,illustration3 ,,the ,s4 ,a4 ,,photographic ,,series4 ,edited by ,w4 ,i4 ,,lincoln ,,adams4 ,no4 #a4 ,,the ,,photographic ,,amateur4 ,by ,j4 ,,traill ,,taylor4 ,a ,guide to the ,young ,photographer1 either ,professional or ,amateur4 7,second ,edition47 ,paper covers #j4ej ,no4 #d4 ,,how ,,to ,,make ,,pictures4 ,by ,,henry ,,clay ,,price4 7,fourth ,edition47 ,the ,a ,b ,c of ,dry-,plate ,photography4 ,out of print4 7,see ,no4 #bf7 ,no4 #e4 ,,photography ,,with ,,emulsions4 ,by ,capt4 ,w4 ,,de ,w4 ,,abney1 ,r4,e41 ,f4,r4,s4 ,a treatise on the theory and practical working of ,gelatine and ,collodion ,emulsion ,processes4 7,second ,edition47 ,paper covers 4#ge ,no4 #g4 ,,the ,,modern ,,practice ,,of ,,retouching4 ,as practiced by ,m4 ,piquepe1 and other celebrated experts4 7,eighth ,edition47 ,paper covers1 #ej cents3 ,library ,edition 4#ge ,no4 #h4 ,,the ,,spanish ,,edition ,,of ,,how ,,to ,,make ,,pictures4 ,ligeras ,lecciones sobre ,fotografia ,dedicados a los ,aficionados1 ,cloth bound1 #ge cents4 ,paper covers 4#ej ,no4 #i4 ,out of print4 ,no4 #ab4 ,,hardwich',s ,,photographic ,,chemistry4 ,a manual of ,photographic ,chemistry1 theoretical and practical4 7,ninth ,edition7 ,edited by ,j4 ,,traill ,,taylor4 ,leatherette binding #b4jj ,no4 #ac4 ,,twelve ,,elementary ,,lessons ,,on ,,silver ,,printing4 7,second ,edition47 ,paper covers 4#ej ,no4 #ad4 ,,about ,,photography ,,and ,,photographers4 ,a series of interesting essays for the studio and study1 to which is added ,european ,rambles with a ,camera4 ,by ,h4 ,,baden ,,pritchard1 ,f4,c4,s4 ,paper covers1 #ej cents4 ,cloth bound 4#ge ,no4 #ae4 ,,the ,,chemical ,,effect ,,of ,,the ,,spectrum4 ,by ,dr4 ,j4 ,m4 ,,eder4 ,cloth bound1 #ej cents4 ,paper covers 4#be ,no4 #af4 ,,picture ,,making ,,by ,,photography4 ,by ,h4 ,p4 ,,robinson1 author of ,pictorial ,effect in ,photography4 ,written in popular form and finely illustrated4 ,library ,edition1 #a4jj4 ,paper covers 4#ge ,no4 #ag4 ,,first ,,lessons ,,in ,,amateur ,,photography4 ,out of print4 7,see ,amateur ,photography1 by ,w4 ,i4 ,,lincoln ,,adams47 ,no4 #bj4 ,,dry ,,plate ,,making ,,for ,,amateurs4 ,by ,,george ,l4 ,,sinclair1 ,m4,d4 ,pointed1 practical and plain4 ,leatherette binding 4#ej ,no4 #ba4 ,,the ,,american ,,annual ,,of ,,photography ,,and ,,photographic ,,times ,,almanac ,,for #ahhg4 7,second ,edition47 ,paper cover 7postage1 #ab cents additional7 #j4ej ,library ,edition 7postage1 #ab cents additional7 #a4jj ,no4 #bb4 ,,photographic ,,printing ,,methods4 ,by the ,rev4 ,w4 ,h4 ,,burbank4 ,a ,practical ,guide to the ,professional and ,amateur ,worker4 ,cloth bound4 7,third ,edition7 #a4jj ,no4 #bc4 ,a ,,history ,,of ,,photography4 ,written as a practical guide and an introduction to its latest developments4 ,by ,w4 ,,jerome ,,harrison1 ,f4,g4,s41 and containing a frontispiece of the author4 ,cloth bound #a4jj ,no4 #bd4 ,,the ,,american ,,annual ,,of ,,photography ,,and ,,photographic ,,times ,,almanac ,,for #ahhh4 ,illustrated4 7,second ,edition47 ,paper 7by mail1 #ab cents additional7 4#ej ,library ,edition 7by mail1 #ab cents additional7 #a4jj ,no4 #be4 ,,the ,,photographic ,,negative4 ,a ,practical ,guide to the ,preparation of ,sensitive ,surfaces by the ,calotype1 ,albumen1 ,collodion1 and ,gelatine ,processes1 on ,glass and ,paper1 with ,supplementary ,chapter on ,development1 etc41 by the ,rev4 ,w4 ,h4 ,,burbank4 ,cloth bound4 ,reduced from #a4ej to #a4jj ,no4 #bf4 ,,the ,,photographic ,,instructor ,,for ,,the ,,professional ,,and ,,amateur4 ,being the comprehensive series of ,practical ,lessons issued to the ,students of the ,chautauqua ,school of ,photography4 ,revised and enlarged4 ,edited by ,w4 ,i4 ,,lincoln ,,adams1 with an ,appendix by ,prof4 ,,chas4 ,,ehrmann4 7,fourth ,edition1 enlarged and revised47 ,paper covers #a4jj ,library ,edition #a4ej ,no4 #bg4 ,,letters ,,on ,,landscape ,,photography4 ,by ,h4 ,p4 ,,robinson4 ,finely illustrated from the author's own photographs and containing a ,photogravure frontispiece of the author4 ,cloth bound4 #a4ej ,no4 #bi4 ,,the ,,processes ,,of ,,pure ,,photography4 ,by ,w4 ,k4 ,,burton and ,,andrew ,,pringle4 ,a standard work1 very complete and freely illustrated4 ,price1 in paper covers1 #b4jj4 ,library ,ed4 #b4ej ,no4 #cj4 ,,pictorial ,,effect ,,in ,,photography4 ,by ,h4 ,p4 ,,robinson4 ,a new edition4 ,illustrated4 ,mr4 ,robinson's first and best work4 ,cloth bound #a4ej ,no4 #cb4 ,,practical ,,photo-,,micrography4 ,by ,,andrew ,,pringle4 ,fully illustrated4 ,cloth bound #b4ej ,no4 #cc4 ,,the ,,american ,,annual ,,of ,,photography ,,and ,,photographic ,,times ,,almanac ,,for #ahij4 ,paper cover 7by mail1 #ad cents additional7 4#ej ,library ,edition 7by mail1 #ad cents additional7 #a4jj ,no4 #cd4 ,,the ,,optical ,,lantern4 ,illustrated4 ,by ,,andrew ,,pringle4 ,paper covers1 #a4jj4 ,cloth bound #a4ej ,no4 #ce4 ,,lantern ,,slides ,,by ,,photographic ,,methods4 ,by ,,andrew ,,pringle4 ,paper covers #ge cents4 ,cloth bound #a4be ,no4 #cf4 ,,the ,,american ,,annual ,,of ,,photography ,,and ,,photographic ,,times ,,almanac ,,for #ahia4 ,paper covers 7by mail1 #ae cents additional7 4#ej ,library ,edition 7by mail1 #ae cents additional7 #a4jj ,cyclopaedic ,index for #ahia ,annual 4#aj ,no4 #cg4 ,,photographic ,,optics4 ,a ,text-,book for the ,professional and ,amateur4 ,by ,w4 ,k4 ,,burton4 ,paper covers1 #a4jj4 ,library ,edition #a4ej ,no4 #ch4 ,,photographic ,,reproduction ,,processes4 ,illustrated4 ,by ,p4 ,c4 ,,duchochois4 ,paper covers1 #a4jj4 ,cloth #a4ej ,no4 #ci4 ,,el ,,instructor ,,fotografico4 ,paper covers1 #a4jj4 ,library ,edition #a4ej ,no4 #dj4 ,,the ,,american ,,annual ,,of ,,photography ,,and ,,photographic ,,times ,,almanac ,,for #ahib4 ,out of print4 ,no4 #da4 ,,the ,,chemistry ,,of ,,photography4 ,by ,w4 ,,jerome ,,harrison4 ,cloth bound #c4jj ,no4 #db4 ,,picture ,,making ,,in ,,the ,,studio4 ,by ,h4 ,p4 ,,robinson4 ,paper covers1 #ej cents4 ,cloth bound 7,library ,edition7 #a4jj ,no4 #dc4 ,,the ,,american ,,annual ,,of ,,photography ,,and ,,photographic ,,times ,,almanac ,,for #ahic4 ,edited by ,w4 ,i4 ,,lincoln ,,adams4 ,paper covers 7postage extra1 #ae cents7 4#ej ,cloth bound 7,library ,edition7 7postage extra1 #ae cents7 #a4jj ,no4 #dd4 ,,the ,,lighting ,,in ,,the ,,photographic ,,studio4 ,by ,p4 ,c4 ,,duchochois4 ,a new edition4 ,paper covers1 #ge cents4 ,cloth bound 7,library ,edition7 #a4jj ,no4 #de4 ,,the ,,grammar ,,of ,,photo-,,engraving4 ,by ,h4 ,d4 ,,farquhar4 ,illustrated4 ,the most complete text-book yet published on this subject4 ,price1 in paper covers1 #b4jj4 ,cloth bound 7,library ,edition7 #b4ej ,no4 #df4 ,,industrial ,,photography4 ,illustrated4 ,by ,p4 ,c4 ,,duchochois4 ,being a description of the various processes of producing ,indestructible ,photographic ,images on ,glass1 ,porcelain1 ,metal1 and many other substances4 ,paper covers1 #ej cents4 ,cloth bound #a4jj ,no4 #dg4 ,,the ,,american ,,annual ,,of ,,photography ,,and ,,photographic ,,times ,,almanac ,,for #ahid4 ,edited by ,w4 ,i4 ,,lincoln ,,adams4 ,paper covers 7postage extra1 #ae cents7 4#ej ,cloth bound 7,library ,edition7 7postage extra1 #ae cents7 #a4jj ,no4 #dh4 ,,aristotypes ,,and ,,how ,,to ,,make ,,them4 ,giving a complete description of the manufacture and treatment of ,gelatino and ,collodio-,chloride ,papers4 ,by ,,walter ,e4 ,,woodbury4 ,illustrated4 ,paper covers1 #a4ej4 ,library ,edition #b4jj ,no4 #di4 ,,the ,,encyclopaedic ,,dictionary ,,of ,,photography4 ,containing over #b1jjj references and about #djj illustrations4 ,by ,,walter ,e4 ,,woodbury4 ,in press4 ,no4 #ej4 ,,the ,,american ,,annual ,,of ,,photography ,,and ,,photographic ,,times ,,almanac ,,for #ahie4 ,with over #bjj illustrations ,in paper covers4 ,postage extra #ej ,cloth bound4 7,library ,edition47 ,postage #ae cents extra #a4jj ,no4 #ea4 ,,the ,,photo-,,gravure ,,process4 ,by ,henry ,r4 ,blaney4 ,a very complete and practical book1 written by an ,expert4 ,in paper covers1 #ej cents4 ,cloth bound 7,library edition74 #a4jj ,for sale by all dealers in ,photographic goods1 booksellers1 and sent1 post-paid1 on receipt of price1 by the publishers1 ,,the ,,scovill ,,adams ,,company ,,of ,,new ,,york1 ,,send ,,for ,,book ,,catalogue4 #dbc ,,broome ,,street4 99 99 99 99 99 ,a ,selected ,list of ,books ,,from ,,the ,,scovill ,,adams ,,co4',s ,,book ,,catalogue4 ,price per ,copy4 ,amateur ,photography4 ,a ,practical ,guide for the ,beginner4 ,by ,w4 ,i4 ,,lincoln ,,adams4 ,illustrated4 ,paper covers1 #ej;c42 cloth bound #a4jj ,lantern ,slides and ,how to ,make ,them4 ,by ,a4 ,r4 ,,dresser4 ,a new book1 very complete and practical 4#be ,photography at ,night4 ,by ,p4 ,c4 ,,duchochois4 ,illustrated4 #ajh pp4 ,paper covers #a4jj ,bromide ,paper and ,how to ,use ,it4 ,written by an ,expert1 with a specimen ,bromide illustration 4#be ,the ,knack4 ,written expressly to help the beginner in perplexity1 reduced to 4#be ,photographic ,lenses2 ,their ,choice and ,use4 ,by ,j4 ,h4 ,,dallmeyer4 ,a special edition1 edited for ,american photographers4 ,in paper covers 4#be ,the ,chemistry of ,photography4 ,by ,prof4 ,,raphael ,,meldola #b4jj ,the ,photographic ,image4 ,by ,p4 ,c4 ,,duchochois4 ,a ,theoretical and ,practical ,treatise on ,development4 ,paper covers #a4ej ,cloth bound #b4jj ,the ,ferrotyper's ,guide4 ,for the ferrotyper1 this is the only standard work4 ,seventh thousand 4#ge ,the ,photographic ,studios of ,europe4 ,by ,h4 ,,baden ,,pritchard1 ,f4,c4,s4 ,cloth bound1 #a4jj2 paper covers 4#ej ,art of ,making ,portraits in ,crayon on ,solar ,enlargements4 7,third edition47 ,by ,e4 ,,long #a4jj ,history and ,hand-,book of ,photography4 ,with seventy illustrations4 ,cloth bound1 reduced to 4#ej ,crayon ,portraiture4 ,complete instructions for making ,crayon ,portraits on ,crayon ,paper and on ,platinum1 ,silver and ,bromide ,enlargements2 also directions for the use of ,transparent ,liquid ,water ,colors1 and for making ,french ,crystals4 ,by ,j4 ,a4 ,,barhydt4 ,a new edition4 ,paper covers1 #ej;c42 cloth bound #a4jj ,art ,recreations4 ,ladies' popular guide in home decorative work1 with a chapter on photography4 ,edited by ,,marion ,,kemble #a4jj ,american ,carbon ,manual4 ,for those who want to try the carbon printing process1 this work gives the most detailed information4 ,cloth bound4 ,reduced to 4#ej ,manual de ,fotografia4 ,by ,,augustus ,,le ,,plongeon4 7,hand-book for ,spanish ,photographers47 #a4jj ,secrets of the ,dark ,chamber4 ,by ,d4 ,d4 ,t4 ,,davie 4#ej ,the ,photographer's ,book of ,practical ,formulas4 ,compiled by ,dr4 ,w4 ,d4 ,,holmes4 ,ph4,d41 and ,e4 ,p4 ,,griswold4 ,paper covers1 reduced from #ge;c4 to #cj;c42 cloth bound1 reduced from #a4ej to 4#fj ,american ,hand-,book of the ,daguerrotype4 ,by ,s4 ,d4 ,,humphrey4 7,fifth edition47 ,this book contains the various processes employed in taking heliographic impressions 4#be 99 99 99 99 99 ,,an ,,announcement6 ,we have made arrangements with the ,,new ,,york ,,photogravure ,,company by which we are enabled to offer a series of magnificent ,photogravures at a very low price4 ,the first is that which has been already published and described by us1 being the ,,court ,,of ,,honor1 at the ,world's ,fair4 ,the companion to this is in preparation1 and will shortly be ready4 ,it represents a view of the ,,administration ,,building ,,and ,,court ,,of ,,honor1 looking up from the ,peristyle4 ,these two pictures form a magnificent souvenir of the ,world's ,fair1 and imperishable ones1 which have not been approached in artistic or technical excellence4 ,each measures about #ah x #bb inches1 and they are printed in the best style1 on paper #bd x #cb inches4 ,the next two pictures are photogravures from negatives made by ,mr4 ,,john ,e4 ,,dumont1 of ,rochester1 and form admirable companion pictures4 ,their titles are1 ,,no ,,doubt1 and ,,in ,,doubt1 and represent1 in one case1 a monk with a winning hand of cards1 and having no doubt what his play is to be4 ,in the other1 a monk holding a hand of cards which evidently is a losing one1 and1 as evidently1 he is in doubt as to what to play4 ,the story of these pictures is admirably told1 and with all the well known skill of ,mr4 ,,dumont4 ,the next in the series is a ,,landscape ,,with ,,sheep1 by ,mr4 ,,robert ,s4 ,,redfield1 of ,philadelphia1 and can well pass for a reproduction of a painting by ,,verbeck ,,hoven1 not that it is in any sense a copy of any picture1 being entirely original1 but in sentiment and feeling equaling the best and most artistic work of the painter4 ,as a companion to this1 ,a ,,storm ,,at ,,brighton is published4 ,this was one of the prize pictures at the recent exhibition of the joint ,societies of ,amateur ,photographers of ,boston1 ,philadelphia and ,new ,york4 ,it is exceedingly effective as a study of cloud and motion of water1 and forms an admirably suggestive study for artists4 ,it is from a negative by ,mr4 ,,ernest ,,edwards1 ,president of the ,new ,york ,photogravure ,company4 ,the well-known picture of ,flirtation has also been engraved for this series1 and will be very popular4 ,this picture 7it will be remembered7 appeared in the ,american ,annual of ,photography for #ahib4 ,with the exception of the two first1 all these pictures measure about #af x #ab inches for size of work1 and are printed on etching paper1 #bb x #bh inches4 ,the uniform price of all is #b4jj each4 ,for sale by all dealers4 ,other subjects will follow1 from time to time4 ,these ,photogravures will be sent1 post-paid1 by mail1 carefully packed1 on receipt of price4 ,,the ,,scovill ,,adams ,,company4 99 99 99 99 99 ,twelve3 ,photographic3 ,studies4 ,,the ,,third ,,edition4 ,a ,collection of ,photogravures from the ,best ,representative ,photographic ,negatives by ,leading ,photographic ,artists4 ,,compiled ,,by ,w4 ,i4 ,,lincoln ,,adams4 ,,the ,,collection ,,includes ,dawn and ,sunset1 ,h4 ,p4 ,robinson4 ,childhood1 ,h4 ,mc,michael4 ,as ,age ,steals ,on1 ,j4 ,f4 ,ryder4 ,a ,portrait ,study1 ,b4 ,j4 ,falk4 ,solid ,comfort1 ,john ,e4 ,dumont4 ,ophelia1 ,h4 ,p4 ,robinson4 ,no ,barrier1 ,f4 ,a4 ,jackson4 ,el ,capitan1 ,w4 ,h4 ,jackson4 ,still ,waters1 ,j4 ,j4 ,montgomery4 ,surf1 ,james ,f4 ,cowee ,a ,horse ,race1 ,george ,barker4 ,hi1 ,mister1 may we have some ,apples8 ,geo4 ,b4 ,wood4 ,printed on ,japan ,paper1 ,mounted on ,boards4 ,size1 #aa x #ad1 in ornamental ,portfolio and a ,box4 ,price1 #c4jj4 ,sent1 post-paid1 on receipt of price1 by ,the ,scovill ,adams ,company4 99 99 99 99 99 ,artistic ,landscapes ,,from ,,nature4 ,representing ,the ,four ,seasons4 ,these plates were made from photographs taken direct from nature4 ,they have been most beautifully reproduced by the highest grade 7copper-plate7 process of the ,new ,york ,photogravure ,company4 ,the plates measure #f x #h inches1 but are printed on extra heavy plate paper #aa x #ad inches in size4 ,each picture is printed in a tint especially appropriate for the season which it represents1 and the entire set of photogravures are in every way worthy of framing4 ,the negatives were photographed from nature by ,mr4 ,w4 ,i4 ,,lincoln ,,adams1 and they have been enthusiastically praised wherever shown4 ,what ,,george ,,inness1 ,america's greatest landscape painter1 says of these photogravures3 ,they are very charming1 and should prove extremely useful in the development of the landscape art of our country4 ,they are sold singly or in sets4 ,price1 per copy #j4ej ,the ,set of ,four #a4ej ,sent1 post-paid1 to any address1 on receipt of price1 by ,the ,montclair ,photogravure ,publishing ,company1 ,,montclair1 ,n4 ,j4 99 99 99 99 99 ,,theodore ,,metcalf ,,co4 ,chemicals ,fine1 ,rare and ,crude1 of every description4 ,from the many years we have dealt in this class of supplies1 we claim to be leaders in this branch of the drug trade1 and by constantly replenishing and increasing our stock1 and at once procuring or manufacturing all new chemical products1 we are able to do full justice to all orders4 3 ,pure ,chemicals 3 ,,for ,,photographic ,,and ,,process ,,work4 ,bromide of ,potassium4 ,bichromates4 ,ammonium1 ,potassium and ,sodium4 ,powdered ,dragon ,blood1 ,light ,colored and ,dark4 ,metcalf ,powdered ,bitumen of ,judea4 33 ,,also 33 ,syrian ,asphaltum4 ,benzole1 ,chemically ,pure1 ,by ,can or ,barrel4 ,etc41 ,etc41 ,etc4 ,boston1 ,u4 ,s4 ,a4 99 99 99 99 99 ,the ,grammar of ,photo-,engraving4 ,by ,h4 ,d4 ,,farquhar4 7,number ,forty-five of the ,scovill ,photographic ,series47 ,,containing ,,instruction ,,in ,drawing1 ,chemistry and ,optics1 as applied to ,photo-,engraving4 ,,and ,a ,,practical ,,treatise ,,on ,,the ,,art ,,of ,,half-,,tone1 ,,zinc ,,etching1 ,,swelled ,,gelatine1 ,,lithotype ,,and ,,chalk ,,plate ,,engraving1 ,,as ,,practiced ,,in ,,the ,,united ,,states4 ,,illustrated4 ,the object of this book is to present to the constantly increasing number of persons seeking after practical knowledge in the art of process engraving1 a comprehensive and totally reliable text-book4 ,the book has been written with a view to instruct the amateur as well as the professional1 and the writer has always had in mind the beginner1 counting no detail too trivial to be fully described4 ,it has been written for the most part in the leisure hours1 after practical service during the day in a photo-engraving establishment1 so that the instruction goes directly from the shop to the pupil4 ,it has been the author's hope1 in writing this book1 to so carefully describe every branch of work connected with the subject1 that the beginner1 who knows absolutely nothing about it1 may become a practical photo-engraver from a careful reading of the work4 ,,contents3 ,chapter ,i4--,drawings for ,photographic ,reproduction4 ,the ,materials ,required4 ,chapter ,,ii4--,chemicals used in ,photo-,engraving4 ,chapter ,,iii4--,apparatus and the ,workshop4 ,chapter ,,iv4--,photographic ,processes as ,employed in ,photo-,engravings4 ,preparation of the ,chemicals4 ,chapter ,v4--,causes of ,failure4 ,remedies4 ,chapter ,,vi4--,the ,half-,tone ,process4 ,screen ,plates4 ,chapter ,,vii4--,zinc ,etching4 ,preparation of ,chemicals ,used in ,zinc ,etching4 ,chapter ,,viii4--,etching in ,half-,tone4 ,chapter ,,ix4--,blocking and ,finishing4 ,tools and ,materials4 ,chapter ,x4--,swelled ,gelatine ,process of ,photo-,engraving4 ,chapter ,,xi4--,lithotype ,engraving for ,color ,work4 ,chapter ,,xii4--,photographing on ,wood and ,other ,processes4 ,price1 in paper covers #b4jj cloth bound 7,library ,edition7 #b4ej ,for sale by all dealers in ,photographic ,materials1 and sent1 post-paid1 on receipt of price1 by the publishers1 ,,the ,,scovill ,,adams ,,company1 #dbc ,broome ,street1 ,new ,york ,city4 99 99 99 99 99 ,illustration3 ,a ,,roadside ,,cottage ,,in ,,the ,,catskills ,e4 ,,edwards ,,photo4 ,n4,y ,,photogravure ,,co4 ,,photogravure4 ,,by ,,henry ,r4 ,,blaney4 ,with ,introduction and ,additions by the ,editor4 ,,new ,,york3 ,,the ,,scovill ,,adams ,,company4 #ahie4 ,illustration ,copyright1 #ahie4 ,,the ,,scovill ,,adams ,,company4 ,,contents4 ,,page ,,introduction ,,by ,,the ,,editor4--,early ,history of ,photogravure-- ,woodbury's ,process--,other ,methods1 #e ,,chapter ,i4--,the ,negative4--,quality best ,suitable4--,necessity for ,reversing4--,methods of ,obtaining ,reversals4--,the ,powder ,process1 #i ,,chapter ,,ii4--,the ,transparency4--,the ,carbon ,process4--,cutting up the ,tissue4--,sensitizing4--,drying4--,expo sing4--,continuing ,action of ,light4--,development4--,carbutt's ,transparency ,plates1 #ae ,,chapter ,,iii4--,the ,carbon ,tissue4--,sensitizing and ,exposing4-- ,the ,actinometer1 #bb ,,chapter ,,iv4--,cleaning and ,graining of the ,copper ,plate ,plate-- ,grade of ,copper ,necessary4--,where and ,how to ,buy it1 #be ,,chapter ,v4--,development of ,negative ,resist on the ,copper ,plate4--,preparation for ,biting with ,acid through the ,gelatine1 #bi ,,chapter ,,vi4--,the ,acid ,baths4--,how to ,make ,them and ,method of ,biting through the ,gelatine1 #cb ,,chapter ,,vii4--,cleaning and ,polishing the ,plate1 with ,tools ,necessary for ,retouching1 #cg ,,chapter ,,viii4--,printing from the ,plate4--,steel ,facing1 #ci ,,chapter ,,ix4--,materials ,necessary for ,photogravure--,list of ,firms ,supplying ,them1 #da ,,chapter ,x4--,books and ,articles on ,photogravure1 #ahhh-ahic1 #dd ,illustration ,,introduction4 ,about the year #ahbj ,nicephore ,niepce made the discovery that bitumen1 under certain conditions1 was sensitive to light4 ,he dissolved it in oil of lavender1 and spread a thin layer of the solution thus obtained upon stone4 ,this he exposed under a drawing 7making the paper transparent by waxing71 and after sufficient exposure1 oil of lavender was poured on4 ,those portions of the bitumen which had been exposed to the action of the light had become insoluble1 and so remained while the lines which had been protected by the drawing were dissolved away4 ,by treating the stone with an acid these lines were bitten or eroded1 and could be printed from4 ,niepce afterward employed metal plates instead of the stone4 ,here we have the foundation for a number of printing processes of the present day1 including photogravure4 ,for many years1 however1 progress in processes for intaglio printing was very slow4 ,in #aheb ,talbot introduced a process termed photoglyphy1 and in #ahed ,paul ,pretsch1 of ,vienna1 patented a process which he termed photogalvanography4 ,in #ahgj the late ,walter ,b4 ,woodbury1 inventor of the ,woodburytype process1 suggested to ,m4 ,rousselon1 of ,m4 ,m4 ,goupil ,co41,a a process which he had discovered1 and which he describes,b as follows3 ,the method1 as perhaps many of your readers know1 is based on the fact that some pigments used in carbon printing have an unpleasant habit of granulating when mixed with gelatine and bichromate1 destructive to their use in carbon printing and ,woodburytype1 but bearing the essence of success in an engraving process where grain is necessary4 ,the origin of this method was simply owing to my getting some bad reliefs1 in which this effect was first noticed4 ,out of this arose the photo-engraving process which1 as ,i said before1 is now claimed as the invention of a ,frenchman4 ,but ,i am digressing4 ,this relief1 possessing a suitable grain1 could1 by hydraulic pressure1 be made to transfer its minutest details to metal without any loss to fineness1 so giving a plate possessing all the properties of a mezzotint4 ,the methods hitherto used of electrotyping would have proved useless1 as all detail would have been lost4 ,the same thing applies to the new method ,i am now about to bring before your readers4 ,the latter process of getting the grain transferred to a hard metal remains the same2 but the novelty is in the method of producing the grained plate4 ,to those who have practiced the process of enameling1 as used by ,geymet and ,alker1 and others1 my description will be better understood4 ,i first coat a thin1 polished steel plate 7zinc will answer7 with a very thin coating of gum1 glucose1 and bichromate as used for enameling4 ,this ,i dry rapidly1 and1 while still warm and desiccated1 expose under a glass positive4 ,on removal from the frame after exposure the plate is made to take up a slight amount of moisture by breathing on it4 ,during this stage ,i brush or dust over it any hard powder1 such as emery1 powdered glass1 etc1 but these ,i keep of different degrees of fineness or coarseness4 ,no4 #a1 is of a coarse quality1 and is used first2 ,no4 #b is finer2 and ,no4 #c is of the finest grain obtainable4 ,these are obtained by passing through muslin of different degrees of fineness4 ,having in the first stage of moisture used the ,no4 #a1 or coarsest1 powder1 after a time ,no4 #b is dusted over and adheres to the middle tints1 while the very finest tones1 which have almost lost their sticky qualities by the exposure to light1 are treated to ,no4 #c4 ,now we possess a granular picture having all the true qualities required in a photo-engraved plate1 or1 rather1 such as will give a reverse in metal having these qualities4 ,the steel or zinc plate is then to be exposed to light to completely harden the mixture all over1 and is then treated exactly as in my other engraving process2 that is1 pressed into soft metal by hydraulic pressure1 electrotyped1 and then the surface is aciercised or coated with steel4 ,the dark parts are thus represented by a coarse grain1 the middle tints by a medium grain1 and the finest shades by the most infinitesimal particles1 thus meeting all requirements necessary to a successful photo engraving process4 ,this process was taken up by a ,frenchman and claimed by him as his own invention4 ,the chief difficulty with it was that the plates before being perfect require the work of a skillful engraver1 sometimes for weeks4 ,they were therefore very costly1 six dollars per square inch being charged for the making of the plate alone4 ,klic's process1 #ahhf1 was the next important improvement in photogravure or intaglio printing1 and since then many other processes and improvements have been introduced by ,obernetter1 ,waterhouse1 ,colls1 ,zuccato1 ,sawyer and others4 ,in the following chapters ,mr4 ,h4 ,r4 ,blaney gives a working description of the process as practiced to-day by many of the leading firms in this and other countries4 ,this originally appeared in the columns of ,,the ,,photographic ,,times1 but ,i have made many additions that ,i have imagined may be of value to the student4 ,a dividing line will be found between ,mr4 ,blaney's writings and my own additions4 ,,the ,,editor4 ,a ,now ,boussod1 ,valadon et ,cie4 ,b ,british ,journal ,almanac1 #ahgd4 ,,chapter ,i4 ,,the ,,negative4 ,any negative may be used for photogravure1 that is1 taken from nature1 or from a painting or engraving1 provided it is reversed1 and1 in the case of paintings1 should1 in addition1 be on an orthochromatic plate4 ,the negative should be soft and brilliant1 well exposed1 and not hard or under-exposed4 ,a reversed negative is always necessary if the print from the copper plate is required to be similar in regard to right and left1 or if no other means are to be taken1 to reverse the image upon the copper plate4 ,professionals use stripping plates especially made for this purpose for small work1 or the reversed negative may be made in the copying camera4 ,a fairly good reversed negative can be made by contact in the printing frame from an albumen print from the original negative1 the print made transparent with white wax by being placed on a piece of warm1 clean metal and the wax rubbed over the face4 ,to have the negative reversed1 the print should first be placed1 face out1 against the glass of the printing frame1 with its back against the sensitive surface of the transparency plate1 the back closed in and exposed to a large lamp for about five seconds4 ,every care must be taken that you use the best of negatives1 carefully retouched if necessary1 as the professional photographic etchers have informed me that 7from their standpoint7 the success of the whole process depends on the quality of the original negative and the care taken in artistic retouching4 99 99 99 99 99 ,it will often happen in commercial photogravure work that plates have to be made from all kinds of original negatives4 ,in cases where these are flat from over-exposure it is well to make a carbon transparency2 intensifying the image with a strong solution of permanganate of potash1 and from this make a fresh negative upon a slow or ,carbutt transparency plate4 ,mr4 ,horace ,wilmer says3 ,the class of negative most suitable is such as gives a good result by any of the printing processes4 ,a bright sparkling negative will always give a good plate1 but ,i do not find that any satisfactory results can be got from a soft flat negative4 ,the negative should be as perfect as possible4 ,it is absolutely useless to work from a faulty negative4 ,contrasts on it may be increased by retouching4 ,such contrasts are desirable because the tendency of the etching is to reduce them somewhat4 ,perhaps the simplest way of obtaining a reversed negative is by placing the dry plate in the slide film inside and exposing through the glass1 of course after allowing in focusing for the thickness of the glass plate4 ,with the wet-collodion process1 usually the method employed by large photomechanical printers1 this method can be used because it is a simple matter to carefully examine the glass plate to be employed1 but it will be obvious that with the ordinary dry plate all the imperfections of the glass1 such as dirt1 scratches1 air-bubbles1 etc41 will be clearly reproduced in the image4 ,another method largely employed to produce reversed negatives direct1 is by means of a mirror or prism placed either before or behind the lens4 ,the prism is the more convenient1 but if large sizes are used it becomes a costly piece of apparatus4 ,the mirror1 which should be a plane of glass silvered on its surface1 is a less expensive affair4 ,by either of these means the reversed negatives can be made direct without suffering the least in quality4 ,with celluloid or other flexible films1 printing can1 of course1 be done from either side4 ,practical men1 however1 say that1 except with the very thinnest films1 there is an undoubted loss of sharpness in the grain when these films are reversed and with some mechanical processes4 ,against this1 however1 it may be said that better contact can be obtained in printing than if the film were upon a piece of uneven glass1 as is often the case1 for by backing it with a piece of plate-glass perfect contact is ensured everywhere4 ,we come now to the method of stripping the film from the glass4 ,if the negative is made by the collodion process the matter is a simple one4 ,the glass is treated with ,french chalk previous to collodionizing4 ,after the negative is made and dried it is laid on a leveling stand and a solution of gelatine poured on it4 ,when dry1 it is readily stripped by running a knife all round4 ,with ordinary dry-plates the method usually recommended is to immerse them in dilute hydrofluoric acid4 ,the difficulty often experienced here is in the lateral expansion of the film4 ,this will largely depend upon the plate1 or rather the quality of the gelatine used4 ,there are1 however1 two methods of securing the films to some medium unaffected by moisture1 and so prevent expansion or distortion4 ,the first is that recommended by ,mr4 ,a4 ,pumphrey and the second by ,mr4 ,h4 ,j4 ,burton1 modified descriptions of which are given in a recent number of ,the ,british ,journal of ,photography4 ,if the negative is varnished this is removed4 ,a thin film of gelatine is moistened in a dilute solution of hydrofluoric acid1 one part of acid to sixty of water4 ,this gelatine film is secured on paper by a coating of india-rubber4 ,the action of the dilute acid is to soften the gelatine1 making it very adhesive4 ,it can1 in this state1 be readily attached to the negative by squeegeeing4 ,the acid in the film passes through the negative1 and releases it from the glass4 ,it can then be lifted off and pinned to a flat surface to dry4 ,the paper can afterward be stripped off1 when dry1 by moistening the back with a little benzole to dissolve the india-rubber4 ,in this manner we get the stripped negative in exactly the same size as when on the glass1 to which it can be restored at any time desired4 ,burton1 in his method1 employs collodion in place of paper as the support4 ,the negative is first coated with a thick collodion1 and this is allowed ten minutes or so to set4 ,it is then immersed in plain water until the film loses all appearance of greasiness4 ,a few drops of hydrofluoric acid are added to the water1 and the dish gently rocked4 ,the film will soon detach itself1 when the plate should be at once rinsed4 ,another plate previously coated with gelatine1 and dried1 is placed in the dish1 and the released film1 after reversing1 is floated upon it1 the two removed together1 and allowed to dry4 ,so far we have only treated upon reverse negatives1 either obtained at once or reversed afterward4 ,it often happens1 however1 that we have an ordinary negative1 which is required to be reversed4 ,this negative may be a valuable one1 and the risk involved in stripping it be too great4 ,another simple method of obtaining a reversed negative is by means of the powder process4 ,although this process is an old one1 it appears to be but little known1 for what reason we have never been able to define4 ,it is by no means difficult1 and by its means a negative can be obtained direct from a negative without the intermediate positive transparency4 ,the principle of the process is this3 ,an organic tacky substance is sensitized with potassium dichromate1 and exposed under a reversed positive to the action of light4 ,all those parts acted upon become hard1 the stickiness disappearing according to the strength of the light action1 while those parts protected by the darker parts of the positive retain their adhesiveness4 ,if a colored powder be dusted over1 it will be understood that it will adhere to the sticky parts only1 forming a visible image1 the same being a reproduction of the positive printed from4 ,the process is very useful for the production of lantern slides and transparencies1 or for the reproduction of negatives4 ,any of the following formulae may be employed for the manufacture of the organic substance3-- ,,solution ,a4 ,gum arabic #be grammes ,grape sugar #fj grammes ,purified honey #ae grammes ,alcohol1 #dj deg #ae c4c4 ,water #fj c4c4 ,,solution ,b4 ,saturated solution of ammonium dichromate4 ,two solutions to be mixed together before using in proportions #ae ,a1 #be ,b1 #ej water4 ,,woodbury',s ,,formula4 ,gum arabic #fj grains ,glucose #de grains ,glycerine #aj minims ,potassium dichromate #cj grains ,distilled water #b ounces ,,obernetter ,,process4 ,dextrine #fj grains ,white sugar #ge grains ,ammonium dichromate #cj grains ,glycerine #b to #h minims ,distilled water #c ounces ,the gum is first dissolved and the remainder of the ingredients added4 ,it may be necessary to warm the solution in a hot water bath to dissolve it4 ,it is then filtered through flannel or clean muslin1 and preserved for use in well-stoppered bottles4 ,with this solution clear glass plates are coated and dried by a gentle heat over a small spirit lamp4 ,the plate while still warm is exposed under a reversed positive,c for from two to five minutes in sunlight1 and from #aj to #bj minutes in diffused light4 ,the image is then but slightly visible4 ,on removing from the printing frame the plate is laid in the air 7protected from light7 for a few minutes to absorb a little moisture from it4 ,the next process is the dusting on4 ,if the image is required to be black1 fine ,siberian graphite is spread over it with a soft flat brush4 ,this will adhere to the parts unaffected by light1 giving an image of the positive4 ,any colored fine powder maybe used1 giving images in various colors4 ,when fully developed the excess of powder is dusted off and the film coated with collodion4 ,after this it is well washed to remove the unaltered gum and dichromate salt4 ,the film may1 if desired1 be detached from the plate and used for enamels1 ivory1 wood1 textile fabrics1 opals1 etc4 ,illustration ,c ,reversed as regards right and left4 ,,chapter ,,ii4 ,,the ,,transparency4 ,regular transparency gelatine dry plates are the handiest for making positives1 especially for amateurs1 if one does not care if the subject is in reverse1 or if one has a reversed negative to work from4 ,there is a special carbon tissue1 price #d4jj per roll of #b x #ab feet1 made by the ,autotype ,company1 of ,london1 ,england1 with full instructions appended2 by a system of double transfer1 reversed negatives may be obtained with this tissue4 ,the special tissue is only to be used for the transparency4 ,a safe edge of black paper is required on the transparency1 pasted up exactly to the edge of the picture1 on the glass side2 it comes1 sold in strips1 gummed1 ready for use1 about #a_/d inch wide2 this is required1 as the tissue used for the negative resist on the copper plate1 which is printed from the transparency1 must have a safe edge1 shielded from the light1 or it will not attach itself to the copper plate1 the tissue coming inside half way4 ,the screw pressure printing frame should have a piece of heavy felt for backing the transparency4 ,the following instructions for making carbon transparencies will no doubt be found useful3 ,the carbon tissue prepared for this process consists of paper coated with gelatine containing carbon1 lamp-black1 or other pigments4 ,the ,autotype ,company1 of ,london1 manufacture a special transparency tissue4 ,,cutting ,,up ,,the ,,tissue is performed by unrolling it gently upon a zinc cutting plate1 cut square and true1 with the inches marked at the bottom and right-hand side4 ,by using a ,t square and observing the numbered inches marked on the plate1 it will not be difficult to cut the tissue to any dimension4 ,if the tissue is very curly and unmanageable it should be kept down with convenient weights4 ,after cutting it up to the required sizes1 which should be conveniently smaller than the dish to be used for sensitizing1 it should be kept flat under a metal plate4 ,,sensitizing ,,the ,,tissue is the next operation4 ,this is performed in a solution of potassium dichromate rendered alkaline with ammonia4 ,tie over the mouth of a two-gallon jug a piece of muslin1 to form a kind of bag1 into which place fifteen ounces of potassium dichromate1 then fill up the jug with water and allow it to stand until the dichromate is dissolved and the solution becomes cold4 ,it is sometimes advisable to regulate the quantity of dichromate4 ,in hot weather1 or for very thin negatives1 the proportion of water should be doubled1 while for very hard negatives only half the quantity should be used4 ,in very hot weather it is often advantageous to replace about #cj per cent4 of the water with the same quantity of alcohol4 ,the operation of sensitizing the tissue must be carried on in a room lighted by a window covered with a yellow blind4 ,a flat dish of porcelain1 glass1 or papier mache1 a squeegee1 and a sheet of glass or zinc larger than the tissue1 will be required4 ,the solution is poured into the dish1 and should be at least two inches deep4 ,the tissue is then immersed in it1 and the air-bells that form immediately brush away from both sides with a broad camel's-hair brush4 ,the temperature of the bath should not be higher than #fj deg4 ,fahr42 and the time of immersion should be from three to five minutes4 ,after the tissue has remained in the solution for the allotted time it is gently removed and laid face downward upon the glass or zinc plate1 and the back squeegeed1 removing all superfluous solution4 ,the tissue is removed from the glass and laid over a sheet of cardboard1 bent into the form of an arch1 to dry4 ,another method 7,h4 ,j4 ,burton's7 of sensitizing carbon tissue is to lay it flat on a sheet of clean blotting paper1 and sponge on the back a very strong sensitizing solution composed as follows3 ,potassium dichromate #d ounces ,liquid ammonia fort #a ounce ,water #bj ounces ,first mix the ammonia with the water1 then grind up and add the dichromate4 ,,drying ,,the ,,tissue should be accomplished in a room perfectly free from the noxious fumes of other chemicals1 and lighted only by non-actinic light4 ,tissues sensitized during the evening should be dry on the following morning4 ,it should then be cut to the sizes required and kept flat in a pressure frame1 or other similar contrivance4 ,,exposing ,,the ,,tissue4--,the tissue can be exposed behind the negative in an ordinary printing frame1 or in special frames having no joint in the back1 as no image is visible4 ,the negative must be furnished with a safe edge1 made by painting an edge about one-eighth of an inch round the negative with black varnish1 or by pasting on strips of red or black paper4 ,exposure must be judged by an actinometer4 ,a very suitable instrument for timing the exposure of carbon tissue is ,sawyer's actinometer4 ,it consists of a rectangular tin box with a glass lid1 bearing twelve tints graduated from slight discoloration to a degree of opacity1 representing the extreme amount of deposit upon the lights of the densest negatives1 each division of this screen of tints bearing a number in opaque pigments2 and a roll of sensitive paper is placed in the box1 and the end pulled forward so as to pass under the tints4 ,when this arrangement is placed in the light1 the silver paper commences to discolor underneath the graduated screen1 beginning of course at the lightest1 but the number on the tint being in an opaque pigment is preserved white1 and serves to register the progress of printing2 for if1 when the lid is opened1 the number one1 for instance1 shows clearly on a tinted ground1 the instrument is said to have registered one tint2 by that time the number two will have begun to make its appearance1 and1 if sufficient exposure be given1 the light will print through the whole scale by successive steps1 and show up the numbers1 one to twelve4 ,with an instrument of this kind it is evident that1 by exposing alongside the carbon tissue and determining the number of tints required for the proper exposure of that negative1 the same number of tints with the same negative will always prove right4 ,a little practice will enable one to judge the number of tints required for every class of negative4 ,it will be well to remark here that freshly sensitized tissue will produce inferior pictures to that used a day or two after2 the pictures are not so hard1 and there is less danger of the high-lights being washed away4 ,,continuing ,,action ,,of ,,light4--,if the carbon tissue after exposure to the light1 be kept in the dark for a little time the effect on the print will be precisely the same as if the exposure to light had been prolonged4 ,this continuing action of light may often be utilized to advantage4 ,pictures known to be under-exposed will1 if kept till morning1 by that time have acquired the same force as if they had received the proper exposure4 ,,development consists simply in dissolving the gelatine unaffected by light1 with hot water as the solvent4 ,immerse the exposed tissue in a bath containing cold water4 ,it will first of all curl up1 but afterward lay flat and limp4 ,it is then placed in another bath containing cold water together with a sheet of glass which has previously been coated with a #e per cent4 solution of gelatine4 ,bring them together face to face1 draw them out1 and force into close contact with a large squeegee2 then place between blotting paper for five or ten minutes4 ,in squeegeeing1 the tissue should be uppermost1 and a sheet of ,american cloth laid over it to prevent the squeegee from damaging it4 ,development should not be attempted for at least twenty minutes1 during which time the glass1 with the tissue on it1 should be placed between sheets of blotting paper1 and kept under pressure to insure its adherence to the glass support4 ,after that time it is placed in a dish1 and water heated to a temperature of #ajj deg4 ,f4 added4 ,the colored pigment will at once commence to ooze out of the edges1 and after a little time the paper originally holding the carbon film may be removed with the hand4 ,then1 by gently leveling the picture with the hand1 the superfluous gelatine will be washed away1 and if the exposure has been correct a perfect image should remain4 ,a certain amount of control can be kept over an autotype picture4 ,an over-exposed print will show itself by insolubility of the gelatine1 and the high light refusing to be washed clear4 ,the temperature should be raised considerably1 and hot water poured over with a jug4 ,if this fails to reduce the intensity1 add a little ammonia to the water as a last resource1 though the better plan is to make another print1 giving less exposure4 ,under-exposure results in over-solubility of the gelatine4 ,the half-tones will be washed clean away4 ,it is rarely an under-exposed print can be saved4 ,all that can be done is to reduce the temperature of the water4 ,development should never be hurried2 the slower it is the better the gradation of tone in the results4 ,after development is complete the bichromate salt is discharged1 and the image rendered perfectly insoluble by well washing in cold water and placing in a dish containing a #e per cent4 solution of potash alum1 after which it is again washed and dried4 ,another method of making a transparency and one that involves less trouble is by means of the transparency plates which are now in the market4 ,of these we have tried ,carbutt's with the greatest success4 ,for these the following instructions are given3 ,the requisites are1 a deep printing-frame a size larger than the negative to be used1 with a flat glass bottom clear and free from scratches 7crystal plate is best71 a dark-room ,lantern1 or other artificial light1 and ,keystone ,gelatino-,albumen ,plates4 ,transparencies can be made same size of negative by contact and exposure to artificial light1 or enlarged or reduced in the camera by daylight1 with equal perfection in result4 ,to make transparencies by contact place one of the ,keystone thin crystal glass transparency plates over the negative in printing-frame1 lay piece of dark soft material over it1 close down the back1 and expose to the light of the lantern or to a gas flame or other artificial light1 for #aj to #cj seconds1 according to density of negative1 at a distance of #bj inches from the flame4 ,use the following developer3 ,,eikonogen ,,and ,,hydrochinon ,,developer4 ,a4 ,metric ,weight4 ,avoirdupois ,weight4 #fjj c4c4m ,distilled ,water #bj ounces #abj grammes ,sulphite of ,soda ,crystals #d ounces #bb grammes ,eikonogen #ccj grains #aja_/b grammes ,hydrochinon #afj grains #ifj c4c4m ,water to make up to #cb ounces ,b4 ,metric ,weight4 ,avoirdupois ,weight4 #fjj c4c4m ,distilled ,water #bj ounces #fj grammes ,carbonate of ,potash #b ounces #fj grammes ,carbonate ,soda ,crystals #b ounces #ifj c4c4m ,water to make up to #cb ounces ,for use take #a ounce 7#cj c4c47 of ,a1 #c_/d ounce 7#be c4c47 of ,b1 with #d ounces 7#abj c4c47 of water4 ,more of ,a will increase density1 more of ,b will increase detail and softness4 ,temperature of developer should not vary much below #fe deg4 nor above #ge deg4 ,the after treatment is same as with any other developer4 ,let the development continue until the blacks look quite strong1 and detail showing in the high-lights2 wash off developer1 then immerse in ,,carbutt',s ,,new ,,acid ,,fixing ,,and ,,clearing ,,bath4 #d c4c4m ,sulphuric ,acid #a drachm #dhj grammes ,hyposulphite of ,soda #af ounces #fj grammes ,sulphite of ,soda #b ounces #cj grammes ,d,chrome ,alum #a ounce #aibj c4c4m ,warm ,water #fd ounces ,dissolve the hyposulphite of soda in #dh ounces 7#addj c4c4m47 of water1 the sulphite of soda in #f ounces 7#ahj c4c4m47 of water2 mix the sulphuric acid with two ounces 7#fj c4c4m47 of water1 and pour slowly into the sulphite soda solution1 and add to the hyposulphite2 then dissolve the chrome alum in #h ounces 7#bdj c4c4m47 of water and add to the bulk of solution1 and the bath is ready4 ,this fixing bath will not discolor until after long usage1 and both clears up the shadows of the negative and hardens the film at the same time4 ,let remain two or three minutes after transparency is cleared of all appearance of silver bromide4 ,then wash in running water for not less than half an hour to free from any trace of hypo solution4 ,swab the surface with wad of wet cotton1 rinse1 and place in rack to dry spontaneously4 ,then varnish with plain collodion4 ,d ,n4 ,b4--,during cold weather use only half the quantity of ,chrome ,alum in above4 ,,chapter ,,iii4 ,,the ,,carbon ,,tissue--7,,sensitizing ,,and ,,exposure74 ,the carbon tissue used as a resist1 which is mounted on the copper plate1 is made by the ,autotype ,company1 ,london1 ,england4 ,no4 #ajj ,standard ,brown is the right grade to use1 though ,i have reached good results with ,no4 #ajc4 ,the ,no4 #ajj is a heavier grade than ,no4 #ajc1 and requires two or three minutes longer exposure than the latter4 ,use a deep printing frame with a screw pressure to secure absolute contact1 which is known by iridescent markings appearing on the glass of the printing frame4 ,a ,johnson's actinometer is very useful to time the exposure4 ,from #d to #f tints are necessary4 ,experience here is the only guide1 as the light varies as well as the density of the negative and the sensitiveness of the tissue4 ,if one does not have an actinometer1 a slip of albumen paper may be used2 as soon as the paper has reached the darkest point1 which is then called one tint1 extend it so that a fresh portion comes out to the light1 and so on for the different tints4 ,in ,september1 for instance1 the darkest tint is reached in about #c to #d minutes2 two tints and a half or #h minutes in the shade at midday on a clear day in ,september is about right1--this is understood to be with medium negatives and ,no4 #ajc tissue sensitized within three days4 ,you should over-expose rather than under-expose1 allowance being made when the acid is used4 ,print deeply1 so that1 on development1 the negative tissue on the copper plate shows all the detail clearly in the shadows4 ,the tissue should not appear very dark on the plate4 ,the copper should show up through the gelatine clearly and brightly4 ,the thinner the negative tissue1 the quicker the biting of the acid4 ,,sensitizing ,,the ,,tissue4 ,the carbon tissue comes only in rolls of #ba_/b feet by #ab feet1 price #c4jj1 not cut4 ,it is not sold in a sensitive condition4 ,full instructions with each roll for sensitizing4 ,tap water will do1 but ,i would suggest distilled water for making the sensitizing solution of bichromate of potassium4 ,bichromate of potassium #a ounce ,water #af ounces ,alcohol #a_/b drachm ,ammonia #ab drops ,the best way to sensitize the tissue1 is to place the tissue face up1 keeping it flat so that the solution reaches all parts at once1 removing all air bubbles1 and rubbing in the solution with the fingers until pliant2 the time of immersion is three minutes in winter1 two minutes in summer4 ,the hands should be washed directly after handling the solution1 and care must be taken that there are no cuts on the fingers1 as the solution is very harmful1 but if due care is exercised and the hands well washed immediately with soap1 little1 if any1 trouble will be experienced2 use rubber finger tips as much as possible4 ,keep the temperature of the solution at #gj deg4 both in summer and winter4 ,take a piece of glass free from scratches 7an inch larger all round than the tissue72 have the glass ready cleaned with ammonia and talcum powder of fine whiting1 squeegee the sensitized carbon tissue directly from the solution on to the glass and place to dry at night in a light-tight box2 it will be dry in the morning4 ,the tissue is in the best condition for three days after sensitizing2 it can be used up to seven days2 it gradually increases in sensitiveness from day to day4 ,after a week or ten days has elapsed1 it is hard to manage and becomes unreliable4 ,when the tissue is dry take a sharp knife and cut inside the edge1 and strip off one corner4 ,fairly good results can be reached by simply drying over a curved piece of pulp board1 which is tied with string on each end1 but squeegeeing on glass gives a sharper result4 ,the addition of ammonia and alcohol to the sensitizing solution makes it easier to strip the paper from the copper plate1 after the carbon tissue is mounted on the plate1 and enables one to develop the resist in the water at a lower temperature than without it1 thus avoiding pits in the darker portions and white specks or bubbles in the lights1 should the water reach too high a temperature4 ,illustration ,,chapter ,,iv4 ,,the ,,cleaning ,,and ,,graining ,,of ,,the ,,copper ,,plate1 ,,and ,,grade ,,of ,,copper ,,necessary1 ,,and ,,where ,,and ,,how ,,to ,,buy ,,it ,,at ,,reasonable ,,prices4 ,the best copper is recognized by its rosy lustre4 ,pure copper only should be used4 ,it can be purchased ready polished and beveled from several firms in ,new ,york4 ,the best way1 if large quantities of plates are required1 is to buy the copper in the rough of one firm and have it polished by another1 and bevel it yourself if necessary with a file and burnish it by hand1 or the firm who polish it will do the beveling for you4 ,the ,scovill ,adams ,co4 supply copper-plates of the finest quality1 ready polished1 for photogravure work4 ,total cost by this method about one-third less than by purchasing ready made4 ,it makes a copper plate #a_/af grade1 #i x #aa1 cost about #a4aj4 ,order your copper #a_/af in4 grade up to #aj x #ab2 larger sizes #a_/h in4 grade4 ,if you use #a_/af in4 grade above this size1 the plate is liable to buckle4 ,be sure the plate is free from pits and scratches and with a high polish4 ,have what the polishers and engravers call a rouge polish4 ,if they do not supply it1 rouge it yourself with powdered rouge and turpentine1 using a ball of absorbent cotton over a large piece of smooth cork4 ,a good way to buy rouge is in the stick2 it is more economical4 ,rub the wet cotton on it and the right quantity is assured4 ,pits in the copper may be taken out by tapping upon the back with a nail set1 using a small piece of polished steel to lay the face of the plate on1 and localizing the spot with a pair of calipers4 ,the part raised by the tapping1 cut away with the scraper1 then rub the spot with ,scotch stone and water1 then a piece of engraver's charcoal 7cut to a pencil point71 with machine oil2 then burnish with the regular engraver's burnisher and sperm oil1 finishing with rouge and refined turpentine4 ,when the plate is well polished1 make a strong solution of caustic potash 7,c4,p471 which comes in sticks1 as strong as possible1 as long as it does not stain the copper4 ,it should register about #dj deg4 with an actinometer used to test silver solutions4 ,take a piece of absorbent cotton and clean the copper with potash 7by the way1 use finger tips72 rinse under tap for five minutes1 then a fresh piece of cotton with alcohol at #ie per cent41 rinse again with water1 and place in warm water for final rinsing2 stand up on corner1 or place in drying frame usually used for negatives2 allow to drain4 ,should any stains appear1 it must be recleaned and all the operations repeated until it drains off without streaks1 for these streaks and spots of stain are caused by the caustic potassa1 which is difficult to remove4 ,it is as hard to get rid of from the copper as hyposulphite is from a negative4 ,these streaks retard the acid on the copper wherever they appear1 and cause defects in the recording of the original tones of the negative4 ,the plate is then ready for graining4 ,,ii4--,,graining ,,the ,,copper ,,plate4 ,a grain is required on the copper plate so that the tones will be reproduced1 as copper has not a sufficient grain of its own4 ,the grain is given to the copper plate by dusting it with powdered ,syrian asphaltum or resin4 ,have a paste-board box made #ah inches high1 #ab inches wide and #h inches deep1 perfectly air-tight1 with a small door running the whole length on the widest side1 an inch or two from the bottom4 ,have the inside of the box perfectly smooth2 place within the box #d ounces finely powdered ,syrian asphaltum 7sold by ,messrs4 ,theodore ,metcalf ,co41 ,tremont ,street1 ,boston1 ,mass472 it is difficult to find in ,new ,york4 ,shake the box vigorously1 place on table1 insert a piece of wood an inch high made in shape of cross 7or open square1 or have netting of wire raised an inch from the bottom of the box72 the copper plate1 previously cleaned1 is at once placed face up upon it4 ,instead of shaking the box it can be arranged upon supports 7see fig4 #a71 and revolved4 ,illustration3 ,,fig4 #a4 ,close the door instantly1 and let the plate remain about two minutes2 carefully remove the plate and place it on a ,florence oil lamp1 holding the plate with a hand vise1 watch carefully until the powder disappears from the surface and the plate slightly smokes1 then stand aside to cool4 ,do not keep the plate too long on the heater1 or the particles of dust will run together1 forming an impenetrable varnish over the plate4 ,this part of the process is not difficult1 but requires practice4 ,preserve each atom of dust as much as possible1 examine with magnifying glass and1 when cool1 test with finger nail2 if it rubs off easily1 it has not been heated enough2 then the plate must be re-cleaned and again powdered4 ,to get a good all-round working grain1 suitable for medium subjects1 the plate should be placed at once in the box after shaking2 thus the coarser particles that fall first1 and the finer1 which gradually settle1 will combine after two or three minutes4 ,many combinations will be suggested to the student by practice to suit the subject2 for instance1 waiting for two minutes and then inserting the plate1 gives a fine grain for delicate subjects4 ,powdered dragon's blood 7resin7 in combination with asphaltum makes a beautiful grain2 a separate box may be used for the dragon's blood2 the asphaltum first dusted on the plate1 then inserted in the dragon's blood box for twenty or thirty seconds1 then melted together4 ,the dragon's blood melts first1 then the asphaltum4 ,the air brush is also used by professionals2 it throws a resinous spirit varnish1 coarse or fine1 as required4 ,illustration ,,chapter ,v4 ,,development ,,of ,,negative ,,resist ,,on ,,the ,,copper ,,plate1 ,,and ,,preparation ,,for ,,biting ,,with ,,acid ,,through ,,the ,,gelatine4 ,have a wooden box made #bd inches long1 by #ab inches high1 #ab inches wide1 with door #f inches high on side1 fastened with hinges1 top and bottom of box open2 cover top with sheet zinc4 ,place inside ,florence oil lamp2 the door is valuable to regulate the heat4 ,on top of box place deep porcelain tray1 #aa x #ad1 fill with water half full2 in the water place two pieces of plate glass #a_/b inch high and #d inches long1 on which to place copper to keep it from the bottom of the tray4 ,slide the copper plate into the water1 removing all air bubbles1 keeping the fingers off the surface of the plate4 ,take the sensitized and exposed tissue and place face down in the cold water 7#fe deg47 sliding it gradually in at further end of the paper so as to avoid air bubbles2 the instant the paper curls backward1 place it over the copper plate and remove it quickly from the water4 ,this has to be done with celerity or it will be found difficult to mount the tissue with the squeegee on the copper1 and also it should be exactly placed with reference to the top and sides of the copper2 all this1 of course1 to be done under water1 never allow it to slip up out of it4 ,place plate on table and squeegee into place1 stroking firmly from the centre1 each way4 ,place face down on clean blotting paper1 under heavy weight for fifteen minutes4 ,while plate is under pressure 7which is necessary to enable the gelatine to expand and attach itself to the plate71 start the lamp gradually1 and by the time the paper is ready the water should register on the thermometer #ge deg4 ,slide the plate under water removing air bubbles as they appear1 with a ball of absorbent cotton2 when the heat of the water reaches #ij deg4 ,fahr41 the gelatine commences to ooze from all around the edges of the paper1 and after the plate has remained in the water about ten minutes after the showing up of the gelatine 7at the temperature from #ij to #ie deg471 take a pin and carefully raise the paper at the corner1 gradually pulling away the paper toward the opposite corner1 keeping the hand close to the water2 should the gelatine which adheres to the plate appear to lift1 wait a few minutes longer and start another corner4 ,after the paper is stripped from the plate1 gently develop the negative resist with a piece of fresh absorbent cotton1 delicately rubbing the surface1 edges first1 and lave the plate up and down in the water1 keeping the temperature steadily at #ij to #ie deg41 by raising or lowering the lamp4 7,should the paper be under-exposed and appear very black on the copper1 develop at #ajj to #aaj deg41 not over4 ,if over-exposed it will appear very thin1 and the heat of the water must not go over #ij deg42 it will strip at #hh to #ij deg47 ,then the negative image gradually appears1 the darks first1 which are of course the brightest portions2 when all detail appears in the shadows and the negative stands out clear and bright1 take it out of the dark-room 7which is lighted with an ordinary lamp71 and gently wash under the tap with clean and cold water at #fe to #gj deg4 ,dry the resist with alcohol1 pouring it over the plate from one end1 starting with half alcohol and half water1 gradually adding more alcohol and eliminating the water1 until a final flooding with absolute alcohol is reached2 use fresh solutions of alcohol and water for each copper2 don't use old alcohol for anything except cleaning the copper at the end1 and for removing the spirit varnish4 ,stand up to dry against the wall1 face out1 and standing square on the bottom of the plate1 in the same position as you flooded it with alcohol2 it will be dry in twenty minutes if rightly flooded4 ,the bare copper should now be protected by a strong varnish in alcohol 7it must flow freely off the brush72 a good varnish for this purpose1 and the best ,i know of1 is an etcher's asphaltum stopping-out varnish1 sold by ,messrs4 ,devoe ,co41 ,new ,york2 price #ej cents per bottle4 ,should it get thick as you come to the bottom of the bottle1 add a little spirits of lavender until it flows again freely4 ,take an architect's ruling pen and carefully rule a line with the varnish up to the edge of the picture1 making it exactly true with the sides of the plate and the space on each side of the work the same with the top1 the bottom space slightly larger2 make sure that it slightly comes inside the picture4 ,keep the rule away from the surface of the gelatine1 as it is very delicate4 ,then cover all the rest of the copper1 protecting the bare parts and bevel1 and bringing the varnish up to the line4 ,allow to dry hard2 about twenty minutes will do4 ,form a wall about the resist1 with walling wax1 about an inch high2 make a lip at one corner1 the further left hand one1 for instance2 see that there are no leaks4 ,there are several grades of wax1 but ,liedel ,co4's is the best2 when ordering you should give the name as modeling wax2 gray is a good color4 ,pans can be used made of tin and varnished1 or porcelain trays1 protecting the back and edges of the plate with varnish1 but ,i find the wax very helpful1 especially on large plates4 ,,chapter ,,vi4 ,,the ,,acid ,,baths4--,,how ,,to ,,make ,,them ,,and ,,method ,,of ,,biting ,,through ,,the ,,gelatine4 ,perchloride of iron ,c4,p4 is the acid generally used for this purpose2 it is a still acid1 and if the room is well ventilated no harm to health results1 but care must be taken to air the baths after making to get rid of the surplus chlorine4 ,four baths are used1 each of different strengths1 the strongest is used first1 the weakest last4 ,i quote from the catalogue of the ,boston ,art ,museum1 of the exhibition illustrating the technical methods of the ,reproductive ,arts and ,photo-,mechanical ,processes1 held ,january #h1 #ahib3 ,photo-aquatint 7photogravure7 for the production of half-tone intaglio plates from photographs from nature1 paintings1 etc4 ,a dry aquatint ground is laid on a metal plate1 and over this is mounted a gelatine negative film1 made by the pigment printing process4 ,to obtain this negative film a reversed positive on glass has first to be made4 ,the reason why this positive must be reversed will become clear when the nature of the manipulations in the pigment printing process1 which involves the turning of the film1 are considered4 ,the film mounted on the plate is a washout relief1 thickest in those parts which are to show white in the impressions from the plate1 and gradually growing thinner toward the darkest parts1 where it is thinnest4 ,the film acts as a 'resist' to the mordant1 allowing it to pass freely in the thinnest parts1 and less freely as it increases in thickness4 ,if1 however1 the film were mounted on the bare plate1 and the biting then proceeded with1 the result would be of no practical use1 as the plate would present merely shallow hollows1 incapable of holding the ink1 and which would therefore be wiped out in the attempt to clean the surface of the plate4 ,this is1 however1 prevented by the aquatint ground1 which allows the mordant to circulate only in the channels around the resinous particles of which it consists1 and thus produces a grain precisely as in ordinary aquatinting4 ,the mordant used in perchloride of iron1 which is a 'still mordant1' i4e41 one which does not evolve bubbles of gas4 ,an effervescent mordant cannot be used as the bubbles rising under the film would tear it up4 ,in biting1 successive baths of varying strength are made4 ,a strong solution of perchloride of iron penetrates only the thinner parts of the film1 whereas a weaker acts also through the thicker parts4 ,the biting1 therefore1 begins with a strong solution1 which acts only in the darkest parts1 and followed up with weaker and weaker solutions1 which continue the biting in the darks and at the same time carry it on gradually toward the lights4 ,if necessary1 the plate is worked over with the burnisher to brighten the lights1 and with roulettes1 etc41 to strengthen the darks4 ,purchase nine 7#i7 pounds of perchloride of iron in crystals 7#de cents per pound71 take a wide-mouthed gallon jar1 place within half a gallon of distilled water1 add the iron until it tests #cj deg4 by a ,beaume hydrometer1 pour off enough to fill a one-litre glass stoppered bottle1 after filtering through absorbent cotton4 ,keep adding the iron to the jar until the strength of each bath is reached4 ,to the strongest solution add half a drachm of ,c4 ,p4 muriatic acid1 and to the weakest half a drachm ,c4 ,p4 nitric acid2 the nitric acid is added so that in the last biting a good final nip is given to the copper4 ,i here give my own formula1 with those recommended by others4 ,the four 7#d7 baths should be well aired for a day 7in broad pans7 in the open air before filtering4 ,,formula ,,for ,,acid ,,baths4 7,h4 ,r4 ,,blaney47 ,no4 #a should register to ,beaume's scale #db deg4 ,no4 #b #cg deg4 ,no4 #c #cc deg4 ,no4 #d #cj deg4 ,the temperature of the bath to be at #fc deg4 ,fahr4 when tested4 7,,denison',s47 ,no4 #a should be made to register ,beaume's scale1 #de deg41 the percentage of perchloride in this solution is #dg1 and the specific gravity #a4ddd4 ,no4 #b1 #dj deg42 percentage1 #da2 spec4 grav4 #a4cge ,no4 #c1 #ch #ch2 #a4cci ,no4 #d1 #ce #ce2 #a4cac ,no4 #e1 #bg #bg2 #a4bbe ,from an article in the ,photographic ,news 7,english71 ,nov4 #a1 #ahhi1 as practiced in ,india4 ,,biting ,,bath4 7,,waterhouse47 ,no4 #a1 sp4 grav41 #a4ddd2 ap4 per ct4 of ,fe#b1 ,cl#f #dg ,no4 #b1 #a4cge2 #da ,no4 #c1 #a4cci2 #ch ,no4 #d1 #a4cac2 #ce ,no4 #e1 #a4bbe2 #bg ,a stronger solution of #dh deg4 has been tried 7by the above7 but has no penetrating power through even the thinnest film4 ,,another ,,formula4 ,for large plates1 #bj lbs4 perchloride of iron and distilled water1 until weight amounts to #a4ejj grammes per #ajjj c4c4 ,from this four 7#d7 solutions are made1 at ,no4 #a1 #db deg4 ,beaume2 spec4 grav4 #a4dbj ,no4 #b1 #ch #a4cge ,no4 #c1 #ce #a4ccj ,no4 #d1 #ca #a4bhe ,the plate is now ready for biting4 ,keep a record of the bitings1 and length of time for each one1 for after-study2 also note the time of exposure of the tissue1 age of same1 etc41 etc4 ,pour the acid from a glass graduate with one sweep over the plate1 removing all bubbles with a feather1 noting the time of immersion so as to guide you4 ,start with #db deg41 having ready the #cg deg4 in another graduate1 watch carefully the action of the acid1 and if the resist has been properly printed1 the action of the acid will show after a minute2 if longer it means a generally longer biting for each bath4 ,,average ,,bitings4 #db deg41 ,no4 #a #e minutes #cg deg41 ,no4 #b #e minutes #cc deg41 ,no4 #c #b minutes #cj deg41 ,no4 #d #b minutes ,temperature of bath at #gj deg4 ,fahr41 with ,no4 #ajc tissue4 ,total of different bitings1 from #aj to #be minutes1 according to depth of printing4 ,it always varies4 ,there is no hard and fast rule2 you must in time learn to judge by your eye alone4 ,the acid will first attack the thinnest part of the film1 wherever that may be1 and when the darkening of the copper ceases to spread to the next thickest parts1 instantly pour off the acid1 and pour on the #cg deg4 ,do not allow the atmosphere to act on the gelatine while biting any longer than is necessary to pour off one bath and quickly pour on a new one4 ,the #cg and #cc deg4 baths are for the middle tones1 the #cj deg4 for the most delicate ones4 ,the action of each bath is cumulative1 the #cg deg4 biting a little where the #db deg4 had bitten1 the #cc deg4 doing the same for those before it1 besides taking care of itself1 and the #cj deg4 attacking all more or less4 ,during the biting with the #cj deg4 solution1 it should be continued until the whites just turn color1 and a minute beyond2 that is1 the copper should begin to show a very little under the thickest and darkest film4 7,note that in the carbon resist the shadows are transparent and the high lights are opaque47 ,the length of the last biting very seldom is over two minutes4 ,it is better to overbite your darks1 and underbite your lights1 if you vary any4 ,the amount of moisture in the air and the heat of the day influences the length of biting4 ,in hot weather in summer it is very difficult to work the process1 the walling wax being discarded and the copper 7back and edges protected by varnish7 placed in a porcelain tray1 surrounded by ice-water and kept at #fe to #gj deg41 and the acid pured over the plate to the depth of one inch4 ,illustration ,,chapter ,,vii4 ,,cleaning ,,and ,,polishing ,,the ,,plate1 ,,with ,,tools ,,necessary ,,for ,,retouching4 ,when the biting is finished rapidly place the plate under the tap and rinse thoroughly1 breaking away the film with your fingers2 it seems to have rotted under the action of the acid and is easily removed4 ,remove the walling wax1 clean off the varnish with chloroform or turpentine1 or alcohol first1 and chloroform last4 ,this leaves a dim picture on the plate1 with a kind of scum over it2 wet the plate with turpentine and start heavily with rouge1 rubbing to and fro equally all over the plate with a ball of absorbent cotton2 continue this treatment1 using less and less rouge and more turpentine until you give the final polish to the high lights with a clean dry piece of cotton4 ,be very careful not to overdo in rouging2 the scum 7if the biting of the plate is of medium strength7 should clear from the plate with hardly a touch1 and with very little rouging4 ,some plates require a great deal of rouging2 it then generally means that you must look to your sensitizer4 ,i again draw your attention to the rouging2 here is where any artistic feeling you may possess will come into play with taste and patience4 ,after the plate is rouged sufficiently1 an engraver's burnisher is used to clean up the highest lights and to modify others4 ,two or three roulettes of different fineness are valuable to touch up any darks that need deepening2 it matches very well with the grain1 but ,i am always trying to dispense with the use of the roulettes2 one ought to get it with the acid alone4 ,a ,no4 #f sewing needle in a holder 7dentist's pin-holder1 screw end7 is necessary to touch out occasional white specks4 ,you will have plenty of them at first unless you look out carefully for dust on the film2 keep all your solutions constantly attended to by occasional filtering1 and don't use your sensitizing solution more than half a dozen times2 keep it well corked2 if it gets old it scums the plate too much4 ,illustration ,,chapter ,,viii4 ,,printing ,,the ,,plate ,,and ,,steel ,,facing4 ,before final finishing by hand a working proof should be printed from the plate by an expert plate printer1 by which1 what the plate needs can be determined before final proving4 ,have the plate proved on different papers1 and with different colored inks1 so as to judge the effect4 ,imperial ,japan is the best paper1 besides etching paper1 ,india1 thin ,chinese and ,japanese papers4 ,the cost of proving per single proof is #be cents for a #d x #f plate on ,imp4 ,japan1 about #b4jj per doz4 same paper2 etching paper1 about #e4jj per #ajj--less for large quantities4 ,a second-hand ,d press1 suitable for printing large or small editions or for proving1 can be bought in ,boston or ,new ,york for from #ge to #ajj4 ,for instructions in printing see ,hamerton's ,etchers and ,etching4 ,,steel ,,facing4 ,the life of a photogravure plate without steel facing does not last much beyond #ge impressions1 so that if an edition is needed1 send the plate to any good printer who will have it steel-faced for you2 their charges are very moderate1 about #ej cents for a #d x #f plate4 ,the steel-facing is accomplished by first making the plate chemically clean1 as before preparation for graining1 only be very thorough in using an old tooth-brush to get out the dirt and in addition use chloroform before using potash4 ,then solder a copper wire on to the back4 ,the negative wire is attached to the copper plate4 ,to the positive pole of the quart ,smee battery is fastened a bright steel plate same size of copper1 in a gallon jar4 ,the plates are hung from glass rods #a_/b inch apart1 a sufficient quantity of the following solution to be poured into the jar3 7,,denison',s47 ,warm water #bj ounces ,ammonium chloride #c ounces ,sulphate of iron and ammonia #d ounces ,filter1 and let stand for #bd hours4 ,five 7#e7 minutes will cover the plate with a thin film of steel4 7,,obernetter',s47 ,place the copper plate in a porcelain tray on the bottom of which rests a brightly burnished copper wire1 the negative pole4 ,the anode on the positive pole1 a bright steel plate1 is suspended over the copper plate1 and kept in motion while the circuit is closed4 ,a precipitate of steel1 resembling silver in appearance1 must instantly occur upon the copper plate1 any air-bells to be removed4 ,five minutes is sufficient to deposit a perfect steel coating4 ,grease the plate after steel facing1 to keep off the rust4 ,formula3 7,,obernetter',s47 ,distilled water #a litre ,chloride of ammonium #fj grammes ,proto sulphate of iron #cj grammes ,iron alum #cj grammes ,illustration ,,chapter ,,ix4 ,,materials ,,necessary ,,for ,,photogravure1 ,,and ,,list ,,of ,,firms ,,supplying ,,them4 ,materials4 ,printing ,frame 7deep71 #h x #aj1 screw pressure1 #h4 ,roll ,carbon ,tissue1 ,no4 #ajj2 ,standard ,brown1 #c4 ,johnson ,actinometer1 #a4be4 ,beaume ,hydrometer1 #a4be 7with glass74 ,silver 7argentometer7 #ge;c4 ,engravers' ,scraper1 #a4ge1 best grade4 ,burnisher1 #a4ge1 ,powder ,box for graining 7paste-board71 #a4 ,powdered ,syrian ,asphaltum1 #a per pound4 ,nine 7#i7 pounds ,perchloride of ,iron 7,c4 ,p4 crystals71 #de;c4 per pound4 ,stick ,rouge1 #bj;c4 ,turpentine1 #bj;c4 7refined74 ,alcohol 7#ie per cent474 ,modeling ,wax1 #a4be4 ,one ,ps4 ,scotch ,stone1 #be;c4 ,one dozen ,glass ,blowers' ,charcoal1 #b4jj per dozen sticks 7for polishing copper74 ,one pound ,absorbent ,cotton1 #ej;c4 ,one pound ,caustic ,potash ,c4 ,p4 7sticks74 ,one ,porcelain ,tray1 deep1 #aa x #ad1 #c4ej4 ,one ,florence ,hand ,lamp1 #ge;c4 ,one ,squeegee4 ,three ,roulettes1 #a4ej each4 ,hand ,vise1 #ge;c4 ,calipers1 #ej;c4 ,dairy ,thermometer1 #be c4 ,one bottle ,etchers' ,varnish1 #ej;c4 ,one ounce ,chloroform1 #bj;c4 ,six ounces ,bichromate ,potassium4 ,one pound ,concentrated ,ammonia4 ,,list ,,of ,,firms ,,supplying ,,materials ,,for ,,photogravure4 ,the ,scovill ,adams ,co41 #dbc ,broome ,street4 ,photographic ,materials and ,photo-,engravers' ,supplies4 ,messrs4 ,bestgen ,co41 #ajja ,washington ,street1 ,boston1 ,mass4 ,polishers of ,copper ,plates4 ,mr4 ,george ,schard1 #aaf ,wooster ,street1 ,new ,york4 ,polisher ,copper ,plates4 ,mr4 ,jos4 ,wheeler1 #bii ,washington ,street1 ,boston1 ,mass4 ,printer of ,photogravures4 ,messrs4 ,j4 ,h4 ,daniels ,co41 ,oliver ,street1 ,boston1 ,mass4 ,printers of ,photogravures4 ,messrs4 ,frost ,adams1 ,cornhill1 ,boston1 ,mass4 ,engravers' and ,etchers' ,supplies4 ,messrs4 ,f4 ,w4 ,devoe ,co41 ,fulton ,street1 ,new ,york4 ,engravers' and ,etchers' ,supplies4 ,messrs4 ,fusch ,lang1 #bi ,warren ,street1 ,new ,york4 ,engravers' ,supplies4 ,mr4 ,alfred ,sellers1 #eh ,fulton ,street1 ,new ,york4 ,engravers' ,supplies 7screw pressure printing frames74 ,messrs4 ,john ,sellers ,sons1 #ag ,dey ,street1 ,new ,york4 ,engravers' ,supplies4 ,messrs4 ,eimer ,amend1 #ahth ,street and #c;d ,avenue1 ,new ,york4 ,chemists1 ,glassblowers ,charcoal4 ,messrs4 ,theodore ,metcalf ,co41 ,tremont ,street1 ,boston1 ,mass4 ,chemists4 ,messrs4 ,kimmel ,voigt1 #bdb ,canal ,street1 ,new ,york4 ,expert ,photogravure ,printers4 ,messrs4 ,whitely ,co41 ,centre ,street1 ,new ,york4 ,polisher of ,copper ,plates4 ,messrs4 ,gilderslieve ,co41 #ahth ,street1 ,new ,york4 ,blankets for ,press4 ,mr4 ,charles ,creedner1 #ai ,south ,william ,street1 ,room #d1 ,new ,york4 ,japan ,paper4 ,mr4 ,geo4 ,b4 ,sharp1 #ac ,baxter ,street1 ,new ,york4 ,copper ,plates4 ,messrs4 ,f4 ,a4 ,ringler1 #ba ,barclay ,street1 ,new ,york4 ,steel ,facing ,copper ,plates1 ,printers of ,photogravures4 ,messrs4 ,leidel ,co41 #ija #fth ,avenue1 corner #east ,street1 ,new ,york4 ,modeling ,wax2 ,etchers' ,supplies4 ,thomas ,hall 7,electrician71 ,bromfield ,street1 ,boston1 ,mass4 ,hydrometers 7,smee's ,battery71 etc4 ,new ,york ,steel and ,copper ,plate ,co41 #aga ,wallabout ,street1 ,brooklyn1 ,n4 ,y4 ,mr4 ,jas4 ,moffet1 #aei ,wooster ,street1 ,new ,york4 ,copper ,plates in the ,rough4 ,illustration ,,chapter ,x4 ,,books ,,and ,,articles ,,on ,,photogravure4 ,,published ,,from #ahhh ,,to #ahic4 ,,la ,,photogravure facile et a bon marche4 ,par l',abbe ,ferret4 ,paris4 #ahhi4 ,price1 #a fr4 #be cents4 ,manuel d',heliographie et de ,photogravure en ,relief4 ,par ,g4 ,bonnet4 #ahij4 ,paris4 #b fr4 #ej cents4 ,photogravure4 ,by ,w4 ,t4 ,wilkinson4 #ahij4 ,london1 ,e4 ,c4 ,published by ,messrs ,iliffe ,son1 #c ,st4 ,bride ,street4 ,price1 #as4 #f;d4 ,photo-,engraving and ,photo-,etching4 ,by ,w4 ,t4 ,wilkinson4 ,sold by ,the ,scovill ,adams ,co41 ,new ,york4 ,price1 #c4jj4 ,hamerton's ,etchers and ,etching4 ,roberts ,bros41 ,boston1 ,mass4 ,price1 #d4jj4 ,photo-,etching in ,india4 ,article in ,photographic ,news 7,english71 ,november #a1 #ahhi4 ,photogravure1 or ,photographic ,etching on ,copper4 ,by ,herbert ,denison4 ,a lecture delivered before the ,photographic ,society of ,great ,britain4 ,printed in ,,the ,,photographic ,,times1 ,april #bast1 #ahic1 and following issues4 ,photogravure or ,photo-,etching4 ,article in ,wilson's ,magazine1 #ahij-ahia4 ,notes on ,photo-,aquatint4 ,catalogue of ,exhibition1 ,illustrating the ,reproductive ,arts and ,photo-,mechanical ,processes4 ,address ,s4 ,r4 ,koehler1 ,boston ,art ,museum1 ,boston1 ,mass4 99 99 99 99 99 ,merck's ,pyrogallic ,acid will be found1 upon comparison1 to be superior in every respect to all other brands on the market4 ,its distinctive points of superiority are3 #a,,st4--,,absolute ,,purity #b;,d4--,,perfect ,,crystallization #c;,d4--,,immaculate ,,whiteness #d,,th4--,,extreme ,,lightness #e,,th4--,,moderate ,,cost 7,its price is not higher than that of any other make47 ,illustration ,merck's ,pyrogallic ,acid produces the highest intensity to be desired in a photographic plate1 and1 at the same time1 the finest detail in light and shade required for the most perfect printing negative4 ,under ordinary precaution1 it retains all its superior qualities undiminished for an indefinite length of time4 ,,when ,,ordering ,,specify ,,merck',s4 ,,to ,,be ,,had ,,of ,,all ,,dealers4 ,,testimonials4 ,i have tested ,merck's pyro carefully in comparison with the other pyros at present on the market1 and ,i find that it is superior to any and all of them4 ,prof4 ,,charles ,,ehrmann1 ,instructor of the ,chautauqua ,school of ,photography4 ,i shall1 in future1 certainly use no other pyro but ,merck's4 ,the best is always good enough for me4 ,,alfred ,,stieglitz1 ,editor ,american ,amateur ,photographer4 ,merck's ,pyrogallic ,acid will be found a very superior article4 ,its purity is absolute1 with quick crystallization and immaculate whiteness4 ,in use1 it produces the highest intensity that can be desired in the negatives4 ,the detail in light and shade is perfect1 producing printing qualities unsurpassed by any pyro we have ever used4 ,,st4 ,,louis ,,and ,,canadian ,,photographer4 ,merck's pyro has undergone a severe test in my hands4 ,i find it to possess many qualities which give it superiority over all other makes4 ,authorities place the solubility of pyro as one part in two of water4 ,i found one ounce of ,merck's to dissolve readily in #a3g of water at #fj deg44 ,it is extremely light1 pure1 and of a fine white color1 giving rich negatives full of vigor and sparkling brilliancy4 ,,walter ,e4 ,,woodbury1 ,editor of ,the ,photographic ,times4 ,i have used ,merck's ,pyrogallic ,acid1 and prefer it to all others4 ,b4 ,w4 ,,kilburn1 ,official ,photographer 7,stereoscopic71 at the ,columbian ,world's ,fair1 and ,san ,francisco ,mid-,winter ,exposition4 ,i have tried ,merck's pyro and must certainly say it is the best ,i ever used4 ,the results ,i have obtained with it are remarkably fine4 ,w4 ,b4 ,,post1 ,amateur ,photographer1 ,new ,york4 ,,moreno ,,studio1 ,fifth ,ave41 ,new ,york4 ,i have been using ,merck's pyro in my studio1 and am very well pleased with it4 ,it is clean1 gives brilliant negatives1 and is reliable1 one day's work being exactly the same as another's4 ,a4 ,,moreno4 ,i have been using ,merck's pyro1 and am ready to indorse the high praise which you have found it entitled to3 'that it is superior in point of purity1 lightness and solubility' to any like product that ,i have seen4 ,in fact1 'the new and improved process' seems to reach in its result the point beyond which it is impossible to go--that is1 perfection4 ,this was my impression at first sight1 and using serves only to confirm it4 ,in my opinion1 pyro stands at the head of all developers of dry plates1 and ,i am much mistaken if ,merck's pyro1 when known1 does not lead all brands of pyro4 ,w4 ,h4 ,,sherman1 ,professional ,photographer1 ,milwaukee4 99 99 99 99 99 ,scovill ,adams ,photo-,engraving ,materials1 ,combined in a small outfit for ,half-tone ,photo-,engraving4 ,the articles contained in this outfit are all that is necessary for the ,half-tone ,process1 except when the installation of large and expensive machinery is warranted4 #a #aj x #ab ,american ,optical ,co4 ,enlarging1 ,reducing and ,copying ,camera1 fitted with ,patent ,screen ,plate ,holder #ef4jj #a ,camera ,swing #bj4jj #a ,copy ,board #b4jj #a ,max ,levy ,screen1 #acc lines to the inch1 #aj x #ab #hj4jj #a ,max ,levy ,screen1 #aej lines to the inch1 #aj x #ab #ie4jj #a ,rectilinear ,lens1 ,rapid ,paragon1 #aj x #ab1 w4 ,d4 #fh4jj #b #b-qt4 ,funnels1 glass1 #be;c4 4#ej #f #h-oz4 #ab;c4 4#gb #a pkg4 ,no4 #cc ,filtering ,paper 4#ge #b ,hydrometers1 #ej;c4 #a4jj #b #aa x #ad ,glass ,baths in ,studio ,box1 #g #ad4jj #a ,rubber ,dipper 4#fj #a #b-;gall4 ,evap4 ,dish #c4jj #b #aj x #ab ,porcelain ,trays1 #a4ff #c4cb #b #aj x #ab ,vulcanite ,trays1 #a4ge #c4ej #b #af-oz4 ,graduates1 #ge;c4 #a4ej #d #d-oz4 #cj;c4 #a4bj #a #i x #aa ,printing ,frame1 #a-;in4 glass #i4ej #a #h x #aj ,retouching ,frame #c4ge #b large ,neg4 ,racks #f4jj #a #ac-;in4 ,french ,hand ,roller #g4jj #a ,composition ,roller1 #ab-;in4 #d4jj #b ,pincers #b4jj #b ,acid ,brushes #c4ej #a ,ink ,spatula #a4jj #a ,hook for cutting ,zinc ,plates #a4ej ,retouching ,brushes 4#ej #a gal4 ,absolute ,alcohol #d4jj #ca_/b lbs4 ,ether #b4fc #d oz4 ,pary's ,gun ,cotton1 #ej;c4 #b4jj #d oz4 ,iodide ,potass41 #cj;c4 #a4bj #b oz4 ,resubl4 ,iodine1 #ce;c4 4#gj #c lbs4 ,nitrate ,silver ,crystal1 #h4ej #be4ej #a lb4 ,absorbent ,cotton1 #a lb4 packages 4#ge #e lbs4 ,protosulph4 ,iron1 #aj;c4 4#ej #a lb4 ,citric ,acid 4#gj #a ,bichloride ,mercury #a4jj #e ,cyanide ,potash #c4be #a ,glycerine 4#cj #e b'ks ,blue ,litmus ,paper1 #e;c4 4#be #a lb4 ,aqua ,ammonia fort4 4#cb #a_/b lb4 ,nitric ,acid1 ,c4 ,p4 4#de #a gall4 ,benzole #a4ej #a lb4 ,bichromate ,ammonia 4#ge #a ,caustic ,potash 4#ae #h ,com'l ,nitric ,acid1 #de;c4 #c4fj #a ,ferri ,chloride1 #a bot4 4#cj #a ,rubber ,cement1 #a can 4#cj #a ,nitrate ,lead1 #a bot4 #a4jj #a ,ferricyan4 ,potash1 #a bot4 #a4jj #a_/b ,transfer ,ink #b4ej #a_/b ,engraver's ,charcoal #a4ej #a ,pumice ,stone 4#aj #e ,sulphate ,copper1 #dj;c4 #b4jj #b #c_/h-;in4 ,brass ,pins1 #dj;c4 4#hj #a ,lith4 ,ink1 black #c4ej #b galls4 ,le ,page's ,liquid ,glue1 #b4be #d4ej #a ,shoot ,board and ,plane #be4jj #a set ,engraving ,tools #a4ej #a ,finishing #b4ej #a #a_/b-;in4 ,flat ,file 4#ej #a #a-;in4 4#he #a set ,ass'd ,sable ,pencils1 ,nos4 #a to #f 4#fb #a ,darlot ,focusing ,glass #b4ej #a #e-;in4 ,engraver's ,pad1 filled #a4jj #a ,egg ,beater 4#cj #a set ,roulettes #f4jj #a ream ,proof ,paper #aj4jj #a #af-oz4 plain ,collodion ,vial 4#ee #a lb4 best ,dragon's ,blood 4#he ,polished ,zinc ,plates1 sq4 in4 4#ja ,copper 4#jaa_/d ,,send ,,for ,,the ,,photo-,,engravers' ,,catalogue to ,,the ,,scovill ,,adams ,,co41 #dbc ,broome ,st41 ,n4,y4 99 99 99 99 99 ,copying ,cameras ,,for ,,photo-,,engraving4 ,the ,scovill ,enlarging1 ,reducing and ,copying ,cameras4 ,with ,s4 ,a4 ,photo-,engravers' ,adjustable ,screen ,plate ,holder4 ,illustration ,no4 #fa4 ,size1 #fa_/b x #ha_/b1 #d ft4 bed ,price1 #ch4jj #fb4 #h x #aj1 #e ft4 bed #dc4jj #fc4 #aj x #ab1 #e #ef4jj #fd4 #aa x #ad1 #e #fh4jj #fe4 #ad x #ag1 #f #hj4jj #ff4 #ag x #bj1 #g #ie4jj #fg4 #bj x #bd1 #g #aah4jj ,special sizes and styles made to order4 ,the form of construction of this ,camera is made apparent by the illustration here shown4 99 99 99 99 99 ,,scovill ,,copying ,,cameras4 ,with ,s4 ,a4 ,photo-,engravers' ,adjustable ,screen ,plate ,holder4 ,illustration ,these ,cameras are made of hardwood1 shellacked1 not varnished4 ,naturally they are without swing1 but in every requisite they are complete2 and for this particular service1 as well as others1 the ,american ,optical ,company's make is sought for before all others4 ,such varied lengths of bed are required and ordered1 that we can only give a price list for ,copying ,cameras with the regulation length of bed4 ,we make them to order of any length of platform desired1 either rigid or detachable1 and with either single or double bellows4 ,estimates promptly and cheerfully furnished4 ,no4 #gj4 #fa_/b x #ha_/b1 with bed #c feet in length ,price1 #cc4jj #ga4 #h x #aj1 #cc_/d #ch4jj #gb4 #aj x #ab1 #d #df4jj #gc4 #aa x #ad1 #da_/b #ec4jj #gd4 #ad x #ag1 #e #ff4jj #ge4 #ag x #bj1 #f #gb4jj #gf4 #bj x #bd1 #f #ih4jj ,larger sizes made to order4 ,when ordering ,copying ,camera1 please give length of cone1 if that is needed4 99 99 99 99 99 ,the ,s4 ,a4 ,photo-,engravers' ,adjustable ,screen ,plate ,holder4 ,illustration 7,patent applied for47 ,this ,holder1 as is shown in the cut above1 is a great improvement over any heretofore manufactured for photo-engraving purposes4 ,its principal points of superiority are1 briefly3 ,first4--,the ease with which it is adjusted for different size plates and screens1 by a simple sliding movement of the two inside frames to or from the centre1 and thus dispensing with the expensive and troublesome use of kit frames4 ,second4--,the convenience by which the screen plate is accurately adjusted to the sensitized plate by means of the metallic sliding adjusters4 7,heretofore it has been necessary to do the adjusting by means of inserting different thicknesses of cardboard1 paper1 etc47 ,third4--,different thicknesses in the screen plates are allowed for by means of a spring which always holds the plate in accurate place1 no matter what its thickness may be4 ,fourth4--,a graduated scale on each screen adjuster makes it easy to always insure absolute accuracy in determining the distance of the screen plate from the wet plate4 ,fifth4--,the simplicity of construction and excellent workmanship of the entire holder1 being made1 as it is1 in the factory of the famous ,american ,optical ,company4 ,and1 altogether1 it is an ingeniously designed and beautifully constructed holder1 which will be found of indispensable aid to the practical photographer4 ,these holders are thicker than the ordinary plate holders1 and if it is desired to use them on a camera the ground glass of which is focused for the ordinary plate holder1 a new ground glass frame is necessary in order to adjust the focus4 ,when ordering a holder to fit a camera in use1 send the old holder or the old ground glass frame1 so that the new ones can be made to fit the camera4 ,also state the size of largest and smallest screen plate to be used in holder4 ,it is made in various sizes4 ,prices as follows3 ,frames only2 for ,ground ,glass4 #h x #aj size #ae4ej #a4ej #aj x #ab #ba4jj #a4ej #aa x #ad #bf4ej #a4hh #ad x #ag #bi4jj #b4be #ag x #bj #cb4ej #b4fc #ah x #bb #cf4jj #b4fc #bj x #bd #dj4ge #c4jj ,if adjustment from the outside of holder is desired1 add #b4jj to above prices4 ,,the ,,scovill ,,adams ,,co41 #dbc ,broome ,st41 ,new ,york ,city4 99 99 99 99 99 ,the ,scovill ,printing ,frames for ,photo-,engraving4 ,illustration ,the ,printing ,frames made by the ,american ,optical ,co4 for photo-engraving are like everything else manufactured by this factory1 of the highest degree of perfection1 and the utmost care was given to the comparative distance of screws so as to produce an even pressure4 ,many negatives have been either ruined or snapped by the use of imperfect ,printing ,frames4 ,illustration ,the ,american ,optical ,co4 ,printing ,frames for photo-engraving are the only safe ones on the market4 ,,prices4 #h x #aj1 including one-inch glass #h4jj #aj x #ab1 #aa4jb #i x #aa1 #i4ej #aa x #ad1 #ac4jj #ad x #ag1 #ai4jj ,larger and special sizes made to order4 99 99 99 99 99 ,to ,photo ,engravers3 ,having systematically undertaken the improvement of photo engravers' appliances1 we follow the ,s4 ,a4 ,photo ,engravers' ,adjustable ,screen ,plate ,holder1 and the ,s4 ,a4 accurately adjusted ,photo-,engraving ,printing ,frames1 with the ,s4 ,a4 ,photo-,engraving ,etching ,tub1 to which we call the attention of those interested in this business4 ,we extend to them a cordial invitation to examine the same at our salesrooms4 ,illustration ,these ,photo-,engraving ,etching ,tubs will fill a long felt want with the photo engravers1 as they are constructed so as to resist the strongest acids1 and combine the features suggested by practical experience4 ,the tub measures1 inside1 #dha_/b inches long1 #bja_/d inches wide1 and #g-e_/h inches deep1 and the price of same is #aj4jj4 ,very truly yours1 ,the ,scovill ,adams ,co4 99 99 99 99 99 ,illustration ,,in ,,olden ,,times people were satisfied to worry along with whatever crude appliances came easiest to hand4444 ,the material progress of the nineteenth century1 however1 has created a demand for a higher order of mechanical products than was formerly deemed essential1 and this is peculiarly the case with4444 ,process ,engravers4 ,to meet this demand1 the firm of ,,john ,,royle ,,sons have devoted the best part of their time1 for the past #be years1 to the improvement of the mechanical accessories to ,process ,engraving1 and with what success is best testified to by the fact that their machinery is used exclusively by the best ,process ,engravers1 both in the ,united ,states and abroad4 ,,john ,,royle ,,sons1 ,paterson1 ,n4 ,j41 ,u4 ,s4 ,a4 99 99 99 99 99 ,chrome,gelatine and ,photo,gelatine4 ,chrome-,gelatine is a perfected modification of the three-color printing process4 ,it is so named from the ,gelatine process of printing being used to produce the resulting pictures1 which are allowed to be really wonderful1 and which may be reproductions from original ,oil ,paintings1 ,water-colors1 ,views from ,nature1 ,objects of ,still ,life1 ,textile ,fabrics--indeed1 all classes of work copied from originals in color4 ,the results1 in all cases1 are produced from three-color negatives4 ,artists1 whose works have been reproduced by this method1 express their satisfaction of the results in the highest terms1 without qualification4 ,n4 ,y4 ,photogravure ,co4 #acg ,west #bc;d ,street1 ,new ,york4 99 99 99 99 99 ,photogravure and ,aquarelle 7,photogravure in ,colors47 ,photogravures are of all classes of subjects4 ,an important modification of this process has recently been perfected 7patent applied for71 by which the delicacy of the gelatine print is maintained1 at the same time that great strength and color is produced in the shadows4 ,the plates thus made are very durable1 and show but little wear after many thousands of impressions have been produced4 ,moreover1 they require no finishing or handling after having been etched1 and are quite easily printed4 ,aquarelles are printed from photogravure plates1 inked up locally in a variety of colors4 ,when the whole of the plate has been so inked1 the impression is pulled4 ,the results are beautiful1 but the process of printing is exceedingly slow--three or four impressions a day1 only1 being obtainable from a moderate sized plate4 ,n4 ,y4 ,photogravure ,co4 #acg ,west #bc;d ,street1 ,new ,york4 99 99 99 99 99 ,publications ,,the ,n4 ,y4 ,,photogravure ,,co4 has on hand thousands of subjects of all classes1 available for the purposes of illustration1 and at the service of its customers4 ,the newest and best subjects are being continually added to this collection4 ,sets of illustrations selected with the greatest care and skill1 for any desired purpose4 ,the ,n4 ,y4 ,photogravure ,co4 #acg ,west #bc;d ,street1 ,new ,york4 99 99 99 99 99 ,,sun ,,and ,,shade4 ,an ,artistic ,periodical4 ,published ,monthly4 ,forty cents a number4 ,four dollars a year4 ,each number contains eight exquisite ,photogravures1 ,photo-gelatines or ,color ,prints1 by the new ,chrome-gelatine process1 printed on paper #aa x #ad inches1 with descriptive letter-press4 ,six volumes are now complete1 price #d4jj each4 ,each volume contains nearly one hundred plates4 ,the whole six volumes form a complete gallery of current art4 ,,sun ,,and ,,shade reproduces not only the most notable paintings and portraits1 but the best work of amateur and professional photographers4 ,if it gave nothing but the latter work it would be deserving of the most liberal patronage that it receives2 but it is an admirable record of the greatest paintings at the ,metropolitan ,museum of ,art1 of living ,american players1 of portraits of celebrated ,americans1 of great ,american painters1 with reproductions of their work1 and it is a monument of the ,n4 ,y4 ,photogravure ,co41 which is a monument of artistic ,new ,york4 ,the ,n4 ,y4 ,photogravure ,co4 #acg ,west #bc;d ,street1 ,new ,york4 99 99 99 99 99 ,,alfred ,,sellers ,,co4 ,,manufacturers ,,of ,,zinc ,,copper ,,and ,,brass ,,plates ,,for ,photo-,engravers4 ,printing ,frames1 ,etching ,tubs1 ,etching ,powders1 ,rollers1 ,etc4 ,,sellers' ,,special ,,transfer4 ,,etching ,,and ,,proving ,,inks4 ,inking ,slabs1 ,chemicals 7,chas4 ,cooper ,co4's71 ,formulas1 and all ,supplies for ,photo-,engravers4 ,photo-,engraving ,taught ,,in ,,albumen1 ,,bitumen1 ,,or ,,the ,,enamel ,,process4 ,,try ,,the ,,new ,,russell ,,etching ,,powder4 ,supplies in ,general4 ,send for ,price ,list4 #ei ,beekman ,street1 ,new ,york1 ,n4 ,y4 ,u4 ,s4 ,a4 99 99 99 99 99 ,illustration3 ,e4 ,c4 ,,meinecke4 ,,ernest ,,burtt4 ,h ,w ,,rowland4 ,,photo-,,gravure4 ,,photo-,,gelatine4 ,,photo-,,lithography4 ,,lithography4 ,,photo-,,engraving4 ,,type-,,printing4 ,,works4 ,,brooklyn4 ,n4,y4 ,e4 ,c4 ,,meinecke ,,co4 ,,room #e4 #fc ,,west #bb,,nd ,,street4 ,,new ,,york4 ,the favorable comments received from all sources testify to the unrivaled results obtained by the ,,photogravure ,,process1 as worked by our method4 ,in reviewing a set of photogravures of the ,clifton ,water ,garden1 from negatives by the proprietor1 ,mr4 ,s4 ,c4 ,nash1 the ,florists' ,exchange1 says3 ,in his work he has been ably seconded by ,messrs4 ,e4 ,c4 ,meinecke ,co41 of ,new ,york1 the makers and printers of the plates4 ,without fear of contradiction1 we state there is no method of reproducing a picture to compare with the photogravure process1 except1 possibly1 the expensive and tedious steel plate4 ,for fidelity to detail1 sharpness of outline1 contrast of light and shadow1 breadth and depth1 and absolute fidelity to life1 we choose this4 ,the ,photogravure ,process ,,is ,,the ,,best ,,for ,book ,illustrations ,art and ,trade ,catalogues ,calendars1 ,menus1 ,etc4 where the most artistic results are desired4 ,either ,,plates ,,supplied combining the ,,best ,,wearing ,,qualities with the most ,artistic ,finish1 or editions ready for the binder4 ,your correspondence is solicited1 and a trial order requested1 which will be executed promptly and in the best manner4 99 99 99 99 99 ,,amateurs6 ,in order to get the ,best ,results ,you must use the ,,cramer ,,plate ,manufactured by ,g4 ,cramer ,dry ,plate ,works1 ,st4 ,louis1 ,mo4 ,your ,dealer does not ,,keep ,cramer ,plates1 he ,,sells them4 99 99 99 99 99 ,if you want to secure the best ,photogravure results1 ,then you must use the best plates1 and these are ,wuestner's ,white ,label #ej ,sens4 ,plate4 ,,wuestner',s ,new ,eagle ,dry ,plate ,works4 ,for ,sale by all ,dealers4 99 99 99 99 99 ,illustration3 ,,our ,,business is to sell ,,everything ,,used ,,in ,,photography ,,douglass ,,shuey ,,co4 ,,iii ,,state ,,st4 ,,chicago4 ,photogravure ,worker4 ,have you tried ,,the ,,original ,,zeiss ,,lens8 ,,no8 ,,better ,,do ,,so ,,at ,,once4 ,,the ,,scovill ,,adams ,,co4 ,,have ,,them6 99 99 99 99 99 ,,zeiss-,,anastigmat ,,lenses ,manufactured by ,,bausch ,,lomb ,,optical ,,co4 ,,are ,,unapproached for all ,process ,work1 and are rapidly displacing other forms of ,lenses4 #eae-edc ,n4 ,st4 ,paul ,street1 ,rochester1 ,n4 ,y41 ,new ,york ,city1 ,corner ,fulton ,nassau ,sts4 99 99 99 99 99 ,illustration3 ,,the ,,photographic ,,times ,,an ,,illustrated ,,monthly ,,magazine ,,devoted ,,to ,,the ,,interests ,,of ,,artistic ,,scientific ,,photography ,,the ,,photographic ,,times ,,publishing ,,association #dbc ,,broome ,,street ,,new ,,york ,,edited ,,by ,,walter ,e4 ,,woodbury4 ,each number contains from #ej to #fj ,illustrations6 besides a magnificent ,,photogravure ,,frontispiece4 ,the ,most up to date ,photographic ,magazine in the world4 ,,all ,,the ,,best ,,and ,,latest ,,improvements ,,chronicled ,,by ,,the ,,best ,,writers4 ,reproductions of all the finest photographic work from all parts of the world4 99 99 99 99 99 ,a ,,few ,,unsolicited ,,opinions ,,of ,the ,photographic ,times4 ,it is a daisy4--,hon4 ,a4 ,a4 ,,adee4 ,it is a veritable triumph of photographic literature4--,j4 ,j4 ,,carter4 ,one of the finest illustrated magazines received by us is ,,the ,,photographic ,,times4--,chenango ,telegraph4 ,if my opinion is of any value1 ,i will tell you that it is far and away ahead of anything that has ever been attempted4--,h4 ,j4 ,,aiken4 ,you have certainly reached the very height of possibilities in a photographic magazine4--,,arthur ,j4 ,,benton4 ,the photographic art has hitherto had no better exponent1 and the publishers of this magazine are determined to keep at the head of the literature of their profession4 ,the many original articles are fully illustrated4--,the ,portland ,transcript4 ,be sure and continue sending it4 ,can't keep house without it4--,j4 ,e4 ,,craig4 ,it is a beauty in every sense4--,,chas4 ,,wager ,,hull4 ,the subject-matter1 the number and quality of the illustrations1 the typographic work and the general appearance of ,,the ,,photographic ,,times1 monthly1 are1 separately and collectively1 cause for hearty congratulation4 ,permit me to hereby extend mine1 together with sincere wishes for your continued success4--,c4 ,d4 ,,cheney4 #ahi ,the ,photographic ,times ,publishing ,association1 #dbc ,broome ,street1 ,new ,york1 ,n4 ,y4 ,please send me ,the ,photographic ,times1 commencing with #ahi 1 for to my address3 ,name1 ,p4 ,o41 ,county1 ,state1 ,subscription rates1 one year1 #d4jj2 six months1 #b4jj2 three months1 #a4jj2 single copies1 #ce cents4 ,remit by ,express1 ,money ,order1 ,draft1 ,p4 ,o4 ,order1 or ,registered ,letter4 ,subscriptions to ,,the ,,photographic ,,times received by all dealers in photographic materials in this and foreign countries2 also by ,the ,american ,news ,company and all its branches4 99 99 99 99 99 ,the ,photographic ,appetite increases by what it feeds on4 ,the beginner is usually content to start with a modest outfit1 but as interest grows the hunger for more artistic results calls for better facilities so that the apparatus must constantly be of a more improved pattern and contain all the latest fixings1 till finally the question of improvement is entirely one of the value of the lens4 #d x #e ,size ,the ,empire1 #e4jj ,the ,new ,waterbury1 #ae4jj ,the ,henry ,clay #b;d1 #ae4jj ,the ,waterbury1 #be4jj ,the ,henry ,clay1 ,jr4 #cj4jj ,the ,henry ,clay1 #ej4jj ,to suit this growing appetite we make a line of camera boxes unequaled for workmanship and convenient appliances4 ,we can supply any stage of hunger1 and make to order to suit any whim4 ,any photographic question cheerfully answered4 ,send for our ,catalogue4 ,the ,scovill ,adams ,co4 #dbc ,broome ,street1 ,new ,york4 99 99 99 99 99 ,,anthion-,,schering ,the ,best ,hypo ,eliminator4 ,,directions ,,for ,,use4 ,,the ,,solution4 ,five grammes 7#ge grains7 ,anthion are dissolved in one litre 7one quart7 of luke-warm distilled water4 ,the solution keeps for at least one month4 ,a4 ,for ,gelatine ,plates4 a4 ,the plate 7#ac x #ah centimetres--#e x #g inches7 or film1 after fixing1 is allowed to drain and then washed for about five minutes in a dish with about #fjj cubic centimetres 7#bj fluid ounces7 water2 it is then again allowed to drain4 b4 ,afterward it is laid in a second dish with #bjj c4c4 7#g fluid ounces7 ,anthion solution1 and again allowed to remain for five minutes with occasional stirring4 c4 ,the plate is then once more laid in #fjj c4c4 7#bj fluid ounces7 fresh water1 exactly according to direction a4 d4 ,the operations b and c are repeated4 ,the plate is then free from fixing soda4 7,in order to determine this1 proceed as follows37 ,test4 ,to be certain that all the fixing soda is completely destroyed1 proceed as follows3 ,several c4c4 7half to one teaspoonful7 of the last washing water are poured into a test-tube1 and three or four drops silver nitrate solution 7#a to #bj7 added4 ,a white precipitate generally forms4 ,if this gradually acquires a yellow tint1 fixing soda is still present4 ,in such a case operations a and b are to be repeated4 ,b4 ,for ,positive ,paper ,prints4 ,the operations are carried out as under ,a1 but instead of one plate five fixed copies 7#ac x #ah c4c4--#e x #g inches7 are taken1 allowed to drain one by one1 then laid singly in water 7vide a71 afterward in ,anthion solution 7vide b71 then again in water 7vide c71 again in ,anthion solution 7vide d71 and finally in water4 ,it is important that the paper prints are frequently separated in the different baths4 ,if the prints stick together1 the solution does not penetrate and cannot act4 ,,important ,for large plates and prints it is not only necessary to use larger dishes1 but also more liquid1 both ,anthion solution and water4 ,an excess of ,anthion or of water is decidedly useful1 but less is disadvantageous4 ,the above directions for washing relate to those who have no continual flow of water at hand4 ,if a continual flow of water is obtainable1 it is advisable to wash the plates or prints in flowing water for a quarter of an hour1 and then dip in the ,anthion solution and test the result as above4 ,send orders to your ,dealers1 or to ,the ,scovill ,adams ,co41 ,new ,york4 99 99 99 99 99 ,when purchasing a ,developer please be particular to specify ,schering's the oldest and most favorably known brand4 ,put up with labels and seals as per fac-similes here given4 ,illustration3 ,,one ,,ounce ,,pyrogallic ,,acid ,,resublimed ,from ,e4 ,,schering1 ,,manufacturing ,,chemist1 ,,berlin1 ,,germany4 ,,the ,,standard ,,of ,,the ,,last--,,third--,,edition ,,of ,,the ,,german ,,pharmacopoeia4 ,see that you get the ,genuine ,schering's4 ,excelled by none4 ,send ,orders to your ,dealers1 or to ,,the ,,scovill ,,adams ,,company1 ,,new ,,york4