work off first ; and
rinters object to take small orders, for if you want only a
undred bills or cards, you will be strongly advised to have
two. Now the press I have has cost only £Z, and the type,
&c., about X4 more, and it is surprising what can be done
with this small outlay.

The press in question is of the kind called the people’s
printing-press, and the type can be had at any of the Lon-
don type-founders. The working of it is easily acquired,
and it serves as an agreeable change after working in the
studio among the chemicals. Two or three lessons from a
practical printer will be as well when beginning, as starting
the right way at first is half the battle won. Some little
difiicuity will no doubt be experienced with the ink roller,
which, like the nitrate bath, in some hands is always getting
out of order ; but by keeping mine in a close, air-tight box, I
have used the same roller without renewing for over three
years. I enclose a specimen of my work done on my little
press : this was set up and worked off after tea one dull day,
and the typo washed and distributed before breakfast time
next morning.

DRY PLATES.— HINTS.

BY M. CAEEY LEA.*

Jf ashing before Developing. — The systems of operations
used by different photographers vary a good deal. The
plates may either be moistened with weak alcohol and
washed, or be simply washed, or be thrown into a developing
bath without any washing.

This last plan, which is certainly the least trouble, may
be used with some plates with impunity. But I have ob-
served that where any sugar has found a place in the pre-
servative solution, a good washing is needed to get rid of it ;
otherwise there will be a tendency to inegularity and spot-
tiness in the development. When an acid pyrogallic deve-
lopment is used, this tendency is materially less than with
the alkaline. When a preservative solution is used with as
much as twenty grains of sugar to the ounce, an alkaline
developer used without previous washing oft sets up a sort of
repellent action, and may even collect in pools, developing
unequally, and spoiling the picture.

The best conclusion is, therefore, that although a previous
washing is not always necessary, it is best and safest to
apply it. The foregoing applies, of course, to developing in
a pan ; if the plate is developed in the hand, on a holder,

• Philadelphia Photographer.

594

THE PHOTOGRAPHIC NEWS.

or on a levelling-stand, the developer cannot be got evenly
over it without ])revioiis moistening ; and in such a case, if
the preservative has contained sugar, not a mere moistening,
but a careful washing will be advisable.

Dark Slides. — When plates are exposed at home, the
chance of accidental exposure is very slight, and the loss of
a plate not very important. It is far otherwise, however,
when a plate is carried many miles : the danger of acci-
dental exposure is greatly increased, and the loss of a plate
much more annoying. When a number of dark-slides are
rolled up together in a cloth, and taken in a carriage to a
distance, they move somewhat, and rub against each other.
Perhaps the button works round in this way, and lets the
door open a little, or a shutter works by degrees, so as to let
in a crack of light. Again, in drawing out a slide from the
bundle, the button may catch and open, or may open the
button of another slide adjoining, or a shutter may be a
little withdrawn.

I have found the following arrangement very convenient
and useful to avoid tliese troubles. I’o keep the shutter from
accidental moving, an ingenious little catch has been con-
trived for me by Mr. Peace, of this city. A piece of brass,
about one and a quarter inch long, and three-tenths wide, is
bent across. A hole is drilled through the short part, and
notch at one end of the long part. A screw passed through
this hole secures it to the end of the slide close up by the
shutter. Into the thick end of the shutter a pin is driven,
which goes into the notch, thus locking the shutter most
securely, and removing all danger of accidental exposure by
sliding or disturbance of the shutters.

To prevent opening of the door, I have an extra button
placed at the side. It thus becomes extremely improbable
that both the buttons will be disarranged on any one slide,
and with these precautions the plates may bo considered as
absolutely sate. The buttons placed on slides for ordinary
home use are put on the door, turn under a bent wire on the
edge of the frame, and have their other end turned up and
rounded, in order the more easily to be taken hold of. This
arrangement, convenient enough for the use for which it is
intended, becomes a great nuisance if the slides are carried
out. Slides for such use should have flat buttons only, and
these should be placed on the frame, and not on the door.
A screw at one end secures them to the frame, and they will
round so as to pass over the edge of the door.

Roughing the Edges of Plates. — In the collodio-bromide
process the collodion is, of course, somewhat thicker than in
the ordinary modes, by reason of the bromide of silver held
in suspension, and, therefore, a little more care is necessary
in coating. If the filing of the edges of the plate has been
careles.sly and roughly done with too coarse a file, it may
happen that deep notches will be made, and that the plate,
after coating, will show irregular bands running down an
inch or more into the plate, alternately thicker and thinner.
These will show, of coui-se, in the negative, as where the film
i.s thicker it will develop more strongly. Such plates will,
of course, be failures, and the appearance of such bands as I
h.ave described may be traced with certainty to careless
roughing. In fact, it may be doubted whether auy filing
or roughing of the edges whatever is needed with dry
plates, as these should always be edged with india-rubber
benzine varnish, or have a substratum of dilute albumen.

Blistering. — In all dry processes in which albumen is
used in the preservative applied to collodion films, there is a
ti'ndency to blistering. This blistering depends upon
osmotic action. Liquids containing certain substances in
solution have an extraordinary power of forcing their way
through membranes, and many kinds of artificial films are
capable of acting in this respect like natural membranes.

The nature of the cotton used has much to do with this
blistering ; some collodions blister much worse than others,
some during development, some only in the fixing and sub-
sequent washing.

it has seemed to mo that the addition of sugar to the pre-
servative, in the proportion of about 10 grains to the ounce.

[December 11, 1868.

had a tendency to diminish this evil. I suppose its ten-
dency to be to keep the collodion film in a more porous con-
dition, and so to allow the liquid which has passed in to
e.scapc again. The film, when just made, and still moist, is
in a very plastic condition, and has not. undergone the
powerful contraction which takes place in drying. If, whilst
in this soft and plastic condition, its pores be tilled up with
a preservative containing a substance like sugar, the spon-
giness of the film seems to be better preserved, and, when
wetted again, it returns more to the state of an ordinary wet
plate than is the case with dry plates made without sugar
in the preservative. In some cases this quality is very
valuable ; other forms of dry plates do not need it.

But I wish to place on record here the opinion that the
action of sugar in the preservative is to keep the film in such
a condition that, on wetting it, it will return to nearly the
condition it had when it left the bath, and especially that
by adding sugar to a preservative, and then washing it well
out before applying the developer, the development will
always take place with much greater rapidity than if the
sugar had been omitted : not in the least that the sugar
gives enhanced sensitiveness, but that its function is to till
up the pores, keep the film spongy, and, on its removal, to
leave it in such condition that the developer penetrates in-
stantly, and acts at once on every particle that has been
impressed by light.

MEANS OF FQUALTZING EXPOSURE WITH
WIDE-ANGLE LENSES.

BV JOnX M. BL.\KE.*

The effects of the inequality of exposure over different parts
of the sensitive plate, when using a wide-angle lens, ara
well known. The gradual diminution of light, as wo pass
from the centre to the borders of the plate, may give, in our
collodion film, all gradations from an over-exposed nega-
whero the light is at a maximum, to a well-e.xposed ambro-
type at the extreme limits of the field.

This difficulty can be to some extent overcome by giving
the best average exposure to the whole field, and shading
the borders of the plate in printing ; but we thus sacrifice
other important points, and imperfectly accomplish our
object.

Let us now consider the various causes which tend to
diminish the amount of light as we go from the centre of
the field. I will mention five.

Fii-st, and most important, the increasing distance of the
plate f'-ora the diaphragm.

Second, the oblique position of the diaphragm to any but
the central portion of the plate.

Third, the obliquity of beams of light towards the limits
of the field, causing them to spread over more surface than
their square section.

Fourth, loss by reflection from the surface of the wet
film before reaching the sensitive particles below. This
increases in amount as the incident rays make a less angle
with the collodion surface.

Fifth, loss by interference of light, which may be supposed
to increase in some ratio to the whole amount pa.ssing
through the diaphragm, as the latter becomes in effect
narrowed by its increasing obliquity.

From the first cau.se the light will vary as the square of
the cosine of the angle included between lines drawn from
the diaphragm to the centre of the field, and to any point
at which we wish to compare the illumination with that at
the centre. From the second and third causes the varia-
tion will bo as the cosine of the same angle in each ca.se.

The v.ariatiou from loss by reflection must be determined
by experiment. The light reflected would probably exceed
that from water alone, owing to the greater density of the
silver solution.

The loss from the fifth cause is probably of little account,
except when using a very small diaphragm, or with a lens
of very wide angle.

* rMludeli^hia I'Mlogra2'her.

December 11, 18G8.]

THE PHOTOGRAPHIC NEWS.

595

Combining tbo first three causes, and giving the result in
a convenient form, we have, the intensity of light at the
borders of a field, including a given angle, is to that at the
centre as tbe fourth power of the cosine of half this angle
to one ; and we deduce that at the limits of a field of
81° 6', the light is one-third that at the centre; of a field
of 05° 3‘2', one-half; of 52° O', two-thirds ; and of 37° 50',
■four-fifths.

This result is about what we would have expected from
the appearance of an under-exposed plate after development.
Such being the case, we cannot expect to obtain the highest
degree of perfection in detail over the whole surface of a
wide-angle picture, unless wo adopt Some plan for properly
eqiiali/.ing the exposure.

It occurred to me, about the time of the first appearance of
the Harrison globe lens, that any sort of approximation to
cipial illumination of field it might possess, must be due to
tile use, either by accident or design, of a kind of crown
glass, partially obstructing actinic light. As the crown
lenses are much thicker at the centre than towards the
edges, the effect would be to retard chemical action near the
Centre of the sensitive plate to a degree depending on the
kind of gla.ss selected. The flint lenses in the combination,
although thickest at the edges, probably do not have an
appreciable contrary effect on the distribution of the light,
since this kind of glass is usually whiter than crown.

Not having an opportunity to examine and use a lens of
this kind, the matter was forgotten for several years, when
the subject was forcibly recalled to mind by the appearance
of negatives taken with a Zeutmayer lens.

Some preliminary experiments were made with thin
wedges of coloured glass placed over sensitive paper, and a
kind selected which, at the thickness of the centre (about
•03 inch) of one of the lenses in the Zentraayer combination
of the size it was proposed to construct, obstructed two-
thirds of the actinic light.

At this time another plan was thought of, whleh could be
more easily tested, and did not have certain disadvantages
inherent to the first. Thus, if we intend to use our lens
with the full angle only, at the best there will be an unne-
ces.sary loss in that portion of light passing near its edges,
over what would be transmitted were the lens made of the
whitest glass. And, again, if, as is often the practice, we
wish to use our lens for a smaller plate than it is capable of
covering, we will find it seriously and needlessly injured for
this purpose, as regards quickness of working.

{To be continued.)

THE USE OP PARAFFINE IN PHOTOGRArilY.*

Photogr.vphers are not generally aware [of the value of
paralline in their business. Its more general use h.as pro-
bably been retarded tor the reason that it is diflicult to find
a good article of it in the market. That which is best is
very hard — so hard that the finger-nail can barely make an
impression upon it. When it can be found of that kind, it
makes an excellent preservative for prints, and can be s.afely
used as such. If the softer kinds bo used, they are apt to
turn the print yellow, and aid in its destruction rather
than otherwise. The reason of this is, says Profe.ssor Bottger,
that when melted and expo.sed to the .action of the air,
oxygen is absorbed, and the melted fluid becomes brown
gradually but surelj'. So much care need not be taken, how-
ever, in selecting paralline to be used for coating the various
articles of wood used in photography, although the bust is
the best.

In a letter to us some time ago, our esteemed co-worker,
Mr. Charles Waldack, writes: — “I think paraffine can be of
great use to photographers. Nothing surpasses it to coat
wooden dishes with. I prefer such dishes to hard rubber,
porcelain, or photographic ware. A good coating of
paraffine for the inside, and two or three of white-lead

* ^Philadelphia, Photographer.

paint on the outside, wilt make a wooden dish perfectly
water-tight. A very good silver bath-holder may be made
in the same way. The dish or bath is well warmed, the
molten paraffine poured into it and made to move all over
the inside surface. Then, if possible, if the vessel be put in
an oven just hot enough to keep the paraffine melted, it will
penetrate more deeply in the wood, and improve its water-
tight qualities. Flatc-holders made of wood, without glass
or composition corners, by being put in the molten
paraffine, will for ever after refu.se to absorb the silver, and
will never produce stains. Manufacturers of camera-boxes
would do well to consider this ; and all of tbe wood -work
of the camera-boxes would be improved by immersion in
this useful protection. A camera-box made of dry wood,
as it should be, and well coated in this way, would never
warp or corrode by the nitrate of silver. If I ever go on
another tour to the Mammoth Cave, I shall previously coat
everything I u.se, made of wood, with it. In coating an
object, it should be observed tliat tire hotter the paraffine
the more perfectly will it penetrate the wood."

In our experience, we have found one objection to the
use of paraffine for coating the inside of the nitrate bath.
Except with very careful manipulation, the corners of the
plates are apt to remove particles of it, which, floating in
the bath, cause pin-holes, or adhere to the film. For the
other purposes named, however, its advantages cannot be
overrated.

grffmii'uTfjs flf

North Loxdox PHOTOORAPiirc Associatiox.

The usual monthly meeting of this Society was hold in M_vd-
delton Hall on tho eveniitg of Wednesday, Ueceiubcr 2nd,
Mr. W. W. Kixo itr tho chair.

The minutes of a previous meeting were road and confirmed,
after which Mr. 'I’illy, Mr. Jewell, and Mr. Newbury were
elected members.

Mr. W. Bedford exhibited a couple of very fine 12 by 10
Landscapes, whicli were, he stated, printed on the back of
albuminized prints, as had been recently suggested in tbe Photo-
graphic News. Tlie prints were lich and vigorous, and ex-
cellent in colour.

A conversation on tho subject followed, in tho course of
which Mr. Bedford explained that tho prints were treated
with Mr. Thomas’s encaustic paste, which answered well, and
gave great richness to tho shadows.

Mr. Whartox Simpsox exhibited some prints, by Mr. Carl
Meineth, ho had receive<l from America. The prints were
styled *• photo-mezzotiiits,” and were produced by interposing
a medium between tlio paper and the negative, so as to remove
extreme sharpness, and soften harsh lines. The specimens lie
exhibited displa}ed various degrees of modified sharpness,
from slight diffusion to entire want of definition. Ho called
attention, .also, to the peculiar resemblance to printing on
porcelain produced in some instances.

Some conversation on tho subject followed, in tho course
of whicli admiration for many of tho effects was expressed.

Mr. J. T. Taylor exhibited some exceedingly fine slides
for tho magic lantern, produced by Mr. Stewart, and in tho
course of tho conversation which followed, it was suggested
that on an early occasion the slides should bo exhibited to tho
members by means of tho lantern, tho Chairman undertaking
to say something on tho subject from an architectural point of
view.

Mr. Hart exhibited a convenient light tray for fixing or
washing jirints. It was made of wood varnished with some
waterproof varnish, probably a solution of marine glue. It was
fitted with a syphon arrangement. Besides being light and
not easily broken, it was said to bo moderate in price.

After some further desultory cunversation, it was announced
that there would be no meeting of the society in January, tho
time coming too near tho period for Christmas festivities to
render it convenient. In February Mr. King promised to road
a paper on neglected art and scientific subjects in connection
with photography.

As the Crairmax declared the meeting adjourned.

596

THE PHOTOGRAPHIC NEWS,

[December 11, 1868.

Mr. Dawson requested permission to ask Mr. Bedford one or
two questions about the prints exhibited. Had he compared
the results obtained by printing on ordinary plain paper with
those obtained on the hack of albuminized paper ? and, if so,
was there any difference ?

Mr. Bedford said he had made such comparison, and found
that he obtained a better and richer print on the back of
albuminized paper.

Mr. Dawson did not see bow the presence of albumen on
one side of the paper could affect the quality of the print on
the other side.

Mr. Simpson said the presence of albumen on one side of
the paper was not supposed to affect the character of the print
on the other ; but as all papers absorbed a certain portion of the
albumen and salt with which they were coated, it was the
presence of as much of these substances as were absorbed and
passed through the paper, and then combined with the silver,
when on the exciting bath, which gave the prints some amount
of superiority over ordinary plain paper prints. It was, in short,
a very simple and easy method of imitating in some degree the
result produced on amorphous albuminized paper.

Mr. Dawson thought that it would be better, if a little albu-
men gave an advantage to plain paper, to experiment and find
out in what proportion and in what manner it would be best
applied, and prepare paper on the right side, instead of using
it in this somewhat indefinite manner on the wrong side.

Mr. Simpson said the object hero was to save the trouble of
experiment or especial preparation. Plain paper prints were
only very occasionally required, and when, by chance, one or
two were wanted, it would be very troublesome to the photo-
grapher to have to get special material and make special pre-
paration. But he always had albuminized paper at hand, and
ho simply needed to float it, plain side downwards, on his
ordinary silver bath to get an approximately good result, with
littio trouble. If the best plain paper results were required,
and a demand existed for them — which, with the large rich
class of pictures especially recently come into vogue, would be
desirable — no doubt it would be worth while to make special
preparations, and produce finer results.

A conversation followed, in the course of which commenda-
tory reference was made to the fine plain paper prints of Mr.
Hennah, familiar to photographers some years ago, and an
expression of a conviction of the superior artistic effect of
plain paper prints.

In the course of tho conversation Mr. G. Hooper stated that
he had obtained good plain paper prints by means of a formula
ho was proceeding to describe, when it was suggested that ho
should introduce the subject by a short paper at an early meet-
ing ; and this was agreed to.

The proceedings then terminated.

London Photographic Society.

The usual monthly meeting of this Society was held in tho
Architectural Gallery, Conduit Street, on the evening of Tues-
dav, December 8th, Mr. J. Glaisuer, F.R.S., in the chair.

The minutes of a previous meeting were road and confirmed,
and tho following gentlemen elected members of the Society :
Messrs. Louis Bing, Jewell, Twyman, II. Baden Pritchard, and
Archibald Irvine.

The Chairman read the seventh rule of the Society, relating
to the nomination and election of officers ; after which he said
that during many years the Society had been honoured by the
presidentship of Sir Frederick Pollock, ex-Lord Chief Baron.
He regretted to say that the time had come when they could
no longer have the pleasure of his able presidency. In a letter
forwarded to the Council their President said that being in the
eighty-sixth year of his age, and being compelled to abstain
from all evening meetings, he regretted that he could no longer
discharge the duties nor hold the office of president of a society
which afforded him the pleasure of being associated with so
many of the most enlightened practical and scientific men of
the day. He also had to announce, with regret, that another
officer, who had been eleven years their Secretary and thirty
years a photographer, had felt, from the state of his health and
pressure of other duties, ho must resign his office, and Dr.
Diamond would at the end of the Society’s year cease to be
their Secretary. The Council had appointed a gentleman (Mr.
John Spiller) in his place, by whom they fell assured the duties
of secretary and editor would be ably discharged. The gentle-
men nominated by tho Council for election were, for tho Presi-

dency, himself (Mr. Glaisher), an office ho had consented to
hold for the following year; retiring from the Vice-Presidency,
Mr. Glaisher and Mr. Durham ; nominated for election, the
Earl of Caithness and Dr. Diamond ; retiring from the Council,
Messrs. W. M. Brown, Joubert, Sedgwick, Spiller, John
Williams, the Earl of Caithness, and Dr. Wright ; nominated
for election, Messrs. Durham. Dallmeyer, Dr. Arthur Farre,
Professor Wheatstone, Dr. Mann, Wm. Mayland, and M,
Whiting, Junr.

Tho Chairman then announced that the Annual Report of
the Patent Office of the United States had been presented by
the U. S. Government to the Society, which they accepted with
thanks. He also called attention to some coloured specimens
of the “ Emolliotype ” process, by Mr. Netterville Briggs, and
some fine carbon prints by Mr. Blair, of Perth, some without
transfer at all, and some by a single transfer process, exhibited
by Mr. Wharton Simpson. The specimens were examined
with much interest.

Mr. H. Baden Pritchard then read an interesting paper
on the photographic operations in tho Abyssinian War, and
exhibited specimens of the photographs produced. He also
stated that Serjeant Harrold, who had had charge of the
photographic operations, was in the room, and would have
pleasure in answering any questions on tho subject.

The Rev, J. B. Reade congratulated the Society on the
interest and importance of the first paper of the session.
Such a paper seemed literally to transport us to the field of
operations, and vividly illustrated the importance of our
science in this now and important application of it. Mr
Pritchard had referred to cases in which tho intensity of the
light was so great that it was almost impossible to give suf-
ficiently short exposures. This reminded him of some of his
experiments in photographing tho sun with tho enormous
telescope erected by Mr. Craig, at Wandsworth, giving an
imago of from 9 to lO inches diameter. He had then to inter-
pose a plate of yellow glass, to diminish the intensity of tho
light, and so obtained good negatives. Possibly a similar course
might be found useful under the circumstances to which Mr,
Pritchard had referred. He had pleasure in proposing a special
vote of thanks to Mr. Pritchard and to Sergeant Harrold for this
interesting paper.

Mr. Mayall referred to some pupils to whom he had taught
photography by the request of Lord Panmure, in order that they
might practise the art during the Crimean war. He suggested
that in such expeditions some dry plates — either by the simple
albumen process or the collodio-albumen, both of which gave
great certainty — should bo taken, as well as wet plate appa-
ratus. Such plates would often give facility for obtaining
subjects when the time for preparing wet plates might not be
afV«ilable. The albumen process— which had not, he thought,
received nearly sufficient attention in this country — would give
plates which would keep twelve months. He had recently
tried some prepared in 1855 which still gave an image. Ho
would be very happy to show Sergeant Harrold his very simple
process of preparing such plates. After some reminiscences of
the experiences of Mr. Fenton in the Crimean war, and some
remarks on the advantage of slit stops, Mr. Mayall cordially
seconded tho vote of thanks.

Mr. Spiller, after some remarks on his experiences in con-
nection with military photography, said that several suggestions
occurred to him as arising out of the paper read ; first, tho im-
portance, when working in a tent under a hot sun, of covering
it with white ; next, ho thought tho advantage of printing
direct upon linen, as suggested by Mr. Pritchard, for purposes
of this kind, must ho manifest, especially after examining the
excellent results which Mr. Pritchard had shown them of his
own production. Referring to Sergeant Harrold, who had
received a medal for bravery in the field, he thought it was
satisfactory to find that he was as good a man before tho enemy
as behind the camera.

Mr. Bedford said that when he was photographing in tho
East he found it a valuable plan to stretch above his tent, not
quite in contact, a white sheet, and when water was plentiful
to wet that sheet. Such a plan was very valuable in securing
coolness : indeed, during the last summer, whilst working in
North Wales, he found that such a plan was very valuable in
keeping cool tho interior of his photographic carriage. Refer-
ring to the question of intense light, he should like to ask
Sergeant Harrold how he found it in Africa. His own ex-
perience in the East was, that although the light was intense,
tho shadows were very dark, and exposures, except for distant

t)KCEMBER 11, 1868.]

TtlE PHOTOGiEAPIIIC NEWS.

597

riews, were not lessened by the intense light. His own
average exposures were from ton to twelve seconds for 12 by 10
plates.

Sergeant Harrold had generally found tho exposures long
rather than short.

Mr. V. Blanchard asked Sergeant Harrold what was tho
average temperature, as ho had a vivid recollection of the
difficulties in working in the almost tropical heat at Wimbledon.
He had found that a wet covering to the vehicle was very
valuable in securing coolness, but water was almost as scarce
at Wimbledon as in Abyssinia.

Sergeant Harrold said tho temperature averaged about

100®.

Mr. Sebastian Davis, referring to tho packing of collodion,
said that stoppers alone, without some extra covering, would
certainly be insufficient to prevent evapor.ation. A box lined
with felt was useful for packing such bottles.

Mr. Bedford said, when ho went to Egypt ho had each collo-
dion bottle packed in a tin case with sawdust, which effectually
prevented evaporation.

The Chairman, in putting tho vote of thanks, referred to
the “ Norwegian Kitchen,” which had such non-conducting
powers that many hours elapsed before tho interior was changed
in temperature, and said that such an arrangement might bo
found valuable in packing substances like collodion. Tho sug-
gestion of Mr. Bedlord. of the wet white sheet, was most import-
ant, as a temperature of 30° lower than that of the atmosphere
might be so secured. During last summer’s experience they
had the thermometer at 90°, and the dew-point at 00°. He
had pleasure in putting the vote of thanks. The photographers
with tho expedition had conducted their photographic opera-
tions under the greatest difficulties, but with tho greatest
success.

Tho motion was carried by acclamation.

Mr. Pritchard, in responding on behalf of Sergeant Har-
rold and himself, said that the photographers were prepared
with dry plates both by tho eoffee and collodio-albumen pro-
cesses, but had no opportunity of using them. Once they
attempted it in one of the Abyssinian churches, but the high
priest interposed, and although Sergeant Harrold tried to hold
him in parley until the plate was sufficiently exposed, he did
not succeed, for the priest kicked over the camera. Regarding
the light he had been slightly misunderstood. ' He had said
that under certain circumstances short-focussed stereo lenses
might be found too quick in tho strong light.

The Chairman, referring to the late exhibition, said he was
informed by the attendants that no exhibition of any kind in
those rooms had excited so much interest or had so many
visitors, not less than about five thousand persons having seen
the pictures. It was clearly a great success, and showed that
there was no diminution in public interest in photography, nor
any reason to fear declension in the progress of the art.

The Chairman then announced that at tho meeting on the
12th of January Mr. Nelson K. (iherrill would read a jiaper on
Combination Printing, illustrated with examples.

The proceedings then terminated.

Amateur Photooraphic Association.

The adjourned meeting of tho Council of tho Amateur
Photograpliic Association was held December 1st, at 12, York
Place, Portman Square, Col. tho lion. Dudley Fitzgerald
DE Ros in the chair.

Tho minutes of the last meeting having been read and con-
firmed, the two following members were elected, R. C. Walker
esq. and Miss Jane Hamilton.

Mr. Glaisher then read a report upon the present condition
of tho Society, and tho pictures for the present year, of which
the following is an abstract.

It was my agreeable duty last year to notice the steadily
increasing prosperity of tho Amateur Photographic Association,
and it is a source of no small satisfaction to find those remarks
more than ever applicable to the present state of the Society,
and that the pictures contributed by the members this year
greatly exceed in number those of any previous occasion. The
number of pictures of sufficient excellence to bo specially
noticed, are as follows.

Class 1 contains 90 pictures, contributed as follows : —

Lt. Senior 13, Capt. Bankart 7, W. Bailey esq. 7, F. Beasly
esq. 6, J. W. Richardson esq. 5, Major Gresley 6, Dorabgee
Pudumgee esq. 4, W. D. Howard esq. 4, W. Church esq. 4,

Capt. Taylor 3, F. K. Curry esq. 3, A. Booty esq. 2, J. H.
Ravenshaw esq. 2. Dr. Hemphill 2, R. Murray esq. 2, J. G.
Hyde esq. 2, E. Milsom esq. 2, J. S. K. Moss esq. 2, E. R.
Hall esq. 1, W. H. Ilarton esq. 1, R. B. Bowman esq. 1, T.
Brownrigg esq. 1. Dr. Wilson 1, L. Ashburner esq. 1, Rev. J.
Freke 1. J. H. Ritchie esq. 1, R. Hassard esq. 1, J. Richard-
son esq. 1, F. S. Schwabe esq. 1, Mrs. E. Daubeny 1, J. A.
.lobling esq. 1, J. C. A. Bones esq. 1, A. Suzanne esq. 1,

B. Jones esq. 1.

Class 2 contains 185 pictures, contributed as foll-ows : —

Lt. Senior 20, J. II. Ravenshaw esq. 13, J. W. Richardson
esq. 12, F. Beasley esq. lO, E. Milsom esq. 9, Capt. C. Tay-
lor 7, Dr. Hemphill 0. W. D. Howard esq. 6, Capt. W.
Foster G, Major Mason 6, A. Booty esq. 6, W. Church esq. 5,

J. Richardson esq. 5, Col. Holder 4, Capt. Bankart 4, J. S.

K. Moss esq. 4, Capt. C. M. Layton 4, F. S. Schwabe esq. 4,
J. G. Hyde esq. 3, J. H. Hutchinson esq. 3, W. Bailey esq. 3,
Mrs. Daubeny 3, R. E. Chidley esq. 3, F. E. Currey esq. 2

F. K. Barclay esq. 2, J. A. Jobling esq. 2, J. H. Ritchie esq.
2. R. Grace esq. 2, R. B. Bowman esq. 1, R. Murray esq. 1,
T. Bell esq. 1, W. G. Hunter esq. 1 T. R. Lane esq. 1, D*
Pudumgee esq. 1, SI. Guyton esq. 1, F. H. Tanner esq. 1,
J. C. A. Bones esq. 1, G. H. AVood esq. 1, R. Hassard esq. 1,
T. Brass esq. 1, J. S. Holden esq. 1, J. Richardson esq. 1,

F. S. Schwabe esq. 1, T. Samuels esq. 1.

Class 3 contains 282 pictures contributed as follows : —

Lt. Senior 28, Major Mason 15, L. Ashburner esq. 13, Capt.
W. Foster 13, J. W. Richardson esq. 10, F. Beasley esq. 9, A.
Booty esq. 8, F. K. Barclay esq. 8, J. A. Jobling esq. 8, J.
Richardson esq. 8, H. Day esq. 7, K. E. Chidley esq. 7, R.
Murray esq. 6, J. A. C. Bones esq. 6, J. H. Ritchie esq. 6, W.

G. Hunter esq. 5, D. Pudumgee esq. 5. J. Middleton esq. 5, G.

H. Wood esq. 5, J. G. Hyde esq. 5, Col. Holder 4, Capt. Ban-

kart 4, Capt. Taylor t, F. II. Tanner esq. 4, R. Grace esq. 4,
E. Milsom esq. 4, W. D. Howard esq. 4, Dr. Hemphill 3, Capt.
Layton 3, L. \V. Williams esq. 3, J. Guyton esq. 3, T. Brass
esq. 3, J. II. Hutchinson esq. 3, M. W. Wemyss esq. 3, Capt.
Arbuckle 3, F. S. Schwabe esq. 3. W. H. Harton esq. 2, T.

Bell esq. 2, H. Maxwell esq. 2, T. R. Lane esq. 2, Rev. J.

Freke 2, R Hassard esq. 2, T. Samuels esq. 2. Major Gresley

I. T. Turpin esq. 1, C. Stephens esq. 1, W. Church esq. 1, B.
Jones esq. 1, R. B. Bowman esq. 1, F. E. Currey esq. 1, T.
Brownrigg esq. 1. Rev. T. Hervoy 1, Dr. Wilson 1, J. S. K.
Moss esq. 1, W. S. T. Sinclair esq. 1, J. H. Craigie esq. 1.

Class 4 contains 209 pictures, contributed as follows : —

Lt. Senior 27, L. Ashburner esq. 18, Major Mason 13, J.
Richardson esq. 12, E. Milsom esq. 11, J. S. Holden esq. 8
A. Booty esq. C, S. Samuels esq. 6, Capt. W. Foster 0, R.
Murray esq. 5, T. R. Lane esq. 5, C. Stephens esq. 4, F-

Beasley esq. 4, T. Bell esq. 4, Rev. T. Hervey, 4, Capt. C.

Layton 4, T. W. Richardson esq. 4, h . H. Tanner esq. 4, 0. J!
Jones esq. 3, A. Suzanne esq. 3, R. B. Bowman esq. 3, Dr.
Wilson 3, II. Maxwell esq. 3, J. S. K. Moss esq. 3, J. Middle-
ton esq. 3, II. Day esq. 3, R. E. Chidley esq. 3, F. S. Schwabe
esq. 3, B. Jones esq. 2, J. H. Ravenshaw esq. 2, W. H. Harton
esq. 2, Capt. Taylor 2, Mrs. Daubeny 2, Rev. J. Freke 2, J. A.

C. Bones esq. 2, J. H. Ritchie esq. 2, M. W. Wemyss esq. 2,
Capt. Grimston 2, Col. Hcdder 1, F. K. Barclay esq. 1, W. G.
Hunter esq. 1, D. Pudumgee esq. 1, \V. S. T. Sinclair esq. 1,

S. W. Williams esq. 1, J. Guyton esq. 1, J. A. Jobling esq. 1,

J. H. Carriage esq. 1, G. H. Wood esq. 1, R. Hassard esq. 1,

T. Brass esq. 1, J. H. Hutchinson esq. 1,W. Bailey esq. 1.

The whole of the remainder of the pictures are comprehended

in Classes 5 and 6, but it is unnecessary to mention them
separately.

The following prizes were awarded : —

J. W. Richardson esq. for three pictures. Nos. 26, 30, and 50
a large silver goblet ; Lieut. Senior for a pair of pictures. Nos.
263 and 272, a silver goblet ; ditto for a pair of pictures. Nos.
273 and 287, a silver-mounted claret jug ; Capt. Bankart for a
pair of pictures. Nos. 121 and 124, a silver-mounted claret jug;
W. D. llow.ard esq. for a pair of pictures. Nos. 125 and 126, a
ditto ; Dorabgee Pudumgee esq. for a pair of pictures. Nos. 12
and 14, a silver goblet ; W. Baily esq. for a pair of pictures.
Nos. 1 and 8, a silver goblet; A. Booty esq. for a picture. No.
94, a silver-mounted claret jug ; E. R. Hall esq. for a picture.
No. 7, a ditto ; F. E. Currey esq. for a pair of pictures, Nos. 42
and 44, a ditto; Major Gresley for a picture. No. 31, a large
album, elegantly bound in morocco, with silver name-plate .
J. G. Hyde esq. for a pair of pictures. Nos. 18 and 19, a ditto’

598

'Ttlt: PriOtOaKAPllIC news;

[December 11, 1868.

K. Milsom esq. for a pair of pictures. Nos. 19 and 25, a ditto ;

J. H. Ravenshaw esq. tor a picture, No. 6, an album elegantly
bound in morocco ; F. S. Scliwabe esq. for a picture, No. 1, a
ditto ; Rer. J. Freke for a picture. No. 25, a ditto.

Dry Plate Prizes.

F. Beasley esq. for a pair of pictures. Nos. 87 and 100, a
silver goblet ; J. H. Ritchie, esq. for a picture. No. 4, a large
album elegantly bound in morocco with silver name-plate ; R.
Murray esq. for a picture. No. 12, an album elegantly bound in
morocco.

Stereoscopic Prize.

J. S. K. Moss esq. for a pair of pictures. Nos. G3 and 06, a
largo revolving stereoscope.

Certificates of Honourable Mention were awarded to the following
gentlemen : —

W. Church esq. jun.,B. Jones esq., A. Suzanne esq., Dr. Hemp-
hill, W. H. llarton esq., R. B. Bowman esq., T. Browririgg esq..
Dr. AVilson, Capt. C. Taylor, J. A. Jobling esq.. Mrs. Daubeny,
J. C. A. Bones esq., R. Hassard esq., J. Richardson esq.

The Council were gratified to find that Capt. Bankart, who
was prevented from exhibiting at all last year, has again sent
a large number of his fine 12 by 10 pictures. Capt. Taylor,
though he has not succeeded in taking a prize this year, has
contributed some remarkably interesting life studies taken in
India, amongst which his portrait of the “ Great High Priest of
Bralunin,” is particularly worthy of notice.

Lieut. Senior has sent from India a very large number of
most interesting pictures, amongst which there are no less than
thirteen of the highest class. Mr. W. D. Howard still holds
his place in the very highest rank, both as regards artistic
arrangement and excellence of manipulation.

Dr. Hemphill, for the first time for five years, has failed to
carry off a prize, though one of his pictures, “ Lady in Antique
Dress,” is quite equal to some of the prize pictures of former
years.

Mr. E. R. Hall has sent another of his unequalled engraving
copies, the original print ot which cost nearly two hundred
guineas.

Mr. Milsom has sent from China some 10 by 8 pictures of
considerable merit, illustrating the architecture and scenery of
that distant land.

Major Mason has forwarded a series of native Indian portraits,
which are quite an acquisition to the Society.

Amongst our later members are several who bid fair to hold
n high place in the Association, foremost of whom may bo men-
tioned Mr. J. W. Richardson. Several of this gentleman's pic-
tures possess that combination of “ crispness ” with extreme
softness and delicacy of tone which, thougli always sought after,
is so seldom attained. Mr. W. Baily, too, has contributed some
pictures of game, which, in delicacy of detail, leave nothing to
bo desired.

The Secretary reported to the meeting the result of an inter-
view he had had with Mr. II. Cole, C.B.. of the South Kensing-
ton Museum, relative to the “British Museum of Portraits;”
but in consequence of the examination of the pictures having
occupied so much time, the subject was adjourned for the eon-
sideration of tho next meeting.

Dr. Arthur Farre proposed a vote of thanks— which was
pa.ssed by acclamation — to Mr. Glaisher for his valuable report,
and for the vast amount of time and attention which he had
bestowed on the examination and classification of the pictures.
Tho proceedings then terminated.

A. J. Met.iiuisii, Hon. Sec.

(^ormpan&fucc.

CLEANING THE HANDS.

StR, — It is generally admitted that tho use of cyanide of
potassium for the above purpose had better be avoided, though
I have used it for many years, until recently, without inconveni-
ence, and have only given it up even now because many have
suffered from it.

It appears Mr. Carey Lon has introduced a formula for
removing silver stains from tho hands, in which bichromate of
potash is a prominent ingredient ; I suppose, under the im-
pression that no injury can result from its application, if I
am not greatly mistaken, bichromate of potash is quite as
dangerous as the cyanide, having a very deleterious action on

the system when its solution is frequently brought in contact
with the skin, producing sores, which, like those caused by
fluoric acid, are very painful and difficult to heal. It is true
tho solution is dilute, but, unless I am proved to bo in error, I
shall be very unwilling to “ wash ” my hands in so suspicious
a mixture. — I remain, &c., J. II. JoiiNSoir.

The Vicarage, Tilshead.

[Bichromate of potash is by no means an innocuous agent,
although not such a violent poison as cyanide of potassium.

It has no directly injurious action on a healthy skin which is
free from cut or abrasion. If it come into contact with the
mucous membrane or an abraded skin, great imflammation will
result, and, in some instances, serious sores follow. Any agent,
however, which can bo used to remove silver stains will he
more or less injurious, if brought into contact with an abraded
skin.

M. Gf.udin’s mixture is very effective, either applied to
tho fingers (not cut) or lineu. It is — Alcohol 1 ounce, iodine
24 grains, nitric acid and hydrochloric each 20 drops. The
stain, having been treated with this preparation, is next sponged
with strong hypo, which at onco removes it.

AVo repeat the following, communicated to our pages, two
or three years ago, as an excellent means of cleansing tho
fingers from silver stains, by Mr. M. AAHiiting, Jun. : —

*• Put half a pound of glauber salts, quarter a pound of
chloride oflimo (the sanitary disinfectant), and 8 ounces of
water, into a small wide-mouthed bottle, and, when required
for use, pour some of the thick sediment into a saucer, and
rub it well over tho hands with pumice-stone or a nail brush,
and it will clean the fingers quite equal to cyanide, but with-
out any danger. This will do to use over again until exhausted,
and should be kept corked up. The disagreeable smell may bo
entirely avoided by the liberal use of lemon juice, which not
only removes the smell, but whitens tlio hands. Rotten ones
may bo used, and answer well.” — Ed.]

niOTOGRAPHERS’ RELIEF FUND.

Sir. — Alany as the suggestions that have been written in
your Journal of lato respecting the organization of a Relief
F und, I think none of the correspondents have set forth such
a good, sound theory as that mentioned by yourselt last week.

I am strongly disposed to believe that any attempt to classify
would end in failure, for tho fund does not want dissension to
contend with at its birth ; assuredly there will be enough diffi-
culty to surmount without touching upon that theme. Let all
who think of doing any service to tho cause put aside all ill-
feeling, and should they have a prejudice against any certain
classes, this should never enter into affairs of aid and support.

Now I am of opinion that whatever a man may be as regards
social position, and he conducts himself as a resjiectablo member
of society, and connected in any way with photography (from
apparatus-maker to albuminizer), he should be considered an
eligible candidate, for it must not bo forgotten that “ unity ”
is strength.

AVHthout interfering with selections, every member should ho
compelled to give some guarantee as to his respectability ; for
instance, employes could do this until tho society was formed,
then tho now members be introduceil similar to tho method now
in practice with photographic societies. Would it not bo as
well for those gentlemen who have so kindly promised support
to deposit their money and form a coramittoo for tho purpose
of thoroughly investigating i)lans for future management ? My
humble opinion is, that there should not be simply one fixeil
entrance fee and annual subscription, but .several, and tho bene-
fit received to bo in like proportion ; by so doing those in
indiflerent circumstances would not bo excluded from making
some provision for their unfortunate days ; whereas, should tho
subscription bo great, it would defer them.

All who really and sincerely have tho good of their brethren
in misfortune at heart will never raise cries of inequality, for
those who may now bo high up tho social ladder may one day
find themselves at tho bottom.

Tho .above remarks are not written with the idea that they
are faultless, but simply in tho hope that those who criticise
them may bring forward some more efficient i>lan. — ATours, &c.,

A. M. B.

[For the purposes of a benevolent fund all sums, either as
subscriptions or donations, will bo acceptable, and all persons
properly recommended would be eligible for relief, tho validity
of their claims being decided by the committee in office for tho

December ll, 1868.]

TDD DHOTODDAPHIC DEWS.

590

time being. We are not anxious that any deposit of funds
should be commenced until arrangements are quite ripe. — Ed.}

Sir, — In your last week's p.iper, in reference to the Photo-
graphers’ Relief Fund, you call “ narrowness ” to professional
photographers objecting to make a mixed fund. Now I, for my
own part, call your doing so disinterestedness, no matter from
what quarter it i«ay come ; and tho average of professional
notographers had to labour hard to weed out such rubbish
eforo, or nearly so, and not to commence How tt> sow a second
crop. You also call it industry to join photography With other
business, and I call this idleness ; and being actuated with a
notion of making an easy livelihood is what makes us have
such a number of muffs in the trade. Professional photo-
graphers are never jealous of each other, neither are they un-
bharitable towards relieving their distressed brethren ; but they
trisCly and prudently disown any relationship or brotherhood
with an intruding hand hedging on the borders of their pro-
vince. Let mo not be misunderstood. 1 by no means allude to
respectable amateurs educated in tho science — I believe some
of them to bo gentlemen worthy of admiration — but I allude
to an idle, niggardly lot, no matter whether they bo profes-
sional or amateur, who aro ruinous to tho trade, and who stylo
themselves photographers. Which nature never intended them
for. Longa cst in )uria tongea ambagae. Lot professional photo-
graphers know that photography, as a science, should not bo
coupled with business of a dissimilar nature, ami that when
respectably carried on in competent hands it affords its followers
a livelihood quite adequate, if not superior, to the generality of
other respectablo professions. So, then, why should not any
body of men bo at option to exorcise their own discretion, and
not throw their weapons into their enemies’ hands?

I am a sufferer to an extent beyond description by this
objectionable spoil-trade stylo of business, and had to suspend
my profession for some time through its means, though being a
portrait and general painter before 1 knew what a camera was.
Photography, in a measure, having paralysed painting, and
afterwards having taken tho disease itself, discouraged many
others at tho time as well as mo. Still, during ray suspension of
the black art, I viewed its progress and studied it all through
with unwearied interest, and have continued doing so to tho
present moment ; and if those persons who are worlcing in tho
idle system were to work for improvement by laying a good
foundation to base their success on (by at first undergoing a
duo course of training, and afterwards their own practice, if
well studied, is about tho best means of improvement, together
with tho many valuable hints from time to time in tho journals
from several able photographers, both professional and amateur,
which they can have for a mere trifle), they would very soon, if
possessed of anything in tho shape of artistic genius, turn their
labour into gold ; while in their present state their work is a
disgrace to them, and they may not take more than six tolerably
good photographs in a year, and these by mere chance. Con-
sequently, their work is not deserving ot an ordinary price,
perhaps 5s. or Cs. per dozen and less ; whereas, if competent
to ;do better work, they could charge from two to three times
the price, and please their customers far better.

So, Mr. Editor, lest you may think I am intruding too far on
your valuable space, I shall conclude by requesting of you not
to crop my letter this time as you did tho last, and I shall not
appear again. Though I m,ay be a passable hand at my work,
I know that I am a bad statesman, and will leave tho subject
in future to the more learned. — I am, sir, your obedient servant,
^ Clonmel, December 1th, 1868. Patrick O’Conxor.

[We excised from our correspondent’s last letter some
passages which were somewhat strongly worded in reference to
what ho regards as the “spoil-trade” hangers-on. We shall
not be suspected of sympathy with any who degrade tho pro-
fession by bad work or low prices ; but in a benevolent under-
taking we deprecate a narrow spirit and any attempt to draw a
line which might unintentionally exclude somo worthy persons
from interest in such a fund. — Ed.]

iu t&i

Carrier’s Sensitive Albuminized Paper. — Wo have
recently received from Mr. Solomon an example of Carrier’s
permanent sensitive albuminized paper, for which he is the

English agent. OUr readers will remember that wo gave st
tolerably lull report of tho result of some trials wo made somu
months ago with paper which had then been prepared several
months. Wo have, within the last few days, a^in tried the
sample which we received some time ago, and which has boen
prepared nc.irly twelve months. Wo found it perfectly un-
changed in all respects, without a trace of discolouration ; anti
printed and treated throughout side by side with that jnst re-
ceived from Mr. Solomon, there was no difl’ercnco in result, both
being perfectly clean and pure. Tho unchangeable character
of this sensitive paper is thus proved beyond a question. Its
qualities remain just tho same as wo before described them. It
gives an exquisitely delicate and soft print, bat lacks a littlo
vigour, unless a negative with full contrast be employed. A
special toning bath is recommended, which we before tried
with success ; this time wo used an old sulphocyanide of gold
bath, made somo months ago, with perfectly good rcssilts.

The ex-President ok the “ Confederate States.’’’— -Wa
have received from Mr. Nettcrvillo Rriggs somo portraits af'Mr-
Jefi’erson Davis, wdio is now resident in Leamington, whero>
amid tho magnificent Midland scenery, and tho grand historic
associations of tho district, ho rests in comfort after the years of
terrible struggle which ho so bravely— whether wisely or well
it is not necessary to say — conducted inbehalt of Southern in-
dependence. Tho portraits aro admirable photographs of a
grand face : a purely nervous temperament, a broad, massive,
thoughtful brow, keen, well-cut features, a powerful but not
coarse jaw, a firm mouth, and thoughtful eyes, all contribute te
present a man of mark. These portraits, without robbing the
face of tho traces ot what it has passed through in thought
and feeling, give it much more refinement than we have seen
in any of the American portraits of Mr. Davis. Wehavehoro^
tho intellectual, cultivated gentleman, as well as the man of
daring enterprize and indomitable will. Mr. Briggs has secured
really fine and artistic portraits, photographs worthy of his
worthy subject.

Members of British Association.— Mr. Sawyer, of Nor-
wich, has favoured us with a selection of the card portraits of
tho distinguished members of tho British Association who sat
to him during tho recent meetings in Norwich. Tho photo-
graphy is good, and tho portraits aro excellent.

Personal Luggage. — A correspondent calls our attention
to a decision, on the subject of “ personal luggage,” directly
opposite to that we recently recorded in tho caso of Mr. Owen
Angel. An action was brought before Mr. Spooner, Judge ot
the North Staffordshiro County Court, by Mr. Collis, a com-
mercial traveller, against the North Staffordshiro Railway
Company, for tho removal of his luggage at a wrong station,
causing him delay and loss, precisely as Mr. Angel suffered
loss. Instead, however, of taking the luggage to Derby, the
guard put it out at Uttoxoter, and conveyed it to Stoke-upon-
Trent, Mr. Collis thus being deprived of tho use for two days.
Ho accordingly sued the company for damages for the incon-
venience thereby occasioned. The defence was, that the luggage
ought to have been labelled or addressed by tho plaintiff, and
that as tho claim for damage was mainly based upon the tem-
porary loss of price lists .and account books, which were in ono
of the packages, and which were not in tho nature of “ personal
luggage,” tho company were not liable. The judgo held that
it was tho duty of a railway company, either by a uniform
system of labelling, or by some other effectual way, to guard
against the possibility of such mistakes. Tho articles in ques-
tion were not such as to divest the portmanteau of its general
character as “ personal luggage,” and he decided in favour of
tho plaintiff.

Photographic Nuisances. — Tho Tomahawk says: — “'Wo
do not intend to follow the example of somo of our elegant
contemporaries, and puff the reigning Lais or Phryno of tho
day. But wo wish to enter a strong protest against a custom,
which has now extended to shops in the most fashionablo
localities, and which are much patronized by the mothers and
daughters of society ; namely, the custom of exhibiting, in tho
most conspicuous part of the windows, portraits of tho most
notorious courtesans of tho day, amongst the Royal Family, tho
Bishops, and Prime Ministers, and other celebrated personages.
We can readily believe that the young ladies of moral England
may have somo curiosity to seo authentic portraits of those
whoso manners, but not whoso morals, they so perseveriugly
copy ; but such a morbid curiosity it to us a sign of the gross
degradation of society. It sickens us to seo tho course, idiotic,

600

THE PHOTOGRAPHIC NEWS.

[Decembeb 11, 186S.

sensual features ot these goddesses promoted from the scullery
to reign over the Casino, impudently smirking and leering side
by side with the pure gentle faces of those wliom all English-
men justly love and honour. Is it come to this, that wo wish
publicly to confess our shame ? to declare to all the world that
we have so degraded fame to the level of notoriety that a great
philosopher, a venerable bishop, or a well-beloved princess, is
but on a par with the last ‘ lady of tlie ballet,’ who has per-
petrated the most popular feat of clumsy indecency at one of
our theatres, or the favourite pot of the hour, whoso pockets
are filled with the money and tlio love letters of our gay
youth ? Shame on all respectable tradesmen who thus turn
their shops into an advertising mart for unblushing profligacy !”

3^0 ®0msgou&£ttts.

E. D. S. — The film dissolving when the varnish you describe is
applied arises from two causes : it is probable that the methylated
spirit you have used is somewhat strong, or possibly contains an
unusual proportion of wood spirit, in which case it would act as a
solvent of a collodion film ; it is also probable that the collodion
is of that character which is easily dissolved by means of strong
alcohol or methylated spirit. The mastic varnish, or gum mastic
and turpentine, would not produce such a result. There are two
remedies : one consists in coating the negative before it is dried,
after fixing' and washing, with a weak solution of gum : this
■will protect the film from the solvent action of the varnish; the
ether is to add a few drops of water to the varnish ; this will
cause it to 1« turbid at first, but it will clear with standing. Try,
on a small quantity, to ascertain the amoimt of water necessary.

Box. — If you had sent us an example of your failures wo could
better have advised you. The bad yellow colour of which you
complain in the whites of your ebumeum prints may arise from
the gelatine not being of good or suitable quality, or from using
insufficient of the oxide of zinc, or from using that article impure.
Pure oxide of zinc should be used, not that at 3d. per pound ; for
if the latter be pure, it would not be sufficiently fine, and the pro-
portions stated in the formula would not bo sufficient to give the
gelatine a good colour. If it contain any impurity, that may also
account for the blacks turning a bad colour. 2. Zinc white is some-
times called Chinese wliite. 3. Gum kowrie is a fine white Aus-
tralian gum, analogous in appearance to fine sample of copal . At one
time high hopes wore entertained of its probable value for varnish
purposes, but its imperfect solubility has rendered it compara-
tively useless.

J. C. (Morice Toa\-n). — The lens of which you speak ought to have
given you better definition than you describe, especially if used
with a suitable stop. Either of those you name will, wo believe,
be good ; but we should prefer A.

A SuBSCRiiiER. — Write to Mr. Blanchard, 12, Camden Cottages,
Camden Road. It is very probable that ho will give you satis-
factory particulars.

An Old Folkestone Subscriher. — The photoCTaphs of many of
the continental galleries are fiiken direct from the paintings ; but
in the Dresden series to which you refer, the negatives are taken
from monochrome copies drawn for the purpose. 2. We believe
that they are not protected by copyright law. 3. An old and ripe
collodion which has lost a little sensitiveness is often useful to add
to a newly-mixed sample, and, to some extent, anticipates the effect
of time upon the now. 4. Collodion kept mixed with nitrate of
silver is apt to undergo decomposition, and become brown, as you
describe. In our experience, collodio-chloride of silver keeps
better mixed than the collodion with nitrate of silver does. Never-
theless, it is not quite certain that it is useless. Mix the two solu-
tions in their duo proportions, and, after a day or two, try the
collodio-chloride of silver formed. Wo have at times found that
the addition of the chloride restored the colour, or nearly so,
and that the product might be used without serious disadvantage.
In any case, the solution containing the chloride is good, and
might, by the addition of a few drops of an aqueous saturated
solution of nitrate of silver, be converted into coUodio-chloride of
silver.

G Avery. — If your pictures were sent in a packing-case, they
would be packed and sent back to you ; but if they were left at
the gallery by hand, we presume they will remain until called for.
An answer to your enquirj' Wius written a fortnight ago ; but, by
an oversight of the printer, was omitted to be inserted.

A Beginner. — An analysis of the kind you state would require
more time than we could devote to it at present, and would be of
very little service to you -when done. State your object in re-
quiring such information.

W. J A. G. — ^Wedo not wish for — nor, indeed, could wo take charge

of — subscriptions now. We simply desire to know what amounts
photographers are willing to contribute, so as to form some estim-
ate of the propriety of forming a committee to administer the
promised amounts. The dry-plate view is very excellent indeed.
The comical portrait of the little dog is very good. Thanks. We
hope the Ye.vr-Book will meet your imticipations.

A Learner. — Almost all the chemicals used by photographers are
poisons ; but tho.se in which he is chiefly concerned, to which the
restrictions of the new Act refer, are cyanide of potassium and
bichloride of mercury. The distilled water obtained as you describe
will be pure if the vessels are clean.

W. G. — The Liverpool dry plates are prepared by a coUodio-bromide
process, but the precise details of their operations are not pub-
lished. Sugar-candy will not answer the same end as grape sugi^.
You can get the right article of photographic chemists. You ■will
find details surely in any work on organic chemistry. What work
of the kind have you consulted which conbiins no allusion to grape
sugar 1 Look for it in the index under “glucose” or “ nitro-
glucose ; ” if you do not find it, under grape or sugar ; but it will
certainly be treated under the head “sugar.” 2. We prefer car-
bonate of ammonia to liquid ammonia m alkaline development.
3. No ; the mixture does not keep.

Canada. — The piece of print you enclose bears no trace of imper-
fect fixation, but seems rather impoverished by excessive action of
the hypo bath. A fixing bath with one ounce of hypo in one
ounce of water is too strong. Wo prefer a strength of 4 ounces
of hypo in a pint of water for general purpo.ses, and an immer-
sion of fifteen or twenty minutes. Taking the print out of the
fixing bath for a minute or two to examine it, and then returning
it, would not be injurious.

Educator. — .\dd a little of a 10-grain solution of common salt to
your discoloured silver bath, and shake well. The precipitate will
generally take down with it the colouring matter.

J. C. B.— When you use the hick of albuminized paper for pro-
ducing plain paper prints, select a thin paper, through which, to
some extent, the albumen may have permeated ; for remember
that the albumen is the element of vigour and warmth of tone.
You have used a thick paper, and have not printed deep enough.
A weaker toning bath is also generally required. Y’our examples
are over-toned.

An Amateur (Cheltenham).— Make a 10-grain solution of carbon-
ate of soda, and add a few drops to the bath, just sullicicnt to make
it turbid after shaking it well ; then pbice the solution in a clear
bottle for a few days, and expose to the best sunlight which the
season affords ; then filter, and try the bath. It may jxissibly re-
quire a drop or two of nitric acid, but will then probably work all
right.

OxoNiENSis. — There is little doubt that both letters were taken out
of that “imaginary letter-box ” to which you refer, and that self-
consciousness of unvoracity led to the insinuation of bad faith in
others. The person to whose oritioisin you refer appears under
many aliases, and supplies most of the contributions to the said
“ imaginary letter-box.” The matter is not worth serious notice
from any one. Quos Deius vult perdere dementat pritts.

J. W. Smith. — We shall have pleasure in proposing you ns a member
at the next meeting. You can send post office order for lOs. 6d.,
the amount of subscription, to the treasurer. Y’ou will be entitled
to the presentation prmts of this year.

II. S. — Your card lens will be the moat suitable to employ with a
magic lantern ; better than any of the others, or any combination
of them. As to the gas-bags, the manufacturer of whom you
will buy them can give you the most efficient advice.

Venator. — The prints arrived too late for acknowledgment in our
last. They ore both very excellent.

J. M.irtin. — Received. Thanks. In our next. AVo see the

blunders you point out in other pages ; but we do not care for the
task of pointing them out or correcting them. The range of influ-
ence is too limited to be scriou.sly mischievous.

Cyanide. — AVe have several times called attention to the fact that
after this year photographers will not bo able to procure cyanide
of potassium of their regular dealers ; it can only bo then obtained
of a qualified pharmaceutical chemist.

W. Sawyer. — Received. Thanks.

G. B. Shepherd. — Thanks.

J. Carbutt (Chicago). — The Art Journal duly received. Thanks-

Photooraphers’ Relief Fund. — A copy of the rules of the
“ Arti.sts’ Amicable Fund,” and two letters containing suggestions
for a Provident Fund, duly received, and shall shortly have
attention.

D. AA’in.stanley. — Received. AVe will answer shortly.

Several Corresixindents in our next.

All Communications for the Editor to be addressed to 15
Gough Square, Fleet Street, London, E.C.

THE PHO

NEWS

Voii. XII. }^t>. 5^7 ,Pr-i)ecember 18, 1868.

CONTEITTS.

PAQI

Decline in Photographic Book lUostration 601

“Watching the Lark " 601

Photography in the Theatre 602

New Style of Mount for Photographa 602

Waahing Sensitive Plates 602

An American Examination of Mr. McLachlan’s Discovery 603

Pictures by the Action of Cold. By D. Winstanley 603

Photography in Connection with the Abyssinian Expedition.

By H. Baden Pritchard 604

A Visit to the Photographic Studio of the Imperial Military

Oeographical Institute in Vienna. By Alois Nigg 605

psoa

On Intensifying Negatives. By George H. Pennemore 606

Means of Equalizing Exposure with Wide-angle Lenses. By

John M. Blake 607

The Cause of Pinholes in Dry Plates. By Sebastian Davis 60S

Proceedings of Societies— Edinburgh Photographic Society —
South London Photographic Society — French Photographic

Society 608

Correspondence — Lux Qraphicus on the Wing 610

Talk in the Studio 611

To Correspondents 611

DECLINE IN PHOTOGRAPHIC BOOK
ILLUSTRATION.

The extended application of photography to the purposes
of book illustration which has prevailed during the last few
years has been a feature ot considerable interest and im-
portance in connection with the progress of the art. For
some years past there was a steady growth in this branch of
the art. Photographs from nature, photographs from draw-
ings made for the purpose, photographs from paintings and
engravings, have variously been employed in taking the
place of engravings in illustrating new works or choice edi-
tions of standard works. This form of illustration has of late
years been especially chosen for Christmas books, and, at
this season of the year, it has always been a matter of interest
to us to examine the advertising pages of literary journals
for announcements relating to photographic illustration.

We have more than once, however, felt it necessary to put
on record a protest against the quality of much of the pho-
tography we have met with in this branch of the art. It
has frequently been far below or far behind the standard of
the day ; sometimes poor and inartistic in result, often so
careless in execution as to give no promise whatever of per-
manence. The explanation has been a very simple one : it
bas been done by contract, at a low price, and often under
great pressure for time. We have feared, however, that such
facts, which were the only things coming under the atten-
tion of the public — the explanation being neither known
nor cared for — must eventually seriously damage the art,
and we now fear that a decline rather than an extension in
this branch of the art is taking place. We have been struck
with the singular paucity at this period, when they should
be plentiful, of the advertiements of books illustrated with
photographs. But this alone might not necessarily indicate
a falling off in the actual issue. A singular but significant
fact, however, was recently brought under our attention. In
conversation, a few days ago, with the reviewer-in-chief of
one of the principal daily papers, he informed us that of
nearly one hundred and fifty volumes of Christmas books
now on bis table for review, there was not one illustrated
with photographs, a circumstance unprecedented in his
experience for many years past.

We wish to draw no sweeping or general conclusions from
insufficient premises ; but such circumstances as those to
which we have just referred are sufficiently significant to
suggest some grave thoughts on the subject, and especially
to give emphasis to the importance of adopting permanent
printing processes, and of conducting silver printing pro-
cesses with all attention to the best known conditions of
permanency.

“ WATCHING THE LARK.”

have refrained from noticing the charming picture
presented to the members of the London Fhotographic
Society by Messrs. Robinson and Cherrill until copies
were ready for distribution. A specimen print was ex-
hibited at the Society’s meeting in May, and received
general .admiration ; and another formed a great source of
attraction at the recent exhibition in Conduit Street.

The subject and treatment combine to render this picture
one of the most charming, and, we think, one of the most
popular subject-photographs ever issued. The scene is a
landscape in Borrowdalc : seated on a knoll in the fore-
ground, surrounded by wealth of wild flowers, weeds, and
ferns, is a pretty little child. She has been gathering the
wild flowers, and her little basket, filled with them, has just
dropped from her hand, which still lingers resting upon
the handle. But the basket and flowers are no longer
absorbing her attention ; the upturned face is filled with
wonder and delight as she watches the circling flight of the
lark, and listens to its song. Every feature of the face,
every muscle of the body, expresses rapt attention and
childish ecstasy. The scene, we said, is in Borrowdalc,
and Wordsworth’s lines, written on the spot, accompany
the picture, —

“ Up with me! Up with me, into the clouds !

For thy soiuc, lark, is stronp ;

Up with me ! Up with me, into the cloud.s !

Sinking, singing,

With all the heavens about thee ringing.”

Beyond the knoll on which the child is seated, forming the
foreground, stretches a fitie landscape with woodland, and
stream, and bridge in the middle distance, and the grand
hills of the English lake district in the distance, sur-
mounted by a fine sky. The picture is so full of life and
thought, and so perfectly harmonious, and has so much the
feeling of spontaneity and naturalness, th.at it is not until
the student examines it to gain a lesson that he will think
of the composition, or even im.aginc that it has been com-
posed at all ; and then he wall be struck with the admirable
pictorial and technical skill involved in its production.
Pictorially, the composition of the lines is excellent, the
figure and immedi.ate accessories forming an irregular
pyramid. 1 he head thrown b.ack to watch the soaring
chorister, and the position of the body which naturally
follows, would give the figure an uncomfortable, imperfectly
balanced effect ; but the little arm, resting on the basket,
forms a line which supports the body, and the basket and
the little hat, which is carelessly throw'n down, complete the
pictorial balance. As in a hilly county it should do, the
horizon line is high, being not less than a third of the
depth of the whole from the top of the picture. The result
is, that the tender but atmospheric nicely graduated greys
of the distance and middle distance form the practical

602

THE PHOTOGRA.PHIC NEWS.

[Decembbr 18, 1868.

background to the figure, and are most effective in giving
it relief. A perfect sensation of light and air pervades the
■whole picture, and the lighting of the figure is in admir-
able keeping. The exquisite variety, gradation, and
balance of tones complete an adniirable pictorial result.
The technical management of the printing from two
negatives is a marvel of success.

Whilst we recommend the careful examination and
analysis of the composition of this picture as affording an
excellent lesson to the student, we especially direct his
attention to the charming expression of thought involved.
Balance of lines and tones, gradation, harmony, and other
pictorial qualities are necessary elements in a picture ; but
these should be subsidiary to thought find its perfect ex-
})ression. Whilst a group of persons were eagerly examin-
ing the copy hung in the recent exhibition, one remarked :
“ What a pity tliat the lark itself could not be introduced
into the picture !”

“ But it 15 there,” rejoined another discriminating
observer.

“ Where?” was the response ; “ I don’t see it.”

“ I’robably not; but the child does, and 1 can see the
expression in her face which proves it.”

The criticism embodied here was excellent and true, and
of a character we commend to the thoughtful art student.

(Jther presentation prints to the members of the society,
from Mr. Claudet, ]\Ir. England, and Mr. ^layall, will
follow in due course, and will each, doubtless, illustrate
different phases of excellence and photographic interest.

e are glad to notice that the distribution of presentation
prints seems to have become a feature in societies as uni-
versal as it is pleasant ; and it is worth not<! that iSIr.
Bobinson — or, more correctly, Bobinson and (’herrill —
have supplied presentation prints of different kinds to no
less than four societies this year.

PHOTOGBAPIIY IN THE TIIEATBE.

Amoxost the curiously-varied applications of photography,
its aid to' the scene-painter is not one of the least interest-
ing. At the annual dinner of the South London on Satur-
day evening last, Mr. Jabez Hughes recalled an incident
illustrating strikingly the value of photography in <lecora-
tive art, a form of art in which, more than in any other,
conventional modes of treatment take precedence of the
literal truth of nature. Upwards of twenty years ago, Mr.
Hughes being at the time engaged with Mr. :Mayall, iSIr.
Telbin, the well-known scene-painter, called at the studio
in the Strand, and wished to have a series of Daguerreo-
types taken of a quantity of white satin, fresh from the
draper’s shop, the widths sewn together, and suffered to
fall into its own natural folds, without arr.angcment or
design on the part of the artist. To secure a record of the
flesign in .anything like useful proportions it w.as, of course,
necessiiry to take a portion .at a time of the s.atin, the com-
plete effect being comprised in a series of five by four
plates. The jiurpose of Mr. Telbin w.as to jjaint a drop-
scene for Drury Lane Theatre, and his aim was to produce
the most perfect literal transcript of a beautiful curtain of
white satin, with all its little sharp .accident folds and
creases, as well as its general m.asses. Every one who has
visited Drury Lane Theatre is familiar with the scene, and
knows how complete is the illusion. So perfect and
satisfactory is the result, that whatever other changes have
been made in the decoration and scenery of the house, this
remains through every management in constant use, and
continues until now a perfect and most illusive i)re.sent-
ment of a white satin curtain.

.\t the Haymarket, Mr. O’Connor, the accomplished
scenic artist of that theatre, has used photography in
another form. IV hen scenes of an architectural character
are required, representing actual places, he has found
useful a transparent photograph of the subject, the image

of which is projected by means of a magic lantern on the
canvas, and this image serves as a perfect guide in securing
accurate proportion an<l perspective correctness. In both
these applications photography docs yeoman’s service to
the painter.

NEW STYLE OF ISIOUNT FOR PHOTOGRAPHS.

Mu. Fox has recently brought under our attention a new
style of tinted mount for photographs -which, under some
circumstances, is very effective. For a long time the
mount w'ith an Indian paper tint, or a delicate grey, in
immediate contact with the picture, has been a favourite
with photographers. It h.ad the especial advantage of
giving v.alue to the whites of the photograph, which, espe-
cially in the days of the old toning and fixing baths, if in
contact ■with a jmre white mount, often appeared a little
degraded. Perliaps for a fine portrait print, printed fully
out, nothing is more effective than the kind of mount we
hiive just described. But there are circumstances in -which
such a mount ceases to be suitable or effective, and to meet >
these cases Mr. Fox’s new style of mount is designed. ;

The new mount, instead of having a tint for immediate ,

contact with the jiicture, surroumled by a broad white
margin, is printed with a broad tint, which constitutes the I
m.argin, with a .space of plain white in the centre, leaving 1 1
a margin of white to come into contact with the picture iJ
itself. This ('ffect with m.any pictures is very pleasing.

For instance, in landscapes where the sky has printed
through to a delicate tint, the jirint, if mounted on an India
tint, would appear to have a white sky ; mounted, how-
ever, in cont.act with the white portion of a bo<ird having
a tint beyond, the atmospheric tint of the sky receives its
full value, and the picture becomes effective. The same
is true of vignetted jiortraits in which the background
softens into a grey tint instejid of into white, .and in a
number of other cases the new style will produce a more
pleasing result than any yet devised.

'J'he new style exists in various tints, and having centres '
of v.arious shapes .and sizes to suit all pictures. j

’WASHING SENSITIVE PLATES.

At the last meeting of the South London Society .an inter-
esting discussion arose as to the causes of pinholes in dry
plates. 'The subject w.as not, we think, by any means ex-
hausted, and we do not intend to renew it here ; but we
wish to call especi.al attention to one import.ant observation
m.ade by Mr. Sebastian Davis, who opened the question.

Dry-plate ))hotogr.aphers have often been warned of the
dangers of w.ashing a plate fresh from the nitrate bath
with any kind of “ common water,” .as the chlorides, car-
bon.atcs, &c., in such water wouhl precipit.ate on the plate
insoluble silver .salts, which, becoming firmly attached to
the spongy surface of the film, would result in spots, stains,

&c. It has become, therefore, a tolerably gener.ally recog-
nized canon of dry-plate photography, that the first
washing of the plate after it leaves the nitrate bath should
be effected with distilled water. But Mr. Davis pointed ,
out another danger, obvious enough when once indicateil,
but which has, singularly enough, been generally over-
looked. He showed that the use of distilled water was not
a certiiin means of avoiding a precipitate of an insoluble
silver salt. The nitrate bath, containng a certain amount
of iodide of silver in solution, would precipitate a portion :
of this if diluted, ami as the first application of distilled I
w.ater in washing is a practical dilution of the free nitrate
on the plate, a preci|iitate of iodide of silver w;vs thrown
down, and, unless especial care were used, this would
become attached to the film and i>rove a source of pinhole.^^.
He suggested, therefore, that the jilate should be kept in
motion, and the water so applied as to check the risk of a r
precipitate settling on the film. To aid this we suggeit I

il

December 18, 1868.]

THE PHOTOGRAPHIC NEWS.

603

the importance of using a clipping hath of distilled water
for such washing, and the freipieut moving of the plate
whilst in the bath. By a little care, and a knowledge of
the danger, it is obvious that the precipitate in question
may be prevented from exercising any! detrimental in-
fluence on the plates.

AN AMERICAN EXAMINATION OF MR.
McLACHLAN’S DISCOVERY.

A COMMITTEE having been appointed by the Photographic
Section of the American Institute to examine the proposi-
tions put forward by Mr. McLachlan, Mr. Newton, an able
New York photographer, recently reported on the subject,
lie said that the committee had not entered into auy con-
certed examination of the subject, but had experimented
independently, and compared notes. We extract from
Humphrey’s Journal some of the remarks of the experi-
mentalists : —

Mr. Newton stated that he did not follow Mr. McLachlan’s direc-
tions, either in the mode of making; (he bath alkaline, or in the pro-
portions of silver and water. Mr. McLjichlim exposes one ounce of
silver dissolved in one ounce of water to the sunlight for three
months. Now as the solution, to make it suitable for the negative
plate, must have added to it ten or eleven ounces of water which has
not been subjected to the influence of the sun’s rays, it appeared to
him that a much longer time would be reejuired to prepare a bath by
Mr. McLachlan’s process than by mixing the silver and water of tho
proper strength at the commencement.

It would appear evident that the action of light is on the solution,
and not on the silver, for if it were on the latter you would got the
same effect by exposing your nitrate of silver crystals to the action
of sunlight.

To prove the correctness of this theory I added to a 40-grain bath,
containing 54 ounces of solution, 1 ounce of crystals of nitrate of
silver. ’The working properties of the bath were not perceptibly
changed by the addition. This bath had previously been worked
down from 45 to 40 grains to the ounce.

Mr. Newton, therefore, made his bath of the strength he wi.shedto
use it, then added to it one half grain to the ounce of cyanuret of
pota.ssium, and one drop to the ounce of concentrated ammonia, and
exposed several baths for different periods of time.

He found that a bath thus prepared and exposed two weeks re-
quired the addition of a few drops of nitric acid, leaving it, however,
decidedly alkaline, when it would make beautiful negatives, leaving
nothing to be desired.

A bath prepared in the same way, and sunned six weeks, worked
perfectly clear and brilliant, without tlie addition of any acid ; from
which fact he concluded that the longer such a bath was sunned the
more alkaline it can be used,* and tlio more intense would be the
negatives.

Mr. Newton, fearing that there would be some considerable seepti-
oism manifested by members of the Society, came prepared to silence
all such scepticism. He brought with him eight or ten negatives,
and also a small bottle of the negative bath in which they were sensi-
tized, and some red litmus paper which he introduced into the bottle
containing the bath, when it instantly turned a deep blue colour. 'I'ho
negatives which he exhibited as made in-dooi’s were portraits, and
made by Mr. S. A. Thomas, one of the committeo ; those made out-
doors were m:ulc by Mr. Newton. 'I’hey were all very brilliant and
of a beautiful intensity.

Mr. Newton stated that nothing had been done to any of them
further than developing, fi.xing, and varnishing; no redeveloping or
strengthening of any kind had been necessary.

Mr. Thomas prepared his bath in the same way as did Mr. Newton,
except in making it alkaline ; ho followed Mr. McLaehlan’sdircctions
by using caustic of potash.

Mr. 'I'hoimis sbitcd that he had used the bath in which the nega-
tives on exhibition were sensitized very much longer than ho had ever
been able to use an acid bath, and, up to the present time, it had
■shown no signs of disorder.

Mr. Newton stated that the results were so contrarv from what fie
had expected, and differed so widely from the universal experience
and theories of photographers, that he hardly expects photographers
to be fully con\-inced except by actual experiment. He believed it to
be a subject of more importance to professional photographers than
any which had been presented to them for a long time ; and when all
of the committee have completed their experiments, and are pre-
pared to present a full report, the subject will be .so definite and fixed
that there can be no possible mistake made by any one wishing to
adopt the u.se of the alkaline bath.

* Mr. Newton overlooks the fact that the continued action of light on a
ailver solution would reduce silver, and liberate nitric acid.— Ed. E. N.

nCTURES BY THE ACTION OF COLD.

BV D. WINSTANLEY.

The terms heat, light, and electricity, arc terms used to
indicate three of the great divisions under which a vast
variety of phenomena are classified by writers on natural
philosophy. In the pages of scientific encyclopedias
photography finds its place under the heading of “ light,”
the force upon which the science of optics is entirely based.
This science, as its name implies, explains the various
phenomena which appear for recognition to the organ ot
sight. Bince, however, the emissions which produce the
photographic eft'ect are not necessarily such as may be seen,
it is scarcely correct to say photographs are produced by
tho action of light, and, indeed, the word “ photograph ’’
itself is not altogether a proper term. The force of actinism,
as we now call the chemical power of light, is scarcely yet
sufficiently well understood to warrant the substitution of
the term “ actinography ” in place of the firmly grounded
and almost irremovable word “ photography,” which latter
term forcibly calls up in the mind of every one the idea of
pictures produced by the action of light. The production
of pictures by the influence of electricity — electrotypes, and
the telegraphically transmitted autographs of Mr. Bakewell,
for instance — are also familiar to readers of works on natural
science ; but the production of pictures through the
influence of heat — or, as the writer has more incorrectly
worded it above, the action of cold — as a possibility by no
means so generally known.

Between the months of November, 18G3, and March, 1864,
it was the writer’s fortune to winter in Wisconsin, U. S.
The weather was exceedingly severe, the thermometer falling
frequently to as much as 38“ degrees below zero (Fahrenheit.)
Cold like this, especially when accompanied by a strong
wind, tries human powers of endurance to a much greater
extent than they ever are, or perhaps, than they ever have
been, in England. During the winter alluded to. Lake
Michigan was frozen as far as the eye could reach, and
when the ice broke up in the harbour of Milwaukie it was
twenty-six inches in thickness. The snow in the districts
round about the town was fourteen feet in depth ; and on New
Year's day, 1804, eleven persons were frozen to death within
the city limits. At the commencment of these “cold spells,”
as those period of intense cold are termed, the thermometer
frequently falls more than fifty degrees in a single night.
Under these circumstances, all the moisture floating about
in the atmosphere of a room is congealed to the formof a thick
coating of ice upon the windows, which ice is crystallized
in a more or less opalescent form, according to the rapidity
of the condensation. One morning, upon entering the
drawing-room of the house where he resided, the writer’s
attention was arrested by the beautiful and regular design
given, in different degrees of opacity, by the ice upon the
windows. These windows descended quite to the floor of the
room, opening on to a verandah on the outside. The design
alluded to upon the frosted glass was vague and indistinct
at an elevation of lifteen inches above the floor, but became
more sharp as it descended, until quite at the bottom the
leaves and flowers of the carpet were distinctly and unmis-
takably traced upon the glass. The writer called the
attention of several others to this interesting phenomenon,
which all were able to see without difficulty was, us the
writer has stated, a representation of the design upon the
carpet. The different degrees of facility with which radia-
tion was possible from the various colours forming the
design on the carpet affords no doubt ol the true explanation
to be given for the production of the design upon the
window.

The writer has attempted to repeat the production of
pictures by tbe action of cold upon the table of his labora-
tory, but, so far, without success. It may, however, be worth
while to mention the method adopted in this attempt. An
aqueous solution of iodine and iodide of potassium, strong
enough to emit a powerful odour of the elementary body

604

THE PHOTOGRAPHIC NEWS,

[Deceubeb 18, 1868.

(thereby proving its existence in a state of vapour), was
made. This mixture was then poured into a shallow porce-
lain vessel, and covered with a plate of glass upon the under
side of which was a film of uniodized collodion, and on
the upper side of which was placed a piece of white paper
having large black letters printed upon it. Over this paper
a clear plate of glass was placed, upon the upper surface of
which ether was continually dropped for several minutes.
The idea ot the writer was that the cold produced by the
evaporation of the ether would absorb the heat from the
sheet of paper beneath, and consequently from the collo-
dionized glass under it, with different degrees of facility,
varying with the radiating power of the black letters and
their white ground. The collodionized plate was then
removed from beneath and plunged into a silver bath, the
writer hoping that the amount of iodine condensed upon
the collodion surface would vary with the radiating power
of the letters and their ground. The plate, after removal
from the silver bath, was exposed for a few seconds to the
action of daylight, after which a common iron developer
was poured over its surface. The whole developed up
almost black, but the writer was enable to distinguish
upon its surface any semblance to the letters who.se image
he expected to obtain. Some of the readers of these pages
may perhaps see the error committed in this experiment,
and, if so, indicate a moans by which it may be avoided,
thereby enabling us to repeat the experiment of producing
pictures by the action of cold.

PHOTOGKAPHY IN CONNECTION AVITII THE
ABYSSINIAN EXPEDITION.

I*Y H. BADEN PHITCHAUD,

OF THE GENERAL PHOTOGRAPHIC KSTABLISHKNT OP THE WAR DEPARTMENT.*

The purposes for which photography was used with the
army in \byssinia were very different to those for wliich it
is generally employed by profe.ssional followers of the art.
Photography in that campaign fulfilled all the duties of a
printing-press in the fiehl, and rendered unnecessary, in
many ways, the employment of skilled draughtsmen and
lithographers. Maps, plans, and sketches of routes were
by its means elaborated and put together, and afterwards
multiplied with unerring exactitude and great rapidity.
This was the principal function performed by the art, and
for the fulfilment of which the photographic equipment
was sent out; the taking of pictorial views and sketches
of the country, although forming an important part of
the photographer’s duties, was a matter of secondary im-
portance, and partook more of a semi-official character.

In moving an army over an enemy’s land, especially if
that land be an untravelled and unknown one like Abys-
sinia, it is imperatively necessary for the commauder-in-
chief to obtain correct information of the nature of the
surrounding country, the state of the roads, &c., over
which his troops will have to pass. For this purpose
reconnaissances are frequently pushed forward to the front
and on the Hanks of the army, to examine and survey the
adjacent ground; and staff officers, who have previously
received special instruction in their duties, carefully sketch
out a plan of the district visited, which they forward,
together with such information as may have been collected,
to the Quartermaster-General’s Department. A scale is of
course att<w;hed to every plan sent in, but this need not be
the same in all^ maps; for when tlie latter, after exami-
nation and verification, are forwarded to the photographers
to be copied, an enlargement or reduction of them is easily
made to one uniform scale. The copies are printed upon
salted paper, and mounted upon linen ; and the work is
done so rapidly that it frequently happened that thirty
prints were produced and distributed within twenty-four

* Head before the London Photographic Society, December 8th.

hours of the receipt of the original plan. In order that
officers might be acquainted with the method of working
adopted by the photographic staff, and likewise with its
resources. General Simmons, C.H., 11. E., prior to the
despatch of the equipment, carefully drew up a memo-
randum relating to it, for the information of all concerned.
■\ccording to this document it was stated that whenever a
plan was forwarded to be reproduced, the first copy might
be expected in about two hours, after which copies would
succeed each other at the rate of about four per hour of
sunlight. To so great an extent was 2>hotography used
in this connection during the late American war, that
within the period of one month, during General Grant’s
advance to the Kajiidan, no less than 1,200 maps of this
kind were circulated. Thus it will be seen that at the
pi-esent day photography plays a most imjiortant role in
aiiling the movements of troops, often furnishing the
several commanding officers of the different branches of
the army with details of a reconnaissance taken only the
day before.

Seeing the imjjortance of the services to be rendered and
amount of work to be performed, it was necessary to
furnish a very ample jihotographic equijiment; and the
collection of instruments and materials sent out was
therefore a bulky affair. Tlie selection and arrange-
ment of the stores and apparatus was entrusted to
Captain Stotherd, R.E., and Lieut. Anderson, K.E.,
the In.structor .and Assist.ant Instructor in Photography
.at the Royal Engineer Establishment at Chatham, gentle-
men, therefore, possessing considerable exjierience in
the art, and well acquainted with the necessaries likely to
be reijuired for a c.ampaigu ; and the general success which
attended the working of the equipment was in great part
attributable to the excellent manner in which these officers
acquitted themselves of their onerous duties. Two separate
outfits were sujiplied, each contained in eighteen boxes ;
but only one of tliese was used and taken forw'ard with the
army to Magdala ; the reserve outfit remained at Senafe,
and was returned to England intact. The equipment may
at first sight appear far too e.xteusive ; but when it is re-
memViered that the nature of the work to be jierformed
involved the employment of a large camera, the supply of
other necessaries was of course also requisite of correspond-
ing size .and quantity ; it must likewise be borne in mind that
the duties of the photographers w’ere not confined to taking
negatives only, but that the greater part of their labours
were devoted to the processes of sensitizing, printing, and
mounting, operations which had mostly to be conducted
within the limits of the dark tent with which they were
provided. A large copying table, mounting boards and
material, washing utensils, a portable still, &c., were found
to be almost indispensable, and helped to swell the list of
incumbrances to a notable extent, not to mention the glass
plates for the negatives and paper for the positives, of
which sufficient was provided in each equipment for taking
200 large cliches and 1,700 prints.

On any future expedition of this kind the application of
photography will no doubt receive even more extended
emjiloyment than at present. It would afford the most in-
valuable information to commanding officers if the mecha-
nical reconnaissance sketches were always accompanied by
an actual photograph showing the nature of the ground
surveyed. If a small stereoscopic view were thus attached
to the map <lrawn to scale, one would immediately be
able to understand the true character of the district ; all
the mountains, ravines, rising ground, declivities, rivers,
lakes, &c., would be shown at a glance, and their position
at once comprehended. The negatives might easily be
taken by the staff officer making the reconnaissance, who
would be jirovided with a small camera and a couple of
dark slides containing dry sensitive plates. He would re-
quire at the most but five minutes to perform the duty, and
would simply need instruction as to the approximate time
necessary for the exposure of the plates ; on his return he

December 18, 1868.]

THE PHOTOGRAPHIC NEWS.

605

would hand the negatives over to the photographic staff,
who would develop and print them. The stereoscoj)ic
cameras would also be useful for ordinary manipulation, as
the jiegatives produced are of sufficient size for most pur-
poses, and are always capable of being enlarged if neces-
sary.

The personnel of the equipment consisted of one chief
photographer, Sergt. ,lohu Ilarrold, K.E., and seven
assistants, all of whom belonged to the 10th Company
Royal Engineers; besides photographers, the Company
included men skilled as telegraphers, signallers, well-
sinkers, &c., all of whom were under the orders of Lieut.-
Colonel Pritchard, Il.E.

The difficulties of working were sometimes very great,
especially near the coast, and the experience gained will,
in many cases, be of great value. The dark tent seems to
have been the bcte-noire; althougli no doubt very suitable
for employment in a temperate clim.atc, it proved for
Abyssinian service exceedingly hot and close, and .also very
unsteady. Sergeant Ilarrold suggests that it would be a
gre.at improvement to furnish the same with guy ro])es,
for the purpose of reiulering it firmer and more solid. I’he
tent was several times blown down, and the covering con-
tinually flapping about from the effect of the sand-storms
and strong mountoin breezes, so th.at some difficulty was
experienced in drying the pictures and in conducting the
operations connected with printing The fine sand blowing
about was a most serious annoyance, as it was quite im-
possible to prevent it from penetrating the boxes, camera,
and utensils ; even the photographic solutions became con-
taminated with it, although the tent was kept so close .and
tight as ahnost to prevent breathing, the effect of being
shut up in a confined sp.ace without light or ventilation on
the glaring shores of the Red .Sea being a sensation more
easily conceived tlian described. For hot climates it would
no doubt be better to construct the dark tent with a white
or yellow outside covering, which would fail to absorb the
heat rays in the same degree as an ordinary black tent.
At Anuesley Bay and Sen^e especially, the heat was very
intense, and great vigilance was necessary to preserve the
collodion of the proper consistence, and to .avoid the desic-
cation of the plate when taken from the bath.

The manner in which the collodion and iodizing solutions
were stoppered was one which the chief photographer found
to be very faulty ; in some cases as much as half of the solu-
tions had evaporated, and the rcm.ainder therefore required
judicious doctoring. The best plan to secure these liquids
would be to cork and seal up the bottles, a glass stopper
being tied round the neck for employment after the vessel
has once been opene<l.

The collodions sent out were of the usu.al descriptions at
present in the market, and, on the whole, answered very
well. For hot sunny climates, however, there can be no
doubt mat a liquid collodion should be selected especially
rich in alcohol, and sensitized with salts which exert a
liquefying action upon the material, as, for instance, the
iodide and bromide of ammonium. It would appe.ar,
moreover, that a collodion which is not so very highly
sensitive is best suited for employment in the tropics, and,
if required for landscape purposes, itshould contain a goodly
proportion of bromide, in order to secure as much det.ail
and half-tone as possible. To prepare a material of this
kind it would be necess.ary to diminish the amount of sensi-
tizing salts, as the rapidity with which a collodion works is
governed mainly by the quantity of these salts contained
in it ; the proportion of bromide and iodide to be employed
might soon be ascertained by a few experiments undertaken
in the sunshine, but, according to Dr. Vogel, five equiva-
lents of bromide to one af iodide may be used with good
effect, provided an acid bath be employed to prevent the
fogging of the negative.

(TV) be continued.)

A VISIT TO THE PHOTOGRAPHIC STUDIO OP
THE IMPERIAL MILITARY GEOGRAPHICAL
INSTITUTE IN VIENNA.

BY ALOIS NIOG.*

I WAS subsequently informed that in working with large
plates it was quite impossible to coat the glass with col-
lodion in the same manner as that adopted for those of a
smaller description ; if such a method were adopted, the
glutinous mass would, by reason of its own weight, hang in
folds towards the lower part of the plate, while it would be
torn oft altogether from the upper portion. For this reason
the margin of the glass is roughened all round, so that a
more perfect adherence may be effected ; at the same time,
a collodion is selected for employment which dries very
slowly, and is likewise of not too thin a consistence, so that
during the time it remains upon the plate in a horizontal
position an equal distribution of the mass takes place.

The rest of the operation requires merely special skill in
its performance, for it does not matter so much by wh’ch
method one works, as what are the nature of the results
obtained. The quality of the productions turned out by the
Imperi.al Institute furnish the most satisfactory proofs that
with the talent available, and the opportunity for continual
practice in the most difficult operations, together with the
efficient superintendence bestowed, success is sure to attend
the labours of the staff, whatever may be the method
pursued.

M. Fink works in a pair of india-rubber gloves, examin-
ing the plates in the light by holding them flat in his
hands at the two opposite edges ; by this means he but
seldom soils the fingers during the elaboration of a negative.

During my visit at the Institute, Colonel Schopf was
engaged in examining some proofs in the photo-zinco-
graphic department, and I regret, therefore, that I am
unable to make known any of the important details relating
thereunto. Without the quaintness of manipulation which
characterizes M. Fink, M. Schopf works in a more quiet and
precise manner, which |always seems to suggest the most
agreeable expectations of his continual researches. lie was
good enough to inform me th.at the employment of cyanide
of potassium had been totally superseded in the Institute, by
reason of the injurious vapour .and poisonous smell to which
it gives rise when used upon large surfaces. Even for the
removal of silver stains upon the hands, cyanide of potas-
sium has ceased to be employed, a concentrated solution of
corrosive sublimate being found much more efficacious for
the purpose.f

He informed me, likewise, that the positive paper used for
printing is not rendered sensitive by floating upon nitrate
of silver solution, but that the latter is applied to the surface
of the paper by means of a brush, thus effecting a consider-
able saving in the preparation of so costly a liquid when
dealing with prints of large size. A soft camel’s-hair brush,
not less than four inches broad, is used for the purpose, and
at the lower margin of the paper are attached a few pieces
of blotting-paper. The brushing over of the silver solution
is repeated a second time as soon as the paper has become
slightly dry, but while it is yet tolerably moist. This mode
of operating would seem especially suitable for adoption by
photographers whose work consists chiefly in the production
of enlargements, for the results obtained by the method
certainly leave nothing to be desired, provided care is taken
that the sheet is washed over with the sensitizing solution
to a sufficient degree.

During a recent discussion in photographic circles on the
merits of the method of coating and preparing the plates
just described, it was mentioned that this original manner
of operating, although yielding good results in negatives
where contrast is very great — as, for instance, in maps com-
posed of black lines upon white ground— could scarcely be

* Continued from p. 593.

t We cannot but think that a strong solution of bichloride of mercury
would be quite as injorious for application to the bands as cyanide of potas-
sium.—Eb. P. N.

600

THE PHOTOGRAPHIC NEWS.

[Decembee 18, 1868.

employed where delicate gradation or soft half-tone is re-
quired. To confute this argument I exhibited, at the last
meeting of the Vienna Photographic Society, a large
30-inch negative, being a life-size portrait of the Baron v.
Wertheim, which was prepared at my request from a print
of equal size, and which proved in the clearest manner that
the method might with advantage be adopted for the pro-
duction of ordinary negatives.

When in any of the map-negatives there are found large
empty spaces which print too transparently, or, in plates of
coloured plans, certain portions which do not possess suflS-
cient density, the glass in these cases is made more opaque
by gumming upon the reverse side of the finished negative
pieces of tracing-paper, which are cut by means of a sharp
knife to the required outlines. In this way negatives of in-
sufficient density are made to furnish prints of a very clear
and even character. This method of increasing the opacity
of the film I have modified somewhat for employment with
large portrait negatives ; I accurately cut out a piece of
straw-paper on the back of the negative, according to the
outlines, and afterwards attach it to the front of the plate
over the varnish.

The composition of the solutions and formula used at this
Institute have already been given in the Correspondent. Not
less important than the work performed in the photographic
studio are the labours undertaken in the photolithographic
and galvanoplastic departments ; so that the establishment
may be regarded in the highest sense as the cradle of multi-
plying arts.

ON INTENSIFYING NEGATIVES.

BT GEORGE U. FENNEMORE.*

A NUMBER of negatives have been shown me lately repre-
senting the work of some ten or fifteen different photo-
graphers. I was struck with the mafty different modes
adopted to bring these negatives up to what was supposed
to be the proper density for printing, by the use of intensi-
fying agents. And I was both surprised and pained to
see many negatives that really had a great deal of merit
in them completely spoiled by the indiscriminate use
of such a,gents as sulphuret of potassium, bichloride of
mercury, iodide of mercury, &c. It seems to be that the
one idea of a perfect negative was clear glass for the
dark parts, ana complete opacity for the whites. When
will photographers learn that the only merit in intensi-
fying is to produce tone ; that is to say, a well-gradu-
ated balance between the highest points of light on the
face, and the deepest shades on the drapery, the remainder
being half-tone ? The face of no picture should be white,
because there is no pure white in the face of a living
human being. When we see a person in a strong light
there are certain spots of light on the face which appear to
«s to be nearly white ; for instance, on the point and slightly
extending up one side of the nose ; one bright spot on each
eye, and another on the forehead, if it be smooth. It fol-
lows, therefore, that the only points of pure white in a
portrait should be (for instance, of a man with dark cloth-
ing) the shirt collar and bosom, the cuffs, and the catch-
lights of the eye. Consequently, they should be the only
parts showing perfect opacity in the negative. Suppose, for
example, you have for a sitter a lady with a black velvet
B^que and brown merino dress : do you think you can secure
the proper negree of tone between the sacque and the dress,
if you bring your negative anywhere near perfect opacity iii
those parts representing the face and hands of your sitter ?
Assuredly not. A brown merino dress will be quite dark in
a picture, because ii has not much power to reflect white
light; but if taken in conjunction with black velvet, it will
look comparatively light, because the velvet represents per-
fect black, and the dress does not. For making a negative
of such a subject, the object should be to place the sitter in

• Philadelphia, I’hotographer,

such a light as will give a harmonious rendering of light
and shade ; expose sufficiently long to allow the developer
to bring out the finest detail ; and then, if necessary, inten-
sify until the highest points of light in the face are suffi-
ciently dense to keep the paper white until the printing is
deep enough on the velvet to represent pure black. A print
from such a negative will be bright and vigorous, and, at
the same time, full of the most delicate detail and half-tone.

The question, then, arises. What is the best method of pro-
ducing the desired result? Unquestionably the best nega-
tives are those that have had a full exposure, and the proper
amount of density brought out by the firet development ;
but this cannot always be done, because, with the practical
photographer, the conditions necessary to produce such a
result are continually varying. With the amateur photo-
grapher it is somewhat dift’erent, because he can generally
choose the time best calculated to give him the desired
result ; but those who have to make their living by the aid
of the camera are obliged to manipulate at all times during
the day, and under all conditions, which, as I said above, are
continually varying. The light varies, and the subjects
vary ; first, perhaps, a full-grown person, then an infant a
few months old ; or you may have a young girl with a round
face and pearly complexion, and afterwards an old man from
the country, full of wrinkles, and sun-burnt and tanned
almost to the colour of an Indian. This is no exaggeration ;
and I candidly ask those who tell us that after-intensifica-
tion is only an excuse for bad manipulation, if they can
come into a gallery and produce, from morning till night,
perfect negatives with a single development? My expe-
rience tells me No ; but I may be mistaken. But while I
believe redevelopment and intensification necessary in many
cases, I also consider that every endeavour should be used to
produce a perfect negative without it.

One great fault among many operators is, that they do
not stop to consider whether a negative requires to be rede-
veloped or intensified. This becomes such a confirmed habit
with them that it is the general rule, and not the exception,
and they are apt to abuse it. This is a great mistake, and
will have much to do with making or marring the beauty
of the print. For the sake of illustrating this point, let us
begin an imaginary day’s work. Our first sitter is a young
girl with a faircomplexion. We expose our plate, and get a
good negative, perfect in light, shade, and half-tone. The
next is an old man, wrinkled, and with a sallow complexion
We sit him the same time as the other. Do we get as per
feet a negative ? No ; for the face lacks sufficient density,
and the wrinkles show with painful distinctness. The pro
per remedy for such a negative is to try again, and give
more time in exposing. This will allow the weaker radia-
tions of light from the face to impress themselves upon the-
Bcnsitive plate, thereby softening down the wrinkles, and
making a much more pleasing picture. The negative is
now very soft, but weak, and must be strengthened or inten-
sified, the best mode of doing which I will explain below^
Our next subject is an infant. We try two or three plates,
perhaps, before we succeed in getting it still, even for a few
seconds ; we develop the plate, and find but little more than
an ambrotype, but we feel satisfied to think we have got
that much. But how shall we bring it up to something like
printing quality ? By sulphuret of potassium or bichloride
of mercury ? Many of you will say. Yes. But I say. No :
because the negative is still capable of having more of the
detail brought out ; and this can be done by tak^Ing a portion
of your bath solution, and, after well washing the plate
from the first development, flood it evenly witli the silver
solution, allow it to permeate the film thoroughly, drains
well, and then flow over your iron solution again, or pyro-
gallic acid solution, which latter I prefer. Do not keep it
on too long, or it may fog the plate. If it does not come up
sufficiently, wash the plate well, and repeat the dose. In
this way many a good negative may be made from short
exposures.

Tho chief trouble in iuteusifyiug is caused by the impa*

I

December 18, 1868.]

THE PHOTOGRAPHIC NEWS.

607

tieace of tho operator, who aims at getting it through in a
hurry, To redevelop or intensify a negative properly, it
should be done slowly, producing a fine, even deposit, only
upon those parts already acted upon by the developer.
This is done by adding a very small portion of silver to the
pyrogallic acid, or iron, as tho case may be. But many
operators throw in the silver without much regard to quan-
tity, thereby producing a very coai'se and uneven deposit,
and not unfrequently covering the whole negative with a red
veil of reduced silver. Intensification, therefore, in careful
hands, may be made to beautify, and, in careless hands, to
destroy, the negative, according as it is properly or impro-
perly practised.

In conclusion, I give my plan for redevelopment and in-
tensifying. In the first place, I make my solutions as
follows : —

Solution No. 1.

Pyrogallic acid 10 grains

Citric acid 24 „

Water 8 ounces,

Solutio7i Wo. 2.

Nitrate of silver 25 grains

Water ... ... ... ... 1 ounce.

Solution No. 3.

A very weak solution of sulphuret of iiotassinm, to be
used as directed below.

For slightly under-exposed negatives I take half an ounce
of solution No. 1, and add to it three or four drops of silver
solution No. 2. This will remain on the plate a long time
without decomposition. If the plate is fully exposed, I fix
first, and, after well washing, intensify the same as above.
If the plate is slightly over-exposed, or very weak and flat,
I use, after fixing and washing, the weak solution of sul-
phuret of potassium, because that is an intensifier alone, and
has no redeveloping qualities, and, consequently, is the best
for over-exposed negatives. The above only applies to
negatives that really need after-intensification, for, as said
before, I never use any if I can get along without it.

I hope what I have written may benefit some of the less-
experienced of my brother photographers.

MEANS OF EQUALIZING EXPOSURE WITH
WIDE-ANGLE LENSES.

BY JOHN M. BLAKE.*

The plan finally carried out in practice may he thus
described : — In front of a Zentmayer lens a disk is sus-
pended by means of fine wires stretched across a frame.
This frame can be drawn out parallel to the axis of tho lens.
Tho object is to shade the centre of tho field while the
borders are receiving tho necessary amount of expo-
sure. Now, provided wo know the time required for each
portion of the field, and can give the disk a steady and re-
gulated movement, finally removing it altogether from
before the lens, we can control the distribution of actinic
action as we desire.

On trial, the steady movement of the disk was found un-
necessary. Four separate adjustments gave no visible ring
on the plate when using the Zentmayer lens, prorided that
in the first position the disk was as near the lens as the
mounting would admit.

The first object sought in deciding on these positions was
to make them answer to times which would be simple frac-
tions of that required for central exposure. In case we wish
to expose the limits of a field of 85“ three times that which
the centre requires to give the best results, we may take
such successive positions lor our disk that, first, its shadow
shall cover a circular field of 74“ and expose the annular
portion outside this once the time required for the centre.
Second, move the disk until its shadow on the plate sub-
tends 58“. The illuminated ring outside this is now ex-

* Continued from p. 595,

posed one-half, as above. Third, the shadow measuring 44“,
time, one-quarter. Fourth, shadow 20'^, time one-quarter.
Fifth, the disk is removed altogether, and the whole plate
given the time of central exposure.

The above adjustments and times may give as good an
equalization of exposure as tho necessities of the case require.
If we include a less angle at the corners of our plate than
given above, we may commence with the second or third
position, and, of course, shorten the whole time accordingly.

If it is thought three times the central exposure is not
sufficient for the borders, we may arrange for four times this,
as follows: — Shadow of disk, 76“ ; time one; G4“, one;
48“, one-half ; 34“, one-quarter ; I5“, one-quarter ; whole
plate, one. This makes six adjustments, if we count tho
removal as one.

Tho above estimates are only given as approximations,
sufficiently exact for practical purposes. A curve was plot-
ted, representing the calculated times required for dift’ereut
parts of the field, and the best adjustments of the screen for
the given interv.ils of time found by measurements from this
curve. The tendency to form a ring on the plate is greatest
when the disk is farthest removed from the lens, since its
shadow is then more sharply defined, and, also, because the
intervals are shorter, and more exact timing is nece.ssary.

The centre can be exposed first or last, as is most con-
venient, and, provided we succeed in locating objects liable
to move in the centre of tho field, we actually increase the
efficiency of a wide-angle lens in respect to quickness in
working ; for the centre of the field can actually be
exposed a less time when this method of equalizing expo-
sure is employed than is possible when we would get the
best general effect over the whole field in the ordinary way.

As an additional refinement, it may be suggested that the
disk should be inside the camera between the lens and plate.
In this position it will not itself become, to some extent, a
luminous object, for it will bo eS'ectually shaded. Further
than this, when it is outside and shading the centre of the
plate, this portion is unnecessarily subjected, during the
whole exposure, to light reflected between the two lenses of a
double combination. Although, in the lens used in my
experiment, this reflected light was so distributed by tho
arrangement, of curves as not to come to a focus on the plate,
and thus form a central spot, and was as small in amount as
it is, perhaps, possible to attain in any combination, there
was a slight fogging near the middle of the plate, visible on
an otherwise perfectly clear negative, when viewed by re-
flected light, the effect of which was to make negatives
taken with an equalized exposure print more slowly near
their centre than negatives produced in the ordinary way,
having equivalent central exposure. This unwelcome light,
which, with my lens, I consider mostly due to the lumi-
nosity of the disk, was isolated by exposing the outer por-
tions of the plate the amounts above given, omitting the
final exposure of the whole plate, thus leaving a circular
spot at the centre of the latter, which ought to have been
clear glass, but by reflected light it showed fog. Measures
were taken to prevent blurring, and all other sources of fog
were absent, for the borders of the plate showed perfectly
clear glass on several repetitions of the experiment. At the
most, this fog is slight, to be discovered only under favour-
able conditions. The lens gave no detectable fog in an
ordinary exposure (for instance, over a dark interior, near
the centre of the plate). The front of the lens and disk
were shaded, as much as practicable, by a box This box
was necessarily shallow, on account of the wide angle.

An '.internal central screen would reduce this fog to a
minimum, if due to the operation of either cause. The
mechanical difficulties in the way of adjusting and removing
it are, however, much increased in this situation.

I have not yet completed an arrangement by which I hope
to accomplish this object. A large plate can be rotated back
of the lenses in a stereo-camera box. This plate is provided
with a double set of disks of different sizes, suspended in
apertures which are brought in succession opposite the

608

The photographic news. [December 18, 1868.

lenses. While this should accomplish the same object as
the plan actually used, and have the advantages mentioned,
there will be an additional gain, insomuch as the shadow of
the screen will be less sharply detiued ; and hence we may do
with fewer adjustments than above given, so far as the
formation of a visible ring on the plate is concerned.

The difficulties in the way of perfecting the last-men-
tioned arrangement are tenfold greater than in ca.se of the
external screen.

o

THE CAUSE OE PINHOLES IN DRY PLATES.

BY SEBASTIAN DAVIS.

[The following remarks were made by Mr. Davis in introducing
a subject from the “ Question Box ” at tho last South London
meeting.]

At a recent meeting of tho Committee of this Society it was
deemed advisable to proceed with the discussion of tho several
“ queries ” which have been proposed and accepted for con-
sideration. In order to give a more useful character to their
discussion than would bo likely to follow from their casual intro-
duction, it was decided that different members should be deputed
to introduce them to tho attention of the Society, with remarks
upon the general subject to which they respectively refer.
By following this method, it is hoped that many technical
uestions of practical photographic interest may receive oluoi-
ation, and means of avoiding difficulties that militate against
success devised.

The subject that I have to bring before you this evening is
that of the causes that load to the occurrence of “ pinholes ” in
dry-plate photography. It is quite certain, however, that tho
question cannot bo regarded as having an exclusive connection
with dry-plate practice, but has also an intimate association with
similar appearances that are oceasionally met with in tho wet.
It is possible, however, to have plates in which this annoyance
occurs abundantly, arising from causes confined to the after
preparation of the films, when, with the same collodion and bath,
it would not occur if the plate were immediately exposed upon
removal from tho nitrate of silver solution. The subject is
especially vexatious in either instance, because it is almo.st im-
possible to remedy the defect in tho finished negative by tho
most skilful hand treatment. If tho pinholes bo examined
under a magnifier they will generally bo found to present two
distinct characteristic features : tho one, a circular transparent
ring around a small opaque spot ; and tho other, irregular
patches of transparency.

Tho causes which produce these pinholes are doubtless mani-
fold ; some understood, others yet to bo explained. One of tho
first for consideration, and to which I have distinctly traced
their occasional appoananco, consists in tho existence of small
particles of insoluble matter in the collodion itself, which refuse
to deposit even after prolonged standing, and cannot therefore
bo eliminated by simple decantation. In this case it is neces-
sary to filter. To accomplish this with the smallest possible
loss from evaporation, and through ordinary filtering-paper, I
have designed and coust»ntly used a simple apparatus, which I
find so efficient and useful that I do not hesitate to introduce
it to your attention. It consists of a funnel with a largo and
short stem, over which is fitted an elastic flat ring, so as to
secure an air-tight connection through the neck of tho bottle
which is to receive the filtrate. Into this funnel is placed a
smaller one with a longer stem, and held in its place within
the larger by a circular disk of wood with grooves cut in its
outer surface, in order to maintain a omraunication between
the space below and above the inner funnel. Over the surface
of the outer funnel is placed an air-tight removable cover, or
its upper edge can bo ground flat, and a piece of plate glass be
placed thereupon, with a small weight to keep tho two in
contact. By this inexpensive arrangement, collodion or any
other etherial liquid can be efficiently filtered without sensible
loss from evaporation, and its use will oftentimes prove valuable
in ensuring an immunity from pinholes.

1 now come, in the second place, to that which I regard as a
more general cause of their existence, and the one which has
an immediate bearing upon their appearance in dry-plate photo-
graphy, viz., the method employed for removing the free
nitrate of silver solution from the film. The process gene-
rally adopted is to allow tho plate to remain in ordinary
or distilled water for a certain length of time after it has

been rocked to and fro therein, until the liquid freely Hows
over its surface. Tho n.se of ordinary, or even filtered rain-
water has been condemned for this purpose, in consequence of
the insoluble salts of silver produced by the reaction, and which
naturally adhere to the surface of the film. My own observa-
tions lead mo to conclude that when once this has taken place,
no amount of subsequent washing, even with water falling upon
tho film with considerable force, will entirely detach the insen-
sitive particles deposited. But I am desirous of especially
calling attention, at this stage of tho enquiry, to the fact that
the use of distilled water, even if chemically pure, does not pre-
vent the formation of a precipitate, and consecjuently that the
plate, even when treated with such, should not be allowed to
remain at rest until the whole of tho free nitrate of silver bath
solution has been removed. Tho precipitate to which I allude
is produced by the simple dilution of tho nitrate bath holding
iodide or bromide of silver in solution. The disregard of this
reaction has been, I feel convinced, a fruitful source of difficulty,
and has led many to the conclusion that the use of distilled
water in preparing a dry plate is unaccompanied with any
corresponding advantage. My recommendation is, therefore,
that when the free silver is to bo removed from an excited
collodion film, tho plate should bo washed once or twice in pure
water with constant agitation, and that on no account should
the plate remain stationary therein until the whole of the free
bath solution has been removed.

In the last place I have to refer briefly to the action of a pro-
longed treatment of the film with a developer containing citric
acid upon tho darkened salts of silver, as a fruitful source of
pinholes. This prolonged development is sometimes rendered
necessary in consequence of under-exposure, and the result is
that the superficially deposited salts upon the denser parts of
the negative are displaced by the solvent power of tho deve-
loper itself, or the subsequent action of the fixing solution.
The pinholes so produced are those of an irregular outline, re-
ferred to in my earlier remarks. There are doubtless other
causes connected with the presence of pinholes than those to
which I havo referred — such as the condition of tho bath, the
microscopic texture of the plate glass, &c. — but my experience
leads me to infer that if, as recommended, the collodion be once
filtered, some little time after it has been sensitized, the free
silver be removed from the plate with distilled water constantly
agitated, acetic acid be substituted for citric in the developer,
and the necessity for its prolonged action be avoided, tho prin-
cipal causes of pinholes in dry-plate photography will be ev^ed.

gra«e^ruig.? 0f Sarktics.

Edinbukgii Photographic Society.

A POPULAR meeting of this Society was held in Queen Street
Hall, on the evening of Wednesday, December ‘Jth, at which a
very largo attendance of members and their friends were pre-
sent. A number of Mr. Stuart’s, of Hammersmith, fine trans-
parencies of English cathedrals and abbeys wore exhibited by
the Society’s oxyhydrogen lantern ; and tho subjects were de-
scribed aud explained by the president of tho society. Sheriff
Hallard. At tho close of the meeting an enthusiastic vote of
thanks was passed to Messrs. Stuart and Hallard for their ser-
vices to tho Society.

South London PnoTOORAriiic Society.

The usual monthly meeting of this Society was held in tho
City of London College oii the evening of Thursday, December
10th, tho Rev. F. F. Statham, M.A., in tho chair.

The minutes of a previous meeting were read and confirmed,
and Mr. J. Gale was elected a member of the Society.

Mr. Wharton Simpson exhibited a number of Mr. Blair’s
fine specimens of carbon printing by the single transfer pro-
cess, and without any transfer whatever, both possessing good
half-tone. They were examined with much interest, and some
conversation thereon followed. Mr. Simpson also exhibited a
fine example of M. Salomon’s portraiture, which excited much
admiration. Ho also exhibited some examples of Carl
Meinerth’s photo-mezzotint printing, an example of Dr.
Liesegang’s jiaper pyroxylino, and a collodio-chloride print, the
collodion of which was made from this pyroxyline. After
some further conversation on the various specimens,

Dbcember 18, 18(>8,]

THt: PHOTOGRAPHIC NEWS,

G09

Mr. Simpson further called attention to some examples of a
new style of mounting-board just introduced l>y Mr. Fox (see
p. 602). After some conversation, and approval of the effect of
the mounts,

Mr. Cocking exhibited a number of interesting specimens
containing fine cloud effects. Tho subjects were chiefly m
Lahore, taken by Major Bamfield.

Mr. How exhibited a fine frame of photographic magic
lantern slides. The subjects were various, many of them
being very beautiful, and all excellent in execution. Mr.
How stated that, with a view to introduce photographic trans-
parencies for the lantern in place of tho loss perfect painted
slides, he was enabled to issue these at a much lower price than
such things had ever been published before.

After some conversation on the subject, Mr. How promised
to give an exhibition of these slides by means of the magic lan-
tern at the January meeting of the Society.

Mr. G.VMMAGEexhibitodMr. Browning’s nev/ economic electric
lamp, a good steady light being obtained by means of six cells
of a Grove's battery. He explained and illustrated the work-
ing of the automatic arrangement by which the proper position
of the points was maintained during tho combustion.

Mr. Sebastian Davis then introduced for discussion a sub-
ject from the “Question Box,” in which the cause of pinholes
in dry plates was discussed (see p. G08). In the course of his
remarks he exhibited a very simple and ellicient collodion
filter.

Mr. Howard said that his experience confirmed that of Mr.
Davis as to tho impropriety ot washing the prepared plate
without keeping it in motion, so as to prevent tho deposit of
chloride or insoluble salt of silver precipitated in washing
adhering to the film. He thought the immunity of collodio-
albumen plates from pinholes arose from the character of tho
albumen surface, to which particles precipitated did not adhere
as they did to a collodion film.

Mr. Taylor asked Mr. Davis if he had considered the action
of excess of nitro-iodide of silver in the bath as a cause of pin-
holes.

Mr. Davis said he had not done so especially. He pre-
sumed that at the outset the bath would be properly filtered.

Mr. Hart described a sample of nitrate bath brought to him
to test, which registered 36 grains to tho ounce by the argento-
meter, and was found, by means of his volumetric apparatus, to
contain 53 grains. He could see it full of fine needle-like
crystals fioating uDout, but it was stated that no pinholes
resulted.

Mr. Simpson remarked that if the floating crystals were nitro-
iodide of silver, it must have been singularly surcharged, as a
bath of that strength would keep a large quantity in perfect
solution without crystallization.

After a desultory conversation on the subject,

Mr. Davis said he felt that especial attention was due to
the effect of washing in distilled water, occasionally precipi-
tating iodide of silver on the film by the dilution of the free
nitrate it produced ; and most persons imagined that if they
used distilled water they were quite safe from the risk of pre-
cipitating insoluble salts.

Mr. Simpson said that this observation was clearly import-
ant, and he believed that it had not been made before. The
use of a dipping-bath would, however, be valuable, as it would
tend to remove all precipitates from the plate, whilst horizontal
washing might aid in attaching them to the film.

After some farther conversation the proceedings terminated.

French Photographic Society.

A meeting of this Society was held on the 6th ult., M. Balard,
president, in the chair.

M. Constant-Delessert placed at the disposition of the
Society several copies of his recently published pamphlet,
entitled “ Hesearches on the Dry -Collodion Processes.”

M. ViNois read a short communication on the renovation of
glass in studios. He said. Much has been written respecting
the lighting of photographic studios, but nobody has, as far as
I know, studied the alterations produced upon glass by sun and
rain, or suggested a means of repairing the bad effects caused
by the same. It is well known that when glass is exposed to
tho influences mentioned, it undergoes a certain change, which
occurs more -or less rapidly, according to the greater or less
amount of potash or soda in its composition, the surface pre-
senting a matt appearance, which much resembles ground

glass. To restore glass of this description to its pristine trans-
luceiicy, it is simply necessary to clean tho surface with ordin-
ary muriatic acid, diluted to a more or less degree with water,
according to tho extent to wliich tho glass has become dis-
coloured ; the latter being snbsoquontly treated with Spanish
white mixed with water, and finally thoroughly cleaned. By
this means I have cleaned glass, and rendered it again as
good as now, which was so opaque that it was iraposible to see
through it; the method may also bo used for renovating glass
plates which have suffered mucli from frequent employment.

M. Peligot stated that this was, no doubt, tho first time
that muriatic acid had boon proposed forcleaning photographer’s
glass, but its employment was suggested for similar purposes
by M. Bernard, who patented its application, and exhibited
results at the recent Paris Exhibition.

M. Davanne reminded photographers of the fact that muri-
atic acid attacks and dissolves metallic substances, such as iron
and zinc, which are generally used for framing the glass.

M. Vi.Nois also communicated a formula for making a
negative varnish, which he had used for upwards of ten years
with great success. The varnish must, it is true, be applied
upon a warm surface, but it possesses the advantage of resisting
a very high temperature, and does not affect tho transparency
of the negatives. It is composed of —

Alcohol ... ... ... ... 100 cub. cents.

Gum sandrac ... ... ... 10 grammes

Benzoin ... ... ... ... 10 „

Gum eletni 10 ,,

Tho materials are dissolved upon a water bath, and the solu-
tion clarified by standing, and decanted ; the negative is
slightly warmed before application, and afterwards dried at
the fire.

M. Davanne feared that the proportion of gum elemi,
which had a softening effect upon varnishes, was somewhat
large.

M. JoAQUiM Insley Pachecho addres.sed a communication
from Rio Janeiro, calling attention to the appearance of some
prints which ho forwarded, and which were covered with
minute white spots. M. Pachecho had read in the Bulletin an
account of these disagreeable appearances, which were stated
to be due to the presence of fine particles of bronze powder
upon the mounting-board. To this M. Pachecho demurred, in-
asmuch as the imperfections observed by him were upon cards
bearing no gilt ornamentation, but upon mounts with coloured
borders. He was disposed to believe the effect was due to
something injurious contained in the colouring matter, or in
the paper pulp, for his large prints, which were mounted on
Bristol board supplied to him by the same manufacturer, were
free from any of these injuries.

M. Davanne adhered firmly to his opinion as to the origin
of thespots, and believed that, inasmuch as many manufacturers
preserved their gilt and coloured cards in the same workshop,
it was not unlikely that some of the bronze dust became de-
tached, and adhered to the other ornamental boards.

M. Despaquis exhibited a collection of carbon prints
mounted as transparencies, and produced by means of his col-
lodion-cuir. He likewise read a short note on the subject.

M. Despaqui.s suggested that in M. Marion’s method of
transporting the carbon print by means of an albuminized sur-
face coagulated by heat, it would be an improvement to use a
more impermeable basis, to prevent staining ; as, for instance,
tinfoil, dioptric paper, tracing-cloth, &c.

M. Constant-Delessert forwarded an interesting paper on
dry plate processes, accompanying the same with specimens.

The President stated that he had been requested by Mr.
Warren de la Rue to say that certain photographs obtained in
natural colours by M. Edmond Becquerel, eleven years ago,
had been left to Mr. de la Rue by the late Professor Faraday,
and that the colours were still perfectly vivid, although Fara-
day had frequently exhibited them and exposed them to light.

MM. Geymer and Alker exhibited the process of producing
photographic enamels, starting with an unsensitized glass plate,
and finishing with the perfect enamel. A solution composed
of honey, sugar, gum, and bichromate of ammonia, dissolved in
water, was poured upon a well-cleaned glass plate, and dried.
On this dry plate a good positive was placed, and exposed to a
magnesium light for a few seconds ; the enamel powder was
then brushed over the surface, attaching itself to those parts
which had been preserved wholly or partially from the light.
The print, thus developed, was covered with ordinary normal

610

THE PHOTOGKAPHIC NEWS.

[December 18, 1868.

collodion, and then plunged inf o a very dilute bath of sulphuric
aud hydrochloric acid ; after immersion for several minutes the
plate was placed in pure water, when the pellicle with the
image became detached, and was transferred to a solution of
sugar. Under the film was placed the material which was to
bo heated, in such a manner that the enamel-powder was under-
most, and tho whole was then drained and thoroughly dried ;
subsequently it was placed in a sulphuric acid bath, to destroy
tho collodion, and, after a few minutes, withdrawn, washed, and
again dried. After tho image had been somewhat touched up,
it was put upon a piece of baked clay, placed to warm for a few
moments before tho mufiled furnace, and afterwards introduced
therein when tho latter was at a red-heat. In a minute or two
the enamel became brilliant, and was then withdrawn and
allowed to cool gradually.

M. Geymer likewise read a paper describing the process, and
pointing out the difficulties and liabilities of failure ; he also
alluded to several modifications which might bo made in the
method. Tho production of photographs, cither upon enamel,
porcelain, or glass, could bo undertaken without tho aid of any
special appliances with the exception of an enamel-furnace,
which might always find placo in a corner of tho studio.

Tho proceedings then terminated.

LUX GRAPIIICUS ON THE WING.

The Refcndino of the Balance of the Goddard Fond —
The Photoorapher’s Provident Society — A Ferocious
Doorsman — The South London Dinner — A Christmas
Carol.

Mr Dear Sir, — Now that the balance of the Goddard
Fund is returned to the contributors, and all the trials and
vexations the administration ot the fund brought upon the
chief promoters are known, I think the very best thanks
of the whole body of subscribers to that fund are due to the
committee for their firm and sensible determination to pro-
vide for the wants of the poor imbecile recipient in the
manner they did, and for their withstanding the attempt
made by a person who was not in the least related to the
late Mr. Goddard to obtain possession of the balance in
hand. I, for one, a subscriber to the fund, return them my
most hearty acknowledgements, not for the money returned
to me, but for the straightforwardness of their report, and
the wise and judicious manner in which they dispensed the
funds. While congratulating myself and confriires on
seeing the money not required for the relief of the late Mr.
Goddard returned to the subscribers instead of going into
the possession of a person for whom it never was intended,
I think it is to be regretted that no responsible party had
foreseen that much of this returned money would have been
gladly placed to the credit of some benevolent or provident
institution connected with photography, Tho whole amount,
or even the half of it, would have made a very handsome
nucleus for the commencement of such a fund. I have
heard several wishes to that effect expressed during the last
few days. Doubtless the committee did the very best thing
they could have done for their own credit and the entire
satisfaction of the whole of the subscribers ; but I am afraid
an opportunity has been lost in the interest of the incipient
relief fund by not having had a receiver for these stray
and unexpected sums appointed. The praiseworthy act of
Messrs. Rosa and Pingle, as noticed in another journal, con-
firms this impression.

While the subject of a photographer's provident or relief
fund is before me, I may mention that in the Report of the
Friendly Societies recently issued by Mr. Tidd Pratt, he
speaks in the highest terms of those societies which are
managed by the members themselves without salaries, aud
condemns the extravagance exhibited by the societies of a
similar nature which are conducted by salaried officials.
Now, as it is a friendly society pure and simple that sick
or needy photographers ought to look to for future help, in

my opinion the former is the kind of society that should
be established. The movement is not to be started as a
business speculation, and there should be no salaries
attached to any of the offices. Each member joining the
provident society should be prepared to submit to the tax
on his time and energies, if elected to office, as part aud
parcel of the amount he subscribes for the general welfare
of the body and relief of individual members. For my
part, I object to the contemplated society taking the form
of a relief fund depending upon donations, collections at
dinners, &c., for its support. Such means for raising the
necessary funds to start the society may be allowable ; but.
after it is commenced, every individual connected with it
should be a subscribing member, and not allowed to receive
any benefit, except under the most urgent necessities, until
he has paid a certain no mber of subscriptions.

During one of my peregrinations about town lately I
stumbled upon a very ferocious doorsman. My attention was
suddenly arrested, while passing one of those photographic
establishments which keep a kind of two-legged hyena prowl-
ing up and down before their doom, by hearing the somewhat
startling and cannibalistic exclamation of “I’ll eatyer!”
Looking round, I saw that one of those prowling bipeds had
fastened upon two quiet-looking young gentlemen, evidently
strangers in town and to town ways, and had so importuned
them to sit for “ a correct likeness,” until they turned upon
him, and threatened to give him in charge if he did not
desist ; when he retaliated by threatening to eat them, and
used a great deal of sanguinary and abusive language as a
substitute for more palatable suavity. Is such an “ out-
sider ” or hanger-on a fit and proper person to join a photo-
graphers’ provident society, or be the recipient of a benevo-
lent relief fund ?

The South London Photographic Society’s annual dinner
came oft on Saturday evening last at the “ Salutation
Tavern,” Newgate Street. Twenty-three members and
friends, all told, sat down to dinner, aud enjoyed a tho-
roughly English repast. After the cloth was removed, the
pleasantest part of the evening commenced. The worthy
and honoured president, who occupied the chair, was all
geniality, and gave the toast of the evening — “ The South
London Photographic Society ” — in his usually felicitous
style. To Mr. .Jabez Hughes was allotted the task of pro-
posing the next important toast — “ Photography ” — which
he did in the most glowing and eloquent terms, dwelling
on the rise and progress of the art in England, its position
in a competitive point of view at the Paris Exhibition,
interspersed with some racy and facetious remarks on the
different modes and kinds of rewards, from the bronze,
silver, and gold medals, to the paper certificates, which he
considerered the most honourable mentions that could be
given by a discerning public. From that he soared into tho
higher aspirations of photographers and sublime regions of
pliotography, giving, with thrilling effect, a description of
the social joys, scientific pursuits, and human ameliorations
to which photography administers. Mr. Baynham .Tones,
being the oldest photographer present, had the honour of
replying on behalf of the art. Mr. G. Wharton Simpson, in
very appropriate terms, gave the toast, “Art Photography,”
which was responded to by Mr. O. G. Rejlander. Mr. .John-
son, of the Autotype Company, had the honour of proposing
the toast “ Professional Photography,” which was responded
to by Mr. Valentine Blanchard, who occupied the vice-chair.
Other toasts of a professional and serai-profe.ssional charac-
ter were given and responded to. The intervals were filled
up with part and instrumental music by members of the
Society. Mr. Cooper contributed greatly to the evening’s
enjoyment by giving two charming performances on the
coinet-a piston, which were admirably accompanied by Mr,
Henry Cooper on the piano. Taking it all in all, it was
one of the pleasantest and merriest evenings I have ever
enjoyed at the convivial meetings of the South London
Photographic Society, and formed a delightful introduction
to tho season of universal festivity which is close at hand.

1

THK PHOTOGRAPHIC NEWS.

611

December 18, 1868.]

Christmas, all over the civilized world, is not only a period
of festive rdunion, but, according to the only rational inter-
pretation of the word, a time of good will towards men, and
peace upon earth. Photographers, like other men, have had
their little differences of opinion, which have produced par-
tial estrangements during a portion of the year which will
so soon expire ; but let the approaching season, which is
held in commemoration of the birth of the greatest Peace-
maker that ever came among men, be looked upon by all as
the fittest time to forget and forgive all slights, injuries, or
insults, real or imaginary ; and let not the great festival
of our common faith be clouded or eclipsed by an angry
thought, nor the immeasurable charity of true Christianity
be dimmed by one unforgiving feeling. The light of the
Christian faith is a light that should penetrate to the dark
cells of our hearts, and dispel all the gloomy and corrosive
accumulations of controversy that may have lodged there,
and unconsciously eaten away any part of our better nature.
Few of us — none but the most presumptuous — can lay his
hand upon his heart and say, “ Mine is immaculate !” None
of us are without sin, and charity and forgiveness are the
greatest of the Christian virtues ; and they should bo the
more carefully studied and practised by all who live in, and
by the Light of the world. — Yours, very truly,

December 15<^, 186S. Lux Ga.vrmcus.

in tbi ^tubic.

The South London Annual Dinneu. — The South London
Photographic Society is, wo believe, the only photographic
organization which indulges in the enjoyment of an annual
dinner ; but the complete satislaction and success which attend
these social reunions each winter are sufticient to warrant a
recommendation of the example as worthy of imitation. On
Saturday evening last, the members of the South London dined
together at the Salutation Tavern, where they had a capital
dinner, and a delightful evening. The Kev.F.F. Statham, M.A.,
occupied the chair, and Mr. Blanchard the vice-chair. Some
excellent speeches were made, and some tine glees, songs, and
instrumental solos, materially added to the pleasures of the
evening. The speech of Mr. Hughes, in proposing “ Photo-
graphy,” was a grand piece of oratory, and Mr. Baynham Jones,
whose name was associated with the toast, interested the meet-
ing by a reminiscence of his efforts to take a Daguerreotype in
the first year of the discovery, before he had seen a specimen ;
in the absence of Daguerreotype plates He had to polish a portion
of asilver waiter, to make a plateforhis experimental operations;
Mr. Howard responded ably on behalf of the South London
Society; Mr. Wharton Simpson proposed “Art Pliotography,”
and Mr. Rejlauder responded ; Mr. Johnson proposed “ Profes-
sional Photography," and Mr. Blanchard responded ; Mr. Cocking
proposed the “Photographic Press,” by which ho said ho wished
especially to bo understood as referring to the respectable and
trustworthy portion of the photographic press, and not the
disreputable and untrustworthy, and Mr. Simpson aiulMr. Taylor
responded ; Mr. How proposed the “ Guests,” and Mr. Green-
wood, Mr. Whiling, Mr. Pritchard, and Mr. lilills responded.
The officers oftbe Society, the musicians, and some other toasts,
all received due honour, and midnight closed a very happy
evening. A photographic comic song, composed for the
occasion, was sung, which wo shall probably print when occa-
sion serves.

New White Pigment. — The Twirs states that a new pigment
lias been discovered in some lead mines in Now Jersey, United
States, which consists of an intimate natural mixture of zinc
and lead, and is termed plumbato of zinc. A certificate of its
qualities has been obtainwl from the School ot Mines,
Columbia College, some of which are entirely wanting in the
artificial mixtures. In comparison with the other pigments in
general use, it is stated to possess the following peculiarities: —
1, Owing to its great opacity, it covers much better than pure
oxide of zinc, or the best white lead ; 2, it covers more surface,
weight for weight ; 3, it makes a harder and more durable
coating ; 4, it will wear much longer when exposed to the
weather on outside work ; and, 5, it resists for a greater length
of time the action of sulphuretted hydrogen and other dele-

terious gases which so quickly discolour white lead. At th»
same time its cost is considerably less.

Cheap Magnesium. — A writer in the Builder saja: — “There'
is now a fair prospect of a reduction in the price of magnesium
through some recent improvements in its manufacture, and it
is probable that in the ceurse of next year wo shall see the
metal retailed at oi under one shilling per ounce.”

Photographic Paper. — A contemporary states that a pirize
of 2,000 fr. has been ottered in France for the production ot the
best photographic paper. The prize will be awarded in 1869.

A Newly-discovered Property of Gun-cotton. — It has
been found that the explosive force of gun-cotton may, like
that of nitro-glycerino, bo developed by the exposure of the
substance to the sudden concussion produced by a detonation ;
and that if exploded by that agency the suddenness and con-
sequent violence of its action greatly exceed that of its ex-
plosion by means of a highly heated body or llaino. This is a
most important discovery, and one which invests gun-cotton
with totally new and valuable characteristics ; for it follows, as
recent experiments have fully demonstrated, that gun-cotton,
even when freely exposed to air, may be made to explode with
destructive violence, apparently not inferior to that of nitro-
glycerine, simply by employing for its explosion a fuze to which
is attached a small detonating charge. — Ball Mall Gazelle.

A Hint to Lecturers. — Many lecturers have felt how un-
satisfactory it is to write or draw, or in any manner attempt to
illustrate their ideas, in a largo room. Professor Albert R. Leeds,
of Haverford College, Pa., suggests that this difficulty may bo
overcome thus : — A plate of glass is placed in the lime-light or
magnesium lantern, and an inverting prism is put in the for-
ward part of the draw-tube of the objective. If, now, while
lecturing, writing is done with an ordinary pen and Indian-ink
upon the glass plate, proceeding from left to right upon the
plate, it will advance correspondingly upon the screen, and will
bo read in greatly enlarged characters by those present. The
square prism inverts with respect to bottom, and the writing
being actually reversed by the writer in reference to the other
direction in which the lantern is pointing, the crossing of the
rays produced by the lens becomes in this case an advantage,
and corrects the letters upon the screen. A collodion film,
blackened by exposure to the sun’s rays, may bo substituted
for a naked glass plate with great advantage. On such a film
chemical and mathematical formulie, drawings of apparatus,
machinery, and so on, may be cut with delicacy, and appear as
intensely bright white linos on a black ground, and with some-
thing of the appearance af an immense copper-plate en-
graving.— The Builder.

3^0 ®0rmg0«&£ttts.

To Agents and Advertisers. — Next Friday being Christmas
Day, the Photographic News will bo published on Thursday
December 24 th. Advertisers should send in their Announce
ments not later than Wednesday, the 23rd.

OxoNiENSis. — We do not belong to the Amateur Photographic
Association, and cannot speak with autliority of its internal
economy. The classification, so far as wo believe, is regul.ated
by the size of tlie pictures, not by tlie sulijects. Members sub-
scribe a guinea a year, and send in for printing not less tlian
lialf a dozen negatives. They are entitled for this to two
guineas’ worth of pictures, and to half the profits on any sales
of prints from their negatives. There is a rule that negatives
which receive the prizes become the property of the Association ;
but there is also a condition that the owner of a valuable nega-
tive may decline to part with it on such terms. Whether by so
doing he would forego all chance of a jirize or not we cannot
tell. As an out.side observer, our impression is that, on the
whole, the working of the Association has been benclicial to
photography. 2. 'iho object of the instruction that the plate
should remain ten minutes at least in the bath is to ensure the
perfect change of the extra proportion of bromide the collodion
contains into bromide of silver. The double decomposition
between bromides and nitrate of silver is not so rapidly etfected
as between iodides and nitrate of silver ; hence, in any process
in which a large portion of a bromide is employed, it becomes
desirable to use a strong nitrate bath and give a long immersion.
The use of two or three baths would economise time. If varnish-
ing round the edge do not secure the film, a preliminary dilute
coating of india-ru bber, either in pure benzole or chloroform

612

THE PHOTOGRAPHIC NEWS,

[December 18, 1868.

may l)e used. In such case it is important to give full exposute.
or the preliminary coating will act like a dirty plate, causing
markings to appear in development. 3. We have seen many
pictures produced hv the lens you name, and have hewd the
opinions of many able photographers. They all state it to be
one of the most valuable lenses ever introduced, and, for the
class of lens, very rapid. Our own trials have only been experi-
mental, but they were very satisfactory.

C onLODiON. — The amount of soaking in warm water necessary to
unmount prints from cardboard should not reduce the tone er
brilliancy of the pictures. We know of no better plan than
soaking in warm water. Placing a piece of wet blotting-paper
•over the print will sometimes serve to soften the adhesive mate-
rial sufficiently, but more time is required. 2. The lens to which
you refer will serve for 10 by 8 pictures, and, with a very small
stop, for 12 by 10. 3. Either is good; we cannot with certainty
say which is best for landscape work.

W. G. — In separating grape sugar from honey by means of alcohol,
it is simply necessary to wash the honey with the spirit to re-
move the soluble syrupy sub.stance, the hard crystalline resi-
due being the grape sugar.

A Leauner. — Hyposulphite of soda may, of course, be used for
fixing instead of cyanide, and is in many respects best. For
collodion positives cyanide is preferable, as giving a better
colour. 2. A porcelain pan is better for most purpo.ses than one
of gutta-percha; the latter has the advantage of permitting,
by its colour, the progress of fixing collodion positives to be
watched. If a negative (or positiv^ be left long in a cyanide
bath, the image will quickly be dissolved ; in hyposulphite of
soda there is no danger. 3. The guide for determining when a
plate has been a sufficient time in the silver bath is generally its
appearance. When the solution flows freely over it without
greasy lines, and the plate looks even and creamy, it is judged
to be ready for use. As a rule, 2 or 3 minutes in summer, and

3, or -t, or 5, in winter, are sufficient with ordinary materials.
Various evils result from leaving the plate too long in the bath ;
sometimes a portion of the iodide of silver formed is redissolved;

sometimes crystals of iodo-nitrate of silver crystallize on its
surface, and cause pinholes ; sometimes fog is the result.

4. Under-exposure of the negative is the common cause of the
face being too dark ; sometimes, of course, it arises from over-
printing.

•■Subscriber for Years. — We do not know anything bettor than
a good magic lantern condenser for using for enlargement with
artificial light.

P. — The print you enclose is a very had sample of a very trouble-
some defect, cases of which are frequently brought under our
attention. We cannot arrive at any absolute certainly of the
cause. We have often been inclined to believe that the forma-
tion of minute air-bubbles on the paper whilst in the fixing bath,
causing imperfect fixation, is the cause; but, not having met
with the defect in our own practice, we cannot with certainty trace
tho defect to that cause.

J. Maycock. — The prints seem good ; but whether they are ab.so-
lutely perfect reproductions we cannot, of course, say, without
a comparison with the original. No. 3 seems as if the negative
were just a little under-exposed. 1. A thick Uc varnish is very
excellent. Repeated applications of wax or paraffine have been
recommended. 2. The use of a strong bath is conducive to the
formation of matt silver stains, and weakening the bath a little
is often a cure. Take care to wash the inner frames of the dark
slide frequently. 3. A small portion of bromide of silver is
soluble in bromo-iodized collodion ; the collodion should be de-
canted from any insoluble residue. 4. Members of the Amateur
Photographic Association pay a guinea a year, and receive two
guinea.s’ worth of prints. 5. The pinkish purple tone, to which
vou refer is best obtained with a bath of sulphocyanide of gold.
Wo have not tried the addition of chlorate of potash. Thanks,
and reciprocation of kind greetings. We shall doubtless hear
of the working of the oiymel process.

K.-— The name and address of the proprietor, and the date of pub-
lication, are necessary on an engraving, to secure the copyright.
Copyright in illustrations in books goes with tho copyright of •
the book, and permission to copy them should be obtained. ■
There are many Copyright Acts relating to difl'erent things ; I
some for engravings, some for books, some for paintings and
photographs. All of them can be obtained at the publishing i
office for Acts of Parliament in New Street, E.C. There are no
means of determining what is copyright and what is not. witli- I
out much research. Some publishers will give permission for 1
their engravings to he copied for the lantern, and some will not. I
A black tone for transparencies is often obtained by using a
sulphide. See our last and the forthcoming Year-Books. All
aniline colours are derivatives of coal tar, and consist of differ-
ent compounds of aniline and some other body, and each requires
different treatment.

W. J A. G. — It is unfortunate that your prints have been spotted-

out before mounting, as that not only renders it dangerous to
use dampness as a means of making them lie flat, but will cause
risk of injury in mounting. Try rolling them in the other direc-
tion, and keeping them in that position for a few hours.

Archer Clarke. — We shall have some remarks on the subject
shortly. It will be much more difficult to form a Provident
Society than it will be to form a Benevolent Fund. 2. We do
not know personally the gentleman you name.

X. X.— Your negative requires a little more intensity; but the
print you enclose would not be bad if the background were clean.
To get a fine tone you require a more forcible negative than that
you have been using.

L.\ndscape. — Our time is too closely occupied to permit us to
answer photographic questions privately. 2. We prefer No. 1.

3. A is most suitable for land.scape and general work. 4. After
this year photographers can obtain poisonous chemicals only of
a pharmaceutical chemist.

U. O. N. E.— To succeed in producing opal pictures by camera
printing requires experience. The defects you describe are due,
l>robably, to over-development. Either over-exposure or over-
development will produce such a result; but it is most commonly
duo to the latter. The development should be much more rapidly
eftected than the operation of developing a negative. Read tho
article which appeared in our pages on the eburneum process,
last September. All the manipulations of producing the picture
should be the same for opal glass. You will find it easier, in
working with opal glass, to get good pictures by the collodio-
chloride process.

Patrick O’Comnor. — We perfectly understood your motives, and
never object to corresnondents speaking plainly and courteously.
AVe can readily appreciate your view of the case.

H. R. S. — The conditions of relief in any organization which may
be formed will be determined by the committee, we presume, who
may be appointed ; wo cannot, of course, lay down conditions .
We will, however, shortly make some general suggestions on
the subject. If a Benevolent Fund he formed, all kinds of dona-
tions and subscriptions will be accepted, and relief granted
according to tho urgency of the need, the worthiness of the
claimant, and the state of the funds. If a Provident Society be
established, definite payments and definite relief, under definite
conditions, will prevail.

J. B. M. — As a rule, about 4 grains of gallic acid will dissolve in
an ounce of distilled water at 60“. If a stronger solution is re-
quired, the .addition of alcohol is necessary. _ As a rule, an
aqueous saturated solution after filtration is an excellent
dev eloper.

James Keake. — The Year-Book will be ready shortly. Our
Publisher will supply you tho News direct. The terms are
4s. 4d. per quarter in advance.

A .MATF.UR. — Received. Thanks. The communication shall appear
shortly.

J. Ashmore. — The Year-Book is not yet published, but shall
be sent when ready.

SuBSCKiHEK. — Thanks: it is scarcely necessary, however, to pub-
lish your remarks, however flattering to the committee. On the
subject of the disposal of your balance, see another answer to
several subscribers who make a similar suggestion. In answer
to your general question : most of the statements, or all of them ,
are as absurdly untrue as those which you have pointed oat in
your letter. In answer to your definite questions: 1. The
treasurer has Mr. Goddard’s receipt for all the money charged
to him in the balance sheet. 2. We believe lhatthere isnotruth
in the statement as to a £20 annuity ; Mr. Goddard himself told
us that he hnd nothing but the casual contributions to which wo
referred ; the only relatives he had were in very humble circum-
stances. 3. We know nothing of Mr. Hardy, and do not even
remember hearing his name ; but, of course, no matter how trust-
worthy a person he might be, the committee conld not honestly
delegate to him duties which tho subscribers had entrusted to
them. The only vote of thanks which the committee eould re-
ceive has been conveyed in almost every acknowledgment of the
balance. Not one of the subscribers has expressed any dlssatis-.
faction with their course.

Young. — We do not usually undertake to express any opinion on,
the characters of individuals as expressed in their portraits. In
case of criticising a portrait of a public man such a course is
sometimes natural ; but in case of private portraits, such as you
enclo.se, it would he obviou.sly an inconvenient and undesirable
course. As photographs, they are pretty good.

Subscriber. — The letter was.r-itdrcssed and forwarded.

The Goddard Fund.— Several subscribers have expressed a wish
that their balance could l>e devoted to a general fund. We
would suggest to all so disposed that, as it is not improbable
that such a fund will be established, their balance of contribu-
tions may be sasily retained for a while in anticipation of this
possibility.

Several Corrsspondents in our next.

PAO R

Pictorial EOTect in Photoftraphy Cl 3

Photography in Oonneclinn with the Abyssinian Expedition.

Dy 11. lladcn Pritchard 014

Extensive Photographic Piracy of Engravings 61.1

Proceedings of Societies— Edinburgh Pliotographio Society 016

FAOB

Correspondence— Prints on Approval— Pictures by the Action
of Cold— Packing Cases- English Cabinet Work in Egypt... CIO

To Correspondents 618

Index 619—624

PICTORIAL EFFECT IN PHOTOGRAPHY.

The chief interest in pliotography amongst the gi’catcr
luunhcr of its devotees must ever centre in its capacity as
a pictorial art. During the brief years of its existence
tlie number of its brandies lias become legion, and its
applications increase almost beyond count ; but by far tlic
most important of them, in the interest it excites, in tlie
extent to which it is practised, and even in its commercial
results, is that which belongs essentially to the region of
jiictorial art. Photography had its parentage in art, not
loss than in science, cand in its earliest days its chief iiatrons
and admirers were found in art circles. And it was only
when its technieal di.sabilities and the limitations of its
capacity and appliances were found to interfere with its
plasticity for art jiurposes that it was abandoned by the
dilettante, and relegated into the hands of the scientific
experimentalist, by whom its powers have been educed, its
capacity developed, and its range of action altogether
modified and extended.

All that belongs to the technics of photography has
for some years past been acquiring a high state of perfec-
tion ; chemical processes, mechanical operations, and
optical appliances have acquired a degree of practical per-
fection which has tended materially to remove the disabili-
ties for art purposes which <at one time seemed inherent in
• photography. For .some time past the one thing needful
to extend the domain of photography in the region of
pictorial art, and to furnish indisputable credentials to its
adherents to bo recognized as legitimate subjects in that
region, has been a higher culture and a more perfect
knowledge of pictorial conditions. Aids to art study of
a general kind have not been lacking, but they have, for the

Sose in que.stion, seriously wanted special j)hotographic
ication. Desultory art instruction of a more speci.al
kind has been found in photogr.aphic journals 4 but this
has lacked the sj'stematic and progressive character neces-
sary to give completeness to such instructions. We have,
however, in the course of the present volume, endeavoured
to .supply the existing and deeply-felt want, and in the
lessons on pictori.al effect in its photographic application,
we have, we believe, furnished the jmotographic art
student, not only with more comprehensive and detailed
instructions than have ever before been published, but
with sufficient guidance, if carefully studied and honestly
.followed, to enable him to attain high excellence in the
pr.actice of pictorial photography.

One word in e.special relation to the articles themselves.
When, .at the commencement of the pre.sent volume, we
.announced th.at a series of .articles on pictorial effect in
relation to photogr.aphy should appe.ar in our pages, we
st.ated that contributions towards such a series had been
sent in and promised from v.arious sources, and that this

m.atcri.al would be placed in the h.ands of Mr. Robinson for
arrangement, .addition, or elision. This w.as the original
l)rogr.amme. Mi'. Robimson found, however, at the outset,
th.at the j^l'i'i proposed would materi.ally limit the .sys-
tematic and progrc.ssivo char.actcr and consequent com-
pleteness and usefulness of the .artielcs. He therefore
jireferred to commence unfettered by other materi.al, pro-
ducing just such a scries of .articles .as his own art study and
photographic art practice suggested would be most v.alu.able
to the earnest, student of pictorial photogr.aphy. As Mr.
Robinson h.ad iiot only long occupied a foremost position in
the r.anks of arp photogr.aphy, but had, jirevious to his intro-
duction to photography, spent some years in the study
and practice of art as a jiaintcr (his work in this direction
having been exhibited .at the Royal Academy and other
exhibitions of paintings), we felt that his desire in this
resiicct should be held p.ar.ainount ; and our readers have
gained the .adv.antage in the fulness, completeness, and
.admir.able .simplicity and perspicuity of the scries of art
lessons just completed.

Rut few words need be .added on the subject of art study
itself. It is perfectly true, that the greatest .and grandest
elements in pictori.al .art c.annot be taught. ’ No art teach-
ing will confer the power to conceive a fine picture ; but
given the creative instinct, art culture can airl the student
in giving to his conceiitioes pictorial form, and save him
from much he.art-brc.aking disappointment at the crudities
which result from attempts to give pictorial expression to
thought, without a knowledge of the conditions of pictori.al
effect. Art culture will often, too, stimulate conception,
and a knowledge of conditions will often suggest the
thoughts which m.ay be expressed by their aid.

Further, a knowledge of the laws of pictorial effect is of
emphatic importance to the photogr.aphcr, bccau.se he is
less c.allcd upon in his art to .attempt to give a form to
pictori.al conceptions th.an to give pictori.al embodiment to
existing f.acts ; and it is often only by .arrangement of
m.atcri.als and m.an.agcment of light and sh.adc th.at a pic-
torial char.actcr can be given to the representation of
pros.aic f.acts. To the painter who can give interest
to his picture by the beauty of the subject, or of the
thought represented, and to whose work the glamour of
colour can .add fresh charms, some disrtgard of the laws of
composition may sometimes be permitted without pictorial
loss. To the photogr.apher who would excel as .an artist,
a rigid attention to all that can be reduced to rule becomes
imperative, because it often forms his sole mcilns of ele-
v.ating his work beyond the rank of a mere di.agr.am or
plan and elev.ation of some very commonplace and un-
pictori.al piece of n.ature’s handiwork, whether aniin.atc or
inanim.atc.

\\'’e urge the photogr.aphic art student, then, whilst in no
degree neglecting the culture of the esthetics of .art, to

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ground himself fust of all in its simple framework by a
study of rules, and assiduous practice, for practice’ sake, of
those rules. We have before quoted, and we now repeat, an
adminable remark by Dr. Thompson, bearing on the ques-
tion : “ Every art, from reasoning to riding and rowing, is
learned by assiduous practice ; and if principles do any
•'ood, it is proportioned to the re.adincss with which they
can be converted into rules, and the patient constancy
with which they are applied in all our attempts at excel-
lence.” In the series of lessons just completeii, recognized
rules have been clearly stated, and j)rincii)les have been,
as far as possible, stated witli the simplicity and precision
of rules, and their application clearly pointed out and
illustrated. It remains for the student to put them into
practice.

o

riioTOdu.vriiv ix coxxectiox with the

AUYSSIXI.VX EXPEDITION,
nv It. luDioN riiiTcii.uin,

OF THK OKNKR.U. rilOTtXiU.Vni IC F-.'^TAUMSHEXT OF Till*. WAR Dlir ART.M ENT.*

TilE gre.ater part of the varnish (chloroform and amber)
was found unsuitable for use in a hot climate, out of doors,
as the fdm did not h.ardcn rapidly, and was frequently
rendered tacky by the he.at ; this was the more annoying
from the circumstance that whenever a negative was taken,
copies of the same were required to be printed off imme-
diately. For work of this description', .Sergeant Harrold
prefers to use Newman’s Diamond Negative Varnish.

A\ ith but few exceptions, the chemicals and appliances
were in first-rate order, and worked almost without a hitch.
In copying pl;ms — an operation which wa.s, of course,
conducted in the oi)en air — imich dilliculty was expe-
rienced from the breezes which blew almost incess.mtly in
the vicinity of the mountains. Often the maps were blown
right olT the copying-t.able ; .and during e.xposure it was
frequently necessary to keep brushing the dust and sand
from the origin.al, a proceeding which sometimes militated
against the sharpness of the rei)roductions.

A\ ork had to be undertaken at all times, so that at any
juoment the photographers were ordered to fall out on the
line of march, whatever might be the state of the weather,
and the likelihood or possibility of success. AVheu the
duty had been performed, successfully or unsuccessfully, as
the case might be, the boxes were packed, the mules
Siuldled, and the head-quarters caught up again as soon as
possible. Taper w.as sensitized over night whenever a halt
w;is made, about sixty sheets being prepared .it a time,
occupying the staff between four and five hours. Early in
the morning the prepared pajier was rolled in sheets of
blotting-paper, and stowed away as far from the light as
possible ; and on arriving at the next encampment printing
was at once commenced. After toning and fixing, the
prints were washed for two or three hours, and if water
happened to be iilentiful, which was very seldom the ca.se,
the same was changed several times during the night.
A\ hen the pictures were urgently required, they received
but an imperfect and hiisty washing ; but otherwise they
were packed moist in blotting-paper, aild again wa.shed on
the first opportunity ; when the ]>rints dried in contact
^^ith the paper, the Latter required to be carefully moi.st-
ened before a separation was attempted, as pictures in this
condition are very li.able to injury. The squaring and
mounting operations were performed without dilliculty.

It will be a question in future operations of this kind
whether, instead of printing the iilans on jiaper and
mounting them afterwards on linen, it would not be better
for field purposes if they were produced direct from the
fabric. The material might be kept ready stiffened and
albuminized ; the sensitizing and jirinting operations
would not be more laborious or time-taking, and the
amount of w.ashing required would be very small, as the

* * CoDlimied from p. 605

water readily permeates the fabric. The time gained by
shortening the process of washing, .and obviating alto-
gether that of mounting, would be considerable.

A subject of regret is the fact that a greal dc.al of useless
work w.as sometimes performed on .account of the ignor-
ance of photogr.aphic matters on the. part of staff officers
who gave orders. This occurred the more frequently from
the fact that Colonel Pritchard’s command w;us so exten-
sive that he was unable to give the ])hotogr.a])hcrs his un-
divided attention. .Such a st.ate of things would easily be
avoided in future by sending an ollicer well skilled in jiho-
togr.ajihy in immcdi.ate charge of the jiarly ; it would then
be possible to question the fe.a.sibility of an order upon its
reccijit, instead of vainly endeavouring to obey an impos-
sible mandate, and wasting valu.able time and materials
unncccs.sarily. In many c.ascs, in taking landscape pic-
tures, a rough, imperfect sketch w.as frequently .all that
w.as rcquircil ; but even this, under unfavourable cii’cum-
st.ances, is sometimes quite as dillicult to secure .as a per-
fect picture With soldiers there is, however, no appeal ;
and an order given must he obeyed if possible. .So some-
times the mules h.ad to be halted and the boxes unpacked
during' a long march in a drizzling rain, in order that a
])icture might be attempted of .some mountain or other,
the top of which w.as envclopcil in a dense fog, simply be-
cause a staff officer h.ad expressed himself to the effect that
the whole would make a grand picture.

The scarcity of w.atcr on the line of route w.as a serious
evil ; sever.al negatives had frequently to be washed in the
same water, and the prints fared no better. Besides, the
water was in general badly adapted to photogr.aphic pur-
jioses, being very h.ard and full of chlorides, involving,
therefore, gre.at waste of silver in its employment : a distil-
ling .apparatus h.ad been provided for purifying the water,
but the latter w.as .always so .se.arcc, and time .so pressing,
that the still w.as rarely resorted to. From the fact that
the majority of negatives taken wore those of maps re-
quiring a lengthened .and more v.aried treatment than
ordinary plates, in order to produce a film of comsiderable
density, the w.ant of an .abuiuLant supjfiy of water was felt
more seriou.sly than would h.ave been the c.asc in ordinary
m.anipulations.

On inspecting the laud.scapc and other negatives taken
by the chief photographer .and his assistants, it will be .seen
that they include many creditable iiroductions ; and when
we remember that not a single one of them was specially
selected for the camera by the photographers themselves,
and that the scries of sixty negatives lias not been weeded
out, but represent the whole number produced to order,
sometimes with the sun shining directly into the camera,
sometimes when the sun had gone down, sometimes with
the camera in the sunlight and the object to be reproduced
in a covered tent, at most unseasonable times, at all
hours, after long marches, and by men who h.ad besides to
perform the duties of soldiers — I say, when we bear in
niiiid the circunist<ances under which the opcr.ators
lahoured, the work they h.ave performed is highly com-
mendable. There is, however, one more picture which
should h.ave been included in the set our friends have
brought home, and which is c.agerly sought for by every
examiner of the sketches ; its absence is regretted, how-
ever, by nobody so much as by Colonel Tritcliard himself,
who was iiKlef.atigable in his endeavours to obtain inter-
esting subjects for the camera, but who w.as unfortu-
nately wounded .at the storming of M.agdala, and, there-
fore, unable to perform any active duties for some days
after the death of King Theodore. An order was sent
down by Ceneral Napier to obtain a picture of the fallen
chief, but, owing to some dcl.ay, the instructions were not
given to the Engineers until after tlie interment ; the
authority for visiting the body rc.ached .'sergeant Harrold
one hour too late, .and thus h.as been lost .all record of
those features, a delineation of which by jihotography,
even of the crudest description, would have been of great

tfBER 24, 18G8.] THE PHOTOGRAPHIC NEWS.

616

How eagerly shoukl we all have scj^nned the por-
•c, ill England, in endeavouring to road from the
I markings of the brow the character of the deter-
arrior we had vanfpiished !

rer, we must he contented with the pictures we
iid there are some among them possessing deep
'I'liere is the conference tent at l)urbagh, where
meeting took place between Napier and Kassai :
ip Wius alleged, but treachery was feared, and,
gly, we see ujion the field the troops and guns
p ready for salute or for action ; for it was deemed
leans improbable that within half an hour of the
f that picture the landscape might be turned into
-field, and the labours of the photographers re-
or more serious purposes. Tliere are the views of
i and King 'riicodore’s house ; of Selassee, the height
on the Good Friday, together with tlie rock from
le Emperor’s big gun first opened fire ; groups of
le of the captives, who are now probably scattered
Europe, and whom, even within twenty-four Iiours
liberation, it required some energy on tlie ))art of
atoi’s to collect together to be photographed. Of
relies of Abyssinia, there are views of those of
at, Magdala, Focada, and Antalo ; jiictures of
lake and of scenery on the banks of the Tellari,
;e, 1 )jedda, and Bashelo rivers, besides rejire.senta-
all the principal points of interest and architectural
es met with.

le whole, therefore, I think we can congratulate
al Engineer photographers, and more especially
t Ilarrold, on the manner in which they performed
diious duties ; to them the staff of the army was
debte I for information obtained and circulated by
f the camera, their labours forming no unimportant
the cog-wheel of administrative machinery, which,
he guidance of Sir 11. Napier, worked so smoothly
ely ; to them we at home are indebted for a clear
ion of the mature of the country, for presenting to
w the various dilficulties met with during the
pilgrimage to release the prisoners, for giving us a
tureof King Theodore's stronghold, and for show-
what the inside of Magdala was like. And 1 feel
a will agree with me in the opinion that if ever a
ledal has been well earned by a photographer, it is
tiich Sergeant Ilarrold now wears upon his breast,
ich wa.s specially awarded to him for distinguished
I rendered in the field before Magdala.

INTENSIVE rilOTOQRAPIIIC PIRACY OF
ENGRAVINGS.

of extensive piracy was last Friday brought before Mr.
in Allen and Aldorinaii Sir Robert Carden, when
i Coleman, John Lawrence, and William Hooper were
with conspiring together to sell and publish pirated
f certain engravings of groat value, contrary to law.
lOwis said ho appeurad to prosecute the three in isonors,
If of Mr. Ilomy Graves, for a eons|iiracy to injure him
business, by publishing and selling [lirated copies of
ed paintings, for the copvright of which ho had to pay
arge sum. Tho prisoner Lawrence, who appeared to bo
italist, had supplied tho copies to Colemau, who hawked
)Out the streets of Loudon alter they had been mounted
per. Tho Act under which the charge was lirought
y protected paintings, drawings, ami ])hotographs from
and made it an offence punisliablo with a very severe
to sell or publish a copy without tho consent or autho-
the owner. Mr„ Graves had spent enormous sums in
ng his copyright works. Ho sold copies of them for
tiree or four guineas each, whereas those exhibited in
:ets by the defendants might bo had for JL'l or 30s.

Henry Graves gave evidence as to his copyright in the
pictures, including tho “ Railway Station,” &c., and as
liracies produced having been manifestly copied from

Mr. Alderman Allen, looking at a print, said : This photo-
graph is not so perfect as the others.

Witness. — No, they all fade in a very short time. They
should bo all stopped in publication. I produce a certificate of
the registration in February, 18GG, of O’Neil’s picture of “ Tho
Anxious Mother,” with an impression from my plate.

Mr. Lewis. — Is the photograph produced a piracy?

Witness. — Certainly; and I may state that if this thing goes
on they will have nothing to copy f.om, as publishers will not
produce an engraving to have it copied tho very next morning.
I also hand in a registration certificate of Miss Edwards’
painting, “ The Last Kiss,” and I produce a photograph which
h.as been taken from my engraving. Every touch and every
line of tho original engraving is reproduced in that photograph.

Mr. Lewis. — i believe tho original plate was destroyed in
your great lire ?

Witness. — Yes; in fifteen minutes I lost £40,000 worth of
property. I pr iduco a certificate of the registration of Millais’
picture, “The Parable of tho Lost Piece of Money,” which
was unfortunately destroyed in the fire at Baron Marochetti’s
studio. There are thousands of piracies now in circulation,
and the effect is almost to annihilate my sale. I sell “ The
Railway Station ” at five guineas a copy; tho defendants at
*21s. They probably get 19s. profit on each picture; in fact,
is is to them all profit. Last week a package of them was
stopped at tho Custom House, and the importer was fined £60
or £70 at tlio Thames Police Court. I believe they are mostly
manufactured at Birmingham. 1 have spent £500 or £600 on
these prosecutions, after deducting the fiues. I hope tho time
will soon come when engravings will bo protected like bank-
notes, and tlie forgery of them punished with equal severity.

At the re(|uest of tlie prisoner Coleman, tho charge against
him was read by Mr. Oko, tho chief clerk. lie said, in answer
to it, that it was totally untrue; that it was impossible for tho
photographs to have been produced at Birmingham, where tho
atmosphere was so dense ; and that ho obtained tliem from a
man who told him that they grow in a nursery garden near
St. Paul’s Cathedral. (Laughter.)

William Henry Burgess was next examined by Mr. Lewis.
He said : I am in tho employment of Messrs. Graves and Co.,
publishers, Pall Mall, and have known tho prisoner Coleman
as a hawker of photographs for about six weeks. (This was
denied by tho prisoner.) I have been watching him for that
time, and have seen him almost daily selling pirated copies.
Ho carried them in a box and exposed them for sale in the
street. I saw him on the 21th and 25th, and sent for Mr.
Graves, Jun.

Tho Prisoner. — You are a nice fellow. (Laughter.) You
came to my house, learnt all about my business, and ended in
taking my daughter to the theatre. Yon promised to send mo
yesterday two nice orders, and you kept your word by sending
me tho warrant. You can’t call yourself a man.

Witness. — On tho 25th of November I bougnt from Coleman,
at his house in Banner Square, St. Luke’s, tho 41 cartes-de-
visito produced for 3d. each.

The Prisoner.— You offered me £100 if 1 would tell you
where 1 got them from ; and you wanted to become my
partner.

Mr. Lewis said Mr. Graves had not cared what money ho
spent in finding out tho source of those piracies, and it was
quite true tho witness had suggested a partnership.

Witness. — On tho 3rd of December I bought seven more cartes,
and on the lllh four — all at 3d. each. I have watched the
prisoner Lawrence for about six weeks. lie occupies a room on
tho third floor of a house in Powell Street, Goswoll Road.
Coleman has been in tho habit ol going there night and morn-
ing and leaving his photograph box. Ho used to open the
door with a latch-key.

The prisoner Lawrence. — It is an abominable falsehood.

Witness. — I have spoken to Coleman about his business, and
I told him if he would give me the name and address of the
person from whom he obtained the photographs I would find
£50 to go into partnership with him. He said he would do his
best, but the “ old man ” was a “screw,” and very close-fisted.
He added, “ We have no right to sell them, as we are liable to
a £5 penalty on each.” On one occasion, while wo were talking,
a gentleman came up and asked Coleman for a copyright
picture. Ho supplied him with one, afterwards saying to me,

“ He looks like one of Graves’s men and a touter ; what do you
think of it ?” I replied, “ I don’t know ; he looks queer.”
(Laughter.) He then asked mo my profession, and I told him

GIO

TilK FHUTOGRAPHIC NEWS.

[December 24, 1868.

1 was an architect Coleman told me if ho ever got a summons
ho should “ make a bolt of it.”

Tho prisoner Coleman. — I said I should go away in a balloon.
(Laughter.) His evidence is a tissue of falsehoods. I have
sold pictures, not knowing there w.as any harm in it.

Witness continued. — I was present when Lawreuco’s house
was searched. There were 850 printed copies of Mr. Graves’s
pictures found, as well as hundreds of those of other
publishers.

By Mr. Wontner. — Hooper keeps a shop in .fewiu Street,
and 1 believe ho is a respectable man.

Edward John M’Douall said ho was in the employment of
Mr. Graves, and had been engaged for the last month in
watching the three prisoners. Ho went to Hooper's shop on
the 3rd of Docomber, and took a copy of l\Ir. Graves’s “ Monaich
of the Glen ” to bo mounte<l. Hooper was not present. His
wife opened a largo paper parcel, and showed him coi)ies of
Tho Railway Station,” “ The Second Sermon,” and “ A
Piper and a Pair of Nutcrackers,” among many others They
were all mounted, and witness afterwards saw J,awronco leave
tho house with a parcel like that shown him by Mrs. Hooper.

A few days after ho wont back to fetch tho engraving, and
saw Hooper. Ho showed witness some copies of engravings,
but declined to sell them, as they wore copyrights, and as he
had been engaged to mount them for a gentleman.

The piisonors Coleman ami Lawrence both seemed anxious
to exonerate IIooi)er, but were stopped iii their statements
with that view by Mr. Wontno.', who (lefonded Hooper.

Mr. Boydell Graves said : I am manager to my father, and
saw Coleman selling pirated copies of his photographs in Lime
Street Square on tlio ‘23rd of November. I purchased two
copies of “ Tho Last Kiss,” one of “ Tho Railway Station,” and
two of •* A Piper and a Pair of Nutcrackers ” on that day. Ho
represented that only two copies out of every hundred manu-
factured were sent to London. I counted the pirated j)hoto-
graphs found at Lawrence’s house at Bow Lane Police Station
yesterday, and found there wore 700 cartes-do-visite and 150 of
a larger size. They wore all taken from Lawrence’s bedroom.

The prisoner Coleman : If you saw mo selling these things,
you should have said, “My good man, you know you’re doing
wrong; just hook it.” (Laughter.)

John Mark Bull, a city detective sergeant, said ho received
the warrant for the apprehension of tho i)risonors, and went on
Thursday to the house of Lawrence, in Powell Street, St.
Luke’s, with tho witness M’Douall. He saw Coleman come out
with a largo black photograph case, and stopped him in Old
Street.

Edward Eunnell, another city detective se rgeant, said he
bail acted witii the last witness in the matter, and on Thursday
sent a messenger to Lawreuco’s house in Powell Street. The
prisoner opened tho door, and witness told him the charge on
which ho wnulil bo taken into custody. Ho became very ex-
cited, and said no three men alive should take him. He was,
however, arrested, and he then admitted that ho knew Hooper,
whom he had employed to mount photographs. Witness touml
850 pirated copies of Mr. Graves’s subjects at his house, with
several hundred others. Tho prisoner told him they came from
Scotland, but he could not tell whore. Witness afterwards
arrested Hooper, who acknowledged that he had mounted
photographs lor Lawrence, aud produced his books, showing
the work done. Two copies were found at his house, and he
said ho had supplied Lawrence with 28 that morning.

Tho prisoner Lawrence said ho had been all over Scotland
and England, and had bought them at different places.

At this stage, Mr, Lewis applied that tho prisoners should
bo remanded.

Mr. Wontner submitted that there was no case against
Hooper, who, it had been proved, absolutely refused to sell a
single copy of the pirated photographs.

Mr. Lewis said it was part of the conspiracy to help to pro-
duce tho photographs, and this Hooper had done.

Mr. Alderman Allen remanded the prisoners until Thursday
next, and ollerod to admit them to bail in the meantime — them-
selves in £100 each, and two sureties in £100.

Tho prisoner Hooper at once loft tho court, having found the
requisite amount of bail.

Tho other prisoners wore conveyed to Newgate, Coleman, as
ho was leaving tho dock, causing some Laughter by offering to
become surety for “ his friend ” Lawrence.

gracffirings of

Edinburgh Photogeaphic Society.

The ordinary meeting of this Photographic Society, being the
fourth of tho session, was held on the evening of Wednesday,
December IG; Mr. Nicol occupied the chair.

Tho minutes of a previous meeting having been read and
confirmed, the following new members were duly elected : —
Mrs. John Peat, East Claremont Street, Edinburgh ; Miss
Wood, 130. George Street, Edinburgh ; Mr. Finlay Anderson,
32, Moray Place, Edinburgh ; Mr. E. J. Dallas, Princes Street,
Edinburgh ; and Mr. J. Macdonald, Lasswade.

The Chaikman expressed his gratification to observe that
ladies were beginning to join the Society, and would urge upon
those present the desirability of inducing as many of their
friends as possible to enter their ranks. Ho should like, in fact,
to see tho Society composed of as many ladies as gentlemen,
and saw no reason why it shouhl not bo so.

Mr. Nouman Macbeth then rcail a paper on tho importance
of a few rf tho leading principles of tho art of drawing,
and their bearing on jdiotograpiiy, and oxhibitod drawings in
illustration of the paper. This will appear in our pages in due
course.

Tho Chaiuman thought it would be unuocessary for him, as
well as impossible, to comment upon lhopa[)er, beyond remark-
ing that itw.as, ho thought, tho most valuable paper they had ever
had before them. It seemed to him to combine the practical
with tho thooroiical in such a way as to make it useful to every
photogra[iher, both amateur and professional. Every one of
them would, ho doubted not, derive a great deal of advantage
from it. At that late hour it would not bo desirable to enter
into anything like an extended discussion, tho m ire so that it
seemed to him that tho whole of tho propositions had been so
self-evident, and the whole of tho information so ungainsayable,
that the only thing they could do was to take what they had
got, bo exceedingly thankful for it, and make the best use of it
they could. Ho would bo glad, however, to hoar tho remarks of
any gentlemen present, if they would promise to bo judiciously
brief in their observations.

Mr. George Campbell suggested that it would bo well if
they could devote an entire evening to the discussion of tho
subject of such paper, if they had courage to take it up and
do it justice.

Mr. Davie.s (Secretary) remarked that, in that case, it wouUl
bo better to wait till the paper was printed.

Tho Chairman heartily approved of the idea. If they had
tho paper printed and in their hands, it would bo of very groat
benefit carefully to study it; and seeing that Mr. Macbeth had
kindly volunteered to give any assistance to any one wishing a
little more information, ho had no doubt that gentleman would
be present at tho discussion and help them by intormation or
oxplanalion. The Business Committee would doubtless appoint
an evening for tho purpose of resuming the subject, after tho
paper had been published and in the hands of the members.

Mr. Ross, in cordial terms, proposed a double vote of thanks
to Mr. Macbeth, and remarked that he was only afraid tho dis-
cussion would bo tamo, flat, and unprofitable, because there
wps very little iu tho paper that any one couhl contradict or
gainsay.

Mr. Sandford, of London, then exhibited and explained
an arrangement for using tho magnesium light for enlarging
purposes. The only apparatus at Ids disposal was, unfortu-
nately, defective, and did not give a proper idea of tho system.
It was therefore agreed that at the next meeting two of the
members who are iu tho habit of using Mr. Snudford’s appa-
ratus should give a practical demonstration of its capacity.

The proceedings then terminated.

PRINTS ON APPROVAL.

Dear Sir, — The question of “ prints on approval " has,
perhaps, an aspect overlooked by Mr. Cherrill. If pictures
are to bo so sent, what wonder if photographers bent on
“ business,” when they have a diflicult subject and take

December 24, 1868.]

TIID PHOTOGRAPHIC NEWS.

617

several plates before a passable portrait is obtained, send
prints from each plate taken, in hope that one, at least, may
please, instead of washing off the bail ones on their own re-
sponsibility, and so get the " art ” the bad name of making
people look cross?

Hiis is the custom with some, I fancy, as I have several
times had this remark made me : “ I suppose you will send
me prints of both.” Surely the better plan is to turn out
only those with which the photographer is, at least to some
extent, satisfied? But, ignoring this aspect of the matter,
his paper seems to rest on this rather uncertain foundation ;

Ihe public is not so fond of having its portrait taken that
it wilt reject pictures uiile.ss they are absolutely too bad.
there are, indeed, many people who would sooner put up
with a bad portrait than have the trouble of sitting again.”
“Many,” there are, no doubt; but how about tlie rest?
“May I come again to-morrow?” has been the request o(
merry little sitters who have occupied the best part of a
bright morning ; and children grown older in tlie use of the
looking-gla.ss have expres.sed an idea not altogether dif-
ferent. Must a photographer make his studio a chambvr
of horrore to avoid the impositions of those who, “ now they
see it, do not quite like the effect of tlie dress or, who
“ wish, after all, that they had sat down instead of stand-
ing ”? &c.

To meet the difficulty, we put the following on our receipt
form : — “ To avoid disappointment, it is recommended that
sittei's should have one copy of their portraits before more
are printed. If, for any reason, the first should not be satis-
faetory, another sitting will be given for half-priee, provided
the copy of the first be returned, when the negative will be
destroyed."

Very few indeed object to that solution ot the diffi-
culty ; even those who have been treated on the other plan,
elsewhere, agree that ours is reasonable and fair.

Allow me to make two extracts for the benefit of those
who prefer to follow Mr. Cherrill, that they may know how
far they may have to go : — “ To take a successful photo-
graphic portrait is a much more wonderful thing than many
people seem to think. Persons who have known each other,
and who have been constantly in each other’s society for a
long course of years, naturally know infinitely more of each
other than those who meet only for a few minutes once,
perhaps, ^ in the course of a lifetime ; and yet the photo-
grapher is often blamed if, after five minutes’ conversation
with a person whom he has never before seen, he cannot call
up in the portrai he produces the very best expression ever
seen by even the most intimate friend of the sitter.” And :

It matters not how artistic the pose may be, it matters
little^ how good the picture may be, it matters absolutely
nothing how good the photograph may be, if the portrait is
not approved of, its condemnation is complete ; and if
a picture is condemned, who is to blame, the sitter or the
artist? Certainly, in nine hundred and ninety-nine cases
out of a thousand, not the sitter.”

_Or, if I may put it in other words, “ It is wonderfully
difficult to take a successful photographic portrait, especially
as you may not have an opportunity of seeing the expression
you ought to get ; but it you do not get it perfectly, it is
entirely your own fault, and the “ public has a right ” to
claim that you shall go on till you do ; and you must con-
sider your trouble paid for in your reputation.” Let me
ask Mr. Cherrill how often ho is quite satisfied with his own
work ?

Some one (perhaps as good an artist in his way as some
photographers) once said, that his genius was declining,
because he was satisfied with his productions. — Yours, truly,

Ed. Seeley.

PICTURES BY THE ACTION OF COLD.

SiE, — I cannot help thinking that, with some few modi-
fications, Mr. Winstanley will succeed in his experiments in
“ cold printing.” It seems to me that the causes of failure

radiant portions, and so produce the analogue of the
oiiginal phenomenon.

I trust that Mr. Winstanley will see that I am not
attempting to dogmatize, but only offering suggestions ;
and that if that gentleman should succeed in a future trial,
to him will belong all the credit of a philosophical and
beautiful experiment. — Yours, &c.,

John Anthony, M.D.

JJ ashwood Heath, nr. Birmingham, December 19tA, 18G8.

PACKING CASES.

Sir, — At this season, like many others, no doubt, I find
a good many uses for the cases accumulated in the course
of the summer’s business, I have no doubt, too, that others
have experienced the evil of which I complain. I find that
the enormous nails used by the first senders to secure the
cases so split the wood as to make the second securing of
them, if not an impossibility, at least a matter of great
trouble. Would it not be better to supply the cases with
screws? I fancy it would be to the interest of the whole-
sale houses themselves, besides being, I am sure, a favour
to the customer on whose hands the dilapidated remains arc
eventually cast. — I am, sir, yours &c., Y.

Preston, December lUth, 1868.

wore two; viz., a too great quantity of iodine in the vapour
used, and much too short a time in the application of the
cold. 1 reason thus : — In the original phenomenon of the
radiant heat from the colours in the pattern of the carpet,
I presume that no deposit of the vapour of the room would
have taken place, except on a considerable lowering of the
temperature, and that, by such low temperature being long
continued — that is, for the entire night — an imago was gra-
dually built up ou the portions of glass which received the
less radiant rays. Again, the Wisconsin climate, with its
70“ below our freezing point, would only have to act
through one layer of glass, and that, .as I said, for many
hours continuously ; whereas, the cold of the ether was
induced only for “several minutes,” and then, ere it could
come ill contact with the vapour so as to condense it, it had
to penetrate through two thicknesses of glass, a thickness
of paper, two thin layers of atmospheric air, and a thickness
of collodion film. Now Melloui, as the result of his experi-
ments on the diathermic properties of bodies, places glass
as more unfavorable to the transmission of heat rays than
even ice itself — that is, under certain circumstances. Air is
a bad conductor, and the paper would represent a sort of
cotton blanket. As this winter may afford an opportunity
for a thorough and inexpensive repetition of the experiment,
I should suggest it being conducted thus : — First of all, to
ascertain the weakest iodized vapour which would remain
for some hours in contact with collodion film at ordinary
temperature without so condensing as to charge the film
with iodine, and render it capable of forming a general
layer of iodide of silver in the bath, and so, if presenting an
entire sensitive surface to the light, which must blacken all
over on the application of the developer. Having deter-
mined this, I should put my collodionizcd plate face down
over the vessel containing the vapour; I should then take a
rather deep dish quite flat at the bottom, and pasting the
printed paper on to the reverse of the glass carrying the
collodion, I should place the bottom of the dish firmly
upon the paper while it was still slightly damp, then fill
the deep dish with snow or pounded ice, which I should
sprinkle with hypochloride of ammonia and common salt,
and then leave it all night. I should expect, with this
long-continued low temperature, that opposite the dark
letters of the paper there would be a copious deposit of
vapour charged with iodine, with, perhaps, a small amount
from the cooling down of the layer of air in contact with
the collodion surface ; but I think that the after operations
would show the difference between the radiant and non-

THE PH0TCK5RAPHTC XEW:

LHbctjtbks ‘24, 1S68.

E>'C-LISH CABIXET WOES IX EGYPT.

TV»» S’L — Ib ii» Xi'zmber of tiit pHorociij-ai: Xrwf
dsied YrTfiLber fTT. •cnaer lirE- b-3»iiiir PbaiosTipbj in
Y pj*er EgrP^ ^ apeL ii tat faTcfirinr paa=^r ; —

“ Tilt ifctmlanf iiTTieai Tkresienfd oirr -eoBi-

firainiii of »;►:• frsEh » -wwi TTm of all orr tripod -f*set"^
bscsme ftE of MFrrss. s£hsrw%r6i tat framework of iet
csmerE indiiisd so p»rt

Af tae crmcrs one of tsr muitioctiirt, sad ii if »
rtit •■ita lae so liit xrood of ererr iasmrmta.'i

■bs^BR ii ro2f rnso lat ▼orkmaa f iiaTidf. I ftiii eorrid-Kiii. oa
rtA-diar taf kboi>e. liiK thsre mas: b? a misiakf- ; I =E»li
T f.! II <>!■> »5s-sem ii a fsTocr E Ton ariB pabKA iMs, ▼idi
ike f oU-'^Tar errma from a I****! rfwi'xw from Ih-. V opel.
dtTtd Btrlim I*tcembK- l bii_ 3^•^r —

■ I £ad mj trajiBitio: baf mad- •*ohk faDare in r?j»ro-
;-i mT ^^rpriaii i"Tvt iaso Earlifih- fa mj orirmal
r. ' M iXilttCivnp'ni.. ffl'2 I bare «.r said ibai

tat faaat^ork Liic3ii»sri to pan. bt: oiuj taai tat frcmi-
’•o»rif f'lr aarrriar liit brnsat did btoomt fall of £=>n:xt»-
TLt framtw'jrk cc to’_t canataa if srTl it tacfiltai oooditk®.
ci.rrp-v.-d otij tatst irimt-roardf. Vaici are not made bv
Tctict>rl£. bti t T a Rrrltn maker. I fiad yotr caniera *>erT
^CK»d ; I bate -xforked »iib ii focneeii days in Adea:. in a
leawETarcre cc aWci asid mare tbaa eii woekf it

Fpj»er Eryp: and tat Deoerr. it a temperatart of
atd it dis Terr ■wtri.”

T rom ttr: abr-rc ettract it if cie^ rbai liit only ponion of
ibt camera xriara. g-gvt Tray -waf tac extra froti-boardf
xrnich In. T -•rti bad tried ta tae camera by a cabiaei-
maker it Beriin.

Apcdoririar for trorblits yon. I remait. yous. tc_
JSottacBijirri Ror. P, Mulchxx.

^Wt trt rfad so make ptbiit ibb oorrecaot. We le-
«-';red L>i. lerser it Eaplitb. baritp beet traaslaled

it Berlim — Et .]

Zz Cmr-pTiiirnis.

adfiac jsfi to pritdaee a pfrmaB<nkt tarUfitr. Tbea

expi«» the f-'cnrit ro the oonritaonf aciKa «f the l*eft ligisi
-rtui cMH wmitatc fcff a day w txra. Thb arill redact aad pre-
<STGta2iF tire orrarir iminu'iry iriodi is the next probable cause
«f tbe for ate -treakf. " — Tbf rsc acts* mark in tbe latdscap?

T«- tot iare. Ir has raJber ti»e appearance of a ssaia arising'
frtuL some imTerfeciitit ix tie preparabot or dereJopmeBl. The
wbuie-j-laie lif tt»» appearanc* of f!Igir oeer-eiposnre. Flare
i- jnr-i»erTn-t jireserr irherf the slop is not rig'tilT placed it a
'itgje iOia. bn: i; if art tbe ease herc-

T L-o-sTiryTHatt setd.‘ :.«■ a plait prir: prodneed on the hack of
altiatrrraec paper, t itec iiiih the bath of chlaride of re?d aad
caleiins oeBcnt*^ some time aw hr ■“ STlei ~ it onr page®.
Tijf prim if rirarotf atd £ne. and the xotne a renr rich deep
black. We bar-r rarely seem a fcner plait paper prml- Tne
tegariee. tbict ap;*earf to bare beet good, xraf iisetsiSed '•iiii
Mr. Wimer'® mercery slid gild formnla described it omr
par^.

G. Le3c® — Trie ■Hrj-le is a good Ws f.-ir maty perpese®, and is
for eopyltr vbere perfertlr ®traig'!i: lit*-* are af import-
ance. Frr ti^yitr pe»-and-itk craaicr® -re ®b:o1d prefer to
■&!* a poctril: oooninauot- It i® qzzv- impaf®T>»le to say -vhat
expo*nae yiic xrl'.l regtire-. as ail o-jeiids on tbe lets nsc^ fire
of stork. *.1*,-.. cf tbe Egrr. fcr. U*e- at old colio&ce and a
reAtito-ir-t Ofo e;'.g»er. a'rc a'- sod too lomr eipostre.

' Jt»E« Tttt «® — M- Adat ->.'o»om oocf not prince cards at all.
He {ft ly tirocow f ote sire of jnemre. toi tbit i® lf»i by SJ inch- s-
Hif joc'c'e® are tot pubE®lioc fte akr!:.

OxoMif -If . — Boii tbe let®~ jon tarn* are rood for arrintee-
tirti Tort- and wZl proiace str.-i > ftra.’g'hi line® ; and berth are
rood ’. er.se® for maty ptrpiee-s. Tbe cbief edferenoe i«, that tbe
tijf- one Tttt eaE A if a mneb rapider let® ri«»T B ; srerkiag tiith
frrrTliiT conditianf it abom half tb® time, and baritr fever le-
fejCEtr ®i:rfa'.-es- h ciTc® a more briiiiatl image. Tnatk®.

Xo T niiii®"!- — We fid no: vi®b u- expose tbe vriter it gnestiom,
and st die ii'.c metiiot bis tame; bnt yomr eonjeeinre if correcl.
We siv toe reference yot mestioat rcr-rti^, «*anra«r.

T be mazter if sot (me of pcblie rmporunce. cr it v^.-rld i*e ea-y
t: ptbE-b a diitei or tvo of tbe an(«Eyiiie* asftasod-

a A®EX3_ — W e vlii lesar tbe matter it mind, and do what ve eat
it regard to it. We vIH irriie sbonly.

D. P. I>i FaxxA lOporU’ ' — Tir-re viE be m ot^ectioa, ve eat
assure jot. inn, at tbe ooanrary. extreme plea® tre, in weloomitg
a faredgner a® a member of both tbe fooeues, aad ve shall hare
pleasure it prcposii^ yot it car ccrtirsefar elor.iot. aad making
tbe arratremettf viil yonr agent as yot prepe****.

J. T. HaTC3. — Tuatk®. We sbaii jrim yonr formnla ia oci
neit.

*,* Tm.t and Pixfaci u: tnt t-risem T i.'rine sn_ be grret
viti otr next.

*»* Our YT.».t-Bni-X- It m lev dajf vE: be pnLihsdtod tbe
Txai-Boix ir PHiTocAarsT fJTB FMjT-.‘GiLi.Ts::<- Krw®
AucAVa:. Air tbe faaSB^ vhiim ttr*- distmmifbei :r is
amtta] m tbe past, and vhkb. ditrmg s: maty xfs&a. Lfre
made t: a rr.imrg faTanriae viit tbe i>batogranhic pnbbc. vtH
be ioend n. tiie prejsssa uate. It vil! cettait. besiaec tbe
■tsaal mataer id at tlmsnat. end a c'jitjdete refrasse cf
pb;i*.omi:-tir jrwsews atd iunttla, vixk "aS a>4ert £f-
ciTf-mei and improremectf. tttiodrmg tie msEt ittfrared
moue* of pradwig g tij® art. iririna! ardrlef fratt fiirty
g'-ttlemot Trhoae vti-t2>yBTi virk® rrr® -raioe f tbeir ficti
’• at' p.finxs cf p!< .(tDm.p'iiti m t-o. .ance. r* aciu alsi can—
tr I citif and re’.ojes file the |^r»rtj^e of <-verr brand of
» 1’ ■ 'i~iptT. and miiCTCtriiii! up t eT®cytiicr relattr.r l:

r jjOft — A portrait neK • t - •»- l -*[rTe®‘iiOii(b*i;t- it

'c-dr '.(■ cl : smae iidwniatiut regwdiae ia baf b®4x josa 1:
v'a® pc-s;®,. arair a tiie ovDer. ns we h^^eo-e ; iiti a® be ba® i. c
fiL. t jKp(®sTifilny eiisif thrti it mtr bare i^ncr-eL some '
®aber id onr moaeriiu* eiurretini&damf- If htt one bs» reeerrot ^
a card |*Oi'iefcr. oi a geaHiiemua., p- &«icra. enaansboc vitt I

fdSaSiSrt? and oo.j(id*’.>a. irrtL tbr* ucm** of a Husouw ibuv-p'-vnb*'® I
at tbe hnei- and ri' r®:un. n Va tb® '

la- 'icr. I

GtxzxarrB- Jeaxtsss. jOTD Cc'. — Taatks. Toe cabinet ponrait
yos fiinrsrd :® ray £n» indeed. Ti® pLV.- 'rrapiy is excel -
lera and tb® artisac feriitri* ®fT»sr3aHycii®'.eand oa'ilsfaetary.

A. Sixarr. — Tnatka As tLi® if a »bon V'Sek and the fiagram

reedn-® etgraTitg. y«nr coitmsniealin *> 1 appear it emr

neia

E. M. A — Tne besi remedy for had Bent i® pr.lotred eipostr*.
W nrkitg vitb all tbe cbewealf it tne be« ©on-iLuot is of course
candnriTe v. sensiii®enes® : i<ti tbere is no royal rood vo nfH
expoEnrtf it dtl! veatber. T cm mmy, boarerer, vith propriety
tse a ftrciTg derelaper vbet t ne lirnt is dtlL .A «tremg iron
sniinjot does no; r'eberaliy recaire tbe propertaos of arid added t,j
be inirea«‘-c it tbe aame ratio if the iron saJa Abov. 50 graitf ^
trm and i£i miiirin® «f ocsev? arid is an omnee of voter make a
Ftrnig derelopes'-

B. P. — Ti«» are rvn mod®® cf makirg am aiamooio-aiirtlie both

M-nsifao ia makinga - Zr^r btti ef Tbe ftreirtJ* r««airbd —
Ski €r> graltf VC tbe '.rn -' — -.itn oddmg an-mmia mtlJl all the
sirTer If preriphoted. and loiiiiauiag aaiil the oxide is refi«-
s -lTef t-T tbe addad amm.rtna. TV® both coorirU if oxide of
sl>er fif sc-lre-c it ammonia. The other wMJrta af oxide of
ai>®T £®s:>>®c :r irrrsvecf amm'.mia. Ills mode by preripi-
tatiir t'n® ®-l'rer it t bait, a® bafer*-. v'tt on ts-mik and then odd-
ji'g ritrie arii t:!;! tbe pr-Ep'taie ,® refit vjlrod. This arid,
comuming vrUi tbe onmuila. fent® nicraVe of oonooBio. mrhdeh
re(iifcsc>jT®f tbe oxide cf abr-r. I; it ie-">e®aaiy vo odd aleahed
or ®:ber to tbe oianiiinio-t.tjsae batl if oibmiatined paper he
swed. or tn® albtmet vill b® cl- -.iT-cd.

f* h- fi- — Til’ -‘—ri-tT ■•fiec; if t,b® pAvef tcie f-rvari i® !'•

' H**f£H* 'Cldi't'U 111 'IV : i. iffv lag-' ^ L,!:! CBt" * t/

1 c-alii.::y. Tc ]r ."®®": • - rcre n. tm ode Egg* t’vi. t trim tl
i t m-. aad try a pj®-.e i---.v.rt east ahdshnL. Tot wiZ pro- !
VI 1st imt ttia: ea®ct tCsne i® el®gaer. tririner. nd mtre £r*»
from fer fr gne®. bji.ii.A the oderjot of (ay baif a d w '
fiyp* *f ac-.ic lilt 1 ditOT® 1^ eri., tcjct nenxr^oe tbe bott '.i |
nddme a lev esrep® c f t iO-rrsit s Imiimo if pf s j®a. |

W. C. Aiexs'ftcrial. — Any j.ho:c<grapb®T. obeinw reridest in
or ncit. cat bee 'tj* a m*-itber «f tbe Lemd.m Pbc-t'C/-
grapbir Soriesy. The oonfitiimt i»eio»r®sajy to »»®t.klct«le o
meitbe' are. ittrudnctloa cr heitg propoaed ty a member, ond
poymmt if tbe extranee fee and atmatplioa, each one gninen.

F. — Tnat-t® Tne stbieri fbaH hrre onr af-ertlos fbortly.

Tstits® Kxtyx. — Tne Teoa-Bck* iriJl be nadr it a fer doy».
veTeral Csrrefpondecu is ocr next.

619

INDEX

A

Abridomknt or specifications relating to pho-
tography, 219

Abyssinian expedition, by II. Baden Pritchard,
photography in connection with the, 604, 614

, photorrapby and, 191, 206, 239, 251,

350, 455

prince, photographs of the, 455

scenery, 575

Academy of 1868, by Nelson K. Cherrill, 376
Accident in boiling down a bath, 443
Acetate bath, decomposition in the, 419

of lead in the printing bath, 128

Actinic value of colour in negatives, by M.
Carey Lea, 389

Actinism, the transmission of, by glass, 310

terras illumination, 262

Actinometer, Mr. Bing’s new, 422
Actinometry, by L. Bing, 416
Adhesive mediums, a word or two in favour of
paste, by a Practical Man, 174
Africa, photographic difficulties of an amateur
in South, by Dr. Mann, 134, 140, 152
Albumen, 345

, from a chemical point of view, by J.

Spiller, 170
opalotypes, 69

prints, by M. Carey Lea, reaction of hypo-
sulphites and sulphocyanides upon, 453
Albuminized paper and printers, 649, 561

and brilliant prints, 563

and printing, by N. K. Cherrill, 536,

642

, blistering of, 53

ready for use, sensitive, 337

, salting formulae of, 525

, the proportion of salt employed in,

507, 514, 538, 573

, uneven drying of sensitized, 509

prints, varnishing, 311

Alcohol in developing and fixing solutions, 51

, rectifying, by means of gelatine, 432

Amateur Photographic Association, 202, 560.
587, 597

criticism, 566, 673

America, international copyright with, 143, 179

, photogiaphic convention in, 180, 212. 228,

274

, prices of photographs in, 8

, studio and processes in, 495

American examination of Mr. .McLachlan’s dis-
covery, an, 603

Institute, proceedings of, 274

patent office, photography at, 107

Amorphous albuminized paper, 586
Antidote to vegetable poisons, 407
Application of photography, another, 11

of the camera-obscura to harbour defence.

610

Approval, prints on, 616
Aqueous varnish, by C. Meinertb, 288
Archmology, photography as an aid to, by J
Henderson, 163, 178
Art critic on the late exhibition, 589

, lectures on, 10, 56

studies, photographic, 515

teaching and art study, by Respice Finem,

THE

TO VOLUM

Artificial light, by David Wiostanley, on the
economical use of, 245
Artistic copyright, 587

pictures photographically considered, by

£. Dunmore, 19

printing, Mr. Piercy’s patent method of, 318

process, patent, 311

Atmospheric effects in landscape photography,
by Nelson K. Cherrill, on natural clouds and,
87, 208

Austria, photographic enterprise in, 122

B

BiCKoaocNDS and accessories, by James Martin,
531

, landscape, to portraits, 346

, some hints on, 278

Ball, William, photographs to historical and
architectural notes, 399
Balloon photography, 240, 479
Bankrupt pirate, a, 275
Bath, accident in boiling down a. 443

, making a, 527

Baths, some experiences with, 155
, old, 179

Battery, chloride of silver, 83
Bdattie, John, lighting the sitter, 511

, posing phrenologically and psychologicaily

considered, 567

Belgian volunteers, photographs of, 107
Bellows camera, making a, 11
Bell. William, mixture for retouching negatives,
333

Bensa, L O., the photographers’ re'erence
table, 327

Best photographers, 383
Beverley, J., dry -plate photography, 247
Bichromate of potash, poisoning by, 299
Bing, L., on actinometry, 416

, new actinometer, 422

Biogra)>hical photographic albums, 287
Black tones, 491
varnish, 359

Blake, J. SI., means of equalizing exposure with
wide-angle leases, 594, 607

, means of equallizing exposure with the

wide-angle lens, 607
Blair’s carbon experiments, 443
Blanchard, Valentine, some remarks upon stereo-
scopes, 499

Blistering of albuminized paper, 53
Blisters in albuminized paper, 143
Bloede, Victor O., on a new method of recovering
metallic gold and silver residues, 272, 331

, removing varnish from a collodion film

without injury, 128

Blue glass in photographic studios, by M. Alois
Nigg, on the employment of. 439
Blaring, with a new remedy, by M. Carey Lea,

Bockett, John, on some of the changes which
take place in photographic materials and
chemicals after lengthened disuse, 233
Bolton, W. B., on collodio-bromide, 149
Bordeau, M. Omer, on the employment of mixed
collodion, 546

E XII.

Bovey, W. T., photographic printing in silver,
theoretical and practical, 86, 122, 160, 157, 221
256, 291, 304, 399, 511, 524

, fireside musiogs, 7

, mode of toning, 346, 574

Braun's collodion, 126
reproductions, 395

Brewster, Sir D., the last words of, on photo-
graphy, 139

, the late, 74

Brigandivge, photography and, 11
Brine, a remarkable natur,al, 83
British Association for the Advancement of
Science, 409

. members of, 599

Bromides in a collodion containing a potassium
salt, 265

, test for, 218

Bromide patent, the, 347, 383, 398, 457
Bromine upon certain ethers, on the aotion of,
by .MM. A. Ladenberg and II. Wichelhaus,
343

Bromo-iodized india-rubber, 359
Browne, J. C., redevelopment by nitrate of silver
and citric acid, 234

, view of New York, 5

Bruges and its belfry, 459
Burgess, studio at Norwich, 410, 422
Burke’s photograph. Col., 180

c

CiBiNET background, 22

portraits, 203

in America, 311

with natural backgrounds, 432

work in Egypt, 618

Camera-obscura to harbmr defence, application
of the, 510

printing and collodion prints, 217

Campbell, W., an easy mode of obtaining the
position and focus for field views, 344
Canvas for enlargements or direct printing, by
J. M. Loewe, preparing, 212
Carbolic acid, 487, 479

in the silver bath, 448, 515

Carbon and other tissues, a modification in transl
ferring, 229
Carbon printing, 22

, by M. Carey Lea, 176

— . simplified, 589

, progress of, 497

, simplified mani^Iation in, 277

process, by Dr. II. Vogel, remarks upon

the, 200, 308

, by M.Jeanrenaud, observations on the,

463

— not Braun’s, 110, 242

, notes on the, 297

reproduction, 156, 483

tissue, modified, 99

Carbonate of ammonia in the fixing bath, 47, 58

of lime in toning, 323

Carriage of photographic goods abroad, 33 1
Carrier’s sensitive paper, 319

albuminized paper, 699

Cases, packing, 617
uses of spots in prints, 11

INDEX.

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INDEX

[December 24, 1868,

Luggage, what is passengers’, 4C7
Lui Graphicus on the wing, lot, 202, 209, 418,
486, 060 010
in defence, 588

, the use of clouds as backgrounds in por-
traiture, 99

, the use of clouds in landscapes, 27

M

McLicblan, Mr., remarks upon the wet collo-
dion process, 245, 2.59

McLachlan's discovery, Mr., 45, 58, So, 181, 193,
202, 214, 229, 241, 253

, an American examination of, 603

, by Nelson K. Cherrill, 197

nitrate of silver, by J. Spiller, F.C.3., 254

process, by John Spiller, F.C.S., observa-
tions on, 195

Magic lantern and photography, by J, Martin,
9, 28, 69, 79, 100, 138, 161

, development exhibited by, 107

, gas or oil lamps for the, 154

Magnesia toning baths, 275
Magnesium, cheap, 611

light, enlarging by the, 37

Magnified photographic pictures, 309
Mann, Dr., photographic difficulties of an ama-
teur in South Africa, 140, 152

, Professor Smyth’s “ Great Pyramid” bath,

296

Manufacture of glass, Mr. Chance’s lecture on
the, 236

Marking iak. by II. Neale, 592
Matseilles, Photographic Society of, 284, 394
Martin, J., backgrounds and accessaries, 531

, the diamond, 281, 367

Masking prints, a new method of, 518
Mason, O. O., removing varnish and collodion
film from old negatives, 487
Measurement of the luminous intensity of light,
by IVilliam Crookes, F.R.S., ic., on the, 368,
391

Mechanic.al printing process, by R. Griggs, pho-
tography applied to, 199

Medals at the Cornwall Polytechnic Exhibition,
482

, final, of the French Exhibitio*, 371

Memorial eard mounts, 323
•Mercury, the stability of negatives intensified by
iodide of, 481

Methylic alcohol, artificial, 345

into ethylic alcohol, conversion of, 845

Micro-photography, by Jules Gerard, 572

, stereoscopic, 10

Microscopic Society, soiree at, 215
Middleton, J. B., combination negatives, 282
Military school of photography at Chatham, the,
373

Jlirage at Dover, remarkable, 251
-Moist condition, by General .Mongin, on the
preservation of collodionized plates in a, 258
Monckhoven’s, Dr., photographic optics, 148
Mongin, General, on the preservation of collo-
dionized plates in a moist condition, 258
.Monochromatic light as a means of detecting
disease, use of, 228

Moon, photographs of the, 264, 273, 309
■Monslre photographic group, a, 347
Morphine plates, insensitive spots on, 215
— , the moist proeess, 2
Morren, Prof., on a peculiar action of light upon
the salts r^f siiver, 418
Motive power, new, 345
Moulds for the galvano-plastic process, 335
Mounting-boards, sulphur compounds in, 189

cards, on the occurrence of hyposulphites

in, by J. Spiller, F.C.S., 220
— —^photographs and engravings, method of.

Blounts for cards and cabinet pictures, 96
Mount for photographs, new style of, 602

Neutral nitrate bath, 287, 299
Newman’s diamond varnish, 3.59
Nigg, M. Alois, on the employment of blue
glass in studios, 438

, a visit to the photographic studio of

the Imperial Military and Geographical Insti-
tute in Vienna, .592, 605
Nitrate bath, keeping in order, 121

of nickel in photography, 287

— of stiver, another substitute for, 419

— , poisoning by, 335

Nitro-glucose, by M. Carey Lea, 381
North London Society, 23, 82, 128, 178, 236, 284,
479, 501, .548, 59.5

or south, byN K. Cherrill, 458, 536

Notes on photographic subjects, by M. Carey
Lea, 509

on the Continent, pootographic, 381, 39 4,

405, 439

Notman, IViiliim, photographic portraits, 399
Novelties, photographic, 239, 279
Nugent, K., a treatise on optics, 529
Nuisances, photographic, 599

O

Obitoirv, 228, 539

Obernetter, application of the collodio-chloride
process, 457
Old baths, 179

negative baths, by J. R. Johnson, a new

method of treating, 93

negatives, by 0. G. Mason, removing films

and varnish from, 487

toning and fixing solutions, by Prof. Towlcr,

resuscitation of, 21. 31

Oldham Photographic Society, 70, 117, 166, 226,
284

Omnium gatherum, remarks on various photo-
graphic topics, by Stmuei Fry, 92
One bath, toning and fixing in, 331
Opalotypes, albumen, 69
Op.al glass, removing stains from, 371
Opaque glue, 396

Open air effects in the studio, on producing, by
C. E. Pearce, 556

Operating, by Fritz Ilaugk, practical hints on,
436

Optical toy, a new, 334
Ornamenting windows in studios, 263
Osmotic motion, by W, J. Land, print-washing
aided by, 511
Oat-door meeting, 443

photography, by J. R. Heaton, 175

Oval masks for portraits, 482
Oxford and Cambridge, 202
Oxid.ition of potiissium and sodium, 420
Oxyhydrogen light, by J. Traill Taylor, and the
means of preventing explosions, 103
Ozone upon the latent image, the action of, 66
, formation of peroxide of silver, 572

P

Packino cases, 617

Panoramic apparatus for the field, by Camille
Silvy, 212

camera, 334, 491

stereoscope, 200, 220

P.aper, photographic, 611

turning brown on development, .574

Paraffine in encaustic paste, 445

in photography, the use, .59.5

Paralysis among photographers, 419
Parke^ne, photography and, Oo
Past year, photography during the. 1
Paste, adhesive mediums, e. word or two in favour
of, by a Practical .Man, 174

and glue for mounting, preservation of, 14

Patent artistic printing presses, 311
Patent law reform, 131

Pearce, Charles, hints on portrait photography,
292

N

Natcral accessories, 432

backgrounds, portraits with, 83 203, 432

in landscape pliotog^gphy, by J. R.

Johnson, 28

colours In photography, approximate in, 299

negatives, 587

clouds and atmospheric effects in landscape

photography, by Nelson K Cherrill, 87, 209
Neale, II. photographic marking ink, .592
Negative bath, by J. R. Johnson, a new method
of treating, 93

belong, to whom does a portrait, 493

, Injury to, by varnishing, 262

Negatives, the effect of manipulations on the
character of, 629

transferred to leather collodion, 470

Pearce, C. E , on producing open-air effects in
the studio, 556

Penalties for piracies not debts, 290
Pension to Lady Brewster, 131
Permanency of collodion films, 311
Permanent albuminized prints, 302
photographs, 299
Permanganate Intensifier, 340
of potash, 119

, by J. K. Johnson, further remarks

U] on the use of, 139

, manufacture of, 528

, restoring old baths with, 85, 93, 109, 122,

275, 310

Peroxide of silver by ozone, by il. II. Woehler,
on the formation of, 572
Persistency of photographic images on glass, 59
Perspective, distortion and, 473, 439, 536, 650

Personal luggage, 599

Phenomena observed in the photographic image,
on certain, by M. I'Abbe Laborde, 115
of light, 311

Philadelphia Photographic Society, 274

Photographer, the, 16

Phipson, Dr. T. L., sulphocyanide of ammonium,
414

Phosphorescent photographs, 440

salts, 131

Photo-block printing, 389

galvanometer, the, 107

lithographic reprints of rare books, 479

lithography, 226, 239, 515

microgiaphs, 520

phonography, by T. Skaife, 418

relief prints, 131

process, Mr. Woodoury’s, 182

zincography in practice, by J. Waterhouse,

R. 4., 280, 293, 306, 317, 340, 355

zincographs, national, 239

Photometre, the new, by Dr. II. Vogel. 171
Phototypes, 122, 515

Photographer, An Old, Echoes of the Month, 5,
04. Ill, 158, 207, 206, 312, 374, 434, 470, 530
580

, the, 64

Photographer's future, the, 431
widow, a, 5'27

Photographic apparatus personal luggage, is a,
447

art studies, 515

evidence, 299, 34f, 383

exhibition in Hamburgh, 443

in Loudon, 134

gallery, a novel, 537

identification, 181

invention, 155

marking ink, by II. Neale, 592

novelty, 239, 279

nuisances, 599

piracy, 218

preparations, on the sensitiveness of, 547

secret, a wonderful, '263

Society’s Exhibition, the, 515

, new secretary, 578

Photographing children, 156

Photographs at the .kmerican Patent Office, 107

in an exhibition of paintings, 11

of historical documents, 59

of paintings, 24

of the Belgian Volunteers, 107

of the eclipse, 479

of the Royal Cornwall Polytechnic Exhibi-
tion, 485

on glass, a new method of etching, by Dr.

Liesegang, 489

to measure, 587

Photography and archaeology, 578
and branding, 494

and disease, 98, 117, 118, 130, 142, 157, 167,

170, 191, 382

and perspective, by N. K. Cherrill, 536,

473, 550

applied to mechanical printing process, by

R. Griggs, 199

as a profession, by S. Thompson, 44

at the Havre exhibition, 539

at IVimbledon. 346

cannot lie, 280

in Egypt, 521

in Russia, 527

in South Africa, 1.34

in Upper Egypt, by Dr. Vogel, 569

made cheap and easy. 299

the best detective, 264

. the last words of Sir David Brewster on,

139

Pictorial art, the progress of, 311
Pictorial effect in photo,irAphy, 613

effect in photograpbr, by II. P. Robinson,

40, 5’2. 67, 77, 88, 102, 11'2, 125, 1.38, l.'iO, 10.’,
173, 185, 198, 209, 230, 243, 255,270, 282, 295,
303, 317, 328, 339, 352, 366, 378, 390, 402, 412,
4-25, 437, 451, 463, 475, 489, 497, 521, 534, 546,
558, 570

Pictures by the action of cold, by D. Winstanley,
603, 617

In a cup of tea, 290

Piercy’s patent methoil of artistic printing, 318
Pigments, by G. Wharton Simpson, photographs
in, 16

Pinholes in dry plates, by Sebastian Davis, the
cause of, 60S

Pi aty and informers, 332, 345, 358, 382, 407, 587

, more. 35, 71, 116, 131, 135, '207, 218, 251

287, 333 587

of engravings, extensive photographic,

015

of photographic copyright, 71

Pirating .Mr. Woodbury s process. 467

Plain paper prints, simple plan of obtaining, 642

prints from albuminized paper, 563,

575

December 24, 1868.]

INDEX,

623

Plaster of Paris harder, how to make, 324
PolsoniDK with bichromate of potash, 299
Poisons, the new act to regulate the sale of, 263,
385. 587

Political portraiture, 492
Polytechnic exhibition, the, 513
Pompeiians, the immured, by J. Werge, 427
Popularity, photography and, 539
Portable apparatus for the field, by Henry Cook,
248

photographic laboratory, by llippolytc

Rochat. 322

Portrait figures with natural backgrounds, 83

discovered, 575

. , man's property in his own, 182

photography, by Charles Pearce, bin's on,

292

Portraits a la Salomon, 119

of Adam Salomon, 432

on approval, 563

on graves, 574

with landscape backgrounds, double nega-
tives, 325

Portraiture on approbation, 533, 549
Posing, instructions for, 532

, phrenologically and psychologically

considered, by John Beattie, 567
Potassium salt, bromides in a collodion c n-
taining a, 265

Practical experience with some dry-plate pro-
cesses, '285

hints in working tannin plates, by M. P.

Johannes Graus, 461

on operating, by Fritz Ilaugk, 436

Man, a, adhesive mediums, a word or twj

in favour of paste, 174

, studio hinUs, by a, 22

photography, theoretical and, by Homer

Fellows, 176

Practice of silver printing, 62
Precipitate of chloride of silver, 407
Preliminary coating of albumen in the wet pro-
cess, 155

Presentation print, competition for, '287, 395
Preservation of collodionized plates in a moist
condition, by General Mongin, on the. ‘258
Preservative for collodio-bromide plates, new,
407

nitrate of silver, 47

Preserving protosulphate of iron, 407
Preventing explosions, by J. Traill Taylor,
oxyhydrogec light, and the means of, 103
Prevention of stains on negatives in hot weather,
337

Price, on portraiture. Lake, 326
Price's Manual of Photogiaphic Manipulation,
Lake, 314

Prices of photographs in America, 8
Printing bath, acetate of lead in tiie, 127
, by Ariliur Taylor, description of an im-
proved frame for photographic, 74

by development, 114,300

formulae, 562. 574

in silver, theoretical and practical, by W.

T. Bovey, 86, 122, 160, 157, 221, 253, '291, 301,
399, 511, 524

press, its use to photographers, by

Thomas Gulliver, 593

process, by J. M. IVaterhousc, rapid

development, 568

, uranium and nickel. 431

room, our, by N. K. Cherrill, 512

upon ivory, by D. Duncan, two simple and

practical methods of, 367

without chloride of silver, double salt for,

421

Prints and albuminized paper, brilliant, .563

on approval, by Neho i K. Cherrill, 591, 616

Print-wasliing aid by osmotic action, by J . IV.
latnd, 511

Pritchard, H. B.iden, photography in connec-
tion with the Abysinnian expedition, 604, 614
Pr.ze portrait at the Royal Cornwall Polytechnic
exhibition, 503

Proceedings of Societies, 23, 31, 69, 82, 9o,
105, :i7, 128. 141, 166, 178, 188, 202, 2-22, 225,
236, 250, 261, 274, 284, '297, 370, 394, 430, 454,
465,501, 548, 559, 595, 604, 616
Production of photog.-aphic enlargements, by D .
IVinstanley, 54

Progress of carbon printing, 407
Property of gun-cotton, a newly discoveicd, 611
Proportion of salt employed in albuminizing
paper, the, 507, 538

Protection for negatives, india-rubber as a, 41.5
Publishing prints from (lurchascd negatives, 502
Pure white gutta-percha, 412

Q

Qobkktt M 1 roscopical Club, 419
soiree, 143

R

Railway carriers, photography and the, 21
Raphael reproductions, 180
Rare books, photolithographic reprints of, 479
Reaction of hyposulphites and sulphocyanides
upon albumen prints, 453
Recent patents, 21'2, 248, 322
Recovery from cyanide poisoning, 338
Rectifying alcohol by means of gelatine, 432
baths, 129

Red colouring matter, new, 341
Redevelopment by nitrate of silver and citric
acid, 234

Reducing chloride of silver, by Dr. Graeger, on
a wet method of, 79

Reduction of tliescsqui-saltsof iron and proto-
Slits, 388

Rees. H., the art of photographic colouring, 219
Reissig, Dr. W., remarks upon the retouching
of negatives. 4‘28

Relief fund, photographic, 122, 491, 505, 529,
537, 519, 562, 572, 578, 585, 598
Relief in art, 407

Removing silver stains from opal glass, 371

the varnish and collodion film from old

negatives, by G. Mason, 487

varnish from a collodion film without injury,

by V. G. Bloede, 128

Report of the Council of the Photographic
Society, 94

Reproduction of engravings and line drawings,
by F. Fink, 3'20

- — of old engravings, photographic, 219
Reproductions of works of art of all countries,
461

Researches on dry processes, by Carey Lea, 80

on the hyposulphites and other fixing

agents, by Jolm Spiller, F.C.S., '29
Residues, on a new and simple method of re-
covering metallic gold and silver from, by
O. Victor Bloede, 272, 331
Residee Finem, ait teaching and art study, 487
Restoration of the negative film, on the, 362
Restoring old baths, permanganate of potash for,
85, 109, 122, 310

Resuscitation of old toning and fixing solutions,
by Professor Towler, 21, 31
Retouching negatives, 333, 365, 371, 428, 544

of M. Adam-Salomon’s pictures, the, 254

photographs, by Grasshoff, 518

Reutlingei’s studio in Paris, 448
Robinson, H. P , pictorial eflect in photography,
40, 5-2,67, 77,88, 10'2, 1V2, 12.5, 136, 150. 16'2,
173, 183, 198, -209, '222, '230, 242, 255. 270, 28'2,
‘295, 303, 317, 328, 339, 352, 366, 378, 390, 4U2,
412, 425, 437, 451, 462, 475, 487, 497, 521, 534,
546

, H. P., producing pictorial effects in

photographv, 558. 570
Robinson's “ Returning Home,” 447
Rochat, Hippolyte, photographic laboratory, port-
able, 322

Royal diary, the, 228
)>hotographers, 323

Society of Medical and Natural Sciences of

Brussels, '263

Rue’s, Warren de la, photographs of the moon,
‘264, 274

Ruinous competition, 347
Russia, photography in, 527

s

Sale of poison.s, 263, 587
Salomon, M. Adam 35
in London, 397

Salomon’s, JI. Adam, formula, encaustic paste,
433

pictures, the retouching of, 354

portraits, an American estimate of, 59

portrait, 83, 106, 432

portraits, an art critic on the lighting’and

touching of, 38
studio, 42, 48, 62

Salt in albuminizing paper, the proportion of,
employed, 507

— in albuminized paper, proportion of, 573
Salting formulie of albuminized piiper, 525
Salts of silver, by I'rof. Slorren, on a peculiar
action of light upon the, 416
Sampson, H., sunsets on the sea, 5
Sarony’s studio at Scarborougli, 110
Sawyer's studio at Norwich, 55.5
Schrank, Ludwig, on the employment of collo-
dionized paper, 476, 488
Science of the sunbeam, the, 167
Scientific education, 143

gleanings, 345

Opinion, 503, 539

Seals, photograpliic, 351

Secretary of the I’hotographic Society, the new,
578

Secret writing, chloride of gold for, 215
Seduction in a photographic studio, 107
Seely, Ed , experiments, intentional and other-
wise, 568

Sel Clement, or preservative nitrate of silver,
47, 145, 213, 226, 262, 439
Sensitive albuminized paper preserved ready for
use. 337

development printing process, 523

salt for photographers, fluoride of silver, 26

Sensitiveness in dry jilates, loss of, 170

of iihotographic prejiarations, on the, 547

Separating gold from silver, 834
Short essays on art and photography, by Respice
Finem, 487

Silvering iron wire, 372
Silver printing, 62, 106

soap as a sensitive agent, 25

Silvy, Camille, panoramic apparatus for the
field, 213

Simplified manipulations in carbon printing, 277
Simpson, G. IVharton, glass for photographic
purpose.^, and the changes of colour to which
it is subject, 75

, photographs in pigments, 16

, the Ykak-Book ok Photograpiit, 17

, James, method of enlarging, 249

Skaifc, T., photo-zincography, 418
Sketches of travel from a sun-painter’s portfolio,
by Stephen Thompson, ‘267, 363, 401, 459
Small negatives and enlarged prints, 278
Smyth’s, I’rof, great pyramid bath, by Dr. Mtnn,
‘296

Soap in collodio-bromide of silver, another new
dry process, 17

in dry collodion, 35

Solar eclipse, the, 107, ‘299, 311, 396, 419, 562

enlargements on canvas, 179

heat as a motor, 299

printing by development, 453

on canvas, 272

Solomon’s, 5Ir., lamp at Falmouth, 527

, enlarging by n agnesium, 127

Source.^ of success in operating, ‘227
South Kensington, photography at, 71
light, 491

South London annual dinner, 587, 611

London I’hotographic Society, 31, 95, 141,

167, 188, ‘250, 297, 502, 559, 575, 608
Spectrum reconstructed, 324
Spiller, F.C.S., J., egg albumen from a chemical
point of view, 176

, Mr. McLachlan’s nitrate of silver, ‘254

, observations on Mr. McLachlan’s process,

195

, on the occurrence of hyposulphites in

mounting cards, 220

, researches on hyposulphites and other

fixing agents, ‘29
Splitting of films, 107
Sponging waxed prints, 431
Spots in prints, another cause of, 11
Stability of negatives intensified with iodide of
mercury, the, 481
Stains on negatives, 347

on tannin plates, 347

• on negatives in hot weather, 337, 347

Status of photography, 527
Stereoscope, by Valentine Blanchard, some
remarks on the, 499

Sternberg, 51. C., a rapid enlarging process, 460

, the wet collodion process, 356

Stippling the glass of studios, 2‘2, 47
Stojiping'Out skie-v, &c., 275
Stops, influence of shape of aperture, 263
Strengthening negatives by heat, 251
Strengthen varnished negative.’, to, 538
Strutt, Hon. John W., diffusion of focus, 483
Studio accessories, 587

, by C. E I’earce, on producing open air

effects in the, 5.56

hint.’, by A I’ractic-l 5Ian, 22

, the use of a second, 15

Studios and processes in .America, 495

, by Dr. Vogel, on the principle of lighting

and constructing, 329, 342, 379

, visits to noteworthy, 42, 48, 62, 90, 110,

184, 409, 422 448, 555
Substitute for ground glass, new, 373

for nitrate of silver, another, 419

Sugar in the printing bath, ‘23, 120, 227, 451
Suicide with cyanide, ‘263
Sulphocyanides, by M. Oivialc, observations on
the emploj ment of, 223

Sulphocyanide of ammonium, by Dr. I’hipson,
F.O.S., 414
toning, 250

Sulphur in the mounting boards, 169
Sun, constitution of the, 575
Sun-painter’s portfolio, by Stephen Thompson,
sketches of travel from a, 267, 363, 401, 459
Swan’s carbon process, 242

624

INDEX,

[December 24, 1868.

Swiag, tilt, or level, by John Towler, M.D., 613
Syphon, eccentricities of, 362
, automatic, 465

Talk in the Studio, 11, 23, 35, 47, 59, 71, 83, 96,
106, 119, 131, 143, 155, 167, 179, 191, 203, 215,
♦27, 251, 262, 275, 287, 299, 311, 323, 335, 346,
359, 371, 383, 395, 406, 419, 432, 443, 455, 467,
479, 491, 503, 515, 526, 539, 551, 563, 674, 587,
599, 611

Tannin plates, keeping properties of, 179
, practical hints in working, by Johan-
nes Qraus, 461

, stains on, 347

Tasmania, photographic souvenir of, 167
Tax on the sun, 82

Taylor, A., description of an improved frame for
photographic printing, 74

, J. Traill, concerning the oxyhydrogen

light, and the means of preventing explosions,
103

Temporary varnish for negatives, 455
Terry, William A., collodio-chloride, 224
Test for bromides, 218

for the presence of a free acid, 143

Theatre, photography in the, 602
Theodore’s son, photographs of, 347, 454
Theoretical and practical photography, by
Homer Fellows, 177

Thomas, F.C.S., R. W., the modern practice of
photography, 219

Thompson, S., photography as a profession. 44

, Steven, sketches of travel from a sun-

paintcr’s portfolio, 267, 363, 401, 459

, the late C. Thurston, 38

Tones, black, 491
Toning collodion prints, 349

— and fixing bath, by Nelson K. Cherri'l,
hyposulphite of ammonia and the mixed, 66,
137

and fixing in one bath, 331

and fixing solutions, by Prof. TowUr, re-
suscitation of old, 21, 31

bath, the old, of hyposulphite of soda and

gold, 14

, a neutral, 299

, a valuable, 359

— of sulphocyanide and hyposulphite of

gold, 443

, modes of, *11

Touching and lighting of M. Salomon’s portraits,
an art critic on the, 38
Touch, or not to touch, to, 131
’fowler, Professor, M.D., re.suscilation of old
toning and fixing solutions, 21, 31

f American scenery, 5

, con-elliptical vignettes. 442

on the coffee process, 452

, swing, tilt, or level, 513

Transferring carbon and other tissues, a modifi-
cation in, 229

enainel-s, removing the collodion film used

in, 275

negatives, by Walter B. Woodbury, on, 425

Transformation of photographic images in silver
into other metals and combinations, by Will
helm Qrune, 244

Transmission of actinism by glass, 310
Transparent designs on paper, producing, by
W. B. Woodbury and R. II. Ashton, 248
metal, 396

Transparencies on dry plates without cutting the
negative, printing, 523
Tunnel, photographing the interior of a, 263
Tyndall, John, on a new series of chemical reac-
tions produced by light, 55.5, 571, 584

U

Unckrtaixties of dry psocesses, 447
Uneven drying of sensitizer’ paper, 251, .508
Uranium and nickel printing process, 434

salt for positive printing and measuring the

actinic force of direct sunlight, 283
Use of common water in photography, the, 133
Utilizing old negative baths, 179

V

Varieties in the qualities of the collodion, a new
cause for, 479
Varnish for negatives, 471

, tcmjrorary, 288, 45.5

from a collodion film without injury, by

V. Q. Bloede, removing, 128
Varnished negatives, to strengthen, 538
Varnishing, 22

albuminized paper, 311

Vegetable poisons, antidote to. 497
Ventilation of dark rooms, 148
Vienna, a visit to the photographic studio of the
Imperial Military Geographical Institute iu,
by Alois Nigg, 592, 605
Vignetting in the camera, 131
Vignettes, con-elliptical, by Prof. Towler, 442
Vitrified india-rubber sheet, 66, 205
Vogel, Dr., on retouching negatives, 365

, principles of lighting and constructing

studios, 329, 342, 379

, recent experiments with collodion, 413

, remarks on the carbon process, 200, 308

, the new photometer, 171

, photography in Upper Egypt, 569

W

Wanted, a m.an, by H. P. Robinson, 424
Warming the d.ark room and chemicals, 589
Warner, W. II., local sketches illustrated by
photographs, 219
Washing machine, 371

, eccentricities of a syphon, by N. K.

Uhcrrill, 352

KNl) OF THE T WE Is FT H

Washing sensitive plates, 602

IVatching the lark, 601

Water, common, for nitrate bath, 119

in photography, the use of, 133

Water expand on becoming ice, does, 551, 534
Waterhouse, J. R A., photo-zincography in
practice, 280, 293, 305, 317, 340, 355

, J. M., rapid development printing process,

568

Water, wet collodion without, 457, 470, 478, 490
Waxing prints, simple method of, 122

the plate- holder, 45.5

IVeak baths, 503

prints, curious cause of, 120

Weather and photography, the, 346
Wedding cards, 492

Werge, J., photography and the immure<l Pom-
peiians, 427

Wet collision process, by Mr. McLachlan, re-
marks upon the, 245, 259

process, by C. Sternberg, the, 356

without water, 457, 470, 478, 491

— method of reducing chloride of silver, by
Dr. Graeger, on a, 79

photography in the field, 490

photography in the field without a tent,

310

process, preliminary coating of albumen in

the, 155

What is passengers’ luggage, 467
White gutta-percha, on pure, -142

pigment in carbon printing, 406

pigment, new, 611

Wliites of albuminized prints, the elimination 0(
silver from the, 61

IV'ichelhaus, on the action of bromine upon
certain ethers, by M.V1. A. Ladenbcrg and II.
313

IVilliams’s studio, Mr. T. R., 90
Winstanley, David, on the economic use of arti-
ficial light, 245

pictures by the action of cold, 603

, the production of photographic enlarge-
ments, 54

IVoodbury, Walter, a simple method of double
printing, 42

, on transferring negatives, 425

Woodbury’s patent, 299

photo-relief process, 182

process, pirating, 467

Woodbury, W. B. 4 11. R., producing transparent
designs on paper, 248

IVoehler, M. II., on the formation of peroxide o
silver by ozone, 572

Workers in pho'ography, inklings from the, by
John II. llallen >ach, 283

Y

Yellow negatives, nesv method of intensifying,
181

spots on prinU, imperfect fixation, 463

VOL U ME.

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