file which includes the original illustrations4 ,see #cifia-;h4htm or #cifia-;h4zip3 7https3_/_/www4gutenberg4org_/cache_/epu b_/#cifia_/pg#cifia-;images4html7 or 7https3_/_/www4gutenberg4org_/files_/#ci fia_/cifia-;h4zip7 ,images of the original pages are available through ,internet ,archive_/,american ,libraries4 ,see http3_/_/archive4org_/details_/photograp hicamus#jjwood ,,photographic ,,amusements ,including ,a ,description of a ,number of ,novel ,effects ,obtainable with the ,camera by ,,walter ,e4 ,,woodbury ,formerly ,editor of ,the ,photographic ,times1 ,author of ,the ,encyclopedic ,dictionary of ,photography1 ,aristotypes and ,how to ,make ,them1 etc41 etc4 ,revised and ,enlarged by ,,frank ,r4 ,,fraprie1 ,s4 ,m41 ,f4 ,r4 ,p4 ,s4 ,editor of ,american ,photography ,,ninth ,,edition ,american ,photographic ,publishing ,co4 ,boston #ag1 ,mass4 #aibb ,copyright #ahif ,by the ,scovill ,adams ,co41 of ,new ,york4 ,copyright #aije1 #aiji1 #aiad ,by the ,photographic ,times ,publishing ,association1 ,new ,york4 ,copyright #aibb ,by ,american ,photographic ,publishing ,co4 ,printed in the ,u4 ,s4 ,a4 ,the ,plimpton ,press 4 ,norwood 4 ,mass 4 ,,contents4 ,,introduction ,,the ,,mirror ,,and ,,the ,,camera ,,the ,,photo-,,anamorphosis ,,statuette ,,portraits ,,magic ,,photographs ,,spirit ,,photography ,,photography ,,for ,,household ,,decoration ,,leaf ,,prints ,,to ,,make ,a ,,pen ,,and ,,ink ,,sketch ,,from ,a ,,photograph ,,photographs ,,on ,,silk ,,photographing ,a ,,catastrophe ,,photographs ,,on ,,various ,,fabrics ,,silhouettes ,,photographing ,,the ,,invisible ,,how ,,to ,,make ,a ,,photograph ,,inside ,a ,,bottle ,,photographs ,,in ,,any ,,color ,,the ,,disappearing ,,photograph ,,freak ,,pictures ,,with ,a ,,black ,,background ,,how ,,to ,,copy ,,drawings ,,sympathetic ,,photographs ,,dry ,,plates ,,that ,,will ,,develop ,,with ,,water ,,caricature ,,photographs ,,photographing ,,seaweeds ,,stamp ,,portraits ,,luminous ,,photographs ,,floral ,,photography ,,distorted ,,images ,,photographs ,,without ,,light ,,electric ,,photographs ,,magic ,,vignettes ,a ,,simple ,,method ,,of ,,enlarging ,,moonlight ,,effects ,,photographing ,,snow ,,and ,,ice ,,crystals ,,photographing ,,ink ,,crystals ,,pinhole ,,photography ,,freak ,,pictures ,,by ,,successive ,,exposures ,,wide-,,angle ,,studies ,,conical ,,portraits ,,making ,,direct ,,positives ,,in ,,the ,,camera ,,instantaneous ,,photography ,,artificial ,,mirages ,,by ,,photography ,,the ,,photo-,,chromoscope ,,composite ,,photography ,,tele-,,photo ,,pictures ,,lightning ,,photographs ,,photographing ,,fireworks ,,doubles ,,double ,,exposures ,,comical ,,portraits ,,the ,,two-,,headed ,,man ,,duplicators ,,and ,,triplicators ,,pictures ,,with ,,eyes ,,which ,,open ,,and ,,close ,,photographic ,,bookplates ,,landscapes ,,and ,,groups ,,on ,,the ,,dining-,,room ,,table ,,night ,,photography ,,photographs ,,on ,,apples ,,and ,,eggs ,,introduction ,as ,mr4 ,woodbury stated in his introduction to the original edition of this book1 in order to avoid misunderstanding1 it would be well to explain at the outset that it is not intended as an instruction book in the art of photography in any sense of the word4 ,it is assumed that the reader has already mastered the technical difficulties of photographic practice and is able to make a good negative or print4 ,it was the purpose of the author to describe a number of novel and curious effects that can be obtained by the aid of the camera1 together with some instructive and interesting photographic experiments4 ,the contents of the work were compiled from various sources1 chiefly from ,the ,photographic ,times1 ,the ,scientific ,american1 ,the ,american ,annual of ,photography1 ,la ,nature1 ,photographischer ,zeitvertreib1 by ,herman ,schnauss1 and ,les ,recreations ,photographiques1 by ,a4 ,bergeret et ,f4 ,drewin2 and the illustrations were likewise taken from various sources4 ,in conclusion the author or compiler modestly lays claim to very little himself1 quoting the words of ,montaigne1 who said3-- ,i have gathered me a posie of other men's flowers1 of which nothing but the thread that binds them is mine own4 ,and yet so popular did the book prove that in the course of its first ten years of life1 it ran through edition after edition4 ,the publishers of ,the ,photographic ,times later acquired the copyright of the popular volume and published three editions4 ,the publishers of ,,american ,,photography acquired the book during the ,great ,war through their purchase of ,the ,photographic ,times1 but in spite of a steady demand for the book after the limited stock had been sold out1 did not find it advisable to reprint it until now4 ,in putting the book to press at this time1 most of the original plates have been used4 ,a number of the old pictures have been replaced by more modern examples and #ad pages have been added to the book1 including several new topics4 ,the publishers would be glad to receive manuscripts and pictures describing and illustrating novel and interesting photographic effects not mentioned in this volume1 to be published in ,,american ,,photography and incorporated in the next edition of ,,photographic ,,amusements4 ,they also request that photographers who make photographs illustrating any of the topics treated in the book1 and especially those illustrated by wood cuts1 may submit them for consideration1 as they are prepared to purchase such as may seem available for the next edition4 ,,frank ,,roy ,,fraprie4 ,,boston1 ,january1 #aibb4 ,,photographic ,,amusements ,,the ,,mirror ,,and ,,the ,,camera4 ,illustration3 ,,fig4 #a4--;,,effect ,,obtained ,,with ,,parallel ,,mirrors4 ,quite a number of novel effects can be obtained by the aid of one or more mirrors4 ,if two mirrors are taken and placed parallel to one another1 and a person placed between1 the effect obtained is as shown in ,fig4 #a1 where one soldier appears as a whole regiment drawn up into line4 ,to make this experiment we require two large-sized mirrors1 and they must be so arranged that they do not reflect the camera and the photographer1 but give only multiple images of the sitter4 ,this will be found quite possible2 all that is necessary is to make a few preliminary experiments1 adjusting the mirrors at different angles until the desired effect is obtained4 ,a process of multiphotography which was at one time quite popular consisted in posing the sitter with his back to the camera as shown in ,figs4 #b and #c4 ,in front of him are arranged two mirrors1 set at the desired angle to each other1 their inner edges touching4 ,in the illustrations here given the mirrors are inclined at an angle of #ge deg41 and five reflected images are produced4 ,when an exposure is made and the negative developed1 we not only have the back view of the sitter but the full reflected images in profile and three-quarter positions as well4 ,illustration3 ,,fig4 #b4--;,,diagram ,,of ,,the ,,production ,,of ,,five ,,views ,,of ,,one ,,subject ,,by ,,multiphotography4 ,in the diagram1 ,fig4 #b1 reproduced from ,the ,scientific ,american the course taken by the rays of light1 determined by the law that the angle of incidence is equal to the angle of reflection1 is plainly marked out4 ,we see here their passage from the sitter to the mirror and back to the camera4 ,provided the mirror be large enough1 images of the full length figure can be made as shown in ,fig4 #d4 ,for photographing articles where it is of advantage to secure a number of different views of the same object this method of photographing with mirrors opens up quite a wide field of possibilities4 ,in ,france it is used for photographing criminals1 and thus obtaining a number of different portraits with one exposure4 ,illustration3 ,,fig4 #c4--;,,gallery ,,arranged ,,for ,,multiphotography4 ,the use of an ordinary mirror in portrait work has enabled photographers to produce very pleasing results4 ,there is often a very striking difference between the full and side views of a person's face1 and by means of such a combination as this1 one is enabled to secure a perfect representation of both at the same time4 ,in making reflection portraits it has often been noted that the reflection has a more pleasing effect than the direct portrait4 ,the reason of this is that it is softer and the facial blemishes are not so distinctly brought out4 ,there is naturally a slight loss of detail1 but this is by no means a drawback4 ,the worst fault of the camera in portrait photography is the tendency to include every little detail which the artist would suppress4 ,it not only includes all the detail1 but often exaggerates it to a painful extent4 ,by making a portrait by reflection this defect is avoided4 ,of course the image is reversed1 but this is in most cases of little consequence2 in fact1 the sitter himself would be more likely to consider it a far more truthful likeness1 for when we look into a mirror we do not see ourselves as others see us1 but a reversed image4 ,with some faces the difference is quite striking4 ,illustration3 ,,fig4 #d4--,,multiphotograph ,,of ,a ,,full-,,length ,,figure4 ,illustration3 ,by ,h4 ,l4 ,bostwick4 ,,fig4 #e4--,,multiphotograph ,,of ,,cissy ,,fitzgerald ,illustration3 ,,fig4 #f4--;,,elongated ,,reflection ,,in ,a ,,spoon4 ,very many amusing effects can be obtained by the use of a convex mirror4 ,even an ordinary1 well-polished spoon may be made to give some curious results4 7,see ,fig4 #f47 ,the thin man becomes an elongated mass of humanity to whom ,barnum would have given a big salary1 while the fat man may be reduced to the proportions of a walking-stick4 ,convex mirrors for producing these ludicrous effects can be purchased at any mirror manufacturer's store4 ,the advantage of the camera lies in the ability to secure permanently the curious images produced4 ,even more ridiculous-looking images can be secured by the use of a piece of uneven glass silvered4 ,for a method of silvering glass we are indebted to the kindness of ,dr4 ,james ,h4 ,stebbins1 ,jr41 the well-known analytical chemist4 ,dissolve pure nitrate of silver in distilled water in the proportion of #aj grains to #a ounce1 and add carefully1 drop by drop1 sufficient strong ammonia solution to just dissolve the brown precipitate at first formed1 stirring constantly during the addition4 ,make a solution of ,rochelle salt1 #a grain to the ounce of distilled water4 ,clean the plate of glass thoroughly with a little wet rouge and polish dry with a piece of chamois leather4 ,warm it before the fire or in the sun to about #gj to #hj deg4 ,fahr41 and lay it on a perfectly level surface4 ,then mix #a ounce of the silver solution with half an ounce of the ,rochelle salt solution and pour the mixture on the glass so that every part of the surface will be evenly covered with it4 ,illustration3 ,,fig4 #g4--;,,curious ,,effect ,,obtained ,,with ,a ,,convex ,,mirror4 ,allow this to stand in the warm sunshine from half to one hour1 when the reduced silver will be deposited as a fine film over the surface of the glass4 ,when this is done wash off the glass with distilled water and wipe the entire surface very gently with a little wet wadding1 which will take off the roughness and render it easier to polish4 ,when perfectly dry the silver should be polished by rubbing with some smooth1 hard surface4 ,the plate is then varnished by pouring over it a suitable varnish and is ready for use4 ,,the ,,photo-,,anamorphosis4 ,the name anamorphosis has been given to two kinds of pictures distorted according to a certain law1 and which are of such a grotesque appearance that it is often impossible to recognize the subject of them2 while viewed with proper apparatus they appear as perfectly correct images4 ,one kind is designed to be viewed by reflection and the other is reconstituted by means of a special rotary apparatus4 ,illustration3 ,,fig4 #h4--;,,anamorphosis ,,viewed ,,in ,,convex ,,cylindrical ,,mirror4#a #a ,from ,experimental ,science4 ,published by ,munn ,co41 ,new ,york4 ,until quite recently1 these pictures were drawn approximately from the reflection of the object as seen in a convex mirror1 the position of which was indicated on the drawing and which restored it to its real form4 ,m4 ,fenant conceived the idea of employing photography for obtaining these pictures4 ,fig4 #i reproduces a photo-anamorphosis from a negative by ,m4 ,fenant4 ,if a cylindrical mirror be placed on the black circle shown in the reproduction the photograph will appear in its original form4 ,our illustration represents a portrait1 although the features are barely recognizable4 ,similar pictures may be obtained by photographing the drawing or subject reflected in a cylindrical concave mirror placed perpendicularly4 ,illustration3 ,,fig4 #i4--;,a ,,photo-,,anamorphosis4 ,the second kind of anamorphosis is produced by the distortion of the picture in the sense of one of its dimensions4 ,to reconstruct it1 it is caused to rotate rapidly1 at the same time that a disc1 perforated with a slit through which the picture is viewed1 is rotated in front of it at a slightly different speed4 ,the apparatus invented by ,m4 ,linde for producing the anamorphosis is shown in ,figs4 #aj and #aa4 ,g is a camera provided with a revolving plate-holder1 ,t ,h are revolving discs the movement of which is made to bear a certain relation to that of the plate-holder by means of the band ,f and the pulleys ,d ,d4 ,the whole is set in operation by a piece of clockwork and the cord ,f4 ,a is the axis of the camera1 ,b that of the plate-holder1 and ,c that of the revolving disc4 ,on this disc is fixed the picture from which it is desired to make an anamorphosis4 ,the relative motions are so regulated that when the plate-holder has made a complete revolution the disc has turned through an angle of #fj to #hj degrees in the opposite direction4 ,between the plate-holder and the lens is a diaphragm pierced with a slit about #aj millimetres wide4 ,the action of the light on the plate takes place through this slit4 ,the negative obtained1 prints are made upon plain salted paper and rendered transparent with wax or vaseline4 ,these pictures can be viewed in the ordinary apparatus used for showing anamorphoses of this kind4 ,the print is fastened to a revolving apparatus and in front of it is another disc painted black and provided with a number of slits4 ,the latter revolves at one-fourth the speed of the picture1 and the image when viewed through the slit resumes its normal proportions4 ,illustration3 ,,figs4 #aj ,,and #aa4--,,linde',s ,,apparatus ,,for ,,photo-,,anamorphosis4 ,,statuette ,,portraits4 ,these were at one time quite popular1 and if properly managed can be rendered very effective4 ,there are several methods of making this kind of picture4 ,if the photographer possesses a pedestal large enough1 all that is necessary is to place this on a stand and the person to be photographed is arranged behind4 ,illustration3 ,,fig4 #ab4 ,the breast is uncovered and some white soft material artistically arranged in folds over the shoulders and in such a way as to appear connected with the pedestal4 ,a black background is placed behind and the exposure made4 ,to give a more realistic effect the hair1 face1 and all other parts showing should be liberally powdered over with a white powder or rice flour4 ,the negative produced will have a clear glass background1 but the body of the figure will still be visible4 ,this is removed by cutting away the film round the pedestal and to the arms on each side1 leaving only those parts remaining that are required to produce the statuette4 ,in printing we get a white statuette portrait on a dark background4 ,if the photographer does not possess a pedestal1 the next best means to produce these pictures is to get a large sheet of cardboard and cut it out to the shape shown in the figure beneath1 and with white paint make the picture of a pedestal1 shading with a little gray to give rotundity4 ,the figure is stationed behind it1 and a black background used4 ,a third method involves still less trouble4 ,this is to purchase a ready made pedestal negative4 ,these are film negatives of a pedestal that can be adjusted to the negative of the subject desired to be produced as a statue4 ,after the negative is taken and varnished the film is scraped off round the figure1 cutting off the body as shown in the first illustration1 after which the pedestal negative is adjusted1 fastened1 and then printed4 ,the negative is reversible and can also be used for different subjects4 ,the picture shown in ,fig4 #ac was made by ,mr4 ,g4 ,b4 ,bradshaw1 of ,beach ,house1 ,altrincham1 ,england1 by means of one of his pedestal negatives4 ,illustration3 ,by ,g4 ,b4 ,bradshaw4 ,,fig4 #ac4--,,statuette ,,portrait4 ,,magic ,,photographs4 ,illustration3 ,,fig4 #ad4--;,,cigarette ,,tube ,,for ,,magic ,,photographs4 ,take an ordinary silver print and fix it without toning4 ,thoroughly well wash it to remove all traces of the fixing solution and then immerse it in a saturated solution of bichloride of mercury1 when the image will disappear4 ,the bichloride of mercury changes the photograph into white chloride of silver and chloride of mercury which is also white4 ,the image when on white paper is thus rendered invisible4 ,next soak some strong bibulous paper in a saturated solution of sodium hyposulphite1 and1 when dry1 paste a piece of the paper to the back of the invisible print with a little starch paste1 attaching it by the edges only4 ,of course the image can also be made to appear by soaking the invisible print1 without the bibulous paper attached1 in a solution of sodium sulphite1 hypo1 or water with a little ammonia added4 ,illustration3 ,,fig4 #ae4--;,,developing ,,the ,,image4 ,magic photographs made in the manner above described can also be developed by smoke4 ,a novelty1 introduced in ,paris some time ago1 consisted of a cigarette or cigar holder1 shown in ,fig4 #ad1 containing in its stem a little chamber for the insertion of a small piece of apparently plain paper1 but in reality an invisible photograph produced in the manner already described4 ,the ammonia vapor in the smoke passing through the chamber attacked the print and developed the image4 ,by blowing the smoke on the latent image it may be made to appear1 but the operation is rather tedious1 and anyone with a little ingenuity can easily construct a cigarette holder with an arrangement to hold small pictures and allow the smoke to pass through4 ,the chamber of the cigarette or cigar holder must of course be sufficiently large to allow of the print being inserted in such a manner that the smoke can readily attack its surface1 otherwise uneven development of the image will take place4 ,,spirit ,,photography4 ,illustration3 ,,fig4 #af4--;,a ,,spirit ,,photograph4 ,many years ago1 in the old wet-collodion days1 a well-known photographer was one day surprised by the visitation of a spirit4 ,the apparition did not make its appearance during the nocturnal hours1 as is1 we have been given to understand1 the custom of these ladies and gentlemen from the other world1 but1 strangely enough1 in broad daylight2 and not by his bedside to disturb his peaceful slumber1 but upon the photograph he was in the act of producing4 ,had this gentleman been of that soft-brained kind1 so easily gulled by the professional spiritualist1 it is possible that he would not have done what he did1 which was to make a thorough and scientific examination as to the probable cause of the phenomenon4 ,the case was this3 ,a gentleman sitter had been taken in the usual manner upon a collodion plate4 ,upon taking a positive print from the negative1 he was surprised to find a dim white figure of a lady apparently hovering over the unconscious sitter4 ,upon examination of the negative1 the image of the figure was also visible1 but not so plainly as in the positive4 ,the explanation of the whole matter was soon discovered4 ,in those days glass was not so cheap as at present1 and all old or spoilt negatives were cleaned off and freshly prepared with collodion for further use4 ,in this case the glass had previously supported the negative image of a lady dressed in white4 ,some chemical action had evidently taken place between the image and the glass itself1 turning the latter slightly yellow in some parts4 ,this faint yellow image1 although hardly visible in the negative1 had1 being of a non-actinic color1 given quite a distinct image in the positive4 ,the case was not an isolated one1 as these spirit photographs1 as they were called1 often made their appearance when old negatives were cleaned and the glass used again4 ,the precise action producing the image has never1 we think1 been satisfactorily explained4 ,it could often be made more distinct by breathing on the glass4 ,we do not know if any enterprising humbug ever took advantage of this method of producing spirit photographs to extort money from the unwary1 but about ten years ago a work was published1 entitled ,chronicles of the ,photographs of ,spiritual ,beings and ,phenomena ,invisible to the ,material ,eye1 by a ,miss ,houghton4 ,in this a number of reproductions of photographs of spirits were given with a detailed explanation of how they were obtained and the difficulties attending their production1 the spirits being apparently of very independent natures1 only making their appearance when they felt so inclined4 ,it is quite possible that a person entirely ignorant of photographic methods might be led into the belief that they were actually photographic images of the dead1 but we fear that the book is hardly well enough written to deceive the experienced photographer4 ,at certain and most unfortunate periods in the process employed1 some of the plates had a convenient habit of slipping into the washing tank and there1 according to the author1 becoming utterly ruined2 also we learn that many were ruined by being accidentally smudged by the photographer's finger4 ,we should not1 we fear1 have a very high opinion of an operator who was in the constant habit of smudging negatives with his fingers so as to entirely spoil them1 nor can we quite understand what brand of plates was used that got spoiled by falling into the water4 ,illustration3 ,from ,la ,nature4 ,,fig4 #ag4--,,spirit ,,picture4 ,illustration3 ,from ,la ,nature4 ,,fig4 #ah4--,,spirit ,,picture4 ,it is not difficult to explain how these pictures were produced4 ,there are quite a number of methods4 ,with a weak-minded sitter1 over whom the operator had complete control1 the matter would be in no wise a difficult one4 ,it would then only be necessary for the spirit1 suitably attired for the occasion1 to appear for a few seconds behind the sitter during the exposure and be taken slightly out of focus1 so as not to appear too corporeal4 ,if1 however1 the sitter be of another kind1 anxious to discover how it was done and on the alert for any deceptive practices1 the method described would be rather a risky one1 as he might turn round suddenly at an inconvenient moment and detect the modus operandi4 ,in such a case it becomes necessary to find some other method where it would not be requisite for the spirit to make its appearance during the presence of the sitter4 ,illustration3 ,,fig4 #ai4--,,spirit ,,picture ,,disturbed ,,slumber ,the ghostly image can be prepared upon the plate1 either before or after the exposure of the sitter4 ,the method is this3 ,in a darkened room the draped figure to represent the spirit is posed in a spirit-like attitude 7whatever that may be7 in front of a dark background with a suitable magnesium or other artificial light thrown upon the figure1 which is then focused in the fuzzy-type style2 or1 better still1 a fine piece of muslin gauze is placed close to the lens which gives a hazy1 indistinct appearance to the image4 ,the exposure is made and the latent image remains upon the sensitive plate1 which is again used to photograph the sitter4 ,upon developing we get the two images1 the spirit mixed up with the figure4 ,the spirit should be as indistinct as possible1 as it will then be less easy for the subject to dispute the statement that it is the spirit-form of his dead and gone relative4 ,some amount of discretion in this part of the performance must be used1 we fancy1 otherwise the same disaster might happen as did to a spiritualist some little time ago4 ,an elderly gentleman had come for a seance1 and1 after some mysterious maneuvers1 the gentleman was informed that the spirit of his mother was there4 ,indeed6 replied the old gentleman1 somewhat astonished4 ,what does she say8 ,she says she will see you soon1 informed the medium4 ,you are getting old now and must soon join her4 ,quite right1 replied the old gentleman2 ,i am going round to her house to tea to-night4--,total collapse of spiritualist4 ,illustration3 ,,fig4 #bj4--,,photograph ,,of ,,spirits4 ,fluorescent substances1 such as bisulphate of quinine1 can also be employed4 ,this compound1 although almost invisible to the eye1 photographs nearly black4 ,if a white piece of paper be painted with the substance1 except on certain parts1 the latter only will appear white in the picture4 ,illustration3 ,,fig4 #ba4-,,painting ,,by ,n4 ,,sichel4 ,from which the ,spirit ,photograph opposite was made4 ,we hope that it will not be inferred that we desire to explain how to deceive persons with regard to photographs of spirits1 for this is not so2 we only hope that they will be made merely for amusement1 and if possible to expose persons who practice on the gullibility of inexperienced persons4 ,fig4 #bj is a reproduction of a spirit photograph made by a photographer1 claiming to be a spirit photographer1 and to have the power to call these ladies and gentlemen from the vasty deep and make them impress their image upon the sensitive plate by the side of the portraits of their living relatives4 ,fortunately1 however1 we were in this case able to expose this fraud4 ,mr4 ,w4 ,m4 ,murray1 a prominent member of the ,society of ,amateur ,photographers of ,new ,york1 called our attention to the similarity between one of the spirit images and a portrait painting by ,sichel1 the artist4 ,a reproduction of the picture is given herewith1 ,fig4 #ba1 and it will be seen at once that the spirit image is copied from it4 ,in a recent number of ,the ,australian ,photographic ,journal we read of the following novel method of making so-called spirit photographs3 ,take a negative of any supposed spirit that is to be represented1 put it in the printing frame with the film side out2 lay on the glass side a piece of platinotype paper with the sensitive side up2 clamp in place the back of the printing frame and expose to the sun for half a minute4 ,now place in the printing frame the negative of another person to whom the spirit is to appear1 and over it put the previously exposed sheet film side down2 expose to the sun for two minutes until the image is faintly seen1 then develop in the usual way and the blurred spirit photograph will appear faintly to one side or directly behind the distinct image4 ,sheets of paper with different ghost exposures can be prepared beforehand4 ,spirit photographs might easily be made by means of ,prof4 ,roentgen's well-known ,x-ray process of impressing an image upon a photographic dry-plate without uncovering the shutter4 ,the process would however entail considerable expense and would necessitate the use of so much costly apparatus that we will content ourselves with the simple mention of the possibility4 ,,photography ,,for ,,household ,,decoration ,how few amateur photographers there are who thoroughly enter into the enjoyment of the art-science as a pastime4 ,many of these1 perhaps1 must be excused for the reason that they are ignorant of its capabilities4 ,indeed1 how many there are who imagine that the art of photography consists in making negatives and1 from these1 prints--good1 bad and indifferent4 ,all the friends and relations are called into requisition to be taken4 ,at first they do not mind1 thinking it a fine thing to have a portrait made for nothing2 but when they see the result they very naturally object to be caricatured1 and the amateur loses many a friend1 and the maiden aunt leaves all her money to the home for stray cats4 ,if he is a married man and delights in a happy1 cosy home1 neatly and artistically decorated1 photography can be of very great assistance to him--how much1 few realize4 ,there are a thousand different ways in which it can be of use1 and the photographer has always before him some permanent record of his travels and skill4 ,illustration3 ,,fig4 #bb4 ,let us take1 for instance1 the making of transparencies4 ,these are very simply made4 ,any moderately rapid dry plate can be used for the purpose4 ,every amateur becomes possessed after a time of a large number of negatives1 good1 bad1 and indifferent4 ,let him carefully go through these1 selecting all the printable ones and the pictures that he most admires4 ,from these1 transparencies can be made1 either by contact1 or enlarged or reduced in the camera4 ,persons residing in cities often have a nicely furnished room utterly marred by an unsightly outlook4 ,perhaps a view of chimney pots and dirty back yards4 ,in such a case all that is necessary is to fit in place of the lower panes some neat photographs on glass1 backed with thin ground-glass4 ,these can be puttied in or they can be fitted in neat brass frames and hung up against the windows4 ,the craze of the present day appears to be in the direction of bright and gaudy colors1 except with the more highly cultivated1 who recognize the artistic value of unobtrusive colors and delicate tints4 ,a photograph1 provided it is a good one1 is always to be preferred to colored pictures unless the latter are by good artists4 ,we once constructed with a half dozen of transparencies a very neat lamp shade4 ,some idea of it can be obtained from ,fig4 #bc4 ,illustration3 ,,fig4 #bc4 ,a brass frame is first constructed1 and any wire worker will execute this so as to hold the six or eight pictures4 ,the transparencies are made1 cut down to the size and shape required and fitted in2 then ground glass of the same size and shape is fitted1 small brass tabs at the back being used to keep them in their places behind the transparency4 ,the glasses should not fit too tightly in the brass frames or1 on expanding by the heat1 they will crack4 ,a hall lamp can be treated in the same way1 the colored glass removed and photographic transparencies substituted4 ,photos on glass can in the same way be used for a variety of other purposes1 such as fire screens1 candle shades1 etc4 ,next look up your stock of prints1 scraps1 waste prints1 etc4 ,illustration3 ,,fig4 #bd4 ,often from a large1 spoilt picture you can get a neat little bit about a couple of inches square or less2 look up all these and from them a photographic chess-board can be made4 ,our illustration in ,fig4 #bd is intended to show what is meant1 although our artist has not been happy in the selection of his material to represent photographic views and portraits4 ,first mark out a square the size you wish the chess-board to be4 ,divide it into sixty-four squares and draw a neat border round it4 ,thirty-two of the squares are then neatly pasted over with selected photographs as varied as possible in subjects4 ,sixteen are fitted one way and sixteen the other4 ,our illustration is incorrect in this respect4 ,the sixteen pictures should be placed the right way on the sixteen squares nearest to each player4 ,when the photographs have all been pasted on and dried the whole is sized and varnished4 ,if1 however1 it is desired to preserve this photographic chess-board1 and at the same time to use it frequently1 a better plan is to cover over with a glass plate and bind all round the edges to prevent dust from entering4 ,in a similar way a neat card table can be manufactured4 ,fig4 #be is intended to illustrate the top of the table covered with photographs and protected by a glass plate4 ,a little consideration will no doubt give various other similar ideas to the reader4 ,those who can work the carbon process successfully have it in their power to transfer photographs in various colors to all kinds of supports1 to wood for instance4 ,the panels of a door can be very considerably improved by the insertion of photographs on fine grain wood1 varnished4 ,illustration3 ,,fig4 #be4 ,pictures can in this manner be transferred to plates1 china and ornaments of every description4 ,various methods of printing on silk and various fabrics have from time to time been given4 ,perhaps the best for our purpose is the primuline process1 as various colored images can be produced1 with but little trouble1 on all kinds of material4 ,a description of the process will be found in another part of this work4 7,see ,page #ci47 ,these the amateur can hand over to his better half or female relations1 who with the natural feminine abilities will produce all sorts of pretty artistic articles for decorating the room4 ,we are well aware that we have by no means enumerated one half of the various means in which photography can be employed for decorating the house1 but hope at least to have given the reader some idea of what its capabilities are4 ,,leaf ,,prints4 ,illustration3 ,,fig4 #bf4--,,leaf ,,print4 ,,by ,t4 ,,gaffield4 ,nothing can exceed the beauty of form and structure of the leaves of different plants4 ,ruskin observes3 ,leaves take all kinds of strange shapes1 as if to invite us to examine them4 ,star-shaped1 heart-shaped1 spear-shaped1 fretted1 fringed1 cleft1 furrowed1 serrated1 sinuated2 in whirls1 in tufts1 in spires1 in wreaths2 endlessly expressive1 deceptive1 fantastic1 never the same1 from footstalk to blossom1 they seem perpetually to tempt our watchfulness and take delight in outstripping our wonder4 ,photography has placed in our hands a simple method of preserving facsimiles of their ever varying shapes that will last long after the leaf has died and crumbled to dust4 ,although the discovery of the darkening action of silver chloride when exposed to light was discovered by ,scheele as far back as #aggg1 little was apparently known of the possibilities attending the discovery until #ahci1 when ,fox ,talbot read a paper on ,a ,method of ,photogenic ,drawing1 in which he described various experiments that could be made with paper coated with this substance1 and showed many pictures of leaves1 ferns1 and pieces of lace which he had obtained4 ,illustration3 ,,fig4 #bg4--,,leaf ,,print4 ,,by ,t4 ,,gaffield4 ,the illustrations which we reproduce herewith are reproductions from leaf prints made by ,mr4 ,thomas ,gaffield1 who has made quite a study of this fascinating pastime4 ,in a little work entitled ,photographic ,leaf ,prints1 published in #ahfi1 he describes his method4 ,the leaves and ferns are first selected and pressed between the leaves of a book4 ,they must not be dried1 as in that state they do not so readily permit the light to pass through and the delicate structure of the leaf would not be reproduced4 ,they should therefore only be pressed sufficiently to allow the excess of moisture to be extracted4 ,a sheet of glass is put into the printing frame and the leaves artistically arranged4 ,when the arrangement is satisfactory the leaves are attached to the glass with a little mucilage to prevent them from slipping out of their places4 ,a sheet of sensitive paper1 albumen1 gaslight1 or platinum is then inserted1 the frame closed up and exposed to the light until a very dark print is obtained4 ,the time required in printing must be found by practice2 it will1 of course1 differ according to the intensity of the light4 ,it is a good plan to employ an actinometer to judge the correct exposure4 ,it is not possible to open the frame1 as a double or blurred picture would result4 ,the halves should be exposed sufficiently long to enable the light to penetrate through them and give a distinct image of the veins and structure4 ,when the printing is completed the paper is removed and toned and fixed in the usual manner4 ,if platinotype or gaslight paper is used1 this1 of course1 requires development4 ,the resulting picture gives us a light impression of the leaves on a dark background1 but if so desired1 the print thus obtained can be used as a negative4 ,it can be made transparent with wax or vaseline1 and prints obtained from it giving a dark image on a white ground4 ,it is difficult to say which picture is the more beautiful4 ,we give illustrations of pictures of both kinds4 7,figs4 #bf and #bg47 ,naturally enough1 the beauty of these pictures lies in the careful selection and arrangement of the leaves4 ,those which are too thick should not be used4 ,delicate ones1 showing all the veins by transmitted light1 are the most suitable4 ,they can be arranged artistically1 in any shape or form4 ,we prefer1 however1 a life-like arrangement to the construction of various shapes and designs4 ,,to ,,make ,a ,,pen ,,and ,,ink ,,sketch ,,from ,a ,,photograph4 ,by the following method anyone can1 without any knowledge of drawing1 produce from a photograph a pen and ink sketch suitable for reproduction as an illustration4 ,from the negative a silver print is made on albumen or gelatine or collodion paper4 ,this is fixed without toning in a solution of hyposulphite of soda4 ,it must then be thoroughly washed to remove all traces of hypo1 and when dry1 the outlines of the photograph are traced over with a fine pen and a waterproof ink1 obtainable at any artist's material store4 ,if the photographer possesses a little knowledge of drawing1 some of the shading can also be attempted4 ,when the ink is dry the picture is immersed in a saturated solution of bichloride of mercury 7poison7 when the photograph will disappear1 leaving the outline sketch intact4 ,the picture is again well washed and dried4 ,newspaper sketches are often made from photographs in this manner1 a zincotype being quickly produced from the drawing4 ,gaslight paper can also be used4 ,,photographs ,,on ,,silk4 ,photographs can be very effectively printed upon silk1 satin1 or other fabrics4 ,there are several methods of accomplishing this4 ,a simple one is the following3#b ,the silk best suited for the purpose is that known as ,chinese silk1 and this is first washed in warm water with plentiful lather of soap1 then rinse in hot water1 and gradually cool until the final washing water is quite cold4 ,next prepare the following solutions3 ,tannin1 #d parts2 distilled water1 #ajj parts4 ,sodium chloride1 #d parts2 arrowroot1 #d parts2 acetic acid1 #ab parts2 distilled water1 #ajj parts4 #b ,from the ,encyclopaedic ,dictionary of ,photography1 by the author4 ,the arrowroot is mixed up into a paste with a little of the distilled water1 and the remainder added boiling hot1 with the acid and the salt previously dissolved in it4 ,when the solution is quite clear the tannin solution is added1 and the whole allowed to get fairly cool4 ,the silk is then immersed for about three minutes1 being kept under without air in the folds1 and then hung up to dry1 or stretched out with pins on a flat board4 ,the material is then sensitized by brushing over with the following solution3 ,silver nitrate1 #ab parts2 distilled water1 #ajj parts2 nitric acid1 #b drops to every #c ounces4 ,other methods of sensitizing are by immersing in or floating on the silver solution4 ,after sensitizing1 the material is dried by pinning on to a board to keep flat4 ,it is then cut up as required1 and printed behind the negative4 ,every care must be taken in printing to keep the material flat1 and without wrinkles or folds4 ,it must also be kept quite straight2 otherwise1 the image will be distorted4 ,printing is carried on in the same manner as with printing-out paper4 ,it is then washed and toned in any toning bath4 ,the sulphocyanide gives the best action4 ,fix in a #aj per cent4 solution of hyposulphite of soda for ten minutes2 wash and dry spontaneously4 ,when just damp1 it is ironed out flat with a not over-heated iron4 ,black tones can be obtained with a platinum toning bath1 or with the uranium and gold toning bath1 made up as follows3 ,gold chloride1 #a part2 uranium nitrate1 #a part4 ,dissolved and neutralized with sodium carbonate1 and then added to sodium chloride1 #af parts2 sodium acetate1 #af parts2 sodium phosphate1 #af parts2 distilled water1 #d1jjj parts4 ,very effective results may be made by printing with wide white margins1 obtained by exposing with a non-actinic mask4 ,another method is the following3 ,ammonium chloride1 #ajj grains2 ,iceland moss1 #fj grains2 water 7boiling71 #bj ounces4 ,when nearly cold this is filtered1 and the silk immersed in it for about fifteen minutes4 ,to sensitize1 immerse the silk in a #bj grain solution of silver nitrate for about sixteen minutes4 ,the silver solution should be rather acid4 ,or immerse the silk in water1 #a ounce2 sodium chloride1 #e grains2 gelatine1 #e grains4 ,when dry1 float for thirty seconds on a #ej grain solution of silver nitrate4 ,dry1 slightly overprint and tone in the following bath3 ,gold chloride1 #d grains2 sodium acetate1 #b drachms2 water1 #bi ounces4 ,keep twenty-four hours before using4 ,fix for twenty minutes in hypo1 #d ounces to the pint of water4 ,,photographing ,a ,,catastrophe4 ,on this page we reproduce a curious photograph by ,m4 ,bracq1 which appeared some time ago in the ,photo ,gazette4 ,illustration3 ,by ,m4 ,bracq4 ,from ,photo ,gazette4 ,,fig4 #bh4--;,a ,,catastrophe4 ,despite all the terrible catastrophe which it represents1 carrying pictures along with him in his fall1 the subject has not experienced the least uneasiness1 not even so much as will certainly be felt by our readers at the sight of the tumble represented4 ,the mode of operating in this case is very simple and we are indebted to ,la ,nature for the description of the method employed by ,m4 ,bracq4 ,the photographic apparatus being suspended at a few yards from the floor of the room1 in such a way as to render the ground-glass horizontal 7say between the two sides of a double ladder--a combination that permits of easy focusing and putting the plates in place71 there is spread upon the floor a piece of wall paper1 about #f feet in length by #e feet in width1 at the bottom of which a wainscot has been drawn4 ,a ladder1 a few pictures1 a statuette1 and a bottle are so arranged as to give an observer the illusion of the wall of a room1 that of a dining room for instance4 ,a hammer1 some nails1 etc41 are placed at the proper points4 ,finally1 a #e feet by #b-a_/b feet board1 to which a piece of carpet1 a cardboard plate1 etc41 have been attached1 is placed under the foot of a chair1 which then seems to rest upon this false floor at right angles with that of the room4 ,illustration3 ,,fig4 #bi4 ,everything being ready1 the operator lies down quietly in the midst of these objects1 assumes a frightened expression1 and waits until the shutter announces to him that he can leave his not very painful position4 ,this evidently is merely an example that our readers will be able to modify and vary at their will4 ,,photographs ,,on ,,various ,,fabrics4 ,by means of a dye process known as the ,primuline ,process1 very pretty images in various colored dyes can be made upon silks1 satins1 cotton goods1 etc4 ,the material is first dyed in a hot solution of primuline1 made by adding about #ae to #cj grains of the dye to a gallon of hot water2 a little common salt should also be added4 ,on immersing the fabric1 and stirring it about in the solution1 it becomes of a primrose yellow color1 when it is removed and washed under a cold-water tap4 ,the next process is to diazotize it by immersion for half a minute or so in a cold solution of sodium nitrate1 one-quarter per cent41 which has been sharply acidified with hydrochloric or other acid4 ,the material is again washed in cold water1 but it must be kept in a weak light4 ,it can be hung up to dry1 in the dark1 or exposed while wet beneath the object of which it is required to produce a positive reproduction4 ,this process gives a positive from a positive1 so that any ordinary picture on a sufficiently translucent material--flowers1 ferns1 etc4--can be reproduced4 ,printing requires about half a minute in the direct sunlight to half an hour or more in dull weather1 or if the material to be printed through is not very transparent4 ,the high lights become of a pale yellow1 so that a faint image is perceptible2 but this is made visible in almost any color by development in a weak solution 7about one-fourth per cent47 of a suitable phenol or amine4 ,the following have been found suitable3 ,for ,red4--,an alkaline solution of ,greek3 b-napthol4 ,for ,maroon4--,an alkaline solution of ,greek3 b-napthol-disulphonic acid4 ,for ,yellow4--,an alkaline solution of phenol4 ,for ,orange4--,an alkaline solution of resorcin4 ,brown4--,a slightly alkaline solution of pyrogallol1 or a solution of phenylene-diamine-hydrochloride4 ,for ,purple4--,a solution of ,greek3 a-napthylamine hydrochloride4 ,for ,blue4--,a slightly acid solution of amido-,greek3 b-napthol-sulphonate of sodium1 now better known as eikonogen4 ,if the design is to be made in several colors1 this can be done by painting on the different developers1 suitably thickened with starch4 ,after developing1 the material is well washed and dried4 ,with the purple and blue developers it is necessary to wash the material finally in a weak solution of tartaric acid4 ,wool and silk require a longer exposure to light than other fabrics1 and cannot be successfully developed with the maroon or blue developer4 ,,silhouettes ,illustration3 ,,aa4 ,the sky and side light4 ,,bb4 ,two dark backgrounds4 ,c4 ,the white screen in oblique position4 ,d4 ,the subject4 ,e4 ,the camera4 ,,fig4 #cj4 ,illustration3 ,,fig4 #ca4 ,silhouette portraits were at one time very popular4 ,they are simply made1 and if the effect is well carried out will afford considerable amusement4 ,the best description of their manufacture was given some time ago by ,herr ,e4 ,sturmann1 in ,die ,photographische ,korrespondenz4 ,his method is as follows3 ,place two dark backgrounds in parallel position about #d feet from the sky and side light of the studio and distant from each other about six feet4 ,improvise a dark tunnel by drawing a black cloth1 of non-reflecting material1 over the two dark grounds1 and arrange a white screen1 somewhat larger than the distance between the two dark grounds1 in an oblique position so as to be fully illuminated4 ,the subject to be silhouetted must be placed in the centre of the tunnel1 one side of the face turned towards one ground1 but comparatively nearer to the white screen so that the side of the face turned towards the camera is as much as possible in the shade4 ,illustration3 ,,fig4 #cb4 ,focus must be taken accurately1 so that the outlines of the figure are perfectly sharp4 ,as it is the object to obtain a perfectly transparent1 glass-clear silhouette upon an absolutely opaque ground1 but a very short time of exposure is required4 ,develop as usual and to secure perfect opacity intensify more than usual4 ,plates of lower sensitiveness invariably give the best results4 ,a slow plate or one made particularly for reproduction is well adapted for this kind of work4 ,with ferrous oxalate or hydrochinon developer there is scarcely any need of intensifying4 ,illustration3 ,,fig4 #cc4 ,illustration3 ,,fig4 #cd4 ,to obviate the shadows cast upon the floor by the lower parts of the figure1 place it upon a thick1 large plate-glass1 supported by props of five or six inches in height1 and spread upon the floor under the glass a piece of white muslin4 ,the muslin must be free of folds or wrinkles1 and be so connected with the white screen1 that the division line between is not reproduced upon the plate4 ,the very feeble shadows of the feet can be easily touched away with pencil4 ,single persons or groups of two or three figures can be photographed in this peculiar style with very good effect4 ,for heads and busts expose in the usual manner1 but to obtain silhouettes similar to those our grandmothers had cut in black paper1 and long before photography was thought of1 cut an appropriate mask of black paper to cover the part not wanted during printing4 ,illustration3 ,,fig4 #ce4 ,it should be borne in mind that in this class of work the white background only is the object to be photographed1 hence the necessity of but very short exposures4 ,with longer exposures absolute blacks and whites are impossible4 ,,photographing ,,the ,,invisible4 ,the following is a curious and interesting experiment1 based upon the peculiar property possessed by fluorescent substances of altering the refrangibility of the chemical light rays4 ,take a colorless solution of bisulphate of quinine1 and write or draw with it on a piece of white paper4 ,when dry the writing or design will be invisible1 but a photograph made of it will show them very nearly black4 ,,how ,,to ,,make ,a ,,photograph ,,inside ,a ,,bottle4 ,get a glass-blower to make an ordinary shaped wine-bottle of very thin and clear glass1 and clean it well4 ,next take the white of two eggs and add to it #bi grains of ammonium chloride dissolved in #a drachm of spirits of wine1 and one-half ounce of water4 ,beat this mixture into a thick froth and then allow it to stand and settle4 ,filter through a tuft of cotton-wool1 and pour into the specially made bottle4 ,by twisting the bottle round1 an even layer of the solution will deposit itself on the sides4 ,pour off the remaining solution1 allow the film in the bottle to dry1 and again repeat the operation4 ,the next operation is to sensitize the film with a solution of nitrate of silver1 #dj grains to #a ounce of water4 ,pour this in and turn the bottle round for a few minutes1 then pour off the superfluous solution and again dry4 ,hold the neck of the bottle for a few seconds over another bottle containing ammonia1 so as to allow the fumes to enter it4 ,printing is the next operation2 this is accomplished by tying a film negative round the bottle1 and covering up all the other parts from the light4 ,print very deeply1 keeping the bottle turning round all the time4 ,toning1 fixing1 and washing can be done in the ordinary way by filling the bottle up with the different solutions4 ,the effect is very curious1 and can be improved by coating the inside of the bottle with white enamel4 ,,photographs ,,in ,,any ,,color4 ,these can be produced by what is known as the powder or dusting-on process4 ,the principle of the process is this3 ,an organic1 tacky substance is sensitized with potassium bichromate1 and exposed under a reversed positive to the action of light4 ,all the 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 complete reproduction of the positive printed form4 ,prepare--,dextrine1 one-half ounce2 grape sugar1 one-half ounce2 bichromate of potash1 one-half ounce2 water1 one-half pint3 or saturated solution bichromate of ammonia1 #e drachms2 honey1 #c drachms2 albumen1 #c drachms2 distilled water1 #bj to #cj drachms4 ,filter1 and coat clean glass plates with this solution1 and dry with a gentle heat over a spirit lamp4 ,while still warm the plate is exposed under a positive transparency for from two to five minutes in sunlight1 or from ten to twenty minutes in diffused light4 ,on removing from the printing frame1 the plate is laid for a few minutes in the dark in a damp place to absorb a little moisture4 ,the next process is the dusting on4 ,for a black image ,siberian graphite is used1 spread over with a soft flat brush4 ,any colored powder can be used1 giving images in different colors4 ,when fully developed the excess of powder is dusted off and the film coated with collodion4 ,it is then well washed to remove the bichromate salt4 ,the film can1 if desired1 be detached and transferred to ivory1 wood1 or any other support4 ,if a black support be used1 a ferrotype plate on ,japanned wood1 for instance1 pictures can be made from a negative1 but in this case a light colored powder must be used4 ,the ,japanese have lately succeeded in making some very beautiful pictures in this manner4 ,wood is coated over with that black enamel for which they are so famous1 and pictures made upon it in this manner4 ,they use a gold or silver powder4 ,with this process an almost endless variety of effects can be obtained4 ,for instance1 luminous powder can be employed and an image produced which is visible in the dark4 ,some time ago we suggested a plan of making what might be termed post-mortem photographs of cremated friends and relations4 ,a plate is prepared from a negative of the dead person in the manner described1 and the ashes dusted over4 ,they will adhere to the parts unexposed to light1 and a portrait is obtained composed entirely of the person it represents1 or rather what is left of him4 ,the idea is not particularly a brilliant one1 nor do we desire to claim any credit for it1 but we give it here for the benefit of those morbid individuals who delight in sensationalism1 and who purchase and treasure up pieces of the rope used by the hangman4 ,,the ,,disappearing ,,photograph4 ,a method of making a photograph which can be made to appear at will is thus described in ,les ,recreations ,photographiques4 ,take a convex watch crystal1 ,v1 or any similar larger glass if desired--for instance1 those used for colored photographs2 clean the glass well1 place it perfectly level1 convex side down1 and fill it even full with a mixture of white wax and hog's lard4 ,when it has solidified1 apply to the back a flat glass plate1 ,p1 cut exactly to the largest dimensions of the convex glass1 secure the glasses together with a strip1 ,b1 of gold-beater's skin1 fastened by strong glue as shown in the figure4 ,now mount a portrait1 with the front towards the convex glass1 on the plate ,p4 ,the combination is now ready2 by heating it the wax between the two glasses melts and becomes transparent1 allowing the portrait to be seen2 on cooling it will lose its transparence and the portrait will disappear4 ,illustration3 ,,fig4 #cf4 ,,freak ,,pictures ,,with ,a ,,black ,,background4 ,if an object be placed against a non-actinic background and an exposure made1 the black parts surrounding it will not have any effect upon the plate1 and the object can be shifted to another part and another exposure made4 ,in a recent article published in ,la ,nature1 and translated in the ,scientific ,american1 a number of curious effects obtained by photography by ,m4 ,r4 ,riccart1 of ,sainte-,foix-les-,lyons1 are described and illustrated4 ,illustration3 ,,fig4 #cg4--;,a ,,decapitation4 ,the system employed by the author of these photographs is that of the natural black background obtained through the open door of a dark room1 combined with diaphragms skillfully arranged in the interior of the apparatus1 between the objective and sensitized plate4 ,this is the surest method of obtaining the desired effect with the greatest precision1 without the junctions being visible1 and with perfect sharpness in the cutting of the parts removed4 ,for this effect1 it is necessary to place the diaphragm at three or four centimeters from the ground glass1 in the last folds of the bellows of the camera4 ,illustration3 ,,fig4 #ch4--;,,another ,,decapitation4 ,the following are a few data as to the manner in which the scenes that we reproduce were obtained4 ,the first1 representing a decapitation by means of a saber 7,fig4 #cg71 was taken by means of an exposure in which the head was placed upon the block1 the subject inclining forward upon his knees1 and a diaphragm1 occupying about two-thirds of the plate1 completely masking the body up to the neck4 ,then1 without changing the position of the apparatus1 the diaphragm was placed on the other side in order to conceal the head1 and the body was photographed in the second position along with the person representing the executioner4 ,it would have been possible1 by a third exposure1 to so arrange things as to make the executioner the decapitated person4 ,it was by the same process that the three following scenes were obtained3 ,a person with his head placed before him in a plate 7,fig4 #ch72 a man carrying his head in a wheelbarrow 7,fig4 #ci72 and a person to whom his own head is served in a plate 7,fig4 #dj74 ,such scenes may be varied to any extent4 ,fig4 #da is a photograph of a decapitation1 while ,fig4 #db is made by two exposures of an individual at different distances but so combined as to give the appearance of one exposure4 ,fig4 #dc is that of a person in a bottle4 ,the individual represented was first photographed on a sufficiently reduced scale to allow him to enter the bottle4 ,this exposure was by using a screen containing an aperture1 as for the ,russian background4 ,but this precaution was taken merely to conceal the floor1 and yet it would perhaps be preferable in such a case to have the subject stand upon a stool covered with a very black fabric4 ,however this may be1 when once the first impression has been made1 there is nothing more to be done than to photograph the bottle on a larger scale and the result is obtained4 ,illustration3 ,,fig4 #ci4--,,the ,,head ,,in ,,the ,,wheelbarrow ,illustration3 ,,fig4 #dj4--,,the ,,head ,,upon ,a ,,plate4 ,,how ,,to ,,copy ,,drawings4 ,there are three principal methods of copying mechanical drawings1 tracings1 sketches1 etc4 ,these are3 7#a7 ,a process to obtain white lines upon a blue ground2 7#b7 a process by which blue lines upon a white ground are obtained2 and 7#c7 a process giving black or violet-black lines upon a white ground4 ,illustration3 ,,fig4 #da4--,,the ,,sawed-,,off ,,head4 ,the first process is undoubtedly the simplest1 as after printing upon the paper it is developed and fixed by simple immersion in cold water2 but1 at the same time1 the white lines on the blue ground are not so clear and effective as the other processes4 ,the cyanotype paper1 as it is called1 can be obtained ready for use at any draughtsman's stores1 but if you prefer to make it yourself1 here is the recipe3 ,two solutions are made--#bj parts of red prussiate of potash are dissolved in #ajj parts of water1 and #aj parts of ammonio-citrate of iron in #fj parts of water4 ,these two solutions should be mixed together immediately before using1 and the operation must be performed in the dark4 ,paper is floated on this solution1 or applied with a broad camels-hair brush1 and hung up to dry4 ,if it is well dried and carefully preserved from light1 moisture and air1 this paper will keep for some time4 ,after printing--which1 when sufficient1 should show the lines copied of a yellow color upon a blue ground--the prints should be washed in several waters1 and if a few drops of chlorine water or dilute hydrochloric acid be added to the washing water1 the blue ground will appear much darker and the lines rendered clearer and whiter4 ,the commercial paper sold is generally prepared by this method4 ,illustration3 ,,fig4 #db4--,,the ,,reduction4 ,illustration3 ,,fig4 #dc4--,,man ,,in ,a ,,bottle4 ,blue prints may be given a black tone by plunging them into a solution of #d parts of caustic potash in #ajj parts of water2 then1 when the blue color has entirely disappeared under the action of the potash1 and a yellowish color has taken its place1 they are immersed in a solution of #d parts of tannin in #ajj parts of water2 then washing them again1 we obtain prints whose tone may be assimilated to that of pale writing ink4 ,in the process giving blue lines upon a white ground1 it is necessary that the action of the light shall be to convert the iron compound into one that can be discharged from instead of being fixed on the paper1 so that we obtain a positive from a positive4 ,abney describes the process as follows3 ,thirty volumes of gum solution 7water #e parts1 gum #a part7 are mixed with #h volumes of a citrate of iron and ammonia solution 7water #b parts1 double citrate #a part71 and to this is added #e volumes of a solution of ferric chloride 7water #b parts1 ferric chloride #a part74 ,this solution thus formed is limpid at first1 but will gradually become thicker1 and should be used soon after mixing4 ,it is then applied with a brush to the paper 7which should be well sized7 and dried in the dark4 ,exposure is accomplished in a few minutes1 the paper being placed under the drawing in the printing frame4 ,it is then developed with potassium ferrocyanide1 #ej grains1 water #a ounce1 applied with a brush until all the details appear of a dark-blue color4 ,the print is then rapidly rinsed1 and placed in a dish containing the clearing solution1 made of #a ounce of hydrochloric acid and #aj ounces of water4 ,the third process1 which gives violet-black lines on a white ground1 is the following3 ,make up the sensitive solution with water1 #af ounces2 gelatine1 #d drachms2 perchloride of iron 7in a syrup condition71 #a ounce2 tartaric acid1 #a ounce2 sulphate of iron1 #d drachms4 ,the paper is floated on or brushed over with this and dried4 ,the exposure is about the same as with the last process4 ,when sufficient1 the greenish-yellow color will turn white1 except the lines1 which should be somewhat dark4 ,the developing solution is composed of #a part of gallic acid in #aj parts of alcohol and #ej of water4 ,when immersed in this solution the lines will turn blacker4 ,the finish is then made by thoroughly washing in water4 ,,sympathetic ,,photographs4 ,these are obtained as follows3 ,a sheet of paper is coated with a ten per cent solution of gelatine1 and when dry this is floated on a ten per cent solution of bichromate of potash4 ,again dry and expose beneath a positive transparency4 ,the print thus obtained is then immersed in a ten per cent solution of chloride of cobalt4 ,the parts unacted upon by light will absorb the solution4 ,wash and dry4 ,we then have a faint image which will alter its color according to the state of the atmosphere4 ,in damp weather it will be almost if not entirely invisible1 but when the weather is fine and dry1 or if the image be heated before a fire it will turn to a bright blue color4 ,,dry-,,plates ,,that ,,will ,,develop ,,with ,,water4 ,some time ago dry-plates were placed on the market which would develop1 apparently1 with water and a little ammonia only4 ,the secret of the method was that the backs of the plates were coated with a soluble gum1 containing the developing agents1 and1 of course1 when the plate was immersed in the water1 they instantly dissolved and formed the developer4 ,plates thus prepared are useful in traveling where it is not always possible to get the necessary developing solutions4 ,to prepare them the backs are coated with the following mixture3 ,pyrogallic acid #aed grains ,salicylic acid #ae grains ,gum or dextrine #aed grains ,alcohol #a fluid dr4 ,water #e fluid dr4 ,this is allowed to dry at an ordinary temperature4 ,after exposure1 all that is necessary to develop is to immerse the plates in water containing a small quantity of ammonia4 ,,caricature ,,photographs4 ,there are quite a number of different methods of making caricature portraits4 ,a simple one is to make two photographs of an individual1 one of the head alone and another of the entire body on a much smaller scale4 ,from these two negatives prints are made1 and the larger head is cut out and pasted on the shoulders of the full length figure4 ,any signs of the cutting out are removed by the use of a brush and a little coloring matter4 ,from this combined print another negative is made so that any number of these caricature prints can be made without extra trouble4 ,the effect is shown in ,fig4 #dd4 ,illustration3 ,from ,tissandier's ,handbook4 ,,fig4 #dd4--;,,caricature ,,portrait4 ,foregrounds for making caricature portraits are sold in this country4 ,the method of using them is shown in ,fig4 #de4 ,the card containing the grotesque drawing is held by the sitter on his knees and arranged by the photographer in such a way that his head rests just above the neck of the painted body4 ,a white background is arranged behind and when the negative is made all traces of the edges of the foreground are removed by careful re-touching4 ,illustration3 ,,fig4 #de4--;,,caricature ,illustration3 ,,fig4 #df4--,,making ,,the ,,caricature ,,portrait4 ,another method of obtaining grotesque caricature portraits has been devised by ,m4 ,ducos du ,hauron4 ,his apparatus1 which he calls ,la ,photographie ,transformiste1 is thus described by ,schnauss in his ,photographic ,pastimes4 ,a1 ,fig4 #dg1 is the front of the box1 which is furnished with an exposing shutter formed of a simple sliding piece fitting into the grooves ,r ,r1 ,r ,r4 ,b ,p are two screens pierced with slits a a1 c c4 ,c is the rear end of the box where the dark slide is placed4 ,d is the lid of the box1 which is lifted either for placing the slotted screens or for putting in the sensitive plate4 ,when not working direct from nature1 the transparency is placed in the grooves ,r ,r1 ,r ,r1 at ,a4 ,illustration3 ,,fig4 #dg4--,,the ,,hauron ,,transformiste4 ,illustration3 ,,fig4 #dh4--,,photograph ,,and ,,distortions ,,with ,,the ,,transformiste4 ,according to the arrangement of the slits1 the caricatures obtained will be different4 ,if1 for instance1 the first slit be a vertical one1 and the other1 i4e41 the one nearest the picture1 a horizontal one1 the picture1 in comparison with the original1 will be distorted lengthwise4 ,if1 however1 one of the slits forms no straight line1 but a curved one1 the transformed picture will show either lengthwise or sideways curved lines1 according to the slit being a vertical or a horizontal one4 ,the form of the resulting picture will also be different according to which one of the slotted plates is placed more or less obliquely in the box4 ,illustration3 ,,fig4 #di4 ,illustration3 ,,fig4 #ej4 ,illustration3 ,,fig4 #ea4 ,illustration3 ,,fig4 #eb4 ,the slits must be made very exactly2 above all1 their edges must be absolutely sharp1 every incorrectness being transferred to the picture4 ,they may be made about one-third of a millimeter wide2 if they are too narrow the picture will not turn out sharp4 ,in making the slits it is a good plan to cut them in thin black paper1 and to mount the latter on glass plates4 ,illustration3 ,,fig4 #ec4 ,in a later description of the apparatus we learn that the discs containing the slits are often made circular in shape and so arranged that they can be revolved as shown in ,fig4 #ec4 ,this1 of course1 allows of a still greater variety of positions of the two apertures in relation to each other and an increasing number of grotesque effects4 ,reproductions of some of the pictures obtained are given4#c ,see ,figs4 #dh to #eb4 #c ,reprinted from ,la ,science en ,famille4 ,,photographing ,,seaweeds4 ,illustration3 ,,fig4 #ed4--,,seaweed ,,photograph4 ,of all the glorious creations of nature few are more beautiful than the delicate sea mosses to be found by the sea shore4 ,many delight in preserving them in a dry state1 mounted on cards1 but unfortunately they are usually so fragile that after a little while they fall to pieces4 ,the photographer1 however1 is able to reproduce these beautiful formations and preserve them in a more permanent form by means of his camera4 ,it is true that he cannot reproduce their delicate colorings1 but the photographs can1 if so desired1 be lightly printed on platinum paper and colored as well as possible by hand4 ,,stamp ,,portraits4 ,a ,,special camera is sold for making these little pictures4 ,illustration3 ,,fig4 #ee4--,,stamp ,,camera4 ,it contains a number of lenses all of the same focus4 ,in front is an easel where the portrait is attached1 surrounded by a suitable border4 ,the images given are about the size of postage stamps 7see ,fig4 #ef71 and when the negative is printed on a printing out or developing paper1 toned or developed1 they can be perforated and gummed at the back4 ,they are very useful for sticking to letters1 envelopes1 and for business purposes4 ,illustration3 ,,fig4 #ef4 ,,stamp ,,photo4 ,,luminous ,,photographs4 ,there are several different ways of making these4 ,obtain some ,balmain's luminous paint1 and coat a piece of cardboard with it4 ,place this in the dark until it is no longer luminous2 place this behind a glass transparency and expose to light1 either daylight or1 if at night-time1 burn a small piece of magnesium wire4 ,return to the dark1 remove the transparency1 and a luminous photograph is obtained on the prepared card4 ,a simple plan is to merely expose a piece of the prepared cardboard to the light and place it behind a transparency2 then retire to a darkened room4 ,the luminous paint1 showing through it1 will have a very pretty effect4 ,if no glass transparency is at hand1 a silver print can be used1 if previously oiled and rendered translucent by vaseline or any other means4 ,,floral ,,photography4 ,perhaps the beauties of nature are nowhere better exemplified than in flowers1 and nothing can be prettier than photographs of them carefully arranged4 ,when we say carefully arranged we mean1 of course1 artistically4 ,the secret of arranging flowers--an art in itself--is to hide the fact that they have been arranged4 ,among the best pictures of flowers which have appeared in print1 are those by ,john ,carpenter1 an ,english gentleman1 who has made this particular branch of photography his chief study1 and has been awarded many prizes and medals for flower studies4 ,some time ago we wrote to him asking for a few particulars of his method adopted1 and he has been so very kind as to send the following valuable notes3 ,suitable ,flowers4--,i find that the best colors to photograph are pale pink1 yellow1 white or variegated colors4 ,reds1 browns1 and dark colors generally1 do not answer well4 ,flowers of irregular form are most suitable1 such1 for example1 as chrysanthemums1 lilies1 poppies1 etc4 ,these give beautiful gradations of light and shade4 ,grouping4--,there is great scope here for artistic feeling4 ,all appearance of formal arrangement must be avoided and a natural grouping should be aimed at4 ,this becomes more difficult as the flowers must be somewhat on one plane to get them in proper focus4 ,a round bunch of flowers which may appear very pretty to the eye would probably be utterly wrong to make a picture of4 ,illustration3 ,fannie ,cassidy4 ,,fig4 #eg4--;,a ,,bowl ,,of ,,roses4 ,lighting4--,i have never worked in a studio1 but have a small lean-to glass house in which ,i work4 ,the top light is softened down by light shades so that the strongest light comes from the side4 ,this gives solidity to the subject and is more pleasing than a flat lighting4 ,of course1 the sun should never shine on the subject4 ,plates and ,exposure4--,if colored flowers are being photographed1 orthochromatic plates are a necessity1 but for white flowers and light-green foliage ordinary plates may be employed4 ,i generally use a medium isochromatic1 stop the lens to f3#bb and give exposure of from thirty to sixty seconds in summer and vary according to the season2 sometimes twenty minutes is not too much4 ,development4--,my usual and favorite developer is pyro-ammonia1 and in careful hands it cannot be beaten4 ,i commence development with a minimum of pyro and work tentatively4 ,using such a solution1 for #b ounces of developer ,i should commence with #a-a_/b grains pyro1 #a grain bromide1 and #b grains ammonia4 ,if the image does not gain sufficient density add more pyro and bromide1 but unless very fully exposed it is difficult to avoid too much density1 especially if white flowers are being photographed4 ,i find a plain gray or dark background most useful1 and to avoid flatness it may be set at an angle and not too near the subject4 ,flowers should be photographed as soon as gathered1 and if possible be placed in water4 ,i have often found a plate spoiled by movement of the leaves or flowers1 even with short exposures1 although the movement was not perceptible to the eye4 ,this is more especially the case in hot weather4 ,,distorted ,,images4 ,take a portrait negative that is no longer of any use1 and immerse it in a weak solution of hydrofluoric acid4 ,the film will leave the glass4 ,it is then washed and returned to the glass support4 ,by stretching the film one way or the other1 and allowing it to dry in this position1 the most amusing prints can be made4 ,keep your fingers out of the acid6 ,,photographs ,,without ,,light4 ,a curious experiment showing that a photographic dry-plate can be otherwise affected than by light1 so as to form an image upon it1 is the following3 ,an image of copper in relief is necessary--a penny will do for this purpose4 ,place an unexposed dry-plate in a normal pyro developer1 and on it lay the copper coin4 ,after about five minutes or so1 remove the penny1 fix and wash the plate1 when a perfect image of the penny will be found on it4 ,,electric ,,photographs4 ,similar experiments to that described above have been carried out by ,prof4 ,fernando ,sanford4 ,he placed a coin on a dry-plate and connected it with the terminal of a small induction coil1 capable of giving a spark of three or four millimeters1 while a piece of tin foil upon the opposite side of the plate was connected with the other terminal of the coil4 ,several negatives were made in this way1 the accompanying photograph1 ,fig4 #eh1 being from one of them4 ,with one exception1 they all show a fringe around them1 due to the escape of the charge from the edge of the coin1 which accounts for the formation of the dark ring observed around the breath figures made upon glass4 ,later on he undertook to photograph in the same way objects insulated from the photographic plate1 and has since made negatives of coins separated from the plate by paraffine1 shellac1 mica1 and gutta percha4 ,the accompanying photograph1 ,fig4 #ei1 was made with the coin insulated from the photographic plate by a sheet of mica about #j4jd mm4 thick4 ,the mica was laid directly upon the film side of the plate1 and the coin was placed upon it and connected to one terminal of the small induction coil already mentioned4 ,a circular piece of tin foil of the circumference of the coin was placed upon the glass side of the plate directly opposite the coin1 and was connected to the other terminal of the induction coil4 ,the little condenser thus made was clamped between two boards1 and was covered up in a dark room4 ,two small discharging knobs were also attached to the terminals of the induction coil1 and were separated by a space of less than a millimeter1 so that1 when a single cell was connected with the primary coil1 the spark between the knobs seemed continuous4 ,illustration3 ,,fig4 #eh4 ,illustration3 ,,fig4 #ei4 ,the plate was exposed to the action of the waves set up in this condenser for one hour1 when it was taken out and the negative image developed upon it by the usual process4 ,,magic ,,vignettes4 ,these are reversed vignettes1 that is to say1 the margins round the portrait instead of being white as in the ordinary vignette are black4 ,a method of making them was recently described by ,teinte in ,the ,photogram4 ,this was as follows3 ,two methods can be adopted4 ,the first of these about to be detailed1 though entailing1 perhaps1 in the first place a trifle more trouble1 produces the best results4 ,we require a black background1 preferably of black velveteen1 large enough for a head and shoulders4 ,as the material is not usually obtainable of a width greater than twenty inches or so1 there will have to be a seam1 and this must be very neatly done4 ,the seamed velveteen is then stretched taut on a frame1 which should preferably be covered first with calico1 to prevent sagging4 ,always1 before use1 dust the velveteen with a soft brush--say1 a hat brush--to remove any adhering dust or fluff4 ,instead of velveteen1 a good paper background can be used1 only it must be seen that the surface is smooth and free from cracks or creases1 and is dead black4 ,illustration3 ,,fig4 #fj4--,,magic ,,vignetter4 ,we require also a vignetting mask suitable to the subject1 with a serrated edge4 ,this has to be fixed inside the camera between the lens and plate4#d ,the proper position can be found by trial2 the further the card is away from the plate the softer and more gradual the vignetting4 ,no special arrangement for holding this is required beyond what can be prepared by any one who can use his fingers4 ,we take a piece of stout card1 the outside of which will just fit into the folds of the camera's bellows1 and by a little twisting it can be sprung in between the folds which will hold it4 ,there is an opening in the center1 square in shape1 about quarter plate size4 ,this acts as a frame to hold the vignetting mask1 which has the opening of proper size and shape4 ,by using a frame as described the vignetter can be moved about up and down and from side to side1 and when the correct position is found fixed by drawing pins4 ,the frame and vignetter should be blacked all over4 ,for this purpose take some lampblack ground in turps1 and mix with it a little gold size sufficient 7found by trial7 to prevent the lampblack from rubbing off when dry1 but not enough to cause the paint to dry shiny4 #d ,a vignetter for the purpose1 as shown in ,fig4 #fj1 has been placed on the market4 ,a good distance to fix the vignetter is about one-third the extension of the camera when the object is in focus1 measuring from the lens4 ,we adjust the camera so that the image of the figure falls in the correct position on the screen1 and the vignette is made of such a size and shape as to give the amount required4 ,the shadow of the mask protects the edges of the plate surrounding the image1 and in development we obtain a negative in which the image is vignetted into clear glass1 and on printing from such the margins print dark4 ,the printing of such a negative should be prolonged until the margins of the picture are quite lost1 or they are apt to show after toning4 ,the sketch shows the arrangement of vignetter inside camera4 ,the other plan consists in making an ordinary negative1 using preferably a dark background4 ,from this is made a vignette in the ordinary manner4 ,when this comes from the frame it is placed on a piece of clean glass--face up--and another piece of glass free from flaws placed over it4 ,now cut a piece of card to the size and shape of the vignetted portion of the print1 and fix this with glue to a piece of cork4 ,this piece of cork must vary in thickness with various pictures4 ,now place the cork on the glass so that the mask covers the picture and fix with glue to prevent slipping4 ,place the whole out in diffused light1 and allow the darkening of the margins to go on until sufficiently deep4 ,the print is then toned4 ,the height of the card from the print must be such that no abrupt line is produced between the first printing and the darkened margin1 but that one will shade into the other without break4 ,a ,,simple ,,method ,,of ,,enlarging4 ,if we have an ordinary gelatine negative1 say1 of half-plate size1 and require to enlarge it to a whole plate1 the simplest plan is to thoroughly wash it and immerse in a solution composed of citric acid1 #b ounces2 hydrofluoric acid1 #a ounce2 acetic acid 7glacial71 #a ounce2 glycerine1 #a_/b ounce2 water1 #bj ounces4 ,the action of the hydrofluoric acid will be to detach the film from the glass1 while the other acids will cause the film to spread out considerably2 the action being even all over1 the image is completely enlarged4 ,it is then carefully removed and washed in plenty of clean water1 after which it can be transferred to a larger piece of glass4 ,the action is sometimes to weaken the negative in density2 it is therefore occasionally necessary to intensify it4 ,,moonlight ,,effects4 ,curious as it sounds1 very good moonlight effects can be procured on a bright sunshiny day4 ,a photograph is made of a landscape in dazzling sunlight1 a small stop and rapid exposure being given4 ,the plate should1 if possible1 be backed with any of the substances recommended to prevent halation4 ,choose a landscape1 with the reflection of the sun's rays in water1 and include this and the sun itself on the plate4 ,it is best to wait1 however1 until the sun just disappears behind a cloud4 ,shade the lens so that the rays do not shine on it direct1 and expose rapidly4 ,use an old or weak developer4 ,the sun and its reflection will1 of course1 make their appearance first4 ,continue the development until the detail in the under-exposed parts is just visible1 and fix4 ,print very darkly1 and slightly over tone4 ,if printing is done upon green developing paper1 and a little re-touching with ,chinese white1 the effect is very good4 ,illustration3 ,photographed from ,nature by ,fred4 ,graf4 ,,fig4 #fa4--,,moonlight ,,photograph4 ,,photographing ,,snow ,,and ,,ice ,,crystals4 ,there are few photographers who appear to be aware of the many beautiful phenomena of nature that can be studied by the aid of photography4 ,under the title of ,schnee ,crystalle1 ,dr4 ,g4 ,hellmann has published#e a book on this subject profusely illustrated with engravings and photo-micrographic collotypes from direct photographs by ,dr4 ,r4 ,neuhaus4 #e ,rudolph ,muckenberger1 ,berlin4 ,illustration3 ,,fig4 #fb4--,,snow ,,crystals4 ,,photo ,,by ,,dr4 ,,neuhaus4 ,dr4 ,neuhaus describes his method of photographing snowflakes in ,dr4 ,eder's ,jarbuch1 from which article we extract the most important and interesting paragraphs3 ,were we to attempt to photograph snow crystals in a perfectly cold room1 the temperature is still higher than that out of doors2 moisture at once precipitates upon the carrier of the object2 the crystals would melt and evaporate after a short time4 ,the work must be done in the open1 and perfect success can be expected only when the temperature is near zero4 ,illustration3 ,,fig4 #fc4--,,snow ,,crystals4 ,,photo ,,by ,,dr4 ,,neuhaus4 ,snow crystals evaporate rapidly even in low temperature1 and the work requires to be done rapidly and with caution4 ,freshly fallen snow only will give a good photograph1 and as we are compelled to work in the midst of the snow storm1 the task becomes still more complicated and difficult4 ,snow crystals but a short time after falling break1 the broken pieces freeze together and crystallization is destroyed4 ,for the illumination of snow crystals1 transmitted light only can be used2 reflected light destroys the shadows1 and injures the high lights1 and the result is necessarily but a very imperfect picture of the object4 ,illustration3 ,photo by ,martin4 ,,fig4 #fd4--;,a ,,natural ,,phenomenon ,,in ,,ice4 ,diffused light1 especially that of a dark winter's day1 and during a snow storm1 is not fit for this kind of photo-micrographic work1 and we must resort to artificial light1 preferably to that of a petroleum lamp4 ,to prevent heat action emanating from the illuminating ray cone1 an absorptive cell of alum solution should be interposed4 ,as alum solution freezes at about #bj deg4 ,fahr41 chloride of sodium is added4 ,with ,hartnark's projection system1 at #ca mm4 focus distance1 from #e to #g seconds upon an erythrosine plate is ample4 ,illustration3 ,,fig4 #fe4--,,photograph ,,of ,,frost ,,crystals4 ,,by ,,jas4 ,,leadbeater4 ,dr4 ,neuhaus has made photographs of more than #fj different ice and snow specimens4 ,the pictures of ice crystals much resemble those of hoar frost1 deposited after a cold winter's night4 ,of snow crystals1 the doublets are highly interesting1 two crystals merged into one1 and those having passed through a moist stratum of air1 when microscopic drops of water will freeze into the hexagonal form1 giving the picture an appearance very much resembling cauliflower4 ,illustration3 ,,fig4 #ff4--,,photograph ,,of ,,frost4 ,,by ,,jas4 ,,leadbeater4 ,the most difficult question of all remains1 the cause of the various forms of the hexagonal crystals1 which frequently change in the same snowfall4 ,instead of advancing a new hypothesis1 says ,hellmann1 it is better to acknowledge that we know nothing positively in regard to this4 ,in our knowledge of the form and structure of the snow we have made great advance since the time of ,kepler1 but after nearly four hundred years1 we cannot give a satisfactory answer to his question1 ,cur autem sexangula8 ,why six-sided8 ,we do not know the special conditions which determine the formation of one or the other form of snow crystals4 ,we have found that a low temperature favors the formation of tabular crystals2 a higher temperature the star shaped crystals2 these groups show such multifarious forms that it is necessary to seek for other causes which influence the formation of snow figures4 ,there is offered here a broad field for new investigation and study4 ,we give a reproduction 7,fig4 #fd7 of a photograph of a curious group of crystals4 ,some water had been left in a #ajx#h dish on a winter day1 and a film of ice was seen floating on the surface4 ,the formation of the crystals and the floral design were so beautiful that it was taken out and photographed4 ,the delicate lace-like edging of the glacial tracery is the result of the deposition of hoar frost while draining off the water from the ice leaves and flowers and fixing the image in the camera4 ,quite recently ,mr4 ,jas4 ,leadbeater has favored us with some account of his beautiful work in this fascinating branch of photography1 some samples of which are here given4 ,he first makes his windows perfectly clear and waits for a keen frost4 ,the camera is inside the room and a dark cloth-covered board is placed on the outside1 leaning against a low balcony of wood4 ,the exposure varies with the thickness of the crystals1 from two to ten seconds1 principally with a very small stop4 ,two reproductions of his pictures will be found on pp4 #gf-gg4 ,,photographing ,,ink ,,crystals4 ,the study of crystallization is undoubtedly an interesting and fascinating one1 and photography may be made to play an important part in securing permanent records of these curious formations4 ,if a drop of water containing a salt be allowed to drop upon a glass plate1 it will1 upon evaporation1 deposite crystals of various kinds4 ,in a recent article in ,la ,nature1 by ,dr4 ,e4 ,trouessart1 a description is given of the beautiful crystallic forms deposited by a drop of ink on evaporation4 ,the article is translated in the ,literary ,digest1 from which we make extracts3 ,take a sheet of glass1 deposit on it a drop of ink and spread the drop a little1 uniformly2 let it dry for a few minutes2 then examine with a microscope1 magnifying from #ej to #bjj diameters1 and you will be able to see the flowers of ink in process of formation under your eyes2 that is to say1 regular white crystal particles which detach themselves from the black or violet medium1 and arrange themselves so as to form regular figures4 ,if you are pressed for time1 this beautiful result will easily be obtained by passing the sheet of glass over a spirit lamp or a candle to evaporate the moisture4 ,the crystals will then be smaller and more numerous1 presenting the appearance of a dark firmament densely sprinkled with bright silvery stars4 ,but if you have patience to wait for evaporation without heat1 you will obtain larger crystals of more varied forms1 arranging themselves as crosses1 flowers1 etc4 ,these crystals may be varied indefinitely by modifying the compositions of evaporation1 adding more ink1 etc4 ,but it is quite possible that different inks will give different results4 ,the inks ,i use1 like all the other inks in use1 have a basis of sulphate of iron and gallic acid4 ,illustration3 ,from ,the ,literary ,digest4 ,,fig4 #fg4--;,,ink-,,crystals1 ,,as ,,seen ,,through ,a ,,microscope4 ,by allowing the evaporation to proceed slowly1 it is quite easy to watch the formation of the crystals4 ,the geometrical figures are more or less perfect cubes1 pyramids1 lozenges1 crosses1 needles1 etc41 the pyramids being formed by cubes superposed one on the other1 as in the pyramids of ,egypt4 ,the flowers in our illustration are formed by the union of crystals1 each of which represents the petals or sepals of a flower4 ,the ,maltese cross--the crucifer or four-leafed flower--is the normal regular form1 but multiples of four frequently occur1 by the formation of new crystals in the intervals2 and also by the accidents of crystallization1 we get flowers of three and five petals1 resembling ,rubiaceae1 lilies1 orchids1 violets1 etc4 ,,pinhole ,,photography4 ,although a lens is the most important part of the photographer's apparatus1 it is not absolutely necessary for the production of photographs4 ,very good pictures can be made by means of a pinhole4 ,remove the lens from the camera1 and insert in its place a sheet of thin1 hard cardboard4 ,in the centre make a tiny hole with a fine-pointed needle made red-hot4 ,another method is to make a large hole in the cardboard1 and paste over it a piece of tinfoil and make the pinhole in this4 ,the essential point is that the hole be perfectly round without any burring at the edges4 ,the most perfect arrangement can be obtained by getting a watchmaker to drill a fine hole through a piece of sheet metal4 ,the diameter of the hole should not be greater than one-fiftieth of an inch4 ,whatever is used1 cardboard or metal1 it should be blackened all over to prevent the reflection of light in the camera4 ,the focusing glass should be brought within about #f inches of the hole4 ,owing to the small amount of light admitted1 focusing is very difficult4 ,it can be done by pointing the camera towards the sun and focusing its image4 ,for the same reason the exposure is very long1 ranging from ten minutes to half an hour2 it is1 in fact1 difficult to overexpose4 ,illustration3 ,negative by ,f4 ,c4 ,lambert4 ,from ,anthony's ,international ,annual1 #ahid4 ,,fig4 #fh4--,,pinhole ,,photography4 ,illustration3 7,photograph made through a slit without a lens47 ,by ,roland ,briant4 ,,fig4 #fi4--,,the ,,white ,,robe ,,of ,,nature4 ,it is usually stated that no focusing is required1 the larger the plate the wider the angle1 but according to ,prof4 ,pickering1 #ab inches is the maximum distance for sharp work4 ,peculiar diffused effects can be obtained by using a fine slit in place of the pinhole4 ,the picture shown on page #hb is an example4 ,,freak ,,pictures ,,by ,,successive ,,exposures4 ,we have already described the various remarkable photographic pictures which may be taken by successive exposures with the same individual in different positions against a perfectly black and non-actinic background4 ,this1 however1 is not easily obtained1 and a ,french photographer1 ,m4 ,bracq1 has invented an ingenious attachment to a camera by which the same effects may be obtained with any background and under the ordinary conditions of amateur photography4 ,the following description is from ,la ,nature translated in the ,popular ,science ,news4 ,illustration3 ,,fig4 #gj4 ,the apparatus1 ,fig4 #gj1 is attached to the back of the camera1 and consists of a frame suitable for holding the usual ground glass1 or plate holder4 ,directly in front of the plate holder is placed an opaque screen perforated with a horizontal slit the width of the photographic plate used4 ,by means of a screw and a crank the screen with its opening may be made to move up and down before the plate1 thus allowing all parts of it to be successively exposed4 ,a pointer connected with the screen shows the position of the slit at any time when it is covered by the plate holder4 ,the operation of the apparatus is evident from the above description4 ,to take the picture illustrated in ,fig4 #ga1 for instance1 the table with the boy upon it is placed in the proper position and supported by planks1 another table1 or in any convenient way4 ,after properly focusing it on the ground glass1 the screen is screwed down till the opening is at the bottom of the camera1 and the plate holder being placed in position1 the slide is drawn and the handle turned till the indicator shows that the opening has reached a point corresponding to the image of the bottom of the table on the plate4 ,the slide is then replaced in the plate holder1 the table and its support removed1 and the boy placed in the second position1 and the exposure continued by screwing up the screen until the entire plate has been impressed with the double image1 which1 upon development1 appears as shown in the illustration4 ,illustration3 ,,fig4 #ga4 ,the perforated screen may also be made to move horizontally as well as vertically across the plate1 and by a combination of the two directions the same individual may be taken four or more times in different positions in the same photograph4 ,many amusing and astonishing effects may be obtained by the simple means which will readily suggest themselves to any practical photographer4 ,,wide-,,angle ,,studies4 ,illustration3 ,copyright1 #ahid1 by ,w4 ,j4 ,demorest4 ,,fig4 #gb4--;,a ,,photographic ,,feat4 ,by the use1 or rather the abuse1 of a lens having a very wide angle1 say1 #ajj degrees1 some very amusing effects can be obtained by apparent exaggeration of perspective4 ,we say apparent advisedly1 for if a view made with one of these lenses1 say of #e inches focus1 be viewed by the observer at a distance of #e inches from the eye1 the perspective will appear correct2 but1 of course1 this is never done under ordinary circumstances4 ,every person1 unless extremely short-sighted1 will hold a photograph at a distance from the eye of about #ab or #ad inches4 ,illustration3 ,,fig4 #gc4--;,a ,,wide-,,angle ,,study4 ,the effect of using a wide-angle lens under ordinary conditions is to make objects in the foreground appear ridiculously large1 while those in the background have a diminished appearance4 ,fig4 #gb is an example of this2 it is hardly necessary to observe that the gentleman's pedal extremities were not so gigantic as represented in the photograph4 ,fig4 #gc is another and scarcely less painful example of this exaggeration4 ,in the ,practical ,photographer1 some time ago1 it was humorously suggested that sportsmen could1 by means of the camera1 bring home apparently indisputable evidence as to their skill or prowess4 ,thus1 for instance1 you and your friend ,jones have been out fishing together1 and realized the truth of the old saying about anglers--i4e41 a worm at one end of a rod and a fool at the other4 ,you have1 however1 managed to catch a fish 7any sort will do7 about the dimensions of a good-sized sprat4 ,it is the usual custom of anglers1 ,i believe1 to view their captures through magnifying-glasses before discoursing upon them4 ,a better plan1 however1 is to photograph your fish1 and then there can be no dispute whatever1 because it is the popular belief that photography cannot lie4 ,however1 all that is necessary is to hang the fish in front of the camera to the bough of a tree1 we will say1 with a piece of black thread4 ,you then retire several paces behind it1 holding up your arm as if you were holding up the fish4 ,your friend will then adjust the camera so that the fish just comes under your hand1 focuses1 places a very small stop on1 so as to get everything sharply defined1 and makes the necessary exposure4 ,thus it is possible1 with a little trouble1 to obtain everlasting records of your marvelous day's sport1 for you can easily make yourself appear to be holding a fish of gigantic proportions--say1 #e ft4 long1 or so4 ,fig4 #gd1 #ge4 ,illustration3 ,,fig4 #gd4 ,illustration3 ,,fig4 #ge4 ,our illustrations are from ,photographic ,pastimes by ,herman ,schauss4 ,with a very wide-angle lens it is also possible to make a photograph of a little suburban garden1 and it will appear to resemble a park or palace grounds4 ,this is a trick often adopted by auctioneers and estate agents1 so that in viewing photographs of property1 it is really impossible to form any safe idea regarding the place itself4 ,,conical ,,portraits4 ,amusing caricatures may be obtained by deforming the sensitive surface of the negative4 ,the accompanying conical portrait is one4#f #f ,from ,les ,recreations ,photographiques4 ,illustration3 ,,fig4 #gf4 ,to depict the features of a person on a paper cone is not an easy matter2 whilst to obtain them by photography is a tolerably simple operation4 ,illustration3 ,,fig4 #gg4 ,illustration3 ,,fig4 #gh4 ,having glued on the interior face of a plate-holder 7the slide being drawn71 in the place of a sensitive plate1 a cone made of strong cardboard1 superpose on it an unexposed film which has been cut to the form of the development of the cone 7as shown in ,fig4 #gg74 ,the film is secured by means of two or three pins4 ,having focused on a point of the subject in a middle plane1 the ground glass is afterwards drawn back a distance equal to half the height of the cone1 taking care not to derange either the subject or the objective4 ,to obtain a sharp image a very small diaphragm must necessarily be used1 but with a rapid plate and good light that is of little moment4 ,the camera should be placed in the dark room1 the lens being inserted in a hole in the partition just its size1 and the subject in the adjoining apartment opposite the lens--this because the cone will not allow the plate-holder to be closed by the slide4 ,fig4 #gf shows the arrangement of the camera and holder4 ,the exposure made1 the film is developed1 as usual4 ,the negative gives a print deformed as shown in ,fig4 #gf4 ,the original1 if not grotesque appearance of the head disappears when the print is rolled into a conical form and the observer places his eye in the prolongation of the axis of the cone4 ,fig4 #gh shows the head as seen under these conditions4 ,,making ,,direct ,,positives ,,in ,,the ,,camera4 ,prepare a saturated solution in water of the crystals of thiosinamine1 and add from two to eight minims of it to an ordinary pyro or eikonogen developer4 ,expose rather less than usual4 ,the effect of this addition to the developing agent is an entire reversal of the image1 a positive instead of a negative being obtained4 ,ammonia will assist the reversal4 ,colonel ,waterhouse1 the discoverer of this process1 recommends in some cases the plates being subjected to a bath of #e per cent nitric acid and #c per cent potassium bichromate before exposure1 followed by a thorough washing4 ,,instantaneous ,,photography4 ,in the very earliest days of photography this term was applied to what would now be considered very slow work indeed4 ,we now usually apply this term when the exposure does not exceed one second4 ,in some cases this only amounts to the one-thousandth part of a second4 ,this exceedingly brief exposure is usually given to the plate by means of a suitably constructed shutter4 ,the immense strides that have recently been made in instantaneous photography1 owing chiefly to the advent of the dry-plate process1 have caused photography to become useful to almost every branch of science4 ,to ,muybridge and ,anschutz we are greatly indebted for the strides made in instantaneous photography4 ,these gentlemen have succeeded in photographing moving objects hitherto considered impossible to be photographed4 ,galloping horses1 swift-flying birds1 and even bullets and cannon balls projected from guns have been successfully photographed1 showing even the little head of air driven along in front of the bullet4 ,illustration3 ,,fig4 #gi4 ,both ,muybridge and ,anschutz also succeeded in making series of twenty-four or more photographs of a horse during the time it makes a single leap1 and thus illustrated its every movement4 ,the value of these and other possibilities with the camera for artists cannot be overestimated4 ,its aid to meteorologists in photographing the lightning1 to astronomers in stellar1 lunar and solar photography1 and to all other sciences would require a work as large as this to describe4 ,illustration3 ,by ,lt4 ,joachim ,steiner4 ,,fig4 #hj4--;,,instantaneous ,,studies4 ,for the making of instantaneous pictures a large number of suitable cameras have been devised4 ,in most of these the lens is a very rapid one1 and in some cases so arranged that all objects beyond a certain distance are in focus4 ,with an instantaneous camera a secondary image is necessary1 so that the right second can be judged for making the exposure4 ,this is usually produced by a finder4 ,in making instantaneous exposures the following tables may be useful3 ,approximate distance feet per second ,a man walking #c miles per hour moves #d-a_/b ,a man walking #d miles per hour moves #f ,a vessel traveling at #i knots per hour moves #ae ,a vessel traveling at #ab knots per hour moves #ai ,a vessel traveling at #ag knots per hour moves #bh ,a torpedo boat traveling at #bj knots per hour moves #ce ,a trotting horse #cf ,a galloping horse 7#a1jjj yards per minute7 #ej ,an express train traveling at #ch miles an hour #ei ,flight of a pigeon or falcon #fa ,waves during a storm #fe ,express train 7#fj miles an hour7 #hh ,flight of the swiftest birds #bid ,a cannon ball #a1fbe ,an object moving-- #a mile per hour moves #a-a_/b feet per second4 #b #c #e #g-a_/b #f #i #g #aj-a_/b #h #ab #i #ac #aj #ad-a_/b #aa #ae #ab #ag-a_/b #ae #bb #bj #bi #be #cg #cj #dd #ce #ea #dj #ei #de #ff #ej #gc #ee #hj #fj #hh #ge #aaj #ajj #adg #abe #ahc #aej #bbj #bjj #beg ,with these tables it will be very easy to find the distance that the image of the object will move on the ground-glass screen of the camera4 ,to do this1 multiply the focus of the lens in inches by the distance moved by the object in the second1 and divide the result by the distance of the object in inches4 ,illustration3 ,,fig4 #ha4--;,a ,,rise ,,in ,,the ,,world4 ,,by ,,the ,,marquis ,,de ,,alfarras4 ,example1 find the movement of the image of an object moving #ej miles per hour at a distance of #ajj yards with a lens of #i-;inch focus4 #i x #hgf #g1hhd _/ #c1fjj #b-a_/e inches per second4 ,we must also find out the speed of the shutter required to take the object in motion1 so that it will appear as sharply defined as possible under the circumstances4 ,to do this the circle of confusion must not exceed #a_/ajjth of an inch in diameter4 ,we therefore divide the distance of the object by the focus of the lens multiplied by #ajj1 and then divide the rapidity of the object in inches per second by the result obtained4 ,this will give the longest exposure permissible in the fraction of a second4 ,for example1 we require to know the speed of a shutter required to photograph an express train travelling at the rate of #ej miles per hour at a distance of #ej yards with an #h-a_/b-;inch focus lens4 ,the train moves #hgf inches per second4 #a1hjj distance in inches _/ 7#h-a_/b x #ajj7 #a1hjj _/ #hej #cf_/ag4 #hgf speed of object per second _/ #cf_/ag 7#hgf x #ag7_/cf #dac #a_/dac second4 ,given the rapidity of the shutter1 and the speed of the moving object1 we require to find the distance from the object the camera should be placed to give a circle of confusion less than #a_/ajjth of an inch4 ,multiply #ajj times the focus of the lens by the space through which the object would pass during the exposure1 and the result obtained will be the nearest possible distance between the object and the camera4 ,for example1 we have a shutter working at one-fiftieth of a second1 and the object to be photographed moves at the rate of #ej miles per hour4 ,how near can a camera fitted with a lens of #h-a_/b-;inch focus be placed to the moving object8 ,object moving #ej miles per hour moves per second #hgf inches1 and in the one-fiftieth part of a second it moves #ag4eb inches1 so that-- #h-a_/b x #ag4eb #h4e x #ajj x #ag4eb #ad1hib inches #dac yards4 ,instantaneous photography can only be successfully performed in very bright and actinic light1 and should never be attempted on dull days1 as underexposure will be the inevitable result4 ,in developing it is necessary to employ a strong developer to bring up the detail4 ,some operators make use of an accelerator for this purpose1 but it is not to be recommended2 the simplest is a few drops of hyposulphite solution added to about #aj ounces of water4 ,in this the plate is bathed for a few seconds previous to development4 ,the following is a table by ,h4 ,e4 ,tolman showing displacement on ground glass of objects in motion3 ,distance on ,ground ,glass in ,inches ,same with ,same with ,miles per ,feet per with ,object #cj,object #fj ,feet ,object #abj ,hour4 ,second4 ,feet ,away4 ,away4 ,feet ,away4 ---------------------------------------- ------------------ #a #a-a_/b 4#bi 4#ae 4#jgc #b #c 4#ei 4#bi 4#adg #c #d-a_/b 4#hh 4#dd 4#bbj #d #f #a4ag 4#ei 4#bic #e #g-a_/b #a4dg 4#gc 4#cfg #f #i #a4gf 4#hh 4#ddj #g #aj-a_/b #b4je #a4jc 4#eac #h #ab #b4ce #a4ag 4#ehg #i #ac #b4fd #a4cb 4#ffj #aj #ad-a_/b #b4ic #a4dg 4#gcc #aa #af #c4bc #a4fa 4#hjg #ab #ag-a_/b #c4eb #a4gf 4#hhj #ac #ai #c4ha #a4ia 4#iec #ad #bj-a_/b #d4aa #b4je #a4jbg #ae #bb #d4dj #b4bj #a4ajj #bj #bi #e4hg #b4ic #a4dfg #be #cg #g4cc #c4fg #a4hcc #cj #dd #h4hj #d4dj #b4bjj #ce #ea #aj4bg #e4ac #b4efg #dj #ei #aa4gc #e4ig #b4icc #de #ff #ac4bj #f4fj #c4cjj #ej #gc #ad4fg #g4cc #c4ffg #ee #hj #af4ac #h4jf #d4jcc #fj #hh #ag4fj #h4hj #d4djj #ge #aaj #bb4jj #aa4jj #e4ejj #ajj #aag #bi4cc #ad4fg #g4ccc #abe #ahc #cf4fg #ah4cc #i4afg #aej #bbj #dd4jj #bb4jj #aa4jjj ---------------------------------------- ------------------ ,illustration3 ,,fig4 #hb4--;,,artificial ,,reproduction ,,and ,,photographing ,,of ,a ,,mirage ,,artificial ,,mirages ,,by ,,photography4 ,some time ago a photographer made quite a sensation by the publication of a fine photograph of a mirage1 a phenomenon frequently observed on the plains of ,egypt4 ,the wily photographer had1 however1 never traveled away from this country4 ,he had simply produced the effect by artificial means4 ,a method of making these pictures was given some time ago in the ,scientific ,american4 ,a very even plate of sheet iron is taken and placed horizontally on two supports4 ,the plate is heated uniformly and sprinkled with sand4 ,then a small ,egyptian landscape is arranged at one end of the plate1 and the photographic instrument is so placed that the visual ray shall properly graze the plate4 ,a sketch of the arrangement is shown in ,fig4 #hb4 ,,the ,,photo-,,chromoscope4 ,this instrument was devised by ,m4 ,paul ,nadar1 the celebrated ,french photographer1 but anyone can construct a similar apparatus4 ,the arrangement is shown in ,fig4 #hc4 ,the slides ,a and ,b ,b are adjustable so that any sized picture can be inserted and the sides closed round it to shut out the light from behind4 ,a silver print unmounted is made transparent with vaseline and placed on the glass4 ,pieces of paper of various colors are placed in the reflector1 ,c1 and by this means all kinds of effects can be obtained4 ,a landscape can be viewed as though under the pale reflected light of the rising sun behind the mountains1 which may be changed gradually to the full light of day4 ,illustration3 ,,fig4 #hc4--,,nadar',s ,,photo-,,chromoscope4 ,,composite ,,photography4 ,this is a process of combining a number of images in such a way that the result obtained is an aggregate of its components4 ,francis ,galton was one of the first to employ this system4 ,in the appendix to his ,inquiries into ,human ,faculty1 ,galton has described the very elaborate and perfect form of apparatus which he has used in his studies2 but entirely satisfactory results may be obtained with much more simple contrivances4 ,the instrument used by ,prof4 ,bowditch#g is merely an old-fashioned box camera1 with a hole cut in the top for the reception of the ground-glass plate upon which the image is to be reflected for purposes of adjustment4 ,the reflection is effected by a mirror set at an angle of #de degrees in the axis of the camera1 and pivoted on its upper border so that1 after the adjustment of the image1 the mirror can be turned against the upper side of the box1 and the image allowed to fall on the sensitive plate at the back of the camera4 ,the original negatives are used as components1 and are placed in succession in a small wooden frame which is pressed by elliptical springs against a sheet of glass fastened vertically in front of the camera4 ,by means of this arrangement it is possible to place each negative in succession in any desired position in a plane perpendicular to the axis of the camera1 and thus to adjust it so that the eyes and the mouth of its optical image shall fall upon the fiducial lines drawn upon the ground-glass plate at the top of the camera4 ,an ,argand gas burner with a condensing lens furnishes the necessary illumination4 #g ,from ,mc,clure's ,magazine1 ,september1 #ahid4 ,for our amateur photographers1 writes ,prof4 ,bowditch1 who are constantly seeking new worlds to conquer1 the opportunity of doing useful work in developing the possibilities of composite photography ought to be very welcome4 ,not only will the science of ethnology profit by their labors1 but by making composites of persons nearly related to each other1 a new and very interesting kind of family portrait may be produced4 ,the effect of occupation on the physiognomy may also be studied in this way4 ,by comparing1 for instance1 the composite of a group of doctors with that of a group of lawyers1 we may hope to ascertain whether there is such a thing as a distinct legal or medical physiognomy4 ,illustration3 ,by ,prof4 ,bowditch4 ,,fig4 #hd4--;,,composite ,,portraits ,,of ,,boston ,,physicians ,,and ,,saxon ,,soldiers4 ,,telephoto ,,pictures4 ,illustration3 ,,fig4 #he4--;,,camera ,,with ,,opera ,,glass ,,attached4 ,during the last few years many so-called telephotographic lenses have been placed upon the market4 ,these instruments enable one to photograph objects in the distance and obtain images very much larger than those given by the ordinary photographic lens4 ,these lenses are1 however1 very costly4 ,in an article by ,mr4 ,o4 ,g4 ,mason1 published in ,the ,photographic ,times for ,june1 #ahie1 that gentleman described a simple method of obtaining telephoto pictures by replacing the ordinary lens with an opera glass4 ,he says3 ,several devices have been brought forward with a view of decreasing the expense of telephoto lenses1 but ,i have seen no others so satisfactory1 cheap and simple1 as the utilization of the ordinary opera glass for the camera objective1 which was described1 figured and finally constructed for me about a year ago by ,mr4 ,alvin ,lawrence1 the horologist of ,lowell1 ,mass4 ,an opera or field glass is a convenient and useful instrument in the kit of any touring photographer2 and when he can easily and quickly attach it to his camera-box as an objective its great value is at once made apparent4 ,mr4 ,lawrence's method of doing this at little cost is a good illustration of ,yankee ingenuity4 ,it is not claimed that such a device will do all or as well as a telephotographic lens costing ten times as much2 but it will do far more than most people could or would expect4 ,of course the field is quite limited1 which1 in fact1 is the case with the most expensive telephotographic objective1 and the sharpness of the image depends much upon the quality of the opera or field glass used4 ,the accompanying views show the relative size and character of image by a forty-five dollar rapid rectilinear view lens and a four-dollar opera glass attached to the same camera and used at the same point4 ,the other illustrations show the camera as used and the method of opera glass attachment to the lens-board4 ,it will be seen that the eye end of the opera glass is placed against the lens-board1 one eye-piece in a slight depression around the hole through the centre1 and by a quarter turn the brace between the two barrels passes behind a projecting arm on the board1 the focusing barrel resting in a slot in this arm1 where it is firmly held in position by friction alone4 ,illustration3 ,,fig4 #hf4--;,,camera ,,showing ,,arrangement ,,for ,,opera ,,glass4 ,illustration3 ,,fig4 #hg4--,,view ,,taken ,,with ,,opera ,,glass4 ,illustration3 ,,fig4 #hh4--,,view ,,taken ,,from ,,same ,,spot ,,with ,,an ,,ordinary ,,view ,,lens4 ,as opera glasses are usually constructed for vision only1 no attempt is made by the optician to make correction for securing coincidence of foci of the visual and chemical rays of light as in the well-made photographic objective4 ,hence1 it is often found that the actinic focus falls within1 or is shorter than1 the visual4 ,when this is the case1 the proper allowance is easily made after a few trials4 ,,lightning ,,photographs4 ,illustration3 ,,fig4 #hi4--,,photograph ,,of ,,lightning ,,made ,,at ,,blue ,,hill4 ,the method of making photographs of lightning flashes is very simple4 ,the camera is focused for distant objects4 ,during a thunderstorm the camera is pointed in the direction of the flashes1 a plate is inserted1 the cap is removed from the lens1 and as soon as a flash takes place the lens is covered up and the plate is ready for development4 ,to avoid halation a backed or non-halation plate should be used4 ,,photographing ,,fireworks4 ,photographs of pyrotechnical displays can also be made at night4 ,the method of procedure is the same as described for photographs of lightning4 ,the camera is focused for distant objects and the lens pointed towards the place where the discharge takes place4 ,fig4 #ij4 ,,doubles4 ,illustration3 ,,fig4 #ia4--;,a ,,double4 ,,by ,h4 ,g4 ,,reading4 ,some very amusing pictures can be made by double exposure4 ,for instance1 ,fig4 #ia represents a man playing cards with himself4 ,a method of making these is thus described by ,w4 ,j4 ,hickmott in ,the ,american ,annual of ,photography for #ahid3 ,illustration3 ,by ,leonard ,m4 ,davis4 ,,fig4 #ij4--;,,farewell ,,reception ,,to ,,the ,,prince ,,of ,,wales4 ,illustration3 ,,fig4 #ia4 ,illustration3 ,,fig4 #ib4 ,illustration3 ,,fig4 #ic4 ,fit an open square box into the back of the camera1 having it fully as large as1 or a little larger than1 the negatives you wish to make4 ,my attachment is made for #h x #aj plates and under1 and fits into the back of a #aj x #ab camera4 ,in shape it is like ,fig4 #ia1 and ,i will designate it as ,a4 ,the box is about #c inches deep4 ,when put into the camera it appears as in ,fig4 #ib4 ,now have a plain strip of wood just one-half the size of the opening in ,a like ,b1 ,fig4 #ic4 ,have ,b fit very nicely in ,a1 at the opening toward the lens1 and so that it can be moved freely from one side to the other4 ,it is very convenient to have a rabbet on the top and bottom of ,a so that ,b can be moved from side to side and maintained in any position4 ,illustration3 ,,fig4 #id4 ,to make a ,double1 attach ,a to the camera as shown1 put ,b into its place in the opening in ,a1 say on the right-hand side as you stand back of your camera1 thus covering up the right-hand side of the plate when exposure is made4 ,pose your subject on the left hand side1 which will give you an image on the right-hand side of your ground glass and plate1 draw the slide and expose1 immediately returning the slide4 ,this finishes one half of the operation4 ,shift ,b over to the left-hand side of ,a1 which will cover up that portion of the plate just exposed1 pose your subject again1 but on the left-hand side1 which will give you the image on the right-hand side of the ground glass and plate1 draw the slide and expose out for the exact length of time as at first4 ,on development1 if the exposure on both sides has been correct1 and of equal length1 a perfect negative will be the result4 ,the camera must on no account be moved between the exposures1 nor the focus changed4 ,after making the first exposure the correct focus for the second is obtained by moving the subject backward or forward until an exact focus is secured1 and not by moving the camera or ground glass4 ,the whole apparatus should be painted a dead black4 ,when the attachment is in place it will be noted on the ground glass that while the strip ,b is just one-half the size of the opening in ,a1 it does not cut off just one-half of the ground glass1 a line drawn through the center of which shows that a space in the center of the plate about one-half an inch in width receives a double exposure1 but this is not apparent in the finished negative4 ,the figure should be posed as near the center of the plate as possible in each instance4 ,this apparatus1 as described1 is only available for making two figures4 ,by making ,b narrower1 or one-third of the width of the opening in ,a1 three figures may be made1 using each time a separate piece to cover up that portion of the plate exposed1 and by changing the form of ,b to that shown in ,fig4 #ie1 four positions can be secured4 ,illustration3 ,,fig4 #ie4 ,val ,starnes describes#h another and still simpler method4 ,he says3 ,take a light card1 mount and carefully cut from it a disc that will fit snugly inside the rim of the hood of your lens1 resting against the circular interior shoulder 7,fig4 #if74 ,cut from this1 in a straight1 true line1 a small segment 7,fig4 #ig74 ,the exact amount to cut off you can determine by slowly thrusting with one hand a card with a straight edge across the lens hood1 looking the while at the ground glass2 when the shadow has crept almost to the center of the focusing screen1 hold the card firmly in place and notice how much of the circle of the hood is covered by it3 cut from your disc a segment corresponding to the amount left uncovered4 ,don't let the shadow creep quite to the center of the ground glass1 for you might go the least bit beyond1 and an unexposed strip would result4 ,now paint your disc a dull black2 loosen the hood of your lens on its threads1 so that it will revolve easily and freely1 and you are ready for business4 #h ,american ,annual for #ahie4 ,illustration3 ,,fig4 #if4 ,illustration3 ,,fig4 #ig4 ,get your focus and then place disc in hood of lens1 straight edge perpendicular 7,fig4 #ih74 ,cover lens with cap or shutter2 insert plate-holder and draw slide2 pose your figure directly in front of uncovered portion of lens2 expose4 ,next1 without touching disc1 slide1 or anything but the hood1 gently revolve the hood on its threads one-half turn 7,fig4 #ii71 and pose your figure on opposite side2 expose4 ,the trick's accomplished4 ,illustration3 ,,fig4 #ih4 ,illustration3 ,,fig4 #ii4 ,another arrangement devised by ,mr4 ,frank ,a4 ,gilmore1 of ,auburn1 ,r4 ,i41 is shown in ,fig4 #ajj4 ,a black-lined box is fitted to the front of a camera4 ,the front of the box is closed by two doors4 ,on opening one door a picture may be taken on one side of the plate2 on closing this door and opening the other1 the other half of the plate is ready for exposure4 ,illustration3 ,,fig4 #ajj4--;,,camera ,,fitted ,,with ,,arrangement ,,for ,,duplex ,,photography4 ,the subject poses in one position and is photographed with one door open1 care being taken to bring the figure within the proper area of the negative4 ,the finder enables this detail to be attended to4 ,then the door is closed1 the other is opened and the second exposure for the other half of the plate is made with the subject in the other position4 ,it is not necessary to touch the plate-holder between the exposures4 ,the cover is withdrawn1 the one door is opened and the shutter is sprung4 ,the doors are then changed and the shutter is sprung a second time4 ,time exposures are rather risky1 as involving danger of shaking4 ,a picture made by ,mr4 ,gilmore will be found on the next page4 ,illustration3 ,by ,f4 ,a4 ,gilmore4 ,from ,scientific ,american4 ,,fig4 #aja4--,,sparring ,,with ,,himself ,,double ,,exposures4 ,illustration3 ,by ,c4 ,a4 ,bates4 ,,fig4 #ajb4--,,results ,,of ,a ,,double ,,exposure4 ,illustration3 ,copyright1 #ahid1 by ,w4 ,j4 ,demorest4 ,,fig4 #ajc4--,,result ,,of ,a ,,double ,,exposure4 ,amateurs often obtain unexpected results from carelessness in exposing their plates4 ,some very amusing pictures can1 however1 be obtained by making two different exposures on one plate4 ,the subject should1 of course1 be of a very different nature4 ,our illustrations1 ,figs4 #ajb-c1 are examples4 ,in making these it is necessary to give a very short exposure in each case1 about one-half the amount that would be ordinarily required4 ,the negative must be carefully developed1 using plenty of restrainer4 ,similar effects can1 of course1 be obtained by printing from two different negatives1 but the results are1 as a rule1 inferior4 ,,comical ,,portraits4 ,if the photographer be skilled in drawing he can make some laughable pictures that will amuse his friends by drawing a sketch of a comical body without a head1 as shown in ,fig4 #ajd2 a photograph of anyone is then cut out and the head pasted on4 ,illustration3 ,,fig4 #ajd4 ,illustration3 ,,fig4 #aje4--,,the ,,two-,,headed ,,man4 ,,by ,,ivan ,,sokoloff4 ,,the ,,two-,,headed ,,man4 ,this picture shows a variation of the theme illustrated in ,fig4 #id1 and is a type of doublet usually avoided by amateurs1 who prefer to have one figure complete and shown in two positions4 ,the monster is an amusing variation and will be new to most people4 ,the subject sits in the same spot for both exposures1 except that he bends his head and shoulders first to one side and then to the other4 ,it is advisable to keep the background very simple1 otherwise objects on the wall may show through the head1 as in some of the spirit photography methods given on previous pages4 ,,duplicators ,,and ,,triplicators4 ,illustration3 ,,fig4 #ajf4--,,mountings ,,for ,,triplicators4 ,while doubles are well known to many amateurs1 the making of three exposures of one subject on a single plate is not so common4 ,mr4 ,chas4 ,a4 ,barnard has furnished particulars of his method of making the pictures shown in ,figs4 #ajg and #ajh4 ,fig4 #ajf shows two methods of mounting the attachment in front of the camera lens1 one being designed to slip over1 while the other screws into the lens barrel1 the front of which is often fitted with a screw thread4 ,fig4 #aji shows the stops which slide in this mounting2 in making them1 first mark on each the position of the center of the lens by measuring up from the stud which holds the stop in place4 ,draw your circles for stops with this as a centre1 and as large as diameter of lens4 ,leaf ,a is used for the sides of the triplicator1 reversing between the exposures4 ,with an inch circle1 the width of this is #j4b inch4 ,the edges should be filed down as thin as possible without nicking4 ,leaf ,b is for the centre exposure of the triplicator1 and the slot is #j4jab inch wide and #a inch long4 ,leaf ,c is the duplicator stop1 its width being #j4c inch4 ,leaves ,d#a and ,d#b are for top and bottom exposures of a vertical double1 and are the same size as ,c4 ,the proportions might have to be slightly varied for some other lens1 in all these cases4 ,a triplicate exposure is made as follows4 ,first focus1 using the whole lens1 at any stop1 and determine the limits of your picture spaces4 ,as the leeway is small1 do not get the figures too large4 ,pose the model in the centre1 stop down till properly lighted1 and note the stop and mark edges of view on ground glass4 ,focus on model at one side1 stop down till edge blends into edge of previous view1 and note stop4 ,do the same in third position4 ,this may take some time1 and a chair may be used instead of a model4 ,finally1 put in the plate and make the three exposures1 giving four times the exposures ordinarily required for the same stops4 ,the order is immaterial4 ,stops recommended for a #c-a_/d x #e-a_/b camera are as follows3 ,for a horizontal doublet1 leaf ,c1 ,u4 ,s4 #af2 for a vertical doublet1 leaf ,d#a1 ,u4 ,s4 #ed1 leaf ,d#b1 ,u4 ,s4 #dj2 for a horizontal triplet1 leaf ,a1 ,u4 ,s4 #af1 leaf ,b1 ,u4 ,s4 #ij2 for a vertical triplet 7leaves not shown in drawing71 leaf ,a for top1 ,u4 ,s4 #cb2 for bottom1 ,u4 ,s4 #bj1 leaf ,b1 ,u4 ,s4 #ij4 ,vertical pictures are extremely difficult to figure4 ,illustration3 ,,fig4 #ajg4--,,triplicate ,,exposure4 ,,by ,,charles ,a4 ,,barnard4 ,illustration3 ,,fig4 #ajh4--;,,farm ,,work 7,,triplicate ,,exposure74 ,,by ,,charles ,a4 ,,barnard4 ,illustration3 ,,fig4 #aji4--,,stops ,,for ,,duplicators ,,and ,,triplicator4 ,,pictures ,,with ,,eyes ,,which ,,open ,,and ,,close4 ,to make a photograph with this peculiarity1 it is necessary to make two exposures of a head in exactly the same position1 one with the eyes closed and the other with them open4 ,two positives are made from the two negatives and bound in contact by means of lantern slide binders1 so that the outlines coincide4 ,if they are now held in front of a flickering lamp or match flame1 the combined portrait will be seen to rapidly open and close its eyes1 giving a very weird effect4 ,this effect depends upon the fact that the human eye receives impressions slowly and has a tendency to judge that a motion is uniform1 when rapidly varying phases of it are seen4 ,the flickering flame1 moving sideways1 shows first one and then the other of the two images1 which are separated by the thickness of the glass4 ,the same effect can be produced by sliding the pictures slightly sideways on each other1 but the perfection of the illusion will depend somewhat on the regularity of the movement1 and the flame method is better4 ,if the two pictures are printed on one piece of paper1 the combined image may show the same illusion4 ,,photographic ,,bookplates4 ,we have all of us seen and many of us have made collections of those attractive little bits of paper so frequently stuck on the front cover of a book to designate its ownership4 ,invented almost contemporaneously with the first printed books1 they have been designed and engraved by artists of the highest standing and used by the world's greatest men and women4 ,who would not be proud to own a book containing a bookplate made by ,albrecht ,durer or ,paul ,revere1 or one whose bookplate proved it had belonged to ,george ,washington or ,theodore ,roosevelt1 irrespective of the great money value of such items8 ,the bookplate is an intensely personal possession4 ,the first were heraldic1 identifying the possessors by their coats of arms4 ,modern bookplates usually reflect some personal taste of the owner1 his hobby1 his house1 his portrait1 or the type of books he collects4 ,nothing could be more fitting than one made from a photograph taken by its possessor1 and yet in the writer's collection of many thousand bookplates covering several centuries and many countries1 there are less than a dozen photographic examples4 ,they are easily made4 ,the most usual method is to choose a suitable photograph1 a view of the home or library interior1 a loved landscape or view1 a symbolical figure with a book1 a genre which may be a pun on the owner's name1 or a picture relating to his chief hobby1 and draw a more or less ornamental frame containing the words ,ex ,libris or ,his ,book1 together with the name1 about it4 ,there are other wordings1 but the above are the commonest4 ,the whole is then photographed down to the proper size1 usually three or four inches high1 and prints made either by photography or from a halftone block4 ,the nude female figure is a frequent motive in bookplates1 whether photographic1 or etched or engraved4 ,the example we show is the work of two artists1 one of whom made the photograph while the other designed the framework4 ,illustration3 ,by ,a4 ,e4 ,goetting and ,will ,ransom4 ,,fig4 #aaj4--;,a ,,photographic ,,bookplate4 ,,landscapes ,,and ,,groups ,,on ,,the ,,dining-,,room ,,table ,did you ever try building landscapes on the dining-room table8 ,if not1 learn how easy it is and try it out some evening or rainy ,sunday1 when you don't feel like tramping across country with muddy roads and flat lightings4 ,the easiest kind of pictures to make in this way is an imitation of snow scenes4 ,any white material may be used1 as snow1 i4e41 fine salt1 powdered sugar1 flour1 or whatever the kitchen closet or the chemical shelf may produce4 ,a range of mountains may easily be made by merely heaping up the material and then modeling ravines and broken slopes with a sharp pencil4 ,a brilliant side lighting should be used to give the effect of sunrise or sunset1 and clouds may be printed in from a cloud negative or obtained by means of a roughly painted background4 ,perhaps mountains are more naturally represented by the use of a few sharp-angled pieces of coal from the cellar1 or fragments of broken stone from the nearest quarry or monument maker4 ,on these1 after arranging1 the white powder may be sifted1 lodging in a close imitation of nature4 ,if a highly polished table is used1 reflections may be obtained as in a lake1 or a sheet of glass with a dark cloth under it may be used for the same purpose4 ,more complicated landscapes may be made by using twigs as leafless trees1 fence posts1 etc41 and children's toy houses may be introduced1 particularly if well screened by brush and half buried in snow4 ,only the merest hint of the possibilities can be given1 for they are endless4 ,the introduction of figures1 in the shape of dolls1 china and metal animals1 carts1 autos1 railroad trains1 etc41 greatly widens the scope of such landscape work1 but of recent years these figures have been more frequently used for tableaux1 such as the one shown opposite4 ,extremely comical pictures have been made with kewpies1 billikens and other queer creatures and their animal friends1 and with grotesque figures made of vegetables1 fruit and eggs4 ,illustration3 ,by ,clark ,h4 ,rutter4 ,,fig4 #aaa4--;,,friend ,,or ,,foe4 ,,night ,,photography4 ,the night photographer has to be more or less immune to criticism1 and willing to endure all kinds of conversational interruptions1 from friendly questions to unmannerly jeers and imputations of insanity4 ,the general public knows from personal experience with hand cameras provided with slow lenses and small stops that picture taking can be done only by sunlight and in the middle of the day1 and does not understand the setting up of a camera in a poorly-lighted place at night for the taking of a picture4 ,nevertheless1 this branch of photography is very interesting and results are possible even in villages and the open fields1 wherever the least artificial illumination or glimpse of moonlight is present4 ,naturally1 much light means shorter exposures than are possible with very sparing illumination1 but too many light sources do not tend to artistic results4 ,one of the finest night pictures we ever saw was that of an old farmhouse1 nearly buried in snow1 with one or two windows showing the light of a kerosene lamp4 ,the snow was illuminated by the light of the full moon1 and only two or three minutes' exposure was given4 ,as a matter of fact1 #ae to #cj minutes' exposure on any landscape at f3 #h by the light of the full moon high in the sky will give a picture hardly to be distinguished from one made in daylight except by the softness of the shadows1 and such pictures sometimes have a softness and wealth of detail in ordinarily shadowed parts which cannot be obtained by exposures in daylight4 ,the best night pictures are perhaps those taken in city streets brilliantly illuminated by arc lights1 especially when the pavements are wet4 ,care must be taken not to have brilliant lights shining directly into the lens1 for even double-coated plates will not prevent halation and reversal of the image under such circumstances4 ,ghosts1 or wheel-shaped images of the lights1 in other parts of the plate1 are sure to occur with all double lenses in such cases4 ,the night picture shown opposite shows how interesting a simple subject1 poorly illuminated1 may turn out in the print4 ,this shows typical star radiation about the single visible light1 caused by the blades of the iris diaphragm1 and also a slight ghost from this light on the face of the tower1 caused by a double reflection within the lens4 ,illustration3 ,by ,f4 ,a4 ,northrup4 ,,fig4 #aab4--;,a ,,glimpse ,,of ,,the ,,exposition4 ,other forms of night photographs1 treated elsewhere in this book1 are photographs of fireworks and lightning4 ,very interesting and scientifically valuable pictures of the latter phenomenon have been made by swinging the camera during the exposure1 thus getting a dozen or more paths of the same flash parallel to each other4 ,,photographs ,,on ,,apples ,,and ,,eggs4 ,to make a photograph in green on the red skin of an apple is a wonderful but simple feat4 ,tie up the selected fruit on a sunny bough in a thick yellow or black paper bag for about three weeks before harvest time4 ,immediately after taking off the bag1 paste a black paper stencil or a very contrasty negative to the apple with white of egg4 ,it should be small1 to fit the curved surface quite closely4 ,clear away leaves1 so the sun gets clear access to the fruit1 and leave on the tree till it becomes red4 ,if not then ripe1 put it back into the opaque bag for a day or two till ready to pick4 ,the negative may then be soaked off4 ,don't use a valuable negative1 but make a duplicate for this experiment4 ,a paper stencil is better1 anyway4 ,to put a photograph on an egg1 take one which is perfectly clean1 sponge it over several times with #a to #ej solution of table salt1 dry1 then sponge over with #a to #ab solution of silver nitrate4 ,keep your fingers out of this1 or they will turn fast black4 ,then take a black paper stencil or a small contrasty film negative1 cut a hole in a piece of black flannel somewhat smaller than the negative1 and tie around the egg to hold the negative4 ,then bring into light1 print out1 wash and tone and fix like any printing-out paper4 ,and don't eat the egg1 for chemicals will go through the shell4 ,illustration3 ,by ,a4 ,h4 ,blake4 ,,fig4 #aac4--,,the ,,embankment1 ,,london4 99 99 99 99 99 ,,books ,,on ,,photography ,optics for ,photographers1 by ,hans ,harting1 ,ph4,d4 ,translated by ,frank ,r4 ,fraprie1 ,s4,m41 ,f4,r4,p4,s4 #bcb pages4 ,cloth1 #b4ej4 ,chemistry for ,photographers1 by ,william ,r4 ,flint4 #bnd edition4 #bah pages4 ,cloth1 #b4ej4 ,pictorial ,composition in ,photography1 by ,arthur ,hammond4 #bcd pages1 #di illustrations4 ,cloth1 #c4ej4 ,photo-,engraving ,primer1 by ,stephen ,h4 ,horgan4 ,cloth1 #a4ej4 ,cash from ,your ,camera4 ,edited by ,frank ,r4 ,fraprie1 ,s4,m41 ,f4,r4,p4,s4 ,paper1 #a4jj4 ,pictorial ,landscape ,photography1 by the ,photo ,pictorialists of ,buffalo4 #beb pages1 #ee illustrations4 ,cloth1 #c4ej4 ,photographic ,amusements1 by ,walter ,e4 ,woodbury4 #ith edition4 #abh pages1 #ajj illustrations4 ,cloth1 #a4ej4 ,practical ,color ,photography by ,e4 ,j4 ,wall1 ,f4,c4,s41 ,f4,r4,p4,s4 ,cloth1 #c4jj4 ,,practical ,,photography ,,series ,edited by ,frank ,r4 ,fraprie1 ,s4,m41 ,f4,r4,p4,s4 ,editor of ,american ,photography #a4 ,the ,secret of ,exposure4 #b4 ,beginners' ,troubles4 #c4 ,how to ,choose and ,use a ,lens4 #d4 ,how to ,make ,prints in ,color4 #e4 ,how to ,make ,enlargements4 #f4 ,how to ,make ,portraits4 #g4 ,how to ,make ,lantern ,slides4 #h4 ,the ,elements of ,photography4 #i4 ,practical ,retouching4 ,each volume sold separately4 ,cloth1 #a4jj2 paper1 #ej cents4 ,american ,photography ,exposure ,tables1 #ajast thousand4 ,cloth1 #ce cents4 ,thermo ,development ,chart4 #be cents4 ,american ,photography1 a monthly magazine1 representing all that its name implies4 #be cents a copy4 #b4ej a year4 ,,published ,,by ,,american ,,photographic ,,publishing ,,co4 #dbh ,newbury ,st41 ,boston #ag1 ,massachusetts 99 99 99 99 99 ,transcriber's note3 #a4 ,figure #hc4--;,,composite ,,portraits ,,of ,,boston ,,physicians ,,and ,,saxon ,,soldiers was corrected to ,figure #hd4 #b4 ,figure #ia4--;,a ,,double4 ,,by ,h4 ,g4 ,,reading4 is out of sequence4 ,another ,figure #ia comes later in the text4 #c4 ,mismatched quotation marks are as they were in the original book4