,,transcriber',s ,,note4 ,original spelling and formatting has been mostly retained4 ,further details are provided in the ,,transcriber',s ,,endnote4 99 99 99 99 99 --,anthony's ,photo4 ,series1 ,no4 #bj4-- ,,photography --,,in-- ,,the ,,studio ,,and ,,in ,,the ,,field1 --,,by-- ,e4 ,m4 ,,estabrooke1 ,author of ,,the ,,ferrotype ,,and ,,how ,,to ,,make ,,it4 ,a ,,practical ,,manual ,,designed ,,as ,a ,,companion ,,alike ,,to ,,the ,,professional ,,and ,,the ,,amateur ,,photographer4 ,,new ,,york3 ,e4 ,h4 ,t4 ,,anthony ,,co41 #eia ,,broadway4 #ahhg4 ,entered according to ,act of ,congress1 in the year #ahhf1 by ,e4 ,h4 ,t4 ,,anthony ,,co41 ,in the ,office of the ,librarian of ,congress1 ,washington1 ,d4 ,c4 ,,contents4 ,,page ,,introduction1 #g ,,part ,i4 ,,glass1 #aj ,quality--,preparation--,albumenizing4 ,,collodion1 #ad ,positive ,process--,formula for ,positive--,how to ,coat ,plates ,with--,exposure of the ,plates-- ,development of ,plates--,developer-- ,fixing ,solution--,dry ,plate ,ferrotypes4 ,,collodion ,,process ,,for ,,negatives1 #bd ,negative--,formula ,a--,formula ,b--,formula ,c4 ,,collodion ,,cotton1 #bh ,formula for ,making ,collodion with ,above4 ,,negative ,,silver ,,bath1 #bi ,preparation of--,contaminations of--,renovating1 c4 ,,the ,,negative ,,developer1 #cc ,formul for ,developing ,solution4 ,,fixing ,,solutions ,,for ,,negatives1 #ce ,,intensifying ,,negatives1 #cf ,,the ,,bromo ,,argentic ,,dry ,,plate ,,process1 #cg ,,gelatino ,,emulsion1 #ch ,emulsion ,a1 ,paget ,prize--,emulsion ,b1 ,jarman--,emulsion ,c1 ,ever--,emulsion ,d1 ,ever--,apparatus for ,making--,preparation of ,glass--,coating ,plates4 ,,apparatus ,,used ,,in ,,making ,,emulsions1 #dd ,cooling ,table--,drying ,room4 ,,developing ,,room ,,for ,,dry ,,plates1 #dh ,,development ,,of ,,dry ,,plates1 #ed ,,dry ,,plate ,,developers1 #ee ,alkaline ,pyro--,developer1 a ,sal ,soda4 ,,fixing ,,solution1 #eg ,,clearing ,,solution1 #eh ,,dry ,,plate ,,development1 #eh ,ferrous ,oxalate--,ammonia ,pyro-- ,intensification--,solution ,a--,solution ,b4 ,,practicalities1 #fc ,,retouching ,,negatives1 #fc ,apparatus ,furniture4 ,,silver ,,printing1 #gj ,printing ,room--,silvering ,room--,silver ,solution for ,paper--,sensitizing ,paper--,fuming ,paper--,toning the ,prints--,toning ,solution--,fixing the ,prints--,mounting the ,prints--,spotting the ,prints--,preparation for ,burnishing4 ,,the ,,photographic ,,studio1 #hj ,,the ,,camera ,,lenses1 #hd ,optics of ,photography4 ,,camera ,,boxes1 #ii ,for ,positives1 the ,multiplyer--,for ,negatives1 ,wet or ,dry4 ,,the ,,benster ,,plate ,,holder1 #aji ,,camera ,,boxes1 #aaj ,for ,copying and ,enlarging--,for ,viewing and ,out-,door ,work--,the ,novel ,view ,camera--,the ,klauber ,camera4 ,,camera ,,stands1 #aaf ,the ,lever ,stand--,the ,knickerbocker ,stand--,the ,balance ,stand--,the ,bowdish ,stand--,the ,automatic ,stand--,the ,gem ,city ,stand--,the ,handy ,stand--,the ,magic ,stand--,the ,iron ,centre ,stand4 ,,pneumatic ,,shutters1 #abd ,the ,cadett ,shutter--,the ,lightning ,shutter--,the ,garland ,shutter--,the ,invisible ,shutter4 ,,head ,,rests1 #acj ,success ,head ,rests--,the ,rigid--,the ,spencer4 ,,posing ,,chairs1 #acc ,the ,bowdish ,chair--,other ,chairs4 ,,part ,,ii4 ,,field ,,photography1 #adj ,amateur ,outfit--,constituents of ,viewing ,outfit--,dry ,plates--,handling ,dry ,plates--,dry ,plate ,holder--,view ,cameras--,detective ,camera--,satchel ,detective ,camera--,bijou ,camera4 ,,amateur ,,equipments1 #aec ,equipment ,no4 #a--,the ,fairy ,camera--,the ,novel ,camera--,the ,novelette ,camera4 ,,the ,,view ,,lens1 #aeg ,single ,combination ,lenses--,double ,combination ,lenses--,the ,platyscope--,dallmeyer's ,rapid ,rectilinear--,wide ,angle ,lenses--,dallmeyer's ,wide ,angle4 ,,the ,,tripod ,,or ,,view ,,camera ,,stand1 #afb ,,the ,,instantaneous ,,shutter1 #afd ,the ,drop ,shutter--,the ,prosch ,shutters4 ,,the ,,carrying ,,box1 #afg ,,developing ,,outfit ,,for ,,amateurs1 #afg ,chemical ,constituents of--,ferrous ,oxalate ,development--,cooper's ,developer4 ,,eastman',s ,,improved ,,negative ,,paper1 #agi ,,the ,,roll ,,holder1 #aha ,how to ,use them4 ,,the ,,roche ,,paper ,,film1 #ahg ,,enlarging ,,and ,,duplicating ,,small ,,negatives1 #ahh ,the ,copying and ,duplicating ,camera--,duplicate ,negatives by ,contact4 ,,printing ,,processes1 #aib ,on ,anthony's ,gelatino ,bromide ,paper--,anthony's ,collodio ,chloride4 ,,the ,,enlarging ,,camera1 #bjc ,,printing ,,without ,,salts ,,of ,,silver1 #bjg ,the ,blue ,process--,another--,the ,cyanotype ,process with ,salts of ,uranium--,process for ,red ,pictures--,process for ,green ,pictures--,process for ,violet ,pictures4 ,,transparencies ,,on ,,glass ,,opal1 #bab ,development of--,ferrous ,oxalate ,development--,by ,wet ,collodion4 ,,bicycle ,,camera1 #bbb ,,photo ,,micrography1 #bbd 99 99 99 99 99 p#jjg ,,introduction4 99 99 ,the most important improvement in photographic processes that has been introduced since ,maynard first made collodion1 and ,archer discovered its adaptability to the production of photographic negatives1 is the gelatine bromide dry plate4 ,wet plate photography had reached its utmost point of adaptability to the demands of the times4 ,a few men of marked ability1 and the skill of long study and practice1 had reached the point of highest excellence in working with collodion1 and the great multitude were pressing on toward that designated height to which it was given to but few to attain4 ,it had been demonstrated that wonderfully beautiful effects could be produced by the collodion process1 but that there was a limit beyond which progress could not be made4 ,the great range of subjects in still and animate life requiring very rapid exposures1 were practically out of the power of collodion1 to compass satisfactory results4 ,at this time1 when there seemed to be a very constant and increasingly urgent demand for more rapid acting lenses and for lightning processes1 there appeared the wonderful argentic bromide ,gelatine ,emulsion1 which1 in four short years1 has superseded the collodion process almost1 if not altogether1 and besides 7notwithstanding the opposition of the elite of the profession1 whom for a time it p#jjh leveled with the rest of the workers1 but who were quick to see and acknowledge the extraordinary merits of the new candidate7 it has caused such a quickening of the pulses of the business1 and such an increase in its range and adaptability as never before was known1 and which1 in the year or two past1 has caused such an activity in invention and in other ways1 as to make that period of time so remarkable for the many new things that have been brought out1 and the many new processes that have been adopted1 as to render a detailed account of such for the profession1 and also for the amateur1 most desirable4 ,it is with such a view that this book is offered to the photographic public1 and that numerous and still increasing army of amateurs1 who have taken up photography as an amusement1 to while away a leisure hour4 ,for to these latter a few hours' study of a good hand-book is about all that is necessary to enable them to expose and develop a dry plate1 a little practice only being requisite to the successful performance of the same4 ,there may be many1 however1 who1 having made a promising commencement1 would like to proceed farther and acquire a knowledge of former photographic processes1 as well as those which succeed the making of the negative1 such as printing1 toning1 fixing1 etc41 and in fact1 learn how to make a finished photograph4 ,to such1 particularly1 and to all photographers1 this book is offered1 in full confidence that it will be a useful companion in the studio and in the field4 ,to accomplish this end we will take the reader as an apprentice1 and commencing at the beginning1 instruct him in that knowledge he would have to acquire were he an actual apprentice in a photographic studio1 p#jji working the wet collodion process1 after which an equally full course of instruction will follow for the dry plate and other new processes1 both for negative making and for printing4 ,in the following pages1 also1 will be found many useful formul that have been carefully culled from a mass of published contributions1 from many of the leading spirits in photography1 most of which have been verified practically by the author1 and others bear on their faces so plainly the impression of their practicability as to need no assurance that they are reliable4 ,in getting up this work ,i have availed myself of information from any and all sources at my command1 giving credit where possible1 and endeavoring to make everything clearly understandable1 and neglecting no details necessary to the successful working of every formula1 even by the youngest learner4 p#jaj ,,glass4 ,,quality ,,of ,,glass ,,suitable ,,for ,,photographic ,,purposes ,,and ,,how ,,to ,,prepare ,,it4 ,mr4 ,hardwick1 than whom there can be no more faithful or competent guide1 says that much care should be taken in the selection of glass to be used in the production of photographic negatives4 ,window glass is always unsuitable1 because of its inferior quality1 having scratches upon its surface and air bubbles in its substance1 each of which causes irregularities1 as well in the negatives as in the subsequent printing2 also the squares are seldom flat so that they do not lie true in the holder1 and hence a part of the image may be out of focus2 and also they are extremely liable to be broken by compression in the printing frames4 ,formerly many photographers used a thin plate glass of very fine quality1 but of late years the great demand for glass suitable for such purposes has made it possible for the manufacturers to prepare a cheaper quality1 well adapted to the uses of photography4 ,,to ,,prepare ,,the ,,glass ,,for ,,use4 ,before proceeding to wash the glass1 each square should have its edges roughened1 by means of a file or a coarse stone1 or the edges of two pieces of glass may be abraded against each other in such a manner as to remove the sharpness1 which is so liable to injure the fingers in the various manipulations4 ,in the process of cleaning the glass it is not sufficient p#jaa to wash it with water4 ,other means are necessary to remove grease1 rust and dirt1 which would not yield to the influence of water alone1 and for this purpose a solution of caustic potash is most generally used4 ,the glass is immersed in the potash solution1 each piece separately1 and when the dish is full1 it should be left not longer than is necessary for the potash to have its proper action1 for when left for a considerable time the solution of potash 7if strong7 will attack the surface of the glass1 to its injury4 ,when a suitable time has elapsed 7which in the case of new glass should not be more than one day or night1 and in the case of old negatives not longer than to cause the film to slip off71 the glass should be removed and washed with water1 after which it should be immersed in the same manner1 in a solution composed of four parts of water to one of commercial nitric or sulphuric acid1 or the two mixed1 as may be the most convenient4 ,this latter solution removes rust or other metallic blemishes1 that have not been affected by the potash1 and also effectively neutralizes all traces of the potash that have remained on the surfaces of the glass4 ,the glass may be permitted to remain in the acid an indefinite time1 as it can have no injurious effect on it1 as might the potash1 and when required for use1 it should be carefully washed and immediately albumenized and set up in racks to dry4 ,,albumenizing ,,the ,,glass4 ,while the glass is still wet from the washing1 after being taken from the acid1 it should be coated with a preparation of albumen1 prepared as follows3 p#jab ,to the albumen or white of a fresh egg1 add eight ounces of water2 put it in a bowl and thoroughly beat it with an egg beater1 or in any manner that may be convenient1 until the fibre or structure is completely destroyed1 when it should be filtered through loose cotton1 and after the addition of a few drops of strong ammonia1 it is ready for use4 ,many prefer to beat up the albumen before adding the water1 in which case it should be beaten into a stiff froth1 when the proper amount of water is added1 and after the froth has subsided the whole is filtered and the ammonia put in last4 ,the albumen being prepared and the glass ready1 a square is taken in the left hand1 and clean water flowed over it1 until no particle of dust can be seen adhering to either surface1 when a small portion of the albumen is flowed on it1 and after covering every part of the surface the excess is allowed to drain off the right hand lower corner1 after which1 if running water is at hand1 the back of the same portion of the plate should be passed under the faucet1 and the water will carry off any excess of albumen which might return or crawl1 as it is termed1 up the back of the plate from the point where it is drained4 ,the greatest care should be taken to avoid dust settling on the plate during the coating and afterwards while drying1 and after the glass has been coated1 if it is found that any dust adheres to the albumenized surface1 it should be again washed and recoated4 ,it is important that the back of the glass should be kept free from the albumen1 so that when the plate is afterward collodionized and immersed in the silver solution1 there should be no albumen uncovered to p#jac contaminate the bath1 and as most of the glass used has some slight inequalities of surface1 the albumen should always be flowed on the concave side1 for two reasons3 ,the first is1 that when sensitized and placed in the holder1 the pressure1 being against the convex side1 may have a tendency to counteract the curve and make the plate flatter and more perfectly adjusted to the focus4 ,the other reason is that the pressure of the printing frame has a less tendency to break the glass when against the concave side4 ,the amount of glass required having been albumenized and set up in racks1 it should be carefully covered with paper to exclude dust1 and it should be set away to dry1 after which it should be placed in its proper receptacle in the dark room1 ready for use4 ,the reasons for albumenizing the glass are important4 ,before this process was adopted1 all glass used for photographic purposes1 after being subjected to the action of potash or acid1 or both1 had to be finely polished with rottenstone or some other polishing substance1 to render its surface sufficiently free from all traces of acid1 organic matter1 rust1 etc41 which would injuriously affect the collodion or the deposit of silver iodide derived from the bath4 ,this polishing was very laborious1 and in consequence it was often very imperfectly done1 causing much loss of time and material2 also the glass thus prepared did not offer to the collodion a surface to which it could adhere with much tenacity1 and in consequence it would frequently slip from it in the subsequent manipulations4 p#jad ,the first reason for ,albumenizing then1 is to cover the surface with a substance chemically pure1 and when dry of a crystaline nature and impervious to1 or at least not soluble in the silver solution1 thus saving the labor of polishing4 ,another reason is that the albumen offers a surface to which the collodion will adhere with extreme tenacity1 thus saving and preventing the film from slipping4 ,,collodion4 ,the discovery that explosive cotton was soluble in ether1 was made by ,mr4 ,maynard1 who gave it the name of ,collodion1 and later1 in #ahdh1 published in the ,american ,journal of ,medical ,science the formula for its preparation4 ,this ethereal solution1 having a certain proportion of alkaline iodides1 and iodides of silver added thereto1 constituted the collodion first employed by ,mr4 ,archer1 who thus shares with ,mr4 ,maynard1 and with a ,mr4 ,legray 7who first published an account of its use as a photographic agent7 the honor of having given to the world the collodion process in photography4 ,the progress that has been made since ,mr4 ,archer's time in perfecting the adaptability of collodion to photographic uses could not be better illustrated than by comparing the formul for collodion first published with those in use at this time4 ,the practice of photography in the present day by the collodion process is divided into two branches1 the positive and the negative4 ,in the first the object is to obtain in the camera a p#jae direct image1 which is to be viewed by reflected light1 and as it is desired that the pictures so produced should possess pure blacks and whites1 certain modifications of the collodion1 silver solution and developer are resorted to1 which cause these preparations to differ somewhat from those prepared for the production of superior negatives1 consequently the formul given hereafter will be designated as positive or negative4 ,these modifications1 however1 are not of such a character as to render either of the solutions prepared for one process totally unfit to be used for the other1 for in fact1 many photographers at this day use the same collodion bath and developer for making both positives and negatives4 ,,the ,,positive ,,collodion ,,process4 ,in the first place1 we will take up for consideration the positive process4 ,the first positives on glass were called ambrotypes1 and were the successors to the daguerreotype1 which they superseded and displaced by the superior facility of their production4 ,for the same reason the ambrotype was succeeded by the ferrotype1 which was a positive collodion picture1 made on a thin iron plate with a black japanned surface4 ,the ferrotype or tintype is now about the only product of the positive collodion process of considerable importance1 and is the only one that will receive consideration in these pages4 ,ferrotype plates are sold by all dealers in photographic materials2 they are mostly manufactured by two large concerns in ,worcester1 ,mass4 p#jaf ,,collodion ,,for ,,positives4 ,as has before been stated1 to produce the finest results in positive photography requires certain modifications of the collodion bath and developer1 which1 while not unfitting them altogether for negative work1 yet would render them quite unsuitable for high class work4 ,the formula for positive collodion here given has many merits1 and among those is a certain quality of film1 which might be termed opacity1 but not in the strict sense of the word2 it is that quality in the film which enables it to cover up any small scratch or water mark on the surface of the plate that would infallibly spoil the picture1 if almost any other collodion were used4 ,this quality1 with great clearness or transparency in the shadows1 and a beautiful gradation of light and shade1 make it unique as a positive collodion4 ,there may seem to be a contradiction between the terms opacity and great transparency of shadows1 which may need further explanation4 ,as the shadows of a positive collodion picture are produced by the black surface of the plate showing through the collodion1 any defect on that portion of the surface would be expected to show very plainly1 and it does so with the use of the ordinary collodions sold by the dealers1 but not so with the collodion under consideration1 which may be because it is less permeable by the silver solution1 and that consequently the deposit of iodide of silver lies more on the surface and less within the texture of the film1 and is thus kept from contact with organic matter or other defects on the surface of the plate2 in some such manner only1 can ,i account for a very valuable quality that has saved thousands of p#jag plates1 that would under other usage have been thrown away4 ,this formula has never before been published1 and must be prepared as directed4 ,alcohol and ether equal parts2 gun cotton sufficient to make a moderately thick film1 say #e or #f grains to the oz42 put the cotton in the ether first2 when it is well saturated1 pour in the alcohol4 ,to which add3 ,iodide of ,ammonium #d grains to oz4 ,iodide of ,cadmium #b ,bromide of ,cadmium #a ,bromide of ,copper #a ,the latter ingredient can only be had in aqueous solution1 ,i believe1 and requires close calculation to get at the right quantity4 ,this formula gives #h grains of salts to the ounce of collodion1 and would require a silver solution of #ej grains to the fluid ounce to balance properly4 ,the silver solution may be prepared as per directions on page #bi1 under the heading--,the ,negative ,bath4 ,,how ,,to ,,coat ,,plates4 ,the ferro-plate is held between the thumb and first two fingers of the left hand4 ,the collodion bottle is held in the right hand1 and the collodion is poured on the right upper end of the plate1 flowed to the left upper corner1 by deflecting the plate in that direction1 and then down the left side toward the hand1 and the excess run back into the bottle from the right lower corner1 when it has all run off1 the plate should be gradually brought to a perpendicular position and rocked from right to left1 that is1 perpendicular to the end1 p#jah then to the side1 until the film has set or become fixed1 which may be ascertained by touching the film at the lower corner of the plate1 when1 if it breaks and does not run farther1 it has set and should1 without delay1 be immersed in the silver solution1 where it should remain until it has become fully sensitized1 which will be in from #b to #e minutes4 ,the plate should be lowered into the bath by one continuous motion2 any stoppage will cause a line and spoil the plate4 ,the plate is sensitized when on removing it from the bath it presents a smooth1 yellowish surface2 if it shows lines as of water running off a greasy surface1 it is not coated2 return it to the bath4 ,,exposure ,,of ,,the ,,plate4 ,the plate having become sufficiently coated is taken from the bath1 well drained1 and placed in the holder or shield1 and a piece of glass of the same size put behind it1 which is to receive the pressure of the spring on the door of the holder1 and force the plate into its proper position evenly1 so that all parts will be in focus4 ,the holder containing the plate is then taken to the studio1 or light room1 where the subject1 we will say1 has already been posed2 the camera set and focused1 the exposure is then made1 after which it is returned to the dark room for development4 ,,developer ,,and ,,development4 ,in the preparation of a developing solution for plate pictures1 we must consider that we desire to produce a picture1 which1 to be admired1 must have p#jai pure whites1 clear shadows1 be full of detail and have an easy gradation of light and shade4 ,that you may succeed in this object1 use the following formula1 and persist until you have learned its every modification3 ,,developer4 ,water #fd ounces f4 ,protosulphate of iron #d ,acetic acid #d ,alcoholic solution of tannin1 #aj grains to the ounce #d ,the four ounces of iron should be dissolved in the sixty-four ounces 7fluid7 of water1 and the acetic acid and tannic alcohol added4 ,in using this solution1 develop your plate over a large filter1 which will receive all your surplus developing solution1 and conduct it into a bottle for use again2 drain the plate into this filter before washing1 wash carefully and then place it into the fixing solution--the developing solution which has filtered through into the bottle is afterwards used in the proportion of one-half of old to one-half of the new or fresh solution4 ,this greatly improves the high lights of the picture1 and by using more or less of the old solution1 effects can be produced that are impossible by any other means4 ,great care should be taken to cause the developing solution to flow evenly and with one sweep1 as it were1 over the whole surface1 so that the action may be as near as possible equal on all parts of the surface4 ,in a very few seconds after the action of the developer has commenced the picture will show up4 ,the plate meanwhile should be kept in motion and the p#jbj solution caused to flow from side to side and from one end to the other1 in order that the development may progress evenly and with the same speed on all parts4 ,the picture will gradually grow and brighten1 until all the detail that might be expected is seen in the shadows2 then pour off the remaining solution into the filter and proceed to wash the plate until all traces of greasiness disappear2 when the plate is sufficiently washed and is ready to be fixed or cleared4 ,another developing solution is prepared as follows3 ,make a #fd-ounce saturated solution of protosulphate of iron1 into which drop tannin solution enough to cause a precipitate1 which remains undissolved after shaking1 then add drop by drop pure nitric acid1 until the precipitate is taken up and the solution becomes clear4 ,to one ounce of this add water1 until it tests #ah to #bj grains to the ounce by the hydrometer1 then add one ounce acetic acid1 which perfects the formula and constitutes the developer4 ,,fixing ,,solution4 ,the solvent most generally used for fixing or clearing positives is cyanide of potassium4 ,by the term fixing is meant the dissolving from the collodion film all the iodide of silver not acted on by the developer2 the remaining portion of the silver is in a metallic state and constitutes the image2 the cyanide very readily dissolves the iodide1 but acts very slowly on the metallic silver4 ,this fixing solution should be contained in a glass upright dish1 enclosed in a wood case1 with a tight or close-fitting cover1 this in order that as little exposure to the air as possible may be had1 as the fumes p#jba arising from the evaporation of the solution are injurious4 ,two ounces of cyanide to #fd ounces of water will make a suitable fixing solution for plate pictures2 if1 however1 its action is thought to be too slow1 add more4 ,the plate picture having now been developed and fixed1 it only remains that it should be dried1 varnished1 cut into shape1 placed in the proper envelopes and it is ready for delivery4 ,those desiring more extended instructions in the making of plate pictures are referred to the work on that subject1 entitled1 ,the ,ferrotype and ,how to ,make it1 published by ,e4 ,h4 ,t4 ,anthony ,co41 of ,new ,york4 ,,argentic ,,dry ,,plates ,,for ,,positives4 ,the ,phenix ,plate ,co41 the largest manufacturers of ferrotype plates in this country1 and whose name is familiar with every ferrotypist1 as well as most photographers1 have lately placed on the market ferrotype plates1 with surfaces coated or sensitized with gelatine emulsion1 which they1 offer as a substitute for the ordinary collodion positive or tintype4 ,the plates are cut to sizes and packed in much the same manner as the ,stanley or any other dry plates are1 and being extremely sensitive to light1 they must be handled with the same care4 ,the manufacturers claim1 that the ',argentic ,dry ,plate' will be found far superior to any other form of positive plate1 giving as it does the maximum of beautiful effects with a minimum of labor1 producing a rich and brilliant picture with a rapidity and cleanliness never before attained1 doing away as they do p#jbb with the use of the silver bath and all its concomitant evils1 pinholes1 stains1 fog1 etc41 not forgetting the vast saving in time and temper4 ,the argentic plate is always ready-at-hand1 and the working of it is simplicity itself4 ,their permanency and reliability is beyond question4 ,these plates are extremely rapid4 ,an exposure of from #a to #c seconds will suffice with a good light1 #b minutes to develop1 #c to fix1 wash1 dry and varnish1 and the operation is complete1 ready within ten minutes for delivery4 ,for out-door views these plates work well with a drop shutter exposure1 and the results1 both for portrait and view work1 are remarkable for fullness of detail1 and great delicacy and softness of tone4 ,while these plates may be developed by the common ammonia pyro developer1 the manufacturers claim1 that much finer effects may be produced by using the ,phenix ,stock ,solution1 that accompanies the plates1 put up in #ab oz4 bottles4 ,by its use1 greater rapidity of development1 purer white1 extreme brilliancy and finer detail can be obtained1 the result being far superior to that produced by any other developer4 ,the following formula can be relied on to give excellent results1 and by simply modifying the proportions1 to suit circumstances1 will answer every purpose4 ,as these plates are very rapid1 six times more rapid than wet plates1 guard well against white light4 ,formula for development3 ,,no4 #a4 ,pyrogallic ,acid #a oz4 ,water #ab oz4 ,citric ,acid #bj grs4 p#jbc ,,no4 #b4 ,phenix ,stock ,solution4 ,keep the ,stock ,solution securely corked4 ,,no4 #c4 ,bromide ,potass4 #a oz4 ,water #ab oz4 ,,developer4 ,water #d oz4 ,no4 #a #d drams4 ,no4 #b #d drams4 ,if the plate be over exposed1 add a few drops of ,no4 #c4 ,should the plate1 however1 be under exposed1 add one dram more of ,no4 #b4 ,when the plate is placed in the developer1 the image will begin to appear in from #e to #aj seconds4 ,continue the development until the details are all out4 ,but be careful not to over-develop1 and thereby obscure the shadows4 ,wash thoroughly after development1 and fix in the following solution3 ,,fixing ,,solution4 ,cyanide of ,potass4 #abj grains4 ,water #aj oz4 ,let the plate remain in the fixing basin until every trace of ,bromide of silver disappears4 ,wash well after fixing1 and dry with a gentle heat or flow the plate with alcohol for a few seconds4 ,set it aside1 and it will dry in a few minutes without the aid of heat4 ,for varnishing any good negative or positive varnish will answer4 ,apply a little heat to prevent chilling4 ,directions accompany each box4 p#jbd ,,the ,,collodion ,,process ,,for ,,negatives4 ,we now take up that more important branch of the collodion process1 vis41 that for negatives4 ,the formul and instructions already given for positives might enable one to make a negative1 but the negatives so made would bear even a remoter relation to one made by the formula about to be given than would a positive made according to these formul bear to a good one made by the appropriate means4 ,important modifications are necessary to reach the highest excellence in either process4 ,,negative ,,collodion4 ,to produce a good negative a collodion is necessary1 the film of which is more permeable than that for positives1 so that a heavier deposit of iodide of silver may be carried in the film1 to the end that in the development a denser deposit of metallic silver may be secured on all parts of the image1 but especially on the high lights1 which should be sufficiently dense to prevent the transmission of light almost altogether1 or at least to exclude the light sufficiently to allow the shadows and intermediate shades to print to the proper depth1 while the high lights of the face and such parts of the clothing as are white shall be only slightly discolored4 ,there are very many formul for such collodions1 some of which have proved to be eminently satisfactory1 and among the best are classed the following3 ,,negative ,,collodion4 ,a4 ,ether and alcohol1 equal parts4 ,climax cotton 7,anthony's71 #c grains to the oz4 ,negative cotton p#jbe 7,anthony's71 #a grain to oz4 ,place the cotton in the ether first1 then add the alcohol and sensitize with ,iodide of ,ammonium #c grains to ounce ,iodide of ,lithium #a ,bromide of ,cadmium #b ,collodion prepared after this formula gives very pleasing results and is rather more rapid than the average4 ,in many cases it is well to have two samples of collodion differing in formul1 mixing them in varying proportions1 according to the effect desired4 ,a good formula for mixing with the above is as follows4 ,it can be used separately if desired1 but is not primarily intended to be used alone3 ,plain collodion1 prepared as in the preceding formula1 but with a different cotton1 ,anthony's snowy ,cotton1 for instance1 to each ounce of the plain collodion add3 ,iodide of ,potassium #b-a_/b grains ,bromide of ,cadmium #b ,iodide of ,cadmium #b-a_/b ,the iodide of potassium is insoluble in absolute alcohol and ether1 therefore it must be first dissolved in the smallest quantity of water possible and then added to the collodion4 ,a portion will even then most probably be precipitated2 if it is not1 it would be an indication that the alcohol or ether used were either one or both of a higher specific gravity than they should be4 ,it is more important that the ether should be pure than the alcohol1 as the former is often contaminated or adulterated with water as well as with alcohol1 and sometimes contains impurities of an acid nature4 ,ether1 for photographic purposes1 should not have a p#jbf higher specific gravity than #gbj1 and the alcohol should never be used for collodion when below #ie per cent41 as the presence of water in the collodion makes the film weak and glutinous4 ,most formul for collodion prescribe alcohol and ether in equal parts1 but these may be varied with advantage during the hot season2 for instance1 the alcohol may be used in somewhat larger proportion1 as the tendency to evaporation is much more with a high temperature1 and alcohol evaporates less rapidly than ether4 ,consequently the flowing quality of the collodion and the evenness of the film would be promoted by a not too rapid congelation or setting of the film4 ,and again1 during the cold season1 the ether may be used in larger proportion1 to promote a more rapid evaporation and setting of the film4 ,by a moderately close observation of the action of collodion under varying temperatures1 the operator might soon learn how to modify his formul to suit all conditions of heat and cold4 ,it should be mentioned that it would not be correct to vary the proportions of ether and alcohol very greatly1 as an over proportion of alcohol would render the collodion weak and glutinous1 and1 being very soluble in water1 would the sooner injure the silver solution4 ,on the other hand too great a proportion of ether would make the collodion less sensitive4 ,,negative ,,collodion4 ,b4 ,alcohol and ether1 equal parts4 ,anthony's ,negative ,cotton #c grains to ounce ,anthony's ,climax ,cotton #a ,put the cotton into the ether and let it become saturated1 then add the alcohol4 ,excite with p#jbg ,iodide of ,ammonium #c-a_/b grains to ounce ,iodide of ,cadmium #b ,bromide ,cadmium #b-a_/b ,collodion sometimes1 from long keeping1 loses sensitiveness and becomes of a deep red color4 ,when such is the case1 it should be set aside and fresh samples prepared1 which would be improved in working quality by the addition of small quantities of the old1 and thus old stock may be used up without deterioration in the work4 ,negative collodion should not be so heavy bodied or thick as that for positives2 neither should it be so highly excited4 ,good positive collodion should have as many as #h grains of the iodides and bromides to the ounce1 requiring a silver solution not lower than #ej grains strong and going somewhat higher in cold weather4 ,the standard silver solution for negatives is #de grains of silver nitrate to the ounce of water and the collodion from #e-a_/b to #f-a_/b grains to the ounce1 with a tendency to less in cold weather4 ,collodion for negatives should be permitted to ripen a day or two before using1 unless it is brought to that state by mixing with old4 ,,negative ,,collodion4 ,c4 ,iodide ,ammonium #aib grains ,bromide ,cadmium #abh ,bromide ,potassium #if ,ether and ,alcohol #cb oz4 each ,cotton #cbj grains ,the preceding formul are for portrait work in studio4 ,for other work1 such as outdoor views1 p#jbh landscape or architectural1 or for copying engravings1 etc41 certain modifications of the collodion1 to produce greater intensity or more contrast1 are desirable4 ,collodion suitable for such purposes can always be purchased from the photo stock dealer1 in quantities desired1 and for that reason it is not best for the amateur nor the professional photographer either1 to prepare small samples for special purposes4 ,if it should1 however1 be found at any time necessary to prepare such a collodion1 the second formula of ,negative ,collodion ,a will be found suitable for views of buildings1 copies of engravings and such like work4 ,it was at first thought to be unnecessary to give a formula for the preparation of pyroxiline or gun cotton1 as no individual not in the business can possibly produce an article that can be in any way compared to that made by manufacturers of skill and experience4 ,for the benefit of any one wishing to experiment1 this formula is given3 ,,formula ,,for ,,making ,,collodion ,,cotton4 ,sulphuric ,acid #f oz4 ,nitric ,acid #d ,water #b ,mix and the temperature will rise to #agj ,f4 ,inmerse dry cotton wool 7best long fibre71 be sure wool is dry1 draw it in long flakes and pull it under acids with a stout glass rod2 do not crowd in too much1 take care that each tuft is well wetted with the acids before putting in a fresh tuft4 ,carefully cover the vessel and put it where any slight fumes may escape2 leave it for at least #ab hours--#bj hours will not spoil it4 ,when ready1 lift cotton out and plunge it p#jbi into a large quantity of water1 quickly separating the tufts with glass rods1 wash in changes of water1 until no acid is left1 then wring the cotton in a coarse towel until dry as possible and pull it all apart and place in the air to dry4 ,,collodion ,,with ,,above4 ,alcohol #e oz4 ,ether #aj ,cotton #ajj grains ,,to ,,iodize3 ,alcohol #e oz4 ,iodide ,ammonium #fj grs4 ,iodide ,cadmium #cj ,bromide #bj ,dissolve the iodides in the #e oz4 alcohol or in the whole #aj oz41 if desired1 then put in the #ajj grains cotton1 shake well1 then add the #aj oz4 ether and shake till the cotton is all dissolved2 it will be ready for use in a few hours1 and will improve with age4 ,,the ,,negative ,,bath4 ,the silver solution for a negative bath is prepared in substantially the same manner as for a positive4 ,two thirds of the amount of silver nitrate intended to be used1 should be dissolved in the quantity of water required to make the bath1 and a grain or two of iodide of potassium added and placed in the sunlight until the solution has changed color1 become turbid1 and again clear and colorless4 ,this change is caused by a minute portion of the silver combining with the organic matter and with other impurities in the water1 if there are any2 a molecular change then takes p#jcj places1 oxygen is evolved and the infinitesimal portion of silver changes to a metallic state and sinks to the bottom1 carrying with it the impurities1 which induced the chemical action or change4 ,the solution may now be filtered1 the remaining portion of the silver nitrate added1 and with a few drops of pure nitric acid1 the solution will be ready for use4 ,but if on trial it is ascertained that it will not give satisfactory results1 it will be found that it has not been sufficiently excited1 or an acid reaction has not been induced4 ,if the first supposition is true1 more iodide of potassium must be used1 as a silver solution must receive as much or nearly as much of the iodide as it will hold in solution1 before it will work harmoniously with the collodion2 the grain or two put in the solution with the first portion of nitrate of silver have not been sufficient4 ,a very little more may be added1 which will combine with the silver1 forming a white curdy precipitate1 which1 on shaking the bottle1 will in a short time redissolve4 ,if any remains1 it should be filtered out1 as no more can be held in solution4 ,an other plan is rather more convenient1 but requires more time4 ,it is to coat with collodion as large a plate as the bath will receive2 immerse it in the bath1 leaving it there some hours1 usually all night4 ,after trying one of these remedies1 if the bath refuses still to yield good results1 more nitric acid should be added1 until the solution will turn blue litmus paper slowly red4 ,i have never known a silver bath to fail to come to terms under this treatment4 p#jca ,the silver solution1 when in constant use1 rapidly deteriorates1 and unless there is a very large quantity1 it will soon become unfit for use1 and however much or little there may be1 it is only a question of time as to when it will cease to act satisfactorily4 ,this result is caused partly by the gradual contamination of the solution by the alcohol and ether washed from the collodionized plates that have been sensitized in it4 ,when the bath is seriously affected in this manner1 it is indicated by the difficulty experienced in getting the developer to flow evenly over the plate1 and also by the strong alcoholic odor of the silver solution4 ,the necessity for a change of the bath may be delayed for a time by the addition of alcohol to the developer1 which causes it to flow more evenly4 ,another source of evil to the bath is the continual absorption from the surfaces of the plates immersed of minute portions of the salts with which the collodion is excited4 ,after the silver solution has taken up all it can dissolve or assimilate1 the surplus is held in suspension and is called free iodide1 which deposits itself on the surfaces of the plates1 and when in quantity causes the plate when taken from the bath to appear as if fine sand had been sprinkled over it4 ,these small crystals prevent the action of the light on the parts they cover1 and when the plate has been developed and fixed1 every crystal has produced a small transparent spot or pinhole1 as it is termed1 and many a lovely negative has been ruined by pinholes4 ,this trouble may be cured by increasing the quantity of the solution and adding more silver nitrate1 which1 if in sufficient quantity1 will dissolve the free p#jcb iodide4 ,but if it may not be convenient to do this and no other solution is ready for use1 then1 after immersing your plate1 tip the bath dish back so that the face of the plate may be inclined downwards1 when the crystals will be deposited on the back of the plate and do no harm4 ,the silver bath is also contaminated with organic matter1 taken up from the edges and backs of the many plates used1 of which some portion of the albumen is likely to be exposed to the action of the solution1 and also from dust1 etc41 falling into the bath dish1 which will be taken up and held in solution by the acid in the bath1 but when the acid can hold no more in solution1 its presence will be indicated by a greyish white vail forming on the surface of the plate when developed2 this is called fog1 and may only partially obscure the image1 or it may completely veil it4 ,the fogging of the plates in this manner may be prevented for a time by adding more nitric acid to the bath1 which will dissolve the organic matter and prevent its deposition on the plate4 ,when the silver bath has1 from long or much use1 become seriously affected by any of these evils1 it should be set aside and a fresh bath put in use1 until an opportunity offers to thoroughly cleanse and renew the old solution1 which can be done by one series of manipulations1 as thus3 ,into a large bottle1 which will hold the solution to be treated1 and somewhat more1 put from a pint to a quart of water1 according to the quantity of the solution2 into this bottle containing the pint of water1 pour in a small stream the whole of the old solution1 when it will be found to have turned to a milky whiteness p#jcc or opalescence1 which is the iodide of silver set free by reducing the strength of the solution2 this must be filtered out1 and the solution neutralized with bi-carbonate of soda1 which should be put in1 in small quantities until a deposit of carbonate of silver begins to be formed2 then place the solution in an evaporating dish1 and subject to heat until the bulk is reduced about one-half2 test it with litmus paper1 and if acid1 give it more bi-carbonate of soda2 add water and silver nitrate to bring to the required bulk and strength1 set in the sunlight for a time or until required for use1 then filter1 and it will be found to be as good as new1 but it may require a few drops of nitric acid4 ,pure water may be always had ready for use1 by keeping a large bottle full of the common water standing out-door in the sunlight1 adding a grain of silver from time to time as the bottle is emptied and replenished4 ,the new agate iron ware pots are the best for use as evaporating dishes4 ,they will not break or crack1 and they are not nearly so expensive as porcelain dishes4 ,,the ,,negative ,,developer4 ,there are a thousand and one formul for developing solutions for the wet plate1 but they are all composed of protosulphate of iron or a compound thereof1 acetic acid1 and water1 with the addition of some organic substance1 such as sugar1 rock candy1 glycerine1 etc4 etc4 ,the development of a negative is nothing more than the deposition of metallic silver in a state of fine sub-division upon a base of the same metal1 which is the image latent in the collodion film after exposure in the camera4 ,and it is supposed that the finer the deposit p#jcd secured in the development the better will be the chemical effect and printing quality of the resulting negative4 ,therefore1 the use of organic bodies in the developer is supposed to effect or induce a finer deposit4 ,the careful observer1 however1 will soon discover that the success of the development depends more on the time of exposure1 the temperature of the developing solution and the condition of the bath1 than upon any adventitious aids1 such as rock candy1 etc4 ,a developing solution1 composed alone of an aqueous solution of protosulphate of iron and acetic acid1 can be made to produce the finest effects possible to the process4 ,,developing ,,solution ,half fill with protosulphate of iron a wide mouth #fd oz4 bottle1 fill up full with water1 set aside to dissolve1 shaking the bottle once in awhile1 so that the water may become saturated4 ,put a small glass funnel on a stand1 so that you can place under it a #af oz4 bottle2 fill the #af oz4 bottle with water and enough of the strong iron solution to make a twenty grain to the ounce solution1 add one ounce of acetic acid1 pour all into the filter and place the bottle beneath the funnel to receive it4 ,this filtered solution is the developer for negatives4 ,some experience is necessary to enable one to develope a negative properly and secure the best results4 ,holding the plate in the left hand1 take the developer bottle in the right1 hold it over the plate near the left hand1 let the first finger of the right hand rest against the edge of the plate1 tilt the bottle so that the developer will run on the plate2 at the same time move p#jce the right hand toward the other end of the plate rather quickly1 letting the developer run in a steady1 but not copious stream2 deflect the plate with the left hand at the same time1 so that the solution will flow from you in such a manner that the whole surface of the plate may be covered with the liquid at nearly the same time as possible4 ,now set down the bottle and keep the plate in motion1 so as to cause the solution to have an equal action on every part of the surface4 ,very soon the image will appear and brighten1 until every part of the detail comes out1 and when it begins to look as if fading away or becoming less distinct the development is finished4 ,this can be ascertained with more certainty at this time by holding the plate so as to be able to look through it toward the light1 so as to examine its density1 remembering that the high lights should be quite dense and the medium shadows be full of detail4 ,one very soon learns to know the proper density4 ,the plate should be now very thoroughly washed1 to free the surface from the iron before fixing4 ,great care should be taken in this manipulation to cover the plate quickly with the solution1 holding it all on the plate4 ,as the development is made by the precipitation of the free silver on the surface of the film upon the latent image1 none of the free silver should be washed from the plate by a flood of developing solution carrying it off the surface4 ,,fixing ,,solution ,hyposulphite of soda is generally considered to be the most suitable fixing agent for negatives1 although some prefer cyanide of potassium4 p#jcf ,the hyposulphite1 however1 is the safest1 both for the plate and for the operator4 ,one pound of hyposulphite of soda to a gallon of water will make a solution of a suitable strength to clear a negative as rapidly as is necessary1 and it should be contained in a flat dish4 ,when from much use the fixing solution becomes muddy1 it should be thrown into a suitable receptacle for liquid wastes1 as it is rich in silver4 ,leave the negative in the fixing solution until all the iodide of silver is dissolved from the film1 and no trace of the yellowish deposit can be seen by transmitted light4 ,when the negative is thoroughly cleared1 if it is found that it lacks density or1 in other words1 is not intense enough1 wash it very carefully to free it from every trace of the soda solution1 and then proceed to strengthen it in the following manner3 ,,intensifying ,,the ,,negative4 ,keep near at hand in a #fd oz4 bottle this solution3 ,protosulphate of iron #b oz4 ,citric acid #a ,water #fd and in a small bottle a ten-grain-to-the-ounce solution of silver nitrate4 ,when a negative is to be strengthened1 from the large bottle take enough of the solution to cover the surface2 to this add a half dram of the silver and flow it over the negative4 ,a change of color will at once take place in the film1 which will become darker as the silver deposit becomes heavier2 if one application is not enough to secure the required density1 wash the plate and proceed again1 as before4 p#jcg ,negatives may be strengthened before fixing1 if it is found necessary1 by flowing the surface with the weak silver solution and afterwards using the ordinary developer4 ,when one has become accustomed to the work1 and can tell that the negative is not dense enough before fixing1 it is the best plan to re-develop before fixing4 ,the mercurial intensifying solution for dry plates is very nice for wet plates4 ,having described the positive and negative collodion process1 there remains to give an account of the latest and greatest achievement in photographic progress4 99 99 99 99 99 ,,the ,,bromo ,,argentic ,,dry ,,plate ,,process4 ,the history of dry plate photography comes within the last ten or fifteen years1 and being so recent and so fully written up in current photographic literature1 space in this work will not be taken for a full account of the rise and progress abroad and at home of this wonderful improvement in photography1 but instead will be given some formul for the preparation of ,gelatino ,argentic ,emulsion1 and the most approved methods of working it4 ,the shortening of the time of exposure for sittings in the studio from one-tenth to one-twentieth of the time required for the old wet plate process1 at its best1 has rendered the dry plate such a power in the hands of the photographer as to have caused it to be almost universally adopted in the studios of this country1 and has practically displaced the wet process in the field and for all out-door photography4 p#jch ,,gelatine ,,emulsion4 ,since the introduction of the new process into the ,united ,states1 the preparation of rapid dry plates has been and remains now in the hands of certain prominent firms1 who1 from the skill they have acquired and the advantages they derive from all the machinery and conveniences that large capital enables them to procure1 are enabled to supply fully the demand with a much better article than could be had were each consumer to manufacture for himself4 ,in fact1 if the photographer were compelled to manufacture his own dry plates there would be a very different condition of affairs at the present time4 ,gelatine is a substance so susceptible to change from the action of our climate1 with its varying temperature1 that of a large number who have attempted to make dry plates for the trade1 many have completely failed1 some of them after a partial success2 and others after spending thousands of dollars never could make two batches of emulsion alike2 and then again the keen competition of the successful concerns has reduced the profits to not more than fair returns to a precarious business4 ,there are many1 no doubt1 who would be glad to experiment in this field1 especially among amateurs1 and it is for the benefit of such that certain hints and formul are given in this connection to enable them to make1 if successful1 their own plates4 ,the formul herewith given are selected from a large number published in the ,german1 ,english and ,american journals1 and while good dry plates may be made by either of them1 yet it is doubtful if the highest success would repay the outlay4 p#jci ,a careful study of the published formul and the current literature on the subject of ,gelatino-,bromide ,emulsion will disclose the general principles on which they are based4 ,a certain amount of bromide of ammonium or potassium 7preferably ammonium1 on account of its greater uniformity and purity7 and nitrate of silver are dissolved separately1 and mixed together in a thin solution of gelatine1 at a moderately warm temperature4 ,great sensitiveness is obtained by a long exposure to the same warm temperature1 or by the addition of a small amount of ammonia1 and raising the heat to the boiling-point for from a half to a full hour2 when it is cooled more gelatine is added and the whole allowed to congeal or set1 when it is reduced to shreds1 and washed in cold water to remove the excess of the preponderate salt4 ,the sensitiveness of the emulsion is said to depend upon the fineness of sub-division of the grain of the bromide of silver in the presence of the gelatine4 ,this extreme fineness is secured by long emulsification1 or by the use of ammonia and a boiling heat4 ,the strength and tenacity of the emulsion depend on the quality of the gelatine1 and its freedom from deterioration during the process of emulsification and the subsequent washing4 ,a soft gelatine is suitable for the process of emulsification2 afterwards a hard quality is used to give body and resistance4 ,the presence of free bromide or of free nitrate of silver in the finished emulsion would be fatal to its usefulness2 therefore1 as both of those salts are easily soluble in water1 they must be got rid of by washing2 consequently1 before washing1 the mass of jelly should p#jdj be induced by the use of a refrigerator to set firm and hard1 so that it may be broken up into shreds for washing1 and the smaller the shreds the less washing they will require4 ,of the following formul the first two are copied from ,english photographic year books1 and are believed to be reliable2 the others are by ,dr4 ,eder1 the greatest ,german authority on gelatine emulsion1 and they are comparatively simple4 ,,gelatine ,,emulsion4 ,a4 ,,paget ,,prize4 ,,no4 #a4 ,hydrochloric acid #a drachm ,distilled water #ab-a_/b oz4 ,,no4 #b4 ,distilled water #c oz4 ,bromide ,ammonium #baj grains ,gelatine #ej ,twenty minims of ,no4 #a solution are introduced into the whole of ,no4 #b1 and the ,gelatine is left to swell4 ,in another glass vessel #ccj grains of nitrate of silver are dissolved in #c ounces of distilled water2 a small quantity1 about two fluid drachms1 of the latter is poured into a test tube and diluted with an equal bulk of distilled water4 ,the solution of the bromo-gelatine is then rendered complete by immersing the bottle in hot water1 and the dilute silver nitrate is added all at once4 ,the bottle is then shaken and the remainder of the strong silver solution added in quantities of half an ounce at a time1 shaking the bottle as before after each addition4 p#jda ,the emulsion is then boiled for fifty-five 7#ee7 minutes1 and when cooled down to #ij degrees ,f41 one ounce of gelatine1 which has been previously swelled and dissolved in water so as to measure four ounces1 is added and put away in a cold place to set4 ,when set1 squeeze through coarse canvas into cold water one half gallon and #a_/d lb4 salt2 let it remain for five minutes1 then wash thoroughly4 ,the addition of two ounces of alcohol and enough water to make up to twenty ounces completes the process4 ,in the preparation of this or any gelatine emulsion the work may be carried on in daylight as far as the mixing of the bromide and silver1 which must be done in a dark room by the aid of a lamp or gas light shaded by orange or ruby glass4 ,sufficient of this non-actinic light may be admitted to enable the work of washing the emulsion1 and afterwards the coating of the plates1 to be carried on with ease and comfort1 as the emulsion when wet is only half as sensitive as when dry4 ,,gelatine ,,emulsion4 ,b4 ,,jarman4 ,picked white ,gum ,arabic #ge grains ,bromide ,ammonium #bjj ,gelatine #aej ,water #aj oz4 ,nitrate of silver #cjj grains ,water #g-a_/b oz4 ,dissolve in two jars in a vessel of water heated to #adj degrees ,f41 stir each solution well with a separate rod or strip of glass1 and when equally heated to #adj p#jdb degrees the silver may be poured in a gentle stream into the gelatine gum solution by the aid of a safe light4 ,when all has been mixed and thoroughly stirred1 cover the top of the dish and allow the temperature to be at #adj degrees for eight hours1 occasionally stirring the emulsion during that time1 which should be done in the dark4 ,at the end of that time there should be weighed out1 of ,nelson's soft gelatine #bej grains1 and of ,french hard gelatine #aej grains4 ,this #djj grains of gelatine must now be added to the emulsion1 and occasionally stirred until all of it is thoroughly dissolved and incorporated with the emulsion1 which will take about a quarter of an hour2 it is then poured out in a clean #abaj deep porcelain dish to set1 and should be allowed to set for forty-eight hours1 when it may be wrung through a piece of coarse canvas and allowed to fall into a solution of ,common salt #a_/b lb4 ,water #a gallon ,let it remain in this for five minutes1 then strain through a horse hair sieve and wash it well for an hour and a half4 ,allow the shreddy emulsion to drain well in the sieve for about a quarter of an hour2 at the end of that time place it in a clean stone-ware jar to melt1 with the addition of four drachms of saturated solution of nitrate of potash upon melting1 which may be done by setting the jar into a dish of water at a temperature of about #abj degrees ,f4 ,it will be found on measurement to be nearly #be ounces of emulsion2 as soon as it is ready for filtering four ounces of methylated spirit may be mixed with it1 p#jdc to which have been added four drachms of an alcoholic solution of tannic acid1 made by mixing ten grains of tannic acid with one ounce of alcohol2 this is to prevent frilling4 ,the rapidity of the plates will be about eight times that of a wet collodion plate1 which for all ordinary purposes will be as rapid as could be desired4 ,dr4 ,eder1 the distinguished ,german scientist 7who is a great authority on gelatine emulsions1 and has published a book on this subject71 gives the two following formul3 ,,gelatine ,,emulsion4 ,c4 ,,eder4 ,bromide potassium #d grams1 equal to #fa grains4 ,gelatine #g-a_/b to #h grams1 #aae ,water #ej c4 c4 #a ounce4 ,nitrate of silver #e grams1 #gg grains4 ,water #ej c4 c4 #a ounce4 ,dissolve the silver in water and precipitate it with ammonia4 ,continue the addition a few drops at a time1 until the brown oxide of silver re-dissolves and the liquid looks as bright as pure water2 the strength of the ammonia is immaterial4 ,the nitrate of silver may be warmed to #ic degrees ,f41 and poured into the bromized gelatine a little at a time1 continually stirring with a glass rod4 ,rinse the silver bottle with #aj c4 c4 about #a-a_/b drachms of water and add it to the emulsion1 place the bottle containing the emulsion in a basin or saucepan of water heated to #ij degrees ,f41 leave it therein from #ae to #cj minutes without further heat2 after #cj minutes the emulsion is ready to be congealed previous to washing4 ,this emulsion never fogs1 but it is imperative that p#jdd in no part of the progress the temperature should exceed #ajj degrees ,f41 and it is a safe rule not to go beyond #ij degrees ,f4 ,it is recommended to use ,french gelatine4 ,,gelatine ,,emulsion4 ,d4 ,,eder4 ,bromide of potassium #fa grains4 ,gelatine #aae ,water #a oz4 7plus7 ,the bromide of potassium must be pure and not alkaline1 ditto the gelatine4 ,the bromized gelatine must be melted at #adj to #afj degrees1 and then add #gg grains of silver nitrate in one ounce 7plus7 of water4 ,the silver may be warmed to the same temperature as the gelatine1 but this is immaterial4 ,rinse the silver bottle with three drachms of water and add it to the emulsion4 ,the bottle with the emulsion is now put in a saucepan partly filled with hot water1 covered to exclude all light1 and the water in the saucepan set boiling1 which should be continued for #be to #cj minutes1 then both water and emulsion cooled down to #ij degrees ,f41 then add #cdj minims of ammonia1 stirring it thoroughly through the emulsion1 which should be left for from #cj to #dj minutes at a heat of #ij degrees ,f41 then it is ready to set and wash4 ,dr4 ,eder says this last is quicker and better for portraits4 ,,description ,,of ,,apparatus ,,used ,,in ,,making ,,and ,,washing ,,emulsions4 ,,the ,,dark ,,chamber4 ,any form of room that has running water in it1 if there is a window1 the better1 unless the work is done p#jde at night4 ,if in the daytime1 shade the window with heavy red orange paper2 if gas is used1 shade the flame with a ruby globe or chimney1 and cut a piece of tin to fit in the pipe below the burner to cut off rays of light falling through bottom opening of globe or chimney4 ,if there is no gas purchase a dry plate lantern4 ,emulsion in the jelly and when wet on the plates is only half as sensitive as when dry1 so that it is not necessary to distress one's self working in the dark4 ,when the silver and bromide are brought together and mixed1 it should be done in this dark room4 ,the solutions are poured into a glazed earthenware bottle1 which can be tightly corked4 ,when it is required that the emulsion should be heated1 put the bottle into a tin pail1 fill the pail with hot water and put on the cover and heat in any convenient manner2 when it is necessary to examine the emulsion1 remove the pail and contents to the dark room4 ,a thermometer for testing heat in liquids should be used to regulate the temperature4 ,a deep porcelain tray is the best dish for holding the emulsion1 while it sets previous to washing4 ,to prevent the emulsion from adhering to the tray it may be waxed carefully1 but leave no surplus2 when the emulsion has set as firmly as it will1 it may be cut up into very small squares for washing1 but probably the best way is to squeeze it through the meshes of very coarse canvas1 such as ladies use for embroidering on with wool4 ,the shreds may be permitted to fall into a fine horsehair sieve placed in a pan of very cold water and allowed to soak for a time1 when the sieve may be raised1 and the water will in a short time drain away p#jdf from the shreds4 ,this may be repeated until the water1 when tested with silver solution1 gives no precipitate of bromide4 ,after the emulsion is washed it must be melted and filtered before it can be used to coat plates4 ,these manipulations must be performed in the dark room4 ,for melting the emulsion use a small oil stove placed in a tin box1 the open side placed to the wall2 set the dish containing the emulsion on the tin box over the heat2 or1 a more perfect arrangement is to take a tin or sheet iron bake-pan1 make a hole through the bottom near one end1 and into the hole fix and solder a tin funnel1 into which you can put a glass funnel that will hold a pint or more2 set this pan on the tin box containing the oil or gas stove1 the end of the pan containing the funnel projecting over the tin box towards you2 fill the pan with hot water1 which the heat of the stove beneath will keep hot2 into it set the dish containing the emulsion to be heated or melted2 when that has taken place pour into the funnel to filter1 through loose absorbent cotton or a thin piece of chamois skin or flannel1 as you prefer2 the funnel will be kept warm by the hot water in the pan surrounding it4 ,filter into a pitcher with a lip suitable for pouring from1 or a small earthenware teapot would be better4 ,you would be using the emulsion from the bottom1 and thus avoid air bubbles2 when all is filtered set the pitcher or pot into the hot water to keep of an even temperature4 ,,to ,,prepare ,,the ,,glass4 ,soak the glass in strong lye or potash for a time1 then wash carefully and put into acid1 then wash p#jdg again and albumenize with the white of one egg to six ounces of water without ammonia4 ,the plates should be slightly warm when being coated4 ,,coating ,,the ,,plates4 ,hold the plate in the left hand1 as you would for coating with collodion1 flow with emulsion as you would with collodion1 letting the surplus flow off the right hand lower corner1 but do not let more than the gross surplus run off2 retain enough to make a rather thick film2 now move the plate so as to facilitate an even distribution of the film1 then set the plate on the leveled cooling table4 ,,the ,,cooling ,,table4 ,this table should be a large slab of marble or slate with a perfectly plain and level surface2 before using it should be cooled by placing ice or a refrigerating solution on it4 ,the coated plates are laid on this level table1 where the cold soon chills the emulsion1 causing it to set1 when they may be set up in racks and placed in the drying room or box1 where in the course of a few hours1 if the conditions are favorable1 they will dry and are then ready for use4 ,,the ,,drying ,,room4 ,the drying room1 or box1 as the case may be1 must be kept cool1 and if any current of air is induced it should be cool and constant1 so that the drying may proceed with perfect regularity until the process is complete4 ,should the drying by any means be checked a line will be formed on the plate1 showing where the drying stopped for the time4 ,plates may be dried by a current of warm air1 but p#jdh they are much more likely to frill during development2 and a very little heat will melt the coating4 ,if the plates are dried by an induced current of air1 the process may be hastened by placing dishes1 filled with chloride of calcium1 in the air passage to the drying box or room4 ,the chloride will absorb all the moisture from the air passing over it1 and the dry air will take up the moisture from the plates4 ,when the chloride of calcium becomes too damp for further use1 place the dishes containing it in an oven and drive off the moisture by heat1 when the dry calcium may be again used4 ,by employing such means the plates may be dried in a few hours4 ,after the plates have become dry1 they should be packed in good light-tight boxes and kept in a dry room until wanted for use4 ,,developing ,,room ,,for ,,dry ,,plates4 ,dry plates1 ranging in rapidity from one-tenth to one-twentieth the time necessary for a wet collodion plate1 are now commonly used in the studios of this country4 ,of course1 plates of such extreme sensitiveness require great care in handling1 and absolute freedom from any umpremeditated exposure to white light is necessary to their successful use4 ,it is therefore necessary that the dark room should be remodelled to suit the requirements necessary to the successful handling of such extremely rapid plates1 and in this connection it is proposed to describe the necessary changes and alterations4 ,any ordinary dark room may with little expense be fitted for dry plate work4 ,first see that every chink or crevice which might admit white light is stopped or p#jdi filled up1 then fit the door or doors so that they will shut tight and remain closed4 ,for convenience of access to the room while work is proceeding1 and for greater safety1 it is well to erect a small porch or ante-room at each door1 the entrance to which should be at right angles with the dark room door4 ,the door to this porch and the dark room door should be fitted with springs to keep them closed4 ,with this arrangement one can have access to the dark room at any time by closing one door before opening the other4 ,if the dark room is lighted by a window1 it should be glazed with dark red orange glass1 and if the exposure is toward the sun1 it should be shaded with a green or ruby colored shade on a spring roller4 ,if the sun never shines in the window1 the shade is not necessary4 ,if the room is lighted by artificial light1 the best way is to cut an opening in the wall or partition at the most convenient place1 make a frame to fit or cover this opening1 that will raise or slide1 glaze it with red orange glass4 ,on a shelf outside the opening place your gas-burner or lamp1 with a large reflector behind1 so as to reflect all the light through the glass into the room4 ,if gas is used on the outside an argand burner will be the best1 with a common white glass chimney for ordinary work1 but for the most sensitive plates a light green or thin ruby chimney will be absolutely safe4 ,if a kerosene lamp is used1 the common white chimney with full flame will be safe2 and being outside1 the room will not be heated by its flame1 nor rendered offensive by its smoke and odor4 ,in front of the window or of the artificial light1 p#jej erect a shelf or place a small table with a level top1 which will support the developing dishes and bottles of developing solution1 and on which the work of development may be carried on4 ,if the room is so situated that neither window nor gas may be used in the manner suggested1 then procure ,carbutt's ,developing ,lantern1 which is a most convenient lantern1 not only for developing1 but for other purposes4 ,see figure4 ,the dark room should be supplied with running water1 and the more generous the supply1 the better1 as a dry plate requires much washing1 and a large stream will do the work much quicker than a small one4 ,illustration3 ,,washing ,,box4 ,in many instances1 however1 where running water may not be had1 the washing box may be used with advantage4 ,if running water is used1 be careful not to use too much pressure2 by attaching a rubber hose to the faucet and passing it over a nail or hook above1 the pressure may be reduced so that a full but gentle stream falls upon the plate4 ,safe closets should be provided to contain all sizes of plates2 or the new p#jea made by ,anthony ,co41 may be used instead1 both for unexposed and for exposed plates awaiting development4 ,illustration3 ,,negative ,,boxes1 ,illustration3 ,,japanned ,,iron ,,developing ,,tray1 ,illustration3 ,,anthony',s ,,glass ,,trays1 ,illustration3 ,,glass ,,bottom ,,dry ,,plate ,,developing ,,trays4 ,the dark room should be supplied with the necessary apparatus1 such as developing trays1 which are of japanned tin1 of glass or india rubber2 see cuts1 ,,japanned ,,iron ,,developing ,,tray1 ,,anthony',s ,,glass ,,trays1 or the patented article1 the ,,glass ,,bottom ,,dry ,,plate ,,developing ,,trays1 p#jeb and also the dishes to contain the fixing solutions1 which may be trays or upright1 like silver-bath dishes4 ,,the ,,common ,,sense ,,tray is a capital dish to contain the hypo and clearing solutions and is not expensive1 and can be had of all sizes4 ,all these dishes should be kept scrupulously clean when not in use4 ,illustration3 ,,the ,,common ,,sense ,,tray4 ,illustration3 ,,tn3 ,graduate4 ,there should be ,graduates of the #af oz4 and the #h oz4 sizes1 and also a minim glass measuring up to p#jec one fluid ounce1 also one or more of ,anthony's ,combined ,funnel and ,filter1 for filtering the various solutions4 ,illustration3 ,,anthony',s ,,combined ,,funnel ,,and ,,filter4 ,illustration3 ,,folding ,,negative ,,rack4 ,there should be glass-stoppered bottles for containing the developing solutions1 especially the pyro2 also racks to hold the plates while drying2 one finely adjusted scale with apothecary weights weighing to a #a_/d lb42 one camel's hair-brush1 #c inches wide1 for dusting the plates before p#jed putting them in the holders for exposure1 and also for removing sediment from the surface of the film after fixing and washing4 ,illustration3 ,,camel',s ,,hair ,,dusters4 ,thus fitted and furnished1 the dark room is ready and well adapted for the most difficult dry plate work1 and we will now proceed to the consideration of the ,,development ,,of ,,dry ,,plates4 ,every manufacturer of dry plates encloses in each box of plates packed for the market a formula for the development of the same4 ,the various manufacturers of dry plates1 whose names will be found in the advertising pages in this book1 each have a formula which in some respects differs from all the others1 and it is but fair to the maker of the plate1 that his formula should be used1 unless the operator is of much experience and understands the requirements of each particular kind of plate4 ,therefore1 while formul are given in this connection1 although they are known to be of the best1 yet in the hands of inexperience they may result to no better advantage than the formula appropriate to the plate used2 consequently1 we do not urge their use above any other1 but rather that to which the operator is most accustomed4 ,the alkaline pyro developer is now in general use among professional photographers in this country1 and there remains no doubt that it is the best developing agent for dry plates that has yet been brought into use4 ,this developer is composed of pyrogallic acid and p#jee an alkali1 either ammonia1 sal soda1 or carbonate of potash1 which1 in solution and of proper strength1 forms the medium through which the pyro is applied4 ,to these is added bromide of potassium or ammonium1 which is the restrainer1 and occupies about the same position or performs the same function as acetic acid in the wet plate developer1 and besides being a restrainer it greatly aids in securing intensity and printing quality2 and when plates are overtimed in exposure its prompt use may result in securing a good negative4 ,some plates require double the quantity of pyro that others do to produce the same quality of negative4 ,after ascertaining the normal amount of pyro necessary to develop plates of a certain make1 if it is desired to increase intensity add more pyro1 if your plate is developing too intense or hard add more of the alkali4 ,,dry ,,plate ,,developer1 ,a4 ,no4 #a4 ,carbonate of ,soda 7,sal7 #a lb4 ,carbonate of ,potash #a lb4 ,yellow ,prussiate of ,potash #a oz4 ,bromide of ,ammonium #a oz4 ,water #fd oz4 ,no4 #b4 ,pyrogallic ,acid #a oz4 ,saturated ,solution ,sulphite ,soda #ae oz4 ,keep ,no4 #b in glass-stoppered bottle4 ,to develop one #haj plate1 take of ,no4 #a #a dr4 ,no4 #b #a_/b dr4 ,water #f oz4 ,put the exposed plate into the developing tray and p#jef pour the solution upon it1 making sure that all parts of the plate are covered1 and no air bubbles fixed to the surface2 keep the dish in motion and in a short time the image will begin to appear2 if properly timed the high lights will show up promptly1 and in due time all parts will appear1 and when detail is seen in the shadows take the plate from the dish and examine it by transmitted light4 ,note the gradations of light and shade2 if they appear properly balanced1 the plate has been properly timed in exposure4 ,return the plate to the dish and let the development proceed until the image sinks well into the film and you see nothing very clearly as it lies but the blacks4 ,time is necessary in this process to secure enough intensity1 and this stage is the most difficult in the process1 there being no means by which to judge with any degree of certainty the density of the image before you4 ,it is better then to proceed too far than not far enough1 as a slow printing negative is far better than one that is too thin and weak4#a #a ,these directions apply to all dry plates except the ,stanley1 which can be developed to any required density at sight1 and loses none in the fixing solution4 ,when the image has sunk pretty well into the film examine it again by looking through it1 and note well its appearance1 so that if it is about right when fixed you may remember how it appeared if you wish to increase or diminish the intensity of your next plate4 ,if the plate has been overtimed it will show up quickly1 almost at once2 when such is the case quickly pour off the developer and flow the plate with water1 washing it well1 then prepare more developer with nearly double the amount of pyro and a few drops of a p#jeg strong solution of bromide of ammonium1 which add to the #f oz4 of water and pour on the plate2 then take half the usual quantity of the ,no4 #a solution in a graduate and pour it1 a few drops at a time1 into the developing tray1 watching the action closely and keeping the solution in motion4 ,the negative at this time probably shows all the detail of the subject1 but without any gradation of intensity4 ,if the changes just described have been made promptly you will soon observe that the high lights will begin to gain in strength4 ,keep up the action by adding more of the alkali1 drop by drop1 until you can proceed no farther4 ,the chances are that you will secure a printable negative1 but not a very good one2 and if it is a portrait the best thing to do is to throw it away and make a new one4 ,the plate should now be very carefully washed previous to fixing4 ,should the film show signs of loosening from the edges of the glass and swell so as to form folds or frills1 take it from the water and immerse it in a solution of alum1 which will harden the film and stop the frilling4 ,then wash the film again and put it in the ,,fixing ,,solution4 ,hyposulphite of ,soda #a lb4 ,alum #a_/d lb4 ,water #a gal4 ,when the soda and alum are dissolved let it stand until all sediment settles to the bottom1 then pour off the clear solution and use it to fix until from much use it becomes black and turbid1 then make up and use a fresh solution4 p#jeh ,the plate should be left in the fixing solution for fully five minutes after it appears thoroughly cleared1 then take it out and wash until all traces of hypo are removed4 ,if the plate has not previously been in the alum solution it may now be put in the ,,clearing ,,solution4 ,alum #a_/b lb4 ,citric ,acid #b oz4 ,water #a_/b gal4 ,keep this solution in a flat dish1 and after the plate has been washed from the hypo put it in this solution for two or three minutes2 if there are any remaining traces of hypo in the film it will be decomposed1 the film will be hardened and freed from color2 when this is accomplished wash again and set the plate up to dry4 ,while the alkaline pyro developer is the best and gives the finest printing quality to negatives1 there are many who prefer 7for other reasons7 the ,,ferrous ,,oxalate ,,developer4 ,no4 #a4 ,neutral oxalate of potash #a lb4 ,water #e pints4 ,acidify with oxalic acid and filter4 ,no4 #b4 ,protosulphate of iron #a lb4 ,water #b quarts4 ,filter and add #fj drops sulphuric acid4 ,no4 #c4 ,bromide of ,ammonium #a oz4 ,water #aj oz4 ,the developer is prepared by mixing together in a p#jei graduate the quantity necessary to cover the plate in the following proportions3 ,oxalate solution #c parts4 ,iron solution #a part4 ,bromide solution #a_/h part4 ,for instance1 it will take about #h ounces to cover an #hx#aj plate in a flat dish2 to make this quantity take of the ,oxalate #f oz4 ,iron #b oz4 ,bromide #b drs4 ,always pour the iron into the oxalate solution1 then add the bromide1 and having placed the exposed plate in the dish pour the developer upon it1 covering the surface of the plate as quickly as possible and removing any air bells that may stick to the surface4 ,keep the solution in motion on the surface of the plate and in a short time the image will begin to appear1 the high lights first1 then the intermediate shades1 last of all detail will be seen in the shadows4 ,now pour the developer off1 take the plate out of the tray and look at the back of it4 ,if the subject or image can be distinctly seen it may be considered finished and only needs to be washed and fixed4 ,if the plate has been over-exposed1 which will be indicated by the image appearing quickly1 wash off the developer with water1 add more bromide to the solution and immerse the plate again4 ,if1 on the contrary1 the plate has not had enough time1 it will be indicated by developing very slowly and with a very thin and weak image2 when such is the case add more of the iron solution1 however1 not more than to make the proportion of the iron nearly p#jfj one-fourth of the whole solution4 ,more than this proportion will cause a yellow precipitate1 which will settle on the surface of the film and destroy it4 ,if by this course you succeed in securing sufficient detail in the shadows1 the negative may afterwards be strengthened4 ,it is as well1 however1 when a plate is found to be undertimed 7and it is possible to make another from the same subject7 to throw it away2 it will scarcely repay further attention4 ,it will be seen that a considerable margin in time of exposure can be allowed and provided for4 ,yet none the less it is of the utmost importance to learn to give the correct and proper exposure to secure the finest results4 ,this1 it is true1 is not always possible1 and as an under-exposed plate is lost1 any error in exposure would better be in too much rather than in too little time4 ,it is said by some that by the use of citrate of soda almost any degree of over-exposure may be remedied1 but there remains the fact that for a restraining agent to be of any value its application to a negative in development must be almost instantaneous upon the earliest discovery of the over-exposure4 ,when a large number of plates have been exposed and the first developed indicates that all have been overtimed1 then a #ej per cent4 solution of citrate of soda1 used with judgment1 might result in saving the lot4 ,when over-timing makes itself visible unexpectedly and it is feared that the development will have proceeded too far before the retarder can act1 a good plan is to take the plate out of the dish and flow over it a solution of citric acid1 containing a little chrome alum1 p#jfa which will immediately stop the action of the developer and give time to make other arrangements4 ,,ammonia ,,pyro ,,developer4 ,no4 #a4 ,pyrogallic acid #a oz4 ,alcohol #d oz4 ,no4 #b4 ,water #fj oz4 ,bromide of ammonium #fj grs4 ,strong liquor ammonia #b drs4 ,to use1 take of ,no4 #a or pyro solution #a dr4 ,no4 #b or ammonia solution #aj oz4 ,this will be enough to develop three or four #haj plates1 if they are properly timed4 ,the above is one of the best forms of ammonia pyro developer2 it gives negatives of very fine quality4 ,many dry plates1 on development with ammonia and pyro1 show a green fog by reflected light1 and a pink or red fog by transmitted light2 this fog does not materially injure the printing quality of the plate1 but spoils its appearance to the eye1 and for that reason many establishments have given up the use of ammonia and in its place use soda or potash4 ,,intensification ,,of ,,dry ,,plate ,,negatives4 ,from the difficulty of judging when the development has reached the right point1 in consequence of the opacity of the gelatine film1 many negatives are finished before they have acquired sufficient density in development4 ,as a result of this1 much attention has been given to the discovery and preparation of redeveloping or intensifying solutions1 many formul p#jfb for which have been published2 among the best are the following3 ,,intensifying ,,solution4 ,a4 ,bichloride of ,mercury #abj grains4 ,dissolved in hot water #af oz4 ,add to this a strong solution of ,iodide of ,potassium drop by drop1 until the red precipitate begins to redissolve1 then add a few grains of hyposulphite of ,soda1 or enough to clear the liquid4 ,when required for use pour part of this solution into a tray of a suitable size for the plate1 add an equal amount of water1 then immerse the plate and keep the solution in motion4 ,you will immediately notice a change in the color of the film2 take the plate out1 and if it has gained enough strength1 wash it and set it up to dry2 if not1 give it more4 ,it is proper to state that this process is more effective if the plate has been dried after development4 ,when the plate has been thoroughly fixed and fully washed1 it will intensify by this method1 without change of color by transmitted light1 and it will have secured a lovely printing quality rarely seen even in the most perfect negatives4 ,this solution may be used until it is exhausted4 ,,roche',s ,,intensifier4 ,b4 ,water #aj oz4 ,sulphate of ,copper #ajj grains4 ,bromide of ,potassium #ajj ,when dissolved1 this solution is ready for application and can be used repeatedly4 ,the negative1 after fixing and washing1 is immersed in the solution until it turns white4 p#jfc ,now remove it and wash slightly1 then immerse it in old ferrous oxalate developer and allow it to remain until it becomes black entirely through the film4 ,this method gives fine results and good printing color4 ,,practicalities4 ,form the habit of noticing carefully the intensity of the illumination of the subject on the ground glass of the camera1 so as to judge correctly the time of exposure1 as much of the successful working of dry plates depends on the exposure2 for although slightly under-exposed or much over-exposed plates may by suitable modification of the developer be saved and print good pictures1 yet they will lack the glow and balance that are characteristic of the most perfect work4 ,use a flat camel's-hair brush to remove any dust from the plate1 before putting it in the shield for exposure4 ,always keep your developing solution in motion on the plate4 ,fix your negative very thoroughly2 leave it in the hypo #e or #f minutes longer than it is apparently necessary4 ,never use hypo after it becomes discolored or turbid and deposits a sediment4 ,develop longer than you think necessary2 a slow printing negative is preferable to a weak one4 ,keep your dark room and its contents very clean and free from dust1 and well ventilated4 ,,retouching1 ,,or ,,stippling ,,the ,,negative4 ,no photographic establishment in these days is considered to be well equipped that does not employ a skillful retoucher and provide all the apparatus and p#jfd conveniences for the proper performance of this very important branch of the art4 ,it is within the memory of many photographers when this work of retouching was done on the positive1 and some establishments were compelled to employ a large force of skilled hands to work up and finish the crude productions of the camera and the printing frame4 ,after the introduction of the carte de visite portrait1 and later the ,imperial card1 and the consequent reduction in price1 the expense of this work became such a burthen to photographers that they were compelled to perfect their mechanical operations to the utmost extent1 and by every means to endeavor to avoid it4 ,it occurred then to some one of the retouching artists to do this work upon the negative once for all1 and from this beginning the art of retouching the negative has reached its present high position4 ,retouching1 like stippling or hatching in miniature1 is a work of art1 skill in which is gained only by assiduous practice controlled by good taste1 and it is the special work of the artist and not of the photographer4 ,while then it is not considered wise for the photographer to be his own retoucher any more than it is for every man to be his own lawyer or doctor1 yet every photographer should know enough about the art and practice of retouching to appreciate good work and to detect the bad4 ,and for that reason he should make a study of it both from the artistic and the mechanical points of view4 ,by such a course of study he will learn to produce that quality of negative that will require the least amount of improvement at the hands of the retoucher4 p#jfe ,illustration3 ,,fig4 #a4 ,illustration3 ,,fig4 #b4 ,the work of retouching requires certain appliances to facilitate it1 and its own special room or atelier4 ,a small well-ventilated room having a window with a northern exposure is the best adapted for this work4 ,this room should be supplied with the necessary conveniences1 such as the retouching stand or frame1 which in its earlier form is as represented in ,fig #a1 but which1 after a time1 became much improved upon2 one form of improvement is shown in ,fig4 #b1 but neither of these forms became universally used1 as many artists fashioned their stands or frames to suit their individual p#jff taste or the requirements of their room or light4 ,the march of improvement1 however1 is never delayed by such a condition of affairs1 and was not in this case4 ,it became necessary on the part of those interested in the manufacture of such apparatus to produce something that should meet all requirements1 and this has indeed been accomplished by the production of the desk represented in ,fig #c1 which is called the ,novel ,retouching ,desk and is suitable for any size of negative under #becj2 it has a false top which can be pulled down to darken the space in front of the ground glass cut out4 ,illustration3 ,,fig4 #c4 ,the bed on which the negative is laid can be set at any inclination to suit the convenience of the artist4 ,by means of the slide-rest the negative may be moved up or down to any desired position4 ,it is handsomely made in hard wood1 and would be quite an ornament to any retoucher's room4 p#jfg ,next in importance would be a varnishing table1 a small table or bench supplied with a gas or oil stove4 ,see ,figs4 #d and #e4 ,illustration3 ,,fig4 #d4 ,,common ,,gas ,,stove ,illustration3 ,,fig4 #e4 ,,oil ,,stove4 ,also ,anthony's retouching varnish and varnish pot4 ,see ,fig #f1 page #fh4 ,a tin pot as shown in cut1 with a filter and funnel in top2 rubber stopper in spout4 ,the retoucher's room should also be supplied with ,faber's ,siberian leads1 full set1 ,eagle lead pencils1 ,metallic leads1 ,camel's hair pencil brushes1 ,camel's hair blender1 ,guenther ,wagner's retouch colors1 ,india ink1 ,water colors1 blue1 white and red1 ,a coarse sharpening stone1 ,fine emery paper4 p#jfh ,the principal work of retouching1 the stippling of the face1 neck and shoulders when bare1 and the hands1 is done with ,graphite or metallic leads1 and directly upon the varnished or film surface4 ,illustration3 ,,fig4 #f4 ,,peerless ,,varnish ,,pot ,,and ,,filterer4 ,the gelatine emulsion film is strong enough to take the pencil without varnish1 and many prefer to retouch and even to print them before varnishing2 but it is pretty generally conceded that gelatine negatives will receive the pencil better when varnished4 p#jfi ,before varnishing a gelatine plate1 heat it as much as it will bear1 so as to drive off all moisture from the film1 then let it cool to the proper temperature before applying the varnish4 ,if the varnish used is too smooth or hard to take the pencil1 a better tooth may be given it by the application delicately1 to the parts to be retouched only1 of a solution of rosin in turpentine1 which should be allowed to stand and dry an hour or so before the retouching is done4 ,the work of retouching is very trying to the eyes2 great pains should therefore be taken to ascertain the most favorable conditions of light and distance under which to work4 ,a negative should be kept at one angle and stationary while being retouched4 ,there should be as little lead used on a negative as is consistent with good work2 make every touch tell to some purpose4 ,note carefully the way the subject is lighted1 and let the effect of the stippling be in that direction2 you will thus be less likely to change the character or likeness of the face4 ,the lights and shadows should be caused to blend imperceptibly2 this will give a harmonious effect4 ,let the grain or stipple be seen in all parts suitable in fineness to the size of the head4 ,the refinements of negative retouching cannot be taught in books1 although much has been written concerning the same4 ,try to light your subject and develop your negative so as to get the utmost roundness or relief2 then be careful not to destroy this modeling1 but improve p#jgj it by retouching1 only doing so much work as to give a soft1 clean-looking complexion4 ,patient perseverance1 close observation and trying again1 will bring a certain degree of success1 and while only the few can become first-class retouchers all may learn to improve their work by this great help to photography4 ,,silver ,,printing4 ,it was long ago said that silver printing was doomed1 that in a few more years it would be among the things that were4 ,other processes have been introduced1 have had their little day and have passed off1 some of them of much merit1 and1 it was supposed1 possessed of every element of permanency1 but they were found wanting in some very important respect1 and so not being able to hold their ground they passed into the limbo of neglected things4 ,silver printing1 however1 still maintains the field against all comers1 and does so by its intrinsic merits alone4 ,no other process has equalled it in ease of production and in beauty of finish1 and it is doubtful if any process has results of greater permanence1 taking the best products of the process as samples4 ,the one defect of the process is the possibility of its products fading1 but we must not judge of a process by its poorest examples1 but rather by its best2 if such should be the decision1 there are at this day thousands of silver prints that are co-existent with the process and remain as perfect as it is possible for anything on paper to be after such a lapse of time4 ,a process that is so simple and easy that it can be p#jga acquired in a few hours1 is predestined to careless working1 slovenly manipulation1 and to endless scamping at the hands of careless workers4 ,what wonder then if prints fade which were only half made4 ,suffice it that the process1 intelligently and conscientiously worked1 would never suffer from such an imputation4 ,,the ,,printing ,,room4 ,all professional photographers practice the silver printing process with more or less of success1 as they bestow care and intelligence in the working and are zealous for the reputation of their work4 ,the proper handling of a negative by the printer requires as much study and skill on his part as does the posing and lighting of the subject in the studio2 and the printing room should be as replete with every convenience for forwarding and improving the operations therein conducted1 as any other department of the establishment4 ,this room is generally situated at the top of the house1 and wherever situated1 should be so arranged that the east1 south and west sides may be opened to the sun1 that his direct rays may be utilized from the earliest to the latest working hours4 ,part of the room should be partitioned off in such a manner1 and illuminated in such a moderate degree1 that the sensitized paper may not suffer from excess of light while the frames are being filled and the changes made4 ,the printing room outfit consists of the various sizes of printing frames1 cardboard1 tissue paper and cotton-wool for vignetting1 and knives1 long-blade scissors1 and glass forms for cutting the paper to various sizes1 p#jgb light tight drawers to hold the prepared paper1 shelves1 and racks for the negatives4 ,mucilage or paste and brushes4 ,flat brushes for removing dust from negatives4 ,india ink and ,opaque1 with pencil brushes and lead pencils for spotting negatives4 ,,the ,,silvering ,,room4 ,the silvering room may be also used for other manipulations in the process1 such as fuming the paper and washing the prints1 and should be furnished with all the conveniences for such work1 which consist of ,nitrate of ,silver4 ,albumenized and plain paper4 ,a flat dish to hold the silver solution1 of the size of the largest paper to be floated4 ,a fuming box4 ,a bottle of concentrated ,ammonia4 ,a gas or oil stove for drying the paper4 ,a dozen or more of ,lockwood's patent photo clips4 ,bi-,carbonate of ,soda4 ,an ,argento meter4 ,a #af oz4 ,graduate4 ,a clock4 ,one agate evaporating dish1 and #b or #c wide-mouth glass bottles1 that will hold the full quantity of silver solution in use4 ,,the ,,silver ,,solution ,,for ,,paper4 ,a plain silver solution1 of a strength of #cj grains of nitrate of silver to the ounce of water in hot weather1 increasing to #fj grains in the coldest1 with enough bi-carbonate of soda added from time to time to keep a small sediment of carbonate of silver in the bottom of p#jgc the bottle or dish1 is all that can be desired as a silvering solution for albumen paper4 ,it only needs to be kept up to the proper strength by the addition of silver nitrate and water1 when required2 and when it shows signs of discoloration a little more soda and an hour's sunlight will keep it in good order the year round4 ,,to ,,silver ,,the ,,paper4 ,albumen paper is sensitized by being floated for a time on the surface of this silver solution1 albumen side down4 ,for this purpose it is necessary that the solution should be held in a flat dish1 like a tray1 with sides from #a-a_/b to #b inches high1 and of a size suitable to the size of the sheet of paper to be floated2 if a full sheet1 then the dish should be #aibd1 and may be of porcelain1 agate ware1 hard rubber1 or any other kind that will resist the corrosive action of the silver solution4 ,pour the silver solution into the dish2 there should be enough to give a depth of at least half an inch4 ,if there is any scum or dust on the surface after the air bubbles have subsided1 take a long strip of tissue paper and draw the edge over the surface of the solution1 which will remove the scum or any floating dust or air bells that may remain4 ,place your paper on a bench or table1 albumen up1 and with a large tuft of cotton rub the surface1 using a light friction over the whole2 then turn the sheet of paper over and take between the thumb and first finger of each hand opposite corners diagonally across the paper1 holding the corners up and near together2 let the sag of the paper sink one end first1 until it touches the solution1 which can be plainly seen2 then let the hands fall until the other end has reached the p#jgd surface of the silver2 then lower the corners gradually1 until the paper lies flat on the solution1 care being taken that none of the silver solution runs over the edge of the paper to the back4 ,the corners of the paper may now be gently raised to see if any air bubbles have attached themselves to the surface of the paper2 if so1 remove them and let the paper fall again to the solution4 ,it will now be seen that the edges of the sides of the paper will begin to curl back1 as if repelled from the solution4 ,this may be permitted to a certain extent1 but not so far as that the wet surface shall curl over against the back of the sheet4 ,after a short time this action ceases and the rolled edges unroll and fall again upon the solution1 which1 when they have reached and lie flat1 may be taken as an indication that the paper is sufficiently silvered1 when it should be removed4 ,with a small pointed stick raise the left corner farthest from you from the solution1 take it between the thumb and first finger of the left hand and raise it very slowly1 until the right hand far corner is off the solution4 ,take that corner between the right hand thumb and finger and continue to raise the paper1 still very slowly1 until it is clear of the solution2 then hang it up to dry in a moderately dark place1 or better still1 place it face down1 on a sheet of clean blotting paper1 put another sheet over it and on that the next sheet that is silvered1 and so on alternate sheets1 until you have floated as many sheets as may be needed4 ,when this is done turn the papers over1 bringing the sheet first silvered to the top1 which on removing the blotting paper will be found surface dry at least1 and may now be completely dried by artificial heat1 or by p#jge hanging it up two sheets together1 back to back1 on lines with spring clips1 until they dry spontaneously1 when they are ready to be fumed4 ,,fuming ,,the ,,paper4 ,the fuming box is usually a light-tight box with two compartments2 the upper part has a door and should be sufficiently large to hold the amount of paper necessary for a full day's work1 without crowding the sheets together or preventing a free circulation of the fumes between their surfaces4 ,the paper is taken from the lines1 each two sheets back to back1 the corners fastened with clips and set up on end in this compartment or hung on lines1 as the case may be4 ,when all the paper is in1 shut and fasten the door and into the bottom compartment 7which is usually a shallow drawer1 and separated from the upper only by a lattice work of wood7 place a saucer containing an ounce or two of strong liquor of ammonia1 push the drawer in1 thus closing the compartment1 and leave for fifteen or twenty minutes1 or until you are ready to use the paper4 ,when you remove the paper from the fuming box do not expose it to strong light until you have it in the printing frames1 nor after that1 until you have toned and fixed it4 ,take the spent ammonia from the box and pour it into a bottle2 it is useful for other purposes4 ,many printers cut the paper to size before printing1 others simply tear each sheet into halves1 quarters1 eighths or twelfths1 and print them thus1 trimming them afterwards1 some before toning1 others after they are finished and before wetting them for mounting4 ,the most economical method is to trim before printing2 p#jgf all the trimmings should be carefully saved for the silver they contain4 ,,toning ,,the ,,prints4 ,a toning solution is composed of chloride of gold in water with enough carbonate of soda to make it slightly alkaline1 and a pinch of common salt4 ,the action of toning is merely the deposition upon the metallic silver in the print of a certain minute quantity of metallic gold from the solution1 which deposit causes the change of color that may be seen while the toning is taking place4 ,the normal toning solution is varied endlessly by the addition of acetates1 chlorides and nitrates of various metals and salts and of borax and chalk and such1 the object being to produce unusual tones1 such as sepia1 blue1 blue-grey1 brown and black1 but the richest and most agreeable tones may be produced as well by the simplest means4 ,,the ,,toning ,,solution4 ,water #a quart4 ,into this put half as many grains of pure chloride of gold as you have sheets of paper to tone2 after adding the gold make the solution alkaline by adding enough of a strong solution of a carbonate or bicarbonate of soda to turn red litmus paper just blue2 then add a pinch of salt1 and the toning solution is ready for use4 ,when half your prints are toned1 or the toning proceeds too slowly1 add more gold1 allowing not over #a grain of gold for each sheet of paper4 ,when all the prints are toned1 put the toning solution into a bottle to keep for the next time1 when it will probably work better than at first2 p#jgg use it until it becomes badly discolored1 then put it into a large bottle to save the waste gold4 ,the toning must be done in a flat dish that is as large as the largest print that requires to be toned4 ,your toning solution being ready1 the prints are now to be prepared for toning by being deprived of all excess of silver and free chloride not acted on by the light2 in order to do this1 put them one by one in a large dish full of water1 in this dish keep them in motion for some little time1 then prepare another dish containing the same amount of water slightly acidified with acetic acid1 and remove the prints into this one by one as before1 keeping them in motion2 they will at once commence to turn red1 and when they are so they may be taken out1 the waters of these two washings must be saved for the silver contained therein4 ,the prints require two more waters after the acid1 when they are ready for toning4 ,immerse half a dozen or more of the prints1 one at a time1 in the toning solution and watch the change of color4 ,they may at first become a little redder from the action of the salt in the solution1 but they will soon change to a brown and then to a bluish or grey brown4 ,and when the faces have become as clear and white as to suit as finished pictures1 remove them to fresh water and proceed with another batch until all are done4 ,,fixing ,,the ,,prints4 ,hyposulphite of soda1 about #a lb4 to a gallon of water1 constitutes the fixing solution2 its function is to dissolve all the chloride of silver that may remain in the prints after their previous washing and toning4 p#jgh ,the prints should be immersed one at a time1 and kept in motion so that the solution may have an equal action4 ,when there are a large number of prints the dish containing the fixing solution should be correspondingly large1 so that the prints may not be massed together but kept separate and free for the more perfect action of the fixing solution2 they should be kept in motion until the fixing is completed1 which will be in about #ae or #bj minutes4 ,some printers ascertain that the action is complete by holding the print up and examining it by transmitted light2 if it looks mottled and uneven it is not fixed1 but if you can see the fibre of the paper and all is clear1 then remove the prints from the hypo into a dish containing brine or common salt and water1 one by one as before1 and keep them in motion in this brine until all are well saturated with it2 then let fresh water run into the dish1 which will gradually change the brine to clear water4 ,the prints are put into the brine1 and this gradually changed to clear water to prevent blisters or a separation of the albumen from the paper in the form of blisters4 ,the water may be allowed to run into the dish1 the prints being kept in motion1 and in the course of an hour they will be sufficiently washed2 they may then be taken out and placed between the sheets of blotting paper to remain until next morning1 when they can be overlooked1 the blemished prints thrown out1 and the perfect may be mounted4 ,the fixing solution should not be used a second time1 but should be thrown into a large barrel with the washings1 that at some future time the silver may be recovered2 when the barrel becomes full1 a small amount of saturated solution of protosulphite of iron p#jgi may be thrown in1 the water stirred well1 and when the sediment has settled to the bottom the clear liquid may be drawn off and the barrel is ready to receive the next washings of hypo4 ,,mounting ,,the ,,prints4 ,the selected prints are again placed in water and permitted to remain until they become saturated2 in the meantime some starch paste should be prepared4 ,the prints are then removed from the water and placed on a sheet of glass1 face down2 when all are thus placed1 squeeze out all the water and they are ready to mount4 ,now with a wide bristle brush spread the paste evenly on the back of the print1 carefully removing any lumps or dust or fibre of any kind1 then insert under the edge of the print the point of a knife-blade1 raise it until you can take it in the fingers1 then place it pasted side down on the face of your mount1 adjust it evenly and lay it on the table2 now cover it with a piece of clean white paper1 and with the palm of the hand rub it down until all parts are in contact and all air is expelled from between the print and mount4 ,as the prints are mounted they should be placed in rows on clean white or blotting paper1 one layer over the other2 on the top place a clean sheet of paper and over that a board of the proper size with a weight on it to press the mounted picture flat2 in the course of an hour they will be dry enough to spot4 ,,spotting ,,the ,,prints4 ,with a fine pencil brush and ,indian ink1 go over the prints and carefully touch up all the white spots and other blemishes that may be found on the surface1 so that they harmonize in color with the surrounding p#jhj parts4 ,when this is done the pictures may be lubricated for burnishing4 ,,lubricating ,,the ,,prints4 ,make a pad of ,canton flannel1 get a piece of white castile soap1 rub the pad on the soap until it is well covered1 then with this soaped pad rub the surface of each print separately1 carefully covering every part of the surface2 keep the pad well soaped by rubbing it on the soap after every #b or #c prints4 ,while this is being done the burnisher may be heated2 when the tool is hot enough to hiss when touched by a wet finger1 proceed to burnish4 ,do not use much pressure2 too great pressure will degrade the whites of the picture4 ,when they are all burnished go over them again with a moderately soft lead pencil1 touching up and blending any streaks or spots that may be found2 if any streaks or dirty lines are discovered in the direction of the draw of the burnisher1 they may be removed by light friction with a piece of ,canton flannel moistened with alcohol4 ,this completes the photograph4 ,,the ,,photographic ,,studio4 ,mr4 ,ernest ,lacan1 a prominent artist of ,paris1 ,france1 about ten years ago1 wrote for the ,philadelphia ,photographer an account of some of the prominent studios of that great city1 from which ,i take a description of the studio and establishment of the celebrated ,reutlinger4 ,this establishment comprises the fifth and sixth stories of a fine house on the ,boulevard ,montmartre4 ,a handsome and wide stairway leads to the studio4 ,the first thing that strikes you on entering the ante-chamber1 p#jha which is transformed into an office1 is the lowness of the ceiling and the want of light4 ,on the right is a room1 larger and better lighted1 for the sale of choice specimens of his work4 ,on the left are the exhibition and waiting rooms1 which are of medium size and whose principal ornaments are the framed pictures1 which cover the walls4 ,a small door leads to the skylight1 of which the diagram at the head of this article is a correct view as taken from a photograph4 ,illustration3 ,,the ,,photographic ,,studio4 ,the view is taken from the door at which you enter4 ,this gallery is formed of two mansards1 which have been united by removing the partition2 is #ci feet p#jhb long by #ac in breadth2 its height to the top of the upper sash is about #af feet2 the light comes from the north4 ,it is by means of an ingenious combination of white and blue shades1 that the artist succeeds in obtaining the charming effects so much admired in his productions4 ,at the end of the gallery is a small room for ladies4 ,the door which is seen on the left leads to the laboratory1 which is divided into three small apartments4 ,the first is used for cleaning plates1 the second for their preparation1 and the third for developing negatives4 ,illustration3 ,,tn3 ,diagram of ,loescher ,petsch4 ,this is a diagram of the studio of the famous p#jhc ,loescher ,petsch1 of ,berlin1 who became so well known1 some years ago1 through the style of picture called ,berlin ,heads1 which were among the first samples of fine photographs from retouched negatives brought to this country1 and which certainly created a sensation4 ,the shades are arranged so as to show how some of the most charming effects of illumination are produced4 ,the room is filled with diffused light1 with a ray of direct light falling so as to produce a clear high light on the prominences of the head of the sitter4 ,the next diagram is one of the ,biglow studios4 ,mr4 ,biglow is the author of a book on lighting and posing1 which had a large sale1 and is a valuable book for positionists4 ,illustration3 ,,fig4 #a4 ,these three views represent forms of skylight and side-light with north exposure1 by which all the finest effects possible are obtained1 but other forms of exposure are capable of being utilized with fine success4 ,the studio of ,sarony1 of ,new ,york1 is lighted with a top light similar to the top light of the ,biglow studio1 and without any side light at all4 ,a prominent artist of ,brooklyn produces very fine p#jhd work under an east light1 or rather a light a little south of east1 which to the ordinary photographer would be considered a very difficult light to work4 ,good effects can be produced1 however1 under any form of light by the use of shades1 screens and reflectors1 so that no photographer need regret a favorable location1 because unable to have a northern exposure for his light4 ,the studio should be furnished with every requisite for the production of the finest work1 such as ,lenses and ,camera boxes1 ,camera stands1 ,pneumatic shutters for the lenses1 ,scenic grounds2 interior and exterior accessories1 such as balustrades1 rocks1 grass-mats1 flowers1 tables1 chairs1 draperies1 rugs1 etc42 head-rests1 screens1 reflectors1 and all such articles as can be advantageously introduced in a picture to improve and embellish4 ,all these things are of importance1 but should be used with taste and judgment4 ,the photograph should never be a picture of a piece of furniture1 with a figure thrown in1 but rather the accessories should be used only to improve the figure and make it more prominent by increasing the perspective1 when possible or allowable4 ,,camera ,,lenses4 ,,the ,,optics ,,of ,,photography4 ,a solar beam of light is a bundle of rays2 a ray being the smallest portion of light which can emanate from a luminous body4 ,each of these rays possesses distinctive characters1 both as regards their chemical functions and colors4 ,sir ,isaac ,newton proved that the white light emitted p#jhe by the sun is not so simple as it appears1 but is composed of vivid colors1 as shown by his beautiful experiment1 the ,analysis of ,light1 which is exemplified by the use of a glass prism4 7,see fig4 #a47 ,illustration3 ,,fig4 #a4 ,the ray of light ,a1 ,e1 being admitted into a darkened room through a hole ,a1 in the shutter1 would fall upon the wall at ,e4 ,as soon as the prism1 ,b1 ,c1 is placed in the path of the sunbeam so as to allow it to fall on one of its angles ,b1 the ray will be refracted1 or bent out of its course so as to pass through the prism 7as in the line ,d7 and not in the same line1 ,a1 ,e1 that it would have done had the prism not been interposed4 ,another effect also takes place2 the ray of white light is decomposed into its component colors1 and if you stand at a short distance from the prism1 you will see that these colors are spread out in a triangular form1 the base of which is on the wall and the apex at the angle ,c of the prism4 ,remove the prism and it is seen that the splendid display of colors upon the wall has disappeared1 and a round spot of white light1 ,e1 is seen below the place occupied by the spectrum4 ,the colored image on the wall is called the prismatic or solar spectrum1 which1 according to ,sir ,isaac ,newton1 is composed of seven different colors4 ,the color at the lowest portion of the image is red and the one at the other end is violet1 the intermediate parts being occupied by five other colors1 and the whole arranged p#jhf according to the table below1 the proportion of each color having been measured by ,fraunhofer with the greatest care1 with the results placed opposite to each1 corresponding with the #cfj degrees of a circle1 the red ray being the least and the violet the most refracted of this chromatic image4 ,,top4 ,violet #aji ,indigo #dg ,blue #dh ,green #df ,yellow #bg ,orange #bg ,red #ef --- #cfj ,the sunbeam1 the ray of white light1 contains powers within it of which the earlier philosophers had but a faint idea1 besides its accompanying heat4 ,there is a principle associated intimately with it1 which has the power of decomposing and of determining the decomposition of chemical compounds4 ,this principle is ,actinism and is as perfectly distinct in the nature of its properties from light1 as light is from the principle of heat1 with which it is also closely connected4 ,actinism may then be considered as the fundamental principle1 on which photography is based1 and its power is exerted in forming the image on the sensitized plate in the ,camera1 as well as subsequently in forming or causing the impression on the sensitized paper exposed to the light beneath the negative4 ,in this connection we have only to consider the p#jhg application of this ,actinism through the medium of a combination of lenses to form an image on a sensitized plate in the ,camera4 ,it has been shown that when light passes through a prism of glass its colors are separated2 this separation is caused by the unequal refrangibility of the different colored rays1 the violet being the most and the red the least refrangible of the seven rays4 ,a ray of light passing through a vacuum progresses in a perfectly straight line1 but all matter1 however attenuated it may be1 has the property of refracting or bending the ray of light4 ,the refractive power of some substances is immense1 while that of others is very trifling4 ,the mode of the refraction depends on the comparative density or rarity of the respective media4 ,if the medium which the rays enter be denser1 they move through it in a direction nearer to the perpendicular drawn to its surface2 on the contrary1 when light passes out of a denser into a rarer medium1 it moves in a direction farther from the perpendicular4 ,this refraction is greater or less1 that is the rays are more or less bent or turned from their straight course1 as the second medium through which they pass is more or less dense than the first4 ,we next study the utilization of this power of refraction in the manufacture of lenses to overcome the unequal refrangibility of the colored rays of light4 ,a lens for use in photography is made of glass as pure and as colorless as can be procured1 and is ground into such a form as to collect or disperse the rays of light which pass through it4 ,lenses are of different shapes1 and thence receive different names4 p#jhh ,illustration3 ,,fig4 #b ,e4 #a4 ,double convex4 #b4 ,plano-convex4 #c4 ,concavo-convex4 #d4 ,double concave4 #e4 ,plano-concave4 #f4 ,meniscus4 ,the figures #a to #f represent sections of the variously shaped lenses which are combined for use in photography4 ,the design in forming lenses is to procure a medium through which the rays of light from any object may pass and converge to a corresponding point beyond2 the manner in which the rays proceed through the lens1 and then centre in a focal point1 will depend on the form of the lens1 its capacity for refraction and the distance of the object4 ,the double convex lens may be viewed as a portion cut out of the side of a sphere4 ,here1 as in all cases of convexity1 the focus of the parallel rays passing through the lens is at the centre of the sphere4 7,see fig4 #c47 ,illustration3 ,,fig4 #c4 ,a plano-convex has only half of the refractive power of the double convex2 the parallel rays1 falling on the convex side of the lens1 would converge at the distance of the whole diameter of the sphere4 ,thus the focal point at which the rays of light converge is always regulated by the degree of curvature of the lens4 ,thus the double convex lens has the greatest power of converging the rays of light2 the plano-convex has only half the power of the former4 ,both these lenses have also the power p#jhi of magnifying the image of an object seen through them in the same proportion4 ,the double concave and the plano-concave have the power of dispersing the rays of light and of diminishing the image of an object seen through them in the same proportion4 ,illustration3 ,,fig4 #d4 ,the meniscus lens has but a very slightly dispersive power1 and the concavo-convex merely separates the parallel rays to the thickness of the lens and sends them on parallel as they entered4 ,all these lenses1 having something of the prism in their shape1 have the power to a greater or lesser extent of decomposing the light that passes through them4 ,this is called chromatic aberration1 because the colored rays do not all converge to the same focus2 thus the image seen through them is surrounded by a fringe or border of color4 ,single lenses lack the power of producing a straight image of a straight object2 the image will have the curve of the lens through which the light passes to form it2 a double convex lens will give a greater curve than a plano-convex4 ,this is called spherical aberration4 ,the main object to be considered in the manufacture of a lens for photographic purposes is to produce one with the least spherical and chromatic aberration4 ,spherical aberration is overcome to a great extent by the use 7in connection with the double convex7 of a meniscus lens4 ,chromatic aberration is overcome by the use of two glasses of unequal density in forming one lens2 thus p#jij the front lens of the portrait combination is composed of a double convex of crown glass and plano-concave or meniscus of flint glass1 which two glasses are sealed together with ,canada balsam4 ,the forms of lenses which are corrected for chromatic and spherical aberration will be seen in ,fig4 #e4 ,illustration3 ,,fig4 #e4 ,these lenses are termed achromatic1 and1 although each is formed of two kinds of glass1 they are sealed together so as to be practically one lens4 ,every manufacturer of portrait or view lenses1 uses the six forms shown in the diagram 7,fig4 #b71 in some manner peculiar to himself1 but of the six1 four will be found in every combination in general use1 varied in radii1 construction and dimension1 according to the use for which they are intended4 ,formerly the photographer's choice of lenses was restricted to two combinations1 the double combination for portraits and the single for views4 ,there have of late years been invented a great variety of lenses1 among which and in the order of invention1 probably are ,petzval's ,orthoscopic1 ,harrison's ,globe1 ,ross's ,doublet1 ,darlot's ,wide ,angle and ,rectilinear ,hemispherical1 ,steinheil's ,aplanatic1 ,voightlander's ,euryscope1 p#jia and greatest of all1 ,dallmeyer's ,patent ,portrait1 ,wide ,angle and ,rapid ,rectilinear ,lenses4 ,the combinations of lenses are three1 the single1 double and triple2 the latter is now no longer in use1 or if so1 its use is greatly restricted4 ,the single combinations have greater focal length than the double1 and consequently at the same diameters larger pictures are obtainable1 and they are principally used for landscape or view work4 ,the double combinations1 so called from having a second pair of lenses behind the first1 which have the effect of shortening the focus about one-half1 whereby the action of the light is accelerated1 and both the spherical and chromatic aberrations more perfectly corrected1 which result in an image more delicate in definition and more rotund in form1 thus peculiarly qualifying them as portrait lenses4 ,in the selection of lenses for studio or view work1 the intending purchaser1 if desirous and pecuniarily able to avail himself of the best1 will naturally inquire what make of lenses is the most widely known and used1 and it will not take much time to procure a satisfactory answer to the question4 ,it has been conceded now for some years1 both in ,europe and in ,america1 that the lenses manufactured by ,j4 ,h4 ,dallmeyer1 of ,london1 ,england1 are superior to all others1 not only for their fitness for the work for which they are specially constructed1 but for their adaptability to work beyond anything claimed for them by the maker1 and also for a certain undefinable and sthetic quality inherent in the negative made by these lenses4 ,the fact that there is not in the wide world a photographic p#jib establishment of any note that does not possess one or more of these lenses is strong evidence of their superiority4 ,in the quality of the glass used1 in the perfection of finish and adjustment1 in softness1 crispness and depth1 in rapidity1 illumination and every quality that recommends a lens1 the ,dallmeyer lenses are unrivalled4 ,the portrait combination now in general use1 was first constructed from calculations made by ,professor ,petzval1 of ,vienna4 ,its optical components are1 a front crown lens of unequal convex curves to which is cemented a double flint lens of unequal concave curves4 ,the back combination is a crown lens of unequal convex curves and a concavo-convex flint lens at a little space from it4 7,see ,fig4 #f47 ,illustration3 ,,fig4 #f4 ,for more than a quarter of a century this form of lens had been used without material change in its construction1 until ,mr4 ,thos4 ,ross1 by a modification of the curves1 succeeded in flattening the field and increased its rapidity by shortening the focus1 but left it with the peculiar shallowness of focal depth1 especially in the larger sizes1 which has been the torment of photographers to this time4 ,mr4 ,dallmeyer was the first to improve upon the p#jic original portrait combination1 and in his new ,patent ,portrait ,lens he has most ingeniously obtained a diffusion of focus at the will of the operator4 ,by a quarter or half turn of the cell of the back combination the focus is diffused1 giving an agreeable softness in place of the shallow plane of excessive and wiry definition so familiar to the photographer4 ,illustration3 ,,fig4 #g4 ,the diagram1 ,fig4 #g1 shows a section of ,mr4 ,dallmeyer's ,new ,portrait ,lens4 ,there are two actinic combinations1 of which the front resembles the ,petzval lens2 the back combination differs as regards the ratio of radii of the lenses used1 the crown being a deep meniscus and the flint a deep concavo-convex1 with their adjacent surfaces dissimilar2 their positions also are reversed1 the concavo-convex of flint occupies the external position1 instead of as in the ,petzval1 and this lens being mounted in a cell capable of being unscrewed supplies the means of regulating the spherical aberration of the system at will4 ,the lower portion of the diagram p#jid exhibits a plan of the mount of the back flint glass lens2 this cell admits of being unscrewed1 one or more parts of revolutions of the screw indicated by an index and divisions2 with this back lens screwed home this combination has all the good qualities of the old form of portrait lens1 but with a flatter field and wider illumination4 ,there are three distinct classes of portrait lenses4 ,the first are lenses of large diameter and aperture compared with their short focal length4 ,in this class the greatest rapidity is obtained at the sacrifice of flatness of field4 ,of this class are the ,b and ,c lenses of ,dallmeyer4 ,the second class are lenses of equal diameter and aperture with those just described2 but with about double their focal length1 and therefore less rapid1 but with more field and wider illumination2 of this class are the ,a series4 ,in the third class are long focus lenses1 which1 at three inches diameter have fifteen inches focal length2 with the result of a larger and flatter field2 they are1 however1 necessarily slow1 but well calculated for out-door views1 groups and copying4 ,of this class are the ,d series1 which1 since the introduction of the rapid dry plate1 have become available for ordinary portrait work in the studio4 ,illustration3 ,fig4 #h4 ,fig4 #h represents the ,dallmeyer ,wide ,angle ,rectilinear ,lens4 ,it consists of two cemented combinations1 p#jie each composed of a deep meniscus crown and a deep concavo-convex flint glass lens2 between the two1 dividing the space in the proportion of their respective diameters1 is placed a revolving diaphragm1 the largest aperture of which is f_/#ae2 the position of the stop being nearer the back combination avoids the central spot or flare4 ,this lens embraces an angle of #ij to #ajj degrees2 it is quite free from distortion1 and particularly adaptable for taking views in confined situations1 such as interiors1 views in narrow streets1 c4 ,being a double combination its work is more finished and round than that by the single lens4 ,illustration3 ,,fig4 #i4 ,illustration3 ,,fig4 #aj4 ,probably the two greatest rivals to the ,dallmeyer ,wide ,angle ,lens are the ,actinic ,doublet of ,ross 7,fig4 #i71 and the ,steinheil ,aplanatic 7,fig4 #aj74 ,the ,ross ,doublet consists of a crossed crown lens1 cemented to its correcting flint lens1 which is a crossed concave1 the whole forming a deep meniscus the focus of which is equal to the back combination or about double that of the equivalent focus of the complete instrument1 the posterior meniscus combination consists of a meniscus crown lens cemented to a concavo-convex flint lens4 ,the two combinations are mounted rigidly with a rotating disk of p#jif diaphragms or stops placed midway between the lenses4 ,the ,steinheil consists of a front and back corrected combination of precisely the same shape1 mounted rigidly and having a rotating disk of apertures placed midway between the lenses4 ,these are three distinct types of view lenses of wide angle1 and a comparison of the diagrams will show the wide difference in the construction of the two latter from the ,dallmeyer2 and while they stand unrivaled for the perfection and beauty of their work1 which is about equal1 the ,dallmeyer obtains a great advantage over the others in the thinness of its lenses1 which enables it to work with greater rapidity1 and indeed it has been used with great success with the drop-shutter for photographing moving objects and other similar out-door work4 ,illustration3 ,,fig4 #aa4 ,while the possession of a wide angle lens is indispensable in the varied selection of out-door subjects1 yet for many purposes it has been found they are unsuitable2 and to meet this want ,mr4 ,dallmeyer has constructed a modification of the wide angle1 which he calls ,rapid rectilinear4 ,its construction is shown in ,fig4 #aa4 ,the lenses of the front and back combination have the same general form as those of the wide angle1 but they are of smaller diameter1 being constructed for angles of #fj to #gj degrees only4 ,it is four times as rapid1 and is in fact an aplanatic and symmetrical lens1 and may be regarded p#jig as the most perfect lens extant4 ,as it admits of the use of a larger aperture it is well adapted for interiors1 where there is space for its use1 and for almost every purpose of out-door photography1 requiring short exposure and no greater angle4 ,the use of this lens has been greatly extended since the introduction of the rapid dry plate1 which admits of its employment as a portrait lens in the studio1 and in fact it has become a very popular instrument for portrait work1 especially for the larger and life sizes1 so that there is a strong probability that before many years the ,rapid rectilinear and the ,d series of lenses of ,dallmeyer will be the most useful and the most profitable lenses for portrait work in the studio that have ever been constructed1 unless the near future shall give us something not now thought possible in optics4 ,dallmeyer lenses are sold only by ,e4 ,h4 ,t4 ,anthony ,co41 who are the agents in this country1 and as these lenses are quite expensive1 and are indeed beyond the means of many1 the ,messrs4 ,anthony keep other and cheaper lenses1 which are good of their kind1 both for portrait and for out-door work1 among which are the ,e ,a lenses for portraits1 and the ,platyscope and other lenses for views1 etc4 ,to those desiring advice on the choice of a lens1 this much may be said4 ,if it is intended to procure a ,dallmeyer1 it is only necessary to know the limit in size of the work to be done4 ,if in portraiture1 you select a lens that will cover the size of plate you intend to use4 ,if in landscape1 or architectural work1 or copying1 consult the catalogue and order the lens that meets the requirements of the case4 ,there is said to p#jih be no difference in these lenses2 that is1 all lenses of the same series and size are exactly alike1 the glass is of the same density1 ground to the same curve1 and polished to the same degree of fineness1 so that each one is as good and no better than any of the others of the same kind and size4 ,it is the same with the view lenses2 one may order with confidence1 and not be disappointed by receiving an inferior lens1 while expecting the best in the world4 ,it is not so1 however1 with any other make of lenses2 at least ,i have never heard such a claim made on the part of any other maker1 hence for the selection of a lens by any other maker1 some thought and experiment are justifiable and even necessary4 ,under such circumstances1 the following method of testing a lens will be found useful4 ,when of several lenses of the same size it is desired to select the best1 attach one to a camera box and focus it on some long object placed parallel with the axis of the lens2 adjust the focus so that the part of the object nearest the lens shall be in focus1 but near that point where it would begin to lose sharp definition4 ,mark the position of the carriage on the rail1 then turn the focus forward so that the same point will be as near the other extremity of sharp definition1 then mark the position of the carriage on the rail and note the distance between the two marks1 which will indicate the depth of sharp focus4 ,now stretch a line across the room and focus the instrument on the centre of the line1 and note to what distance on each side of the centre sharp definition extends2 this will indicate the flatness of the field4 ,try all the lenses in the same manner1 and secure the one that has the greatest p#jii depth of focus and the greatest extent of sharp definition on the horizontal line4 ,expensive lenses should be treated with much carefulness4 ,they should be kept free from dust and dampness1 and should never be cleaned or rubbed with cloth or the handkerchief2 nothing but fine chamois should be used to clean a lens1 the fine polish of which 7one important factor in its usefulness and value7 is so easily injured by abrading its surface with anything of a fibrous or gritty nature4 ,the lens should always be covered when the day's work is done and while the studio is being cleaned up1 to exclude dust1 etc41 from the glasses4 ,examine the lens every morning to see if the glasses are at all dimmed by damp or dust1 and if so1 use the chamois4 ,you must not expect good work from lenses whose surfaces are in any way dimmed4 ,study your lens with care1 and learn all its good and weak points1 and so enable yourself to take every advantage of instrument1 light and pose in making a sitting4 ,,camera ,,boxes4 ,the camera box and lens in the hands of the competent photographer are what the brush and colors may be in the hands of the portrait painter4 ,they are the means whereby he produces his portrait and stamps his individuality upon his work4 ,therefore1 when we look back and consider the rude implements the pioneers in our art had to work with1 we are often surprised that the work they produced was so really respectable in point of finish and excellence as it was4 ,starting from a cigar box and a burning glass1 not #ej years ago1 the progress made1 as represented by p#ajj the instruments in use at this day1 would seem to be fully equal to the advance from ,fox ,talbot's paper negative to that made on the ,gelatine ,dry plate4 ,as late as #be years ago the box in general use consisted of two sections of square wooden tube1 one sliding inside the other1 in telescopic style2 to the front of the smaller section was attached the lens1 and the focusing glass fitted into a groove in the rear of the larger section4 ,the lens afforded the means of adjusting the focus in its rack and pinion movement1 and the ground glass had to be removed from its groove before the plate holder could be put in place4 ,this rude apparatus was considered in its time to be a very ingenious construction1 but if the shades of ,morse and ,draper could contemplate the objects of art that have supplanted the rude constructions they were so familiar with and knew so well how to use1 they might well wish themselves back among the living for the pleasure of working with one of the latest camera boxes4 ,the cameras of the present time seem constructed to meet every requirement of the most exacting intelligence4 ,they are light1 yet firm and durable1 they are rigid as wood and metal can make them1 and yet they are fitted to focus sharply all positions of the human form4 ,they are complicated1 yet extraordinarily convenient1 and they are made in forms and sizes adapted to every possible use or demand4 ,there are four principal varieties of camera boxes in general use1 viz3 ,the camera for positives1 which includes the multiplier4 ,the camera for negatives1 wet or dry1 for portraiture4 ,the camera for copying1 and the camera for p#aja viewing and out-door work2 descriptive accounts of the several varieties will be given under their appropriate heads4 ,,the ,,camera ,,box ,,for ,,positives ,,and ,,the ,,multiplier4 ,these boxes are usually made for use with four or more lenses in a block1 by which at one exposure as many pictures are made as there are lenses4 ,the size represented by ,figs4 #a and #b is usually employed for work in tents or portable houses1 on fairgrounds and places of resort at the seaside and elsewhere during the summer season4 ,fig4 #a shows the front1 with the method of attaching the four lenses1 which are of the #a_/d size1 and they make four pictures on a #eg plate4 ,illustration3 ,,fig4 #a4 ,,climax4 ,fig4 #b shows the back of the same box with the ground glass reversed1 and the plateholder partly pushed into position2 there are shown also the openings through which the various sizes of pictures are made4 ,this box can also be used with one lens for making two cartes de visite or one cabinet on the #eg plate4 p#ajb ,the same style may be had with the ground glass hinged to the box4 ,illustration3 ,,fig4 #b4 ,,climax4 ,illustration3 ,,fig4 #c4 ,this same style of box is made also of larger sizes1 to be used with one or more lenses1 of which ,fig4 #c represents the size for #haj1 by which with one lens can be made #d cartes de visite or #b cabinets on #haj p#ajc or #gaj plates1 and with #d lenses #h cartes de visite on the same size plate1 or with #i lenses #ah large gems are made by two exposures4 ,illustration3 ,,fig4 #d4 ,n ,,camera1 ,,rear ,,view4 ,illustration3 ,,fig4 #e4 ,for gallery work1 however1 the ,figs4 #d and #e represent p#ajd the most useful form of multiplying camera1 as by their aid everything that would be called for in a ferrotype gallery can be made4 ,with one lens can be made on #haj plate3 #b cabinets1 #b cartes de visite or #a large picture4 ,with #d lenses can be made on #haj plate by #b exposures3 #h cartes de visite1 and on #eg plates by one exposure1 #d cartes de visite4 ,with #i #a_/i lenses on #gaj plate can be made with two exposures3 #ah gems2 with #d exposures1 #cf gems2 and with #h exposures1 #gb gems2 on #eg plate with #a exposure1 #i2 #b exposures1 #ah2 and with #d exposures1 #cf gems4 ,the carriage and plate holder of these boxes move vertically and horizontally1 thus giving the operator the power of making a great variety of sizes and of using any size of plate from #a_/d upwards to #haj4 ,on the #a_/d plate can be made with one exposure1 #d #a_/i gems2 #h of the next smaller size by #b exposures2 and #af of the smallest size1 by #d exposures1 thus bringing into use only #d of the #i lenses2 the second size is made by placing the lenses horizontally1 also the openings in the back of the box1 the plate also is laid on its side in the holder4 ,these boxes are finished in a variety of styles1 plain or ornamental1 and are fitted with holders for negatives as well as the usual rabbeted holders for ferrotypes1 and by their use all the work of a small establishment might very easily be done1 as all the sizes of ferrotypes are made from #af gems on #a_/d plate to #gb of the same size on #gaj plate1 and by one lens everything1 positive or negative1 from #a_/d to #haj size1 are made without difficulty4 p#aje ,,the ,,camera ,,for ,,negatives1 ,,wet ,,or ,,dry4 ,,climax ,,imperial ,,cameras4 ,illustration3 ,,fig4 #f4 ,for the gallery making no pictures larger than #haj1 the above1 figure #f1 represents the camera box that is the best fitted in every respect4 ,it is light1 compact and durable1 and it is most accurately adjusted for cartes de visite1 cabinets1 #dd or #haj pictures in every style1 full length1 half lengths or heads4 ,it has the double swing back1 with the tangent movement1 and is fitted with the ,benster holder1 which is represented in the cut4 ,this style can be had in every variety of finish1 from the plain to the most ornamented1 in mahogany or ebonized wood1 with brass fittings or nickel or silver-plated1 as may be most desired4 ,for galleries where larger work is called for1 figure #g represents a box that is made in all the sizes from #aaad to #becj1 and it is fitted with an attachment 7see ,fig4 #h for #haj to #a_/d plate71 thus enabling the photographer with one box to fill every order for pictures1 from a card to a life-size portrait4 p#ajf ,this box is fitted with the double swing back1 tangent p#ajg movement1 the telescope bed1 which renders it very compact1 and with the ,benster holders4 ,illustration3 ,,fig4 #g4 ,illustration3 ,,fig4 #h4 ,illustration3 ,,climax ,,royal ,,camera4 ,illustration3 ,,fig4 #aj4 p#ajh ,illustration3 ,,the ,m ,,success ,,with ,,tangent ,,movement4 ,,fig4 #aa4 ,figs4 #aj and #aa represent varieties of cameras of a highly ornamental kind4 ,they are made of hard wood1 ebonized1 and with nickel-plated fittings4 ,fig4 #aj has the ,wright's patent metallic swing1 ,fig4 #aa1 the tangent movement4 ,the ,benster ,plate-holder 7see page #aji7 is intended to1 and will undoubtedly1 supersede the ,bonanza holder for wet plate work1 as it is a more perfect silver saver than the ,bonanza1 while its easy adjustability to every size of plate places it away ahead of anything known or in use heretofore4 ,the operator who has ever used this holder will never consent to go back to any of the old styles while he can procure the ,benster4 ,the plate rests on pure silver wire1 and there is a trough with large bottle p#aji beneath1 into which all the silver waste readily finds its way4 ,as the trough is raised1 the upper ledge descends1 so that the centre of the plate is at all times in the centre of the holder1 no matter what size is used4 ,this obviates the use of inside kits1 and adapts itself at once to any size of plate1 from the largest the holder will admit to one not under three inches square4 ,this is unquestionably the best gallery plate-holder made4 ,by a recent improvement1 the horizontal bars may be instantly fastened for plates of any size1 and there is also an attachment for the vertical adjustment4 ,for dry plate studio work it is the holder par excellence4 ,illustration3 ,,the ,,benster ,,plate-,,holder4 ,,fig4 #ab4 p#aaj ,,camera ,,boxes4 ,,the ,,copying ,,and ,,enlarging ,,and ,,reducing ,,camera4 ,illustration3 ,,the ,,copying ,,and ,,enlarging ,,and ,,reducing ,,camera4 ,,fig4 #ac4 ,copying constitutes a large portion of the business of every gallery1 and a camera for that purpose is almost indispensable1 as the portrait camera is entirely unfitted for a major portion of the copying work that comes4 ,the copying camera requires no swing back1 but does require great length of bellows and bed1 which has often to be supplemented by the cone when a very small picture is to be enlarged to a great size4 ,a special form of copying camera is adapted to enlarging and reducing negatives1 and for making transparencies4 ,this form1 ,fig4 #ad1 can be so arranged as to render it possible to remove the lens from the position as seen in ,fig4 #ad to the front1 so that the two p#aaa forms1 ,figs4 #ac and #ad1 might be combined in one for copying and making transparencies4 ,illustration3 ,,fig4 #ad4 ,,the ,,camera ,,for ,,viewing ,,and ,,out-,,door ,,work4 ,illustration3 ,,fig4 #ae4 ,the ,success ,camera1 for viewing1 ,figs4 #ae and #af1 p#aab is an instrument calculated in every way to meet the requirements of professional out-door work4 ,it is made in a form to secure the utmost rigidity and strength with the least weight4 ,the bellows is conical1 the bed is folding1 the double swing back is convenient and easy of adjustment4 ,in front1 below the lens1 is a small recess1 or closet1 in which extra tubes1 flanges1 screws1 screwdriver1 etc41 may be safely carried2 when folded1 its bulk is small and occupies but little space4 ,from the front to the outside surface of the bed1 as folded1 is only six inches1 and the weight for #aaad box1 with ground glass and plate-holder1 is only twenty-two pounds4 ,by referring to the cut1 #af1 the compactness of this camera may be realized4 ,illustration3 ,,fig4 #af4 ,from the mode of construction the bed is rendered peculiarly rigid1 and in their attachment and arrangement the brass guides are protected from injury4 ,in case that1 through accident1 any part should get broken1 it can readily be replaced without returning the camera4 ,illustration3 ,,the ,,novel ,,view ,,camera4 ,,fig4 #ag4 ,,representing ,,the ,,camera ,,while ,,being ,,reversed4 ,the ,novel ,view ,camera is the latest response to the demand for something that shall be very light and very convenient4 ,its construction is the result of a series of experiments entered into with a view to obtaining an instrument in the make up p#aac of which there shall be no unnecessary weight1 and combining easy adjustment with great rigidity4 ,it being absolutely necessary that a view camera shall permit the use of the plate both horizontally and vertically1 all the older forms of view cameras were built square1 to permit the shifting of the plate1 thus adding very much to the weight of the instrument4 ,in this instrument1 however1 all that is possible has been done to reduce the bulk and weight2 in doing so several new p#aad improvements have been adopted4 ,the box itself is very little larger in outside measurement than the largest plate it will take1 and the double holder is so perfect as to be very little if any heavier than the glass plates it is intended to contain4 ,the greatest improvement is the revolving bellows1 the front end of which is fastened in the light frame-work in such a way that when the back is detached from the bed the whole bellows revolves1 instead of requiring to be unbuttoned1 as heretofore1 making a great saving in time4 ,the back is held to the bed by metal plates having slotted holes1 which permit the passage of round screw-heads1 which slide over the slots and thus hold very firmly4 ,the back may be detached and changed from a vertical position to a horizontal in so short a space of time as two seconds1 by the watch4 ,these boxes are made with a double swing1 the combination of the two swings making it possible to avoid all distortion of lines4 ,these cameras are made in all sizes from #de to #ahbb1 and they are decidedly the camera of the period4 ,the #c suitable sizes are fitted with partitions1 and extra fronts for stereoscopic work4 ,the novel dry plate holders for these cameras are stripped of every unnecessary bulk and weight2 each will contain two plates1 except the sizes above #haj1 which are fitted with a patent shield1 each one of which has two slides working in the end and in the side of the shield1 therefore the slide can be withdrawn from the side of the shield1 no matter in what position the camera is placed4 ,these shields are single for one dry plate only4 ,all the sizes of ,novel ,cameras above #haj are made with the ground glass of the same focus p#aae as for wet plate holders2 if desired wet plate holders can be furnished to order4 ,,the ,,klauber ,,camera4 ,a new idea has been perfected and carried out in connection with the ,novel ,camera1 making it a combination ,view and ,portrait ,camera with the above name4 ,see ,cuts #ah and #ai4 ,a portrait attachment has been constructed to fit the back of the larger sizes of the ,novel ,camera1 which can be attached or detached in a few seconds1 thus rendering it unnecessary that there should be two large and expensive cameras in one gallery4 ,this is an exceedingly valuable improvement for the larger sizes in more than one particular4 ,the #ahbb size1 with ground glass and two plate holders1 weighs only #ej lbs42 the measurement of this size outside is #aabbcj-a_/d inches only4 ,illustration3 ,,fig4 #ah4 ,,klauber ,,camera1 ,,view ,,part ,,only4 p#aaf ,illustration3 ,,fig4 #ai4 ,thus it will be seen that every variety of work in the gallery may be done with two or at the most three ,cameras4 ,the ,climax ,imperial ,cameras for work up to #haj2 a ,klauber ,camera for portrait and view work from #haj to any size desired1 together with a ,copying ,camera1 would make a superb outfit for any gallery4 ,,camera ,,stands4 ,a stand or support for the camera box and lens1 by means of which the box and lens can be raised or lowered or moved about the room with facility4 ,the stand best suited for the purpose is one that is strong1 and heavy enough to be very rigid and firm1 but not so heavy as to be cumbersome and difficult to move4 ,for raising and lowering the camera1 which in some cases is quite heavy1 there are several appliances1 such as levers1 screws1 weights1 c41 c41 and p#aag the different styles of camera stands may be designated by the name of the mechanical power which is applied for that purpose1 viz3 ,lever ,stands1 ,screw ,stands1 ,balance ,stands4 ,,the ,,lever ,,stand4 ,the ,lever ,stand1 ,fig4 #bj1 is one of the oldest forms of camera stand1 and is still used in many establishments4 ,the method of raising the top may be seen in the cut4 ,there are two levers1 one for each end1 by means of which the camera may be inclined upwards or downwards4 ,the levers are held in place by means of springs which press a beveled edge steel plate--attached to the levers near the handles--against a serrated plate of steel1 attached vertically between the handles4 7,see cut47 ,illustration3 ,,fig4 #bj4 ,this style of camera stand is more used for very large and heavy cameras than for the smaller kind4 ,they are very firm and rigid1 and exceedingly durable1 being made of hard wood1 well seasoned1 and they are consequently not at all liable to get out of order2 in fact1 a well made stand would last a life-time1 if one cared to have a camera stand last so long4 ,the next style in order is the ,,screw ,,stand1 which is a very popular stand1 and its most popular form is that called the ,knickerbocker ,stand1 which is made in #d or more sizes and has #b styles of p#aah tops2 the top seen in ,fig4 #ba has the name of the inventor of the stand and is called the ,stoddard ,top2 the other1 ,no4 #bb1 is the ,acme ,top4 ,this form of stand is better adapted for light camera boxes1 and is therefore preferred in small establishments and tintype galleries to the other styles1 which take up more room and are not so portable4 ,illustration3 ,,the ,,knickerbocker ,,stand4 ,,fig4 #ba4 p#aai ,illustration3 ,,fig4 #bb4 ,,the ,,acme ,,top4 ,,the ,,balance ,,stand4 ,this style comprises a greater variety of forms than all the others combined1 it requiring the least exertion to move the box up or down4 ,the weight of the camera box when placed on the stand top is counterbalanced by weights which rest upon a shelf attached to cords1 which pass over pulleys and downwards1 to be fastened to uprights which support the top2 when properly balanced it requires only a touch of the hand to raise the box or to lower it4 ,,the ,,bowdish ,,stand4 ,illustration3 ,,fig4 #bc4 ,the most popular form of this stand is the ,bowdish4 ,see cut #bc4 ,the description will be rendered quite intelligible by observing the weights which are in the centre1 between the three legs1 and the cords which pass over the pulleys to the three supports of the top4 ,from the peculiar construction of this stand it has the most simple p#abj means of adjustment2 it is raised or lowered by touch1 and a binding screw serves to keep it immovably in position4 ,illustration3 ,,fig4 #bd4--,,the ,,automatic ,,stand4 ,another form of this stand is the ,automatic1 ,fig4 #bd1 which is a later form than the ,bowdish1 and has several improvements not yet applied to the latter4 ,it is entirely new in shape and principle2 it is very light and simple4 ,the various changes are made quicker and easier than with any other stand4 ,a coil spring bears most of the weight in raising and lowering1 and self-acting p#aba stops hold the centre frame and bind it firmly at any height desired by the operator1 no set-screw being required to make it rigid4 ,it has also a new and superior device for tilting the top4 ,another form of this1 very popular stand is the ,gem ,city ,stand1 see ,fig4 #be1 p#abb which in some respects is even better than the ,automatic2 beside the weight balancing the camera box it has a crank in common with the ,automatic for raising and lowering4 ,it also has a very convenient arrangement for copying1 which is an extension which moves under the top of the stand and holds an upright support for the picture to be copied2 this is a very convenient arrangement for galleries where there is not enough copying done to require a special copying box4 ,illustration3 ,,fig4 #be4--,,the ,,gem ,,city ,,stand4 ,illustration3 ,,fig4 #bf4--,,the ,,handy ,,camera ,,stand4 ,there is another form of stand in use1 in which the balancing weight is replaced by a crank and pulley2 of this kind is the ,handy ,camera ,stand4 ,of this style there is another form that has advantages of its own1 which would seem to render it peculiarly a useful and appropriate stand for light boxes2 it is the ,magic ,camera ,stand4 p#abc ,illustration3 ,,fig4 #bg4--,,magic ,,camera ,,stand4 ,illustration3 ,,fig4 #bh4--;,,iron ,,centre ,,stand4 ,all these various styles of stands are made in sizes to suit cameras from #haj to #becj4 ,fig4 #bh represents a style of stand which does not classify1 but which is a useful stand in a portable gallery or tent4 p#abd ,,the ,,pneumatic ,,shutter ,,for ,,the ,,camera4 ,this device for making exposures in the photographic studio has proved to be so useful and popular as to have secured almost general recognition and adoption among the photographers of ,america4 ,the possibility of making exposures in the studio1 unknown to the subject1 placed a very decided advantage in the hands of the operator1 who1 standing at any point1 could watch the expression of the subject and seize the right moment to secure the impression desired2 so that the pneumatic shutter seemed to be the proper complement to the lightning dry plate4 ,there is a great variety of these shutters exhibited and for sale1 and the number continually increases4 ,the earliest example of this style of shutter that we know of is the ,cadett1 an ,english invention1 which1 in its introduction into this country1 served as a stimulus to the inventive genius of ,americans1 and1 as a consequence1 we have the great variety that now may be selected from4 ,an effort was made to apply electricity to use in working a shutter1 but it did not succeed1 and so the rubber tube and bulb became the accepted means for applying the force necessary to open and shut the slides or doors constituting the shutter4 ,an attempt has been made to apply a time regulator to the pneumatic exposer that shall keep the lens uncovered for a period of time at the will of the operator1 which shall be regulated by an index pointing at a figure representing a definite period of time4 ,by turning the index to any figure1 from #a to #bj or more1 representing seconds1 the shutter is held open for that time1 and then closes automatically4 ,this shutter is opened1 in the first instance1 by pressure upon a bulb1 p#abe in the same manner as any of the pneumatic devices4 ,we may enumerate1 among the various shutters1 those giving the most satisfaction in use1 ,,cadett',s ,,patent ,,pneumatic ,,photographic ,,shutter4 ,it has often been remarked by eminent photographers that the arrangement is a most useful one which enables persons to be photographed without being aware of it4 ,the efforts in this direction necessitated the operator being close to the camera2 here we have an instrument which permits him to be at any part of the studio he pleases4 ,illustration3 ,,tn3 ,cadett's ,pneumatic ,shutter4 ,many have experienced the difficulty of taking children's portraits with the proper amount of profile2 with the above device all difficulty vanishes--the operator may be by the side of the child and attract its attention to any direction1 and he has the means of exposing and capping the lens with far greater rapidity than with the usual method4 ,,directions4--,after the day's work is done the rubber tubing should be taken off the instrument2 this will prevent a partial vacuum in the bellows and tube1 which would otherwise ultimately occur4 ,these instruments are now constructed for application either inside or p#abf outside the camera4 ,its use is very simple--squeeze the ball end of the tube and the shutter opens4 ,this instrument no sooner made its appearance than ,yankee ingenuity set to work to improve on it1 or at least to produce something similar that might not infringe on the patent4 ,illustration3 ,,tn3 ,using the ,pneumatic ,shutter to ,photograph a ,child4 ,the first effort was to bring electricity into use to move a shutter inside the camera box1 and a very good device was perfected and sold to numbers who were convinced of the usefulness of the idea1 but were unwilling to pay the price demanded for the ,english instrument4 ,this electrical apparatus1 however1 soon played out1 and few operators had the time or knowledge necessary to keep the battery in order2 and in many instances after the sittings had been made it was found1 on attempting to develop the plate1 that no exposure had taken place1 hence these electrical shutters were soon relegated to the limbo of played-out photographic apparatus1 of which every gallery of any standing has one4 p#abg ,illustration3 ,,the ,,eclipse ,,instantaneous ,,shutter4 ,for simplicity of construction and operation1 for reliability and good results obtained with it1 the ,eclipse ,shutter has gained an enviable reputation4 ,it is safe to say that no shutter is better or more favorably known4 ,the ,eclipse is made wholly of metal1 and is finely finished4 ,it attaches over hood of lens by a velvet-lined collar1 and has a clamp to securely hold it in place4 ,it is made in five standard sizes1 collars for hoods of lenses being attached to a shutter of the most suitable size4 ,when the shutter is in a locked position ready for an exposure1 the right-hand leaf of fly covers the aperture of lens4 ,when released1 the fly revolves1 uncovering the aperture1 which is again covered by the left-hand leaf4 ,when the shutter is in the position shown in cut1 less illumination is given to the foreground2 but by p#abh adjusting the shutter in different positions any part of the view may be favored4 ,the hair trigger release may be operated either by hand1 by a cord1 or by a pneumatic device4 ,the pneumatic apparatus costs #a4jj extra4 ,the speed of the shutter is perfectly controlled by moving the spring on back of shutter from notch to notch on the curved arm4 ,illustration3 ,,prosch',s ,,duplex ,,photographic ,,shutter4 ,,for ,,timed ,,or ,,instantaneous ,,work4 ,,perfect ,,in ,,both4 ,with this shutter1 the latest production of the inventor of the very popular ,eclipse shutter1 exposures can be made of any desired duration4 ,it is equal p#abi to any requirement for the most rapid work1 and as a time shutter1 exposures can be made as quick as two pulsations can be given to air bulb 7about one-tenth of a second7 or of minutes' duration4 ,duplex ,shutters work perfectly1 with even the very largest lenses1 up to their full capacity2 and several lenses can be used with the same shutter4 ,the shutter gives a full opening2 but yet1 by the peculiar opening in the exposure slides1 any part of the picture can be favored with more or less illumination by turning the shutter1 sometimes even inverting it4 ,the illustration gives a front view of the shutter1 one-half size of ,no4 #b1 which is suitable for an #haj lens1 or even larger1 as it has an opening at the diaphragm of #a-a_/h inches4 ,inclosed in metal casing are two pivoted slides1 which move1 in unison1 in opposite directions1 and make the exposure in one continuous movement without the slightest jar1 even when worked at its greatest rapidity4 ,the motive spring is on the back of the shutter1 and is of coiled wire2 a perfectly reliable spring4 ,its tension is regulated by moving it along a series of notches4 ,the exposure slides are moved by a stud on the lever shown on front1 which passes through the shutter and a slot in each slide1 and engages with the spring on the back4 ,on the end of the lever are two notches hidden by the secondary lever4 ,when the lever is fully depressed1 the release catches in the upper notch and locks the slides closed4 ,a slight pressure on the air bulb or a trip to the projecting end of the release1 frees the slides1 and they make an instantaneous movement or exposure4 ,if the secondary lever has been brought into play1 by a turn or p#acj two of a milled-head nut1 the release will catch in the second or lower notch and hold the slides at a full opening1 in which position they remain until a second pressure is given to the bulb1 or the release is tripped by hand4 ,the shutters are made in standard sizes1 having narrow threaded collars on each side1 to which can be adapted tubes to receive lenses1 which are to be transferred from regular lens tubes4 ,any intelligent instrument maker or machinist can adapt such tubes to lenses2 the original tube is not used4 ,,head-,,rests4 ,it might have been thought that the rapid dry plate1 by shortening the time of exposure so much1 would have done away with the necessity for using head-rests2 and many old photographers whose backs have often ached from handling the ,wilson1 the ,spencer and other enormously heavy head-rests1 thanked their stars that a time of relief seemed to be at hand4 ,but not so4 ,the head-rest is just as necessary as ever1 and the heavy ones are as advantageous now as before4 ,the most important use of the head-rest is to keep the head in the position required4 ,that the head should be immovable is necessary during the time of exposure4 ,many people are quite able to keep still enough for photographic purposes without a rest for the head1 but very few are able to keep the head in the position desired by the operator without some assistance2 hence the necessity for the use of the head-rest for even the shortest exposure4 ,one benefit1 however1 has been derived from the advent of short exposures2 there seems no necessity for the use of the extremely heavy varieties4 p#aca ,the lighter rests would seem to be capable of fulfilling all the requirements of a head-rest4 ,illustration3 ,,success ,,head-,,rest ,illustration3 ,,centennial ,,head-,,rest4 ,the ,success head-rest is one variety of the lighter kinds1 of which another is the ,centennial4 ,these are very useful in the studio1 more particularly in posing a group1 when it is necessary to have a head-rest for each one of the party2 they are also sufficiently rigid for single sitters4 ,they are in all sizes1 short for children and long for adults1 and if any part should be broken or get out of order duplicates can be had at trifling expense4 p#acb ,illustration3 ,,the ,,rigid ,,head-,,rest4 ,illustration3 ,,spencer ,,head-,,rest4 ,the ,rigid head-rest is of a heavier kind1 and is a favorite with many who prefer a medium weight4 ,it sets firmly on its base and can be quickly and easily adjusted to either sitting or standing figures4 ,the ,spencer head-rests are examples of the heavier kind2 they are very firm and rigid1 and heavy enough to suit the most exacting gymnast or athlete4 ,there are many other varieties of the light1 medium and heavy kinds1 but the cuts show the best of the various weights1 and a selection can be made from these without fear or hesitation4 ,a gallery should have half a dozen head-rests at p#acc least1 and while the majority should be of the lighter1 there should be a sample of the medium and heavier1 kinds1 so that no important aid to good work should be lacking4 ,,posing ,,chairs4 ,much attention has been bestowed upon the posing chair since #ahfe1 when ,sarony introduced into the country the posing apparatus which first brought his name permanently before the ,american photographers and the public4 ,the ,sarony posing chair1 table1 rest1 etc41 has1 however1 passed1 and remains among the things that were1 and many other styles of chair since have had their brief day and are gone4 ,illustration3 ,,the ,,bowdish ,,chair4 p#acd ,among those that still remain in use this continues to be popular1 and indeed it is a very useful and elegant article of furniture for the studio2 and from the ease with which it can be converted from a high back chair for standing figures1 to a posing chair for sitters1 it will probably continue to be1 as it always has been1 the most useful accessory in the photographic studio4 ,illustration3 ,,the ,,bowdish ,,chair ,,with ,,revolving ,,circular ,,arm4 ,these chairs are so pre-eminently superior in all desirable qualities that it is only necessary that their perfection of manufacture and ingenious plan of construction be seen to be commended by every one4 ,made of solid walnut1 secured by means of a patented iron frame1 they unite unusual strength with graceful outline and richness of effect4 ,the quality of materials used1 also1 has always been of the best2 and the constant aim is to make them excel in each and every p#ace particular4 ,they have no uncertain joints1 no clumsy and unsightly proportions1 no fixings to become detached or render the chair useless when broken4 ,they are better adapted to the varied requirements of a modern photographic gallery--better suited to the prevailing styles of portraiture1 and more in consonance with modern studio accessories4 ,illustration3 ,,the ,,bowdish ,,chair ,,with ,,sofa ,,attachment4 ,in short1 the ,bowdish chair combines the advantages and uses of all the various chairs in market1 comprising-- ,first4--,a chair with high back1 with or without arms4 ,second4--,a chair with a revolving circular arm4 ,this is an advantage over the ordinary chair with circular arm1 which has only the vertical movement4 ,third4--,a lounge attachment1 which is invaluable for infants and children4 p#acf ,illustration3 ,,the ,,new ,,patent ,,novel ,,chair4 ,for sitting positions1 vignettes1 etc41 the ,novel chair is the best out for low bust and vignette pictures4 ,the back is peculiarly well adapted2 it gives support without the back becoming conspicuous in the picture4 ,this chair is a valuable piece of furniture for any gallery1 and many prefer it to the old-established favorite ,anthony' ,position ,chair1 which has been for many years the useful chair of the studio4 p#acg ,illustration3 ,,anthony',s ,,position ,,chair4 ,illustration3 ,,anthony',s ,,sliding-,,back ,,position ,,chair ,,anthony',s ,,sliding-,,back ,,position ,,chair has been found to be just the thing for many positions1 p#ach such as half lengths1 full lengths and even sittings1 and also for babies1 as the back and arms are movable4 ,for some years past the little folks1 babies and infants1 have become a large part of the most profitable clientage of the photo studio1 and much attention has been bestowed on the furniture and accessories suitable for them and their pictures4 ,among such1 the ,,queen ,,anne ,,child',s ,,lounge is a novelty itself1 indispensable to any photographic studio2 the opening between seat and back is an advantage for posing children4 7,also made with hole in centre of the high back47 ,illustration3 ,,queen ,,anne ,,child',s ,,lounge ,these two forms of lounge are very useful and popular1 having been adopted in many studios doing a large business with the little folks4 ,an extra cushion is now made for the ,child's chair4 ,this1 placed in a semicircle under the knees1 ensures the favorite pose of babyhood4 ,two forms of chairs for babies are very popular with the average photographer1 being neat in design and finely finished1 greatly adding to the effect of a good photograph of a pretty baby4 p#aci ,illustration3 ,,the ,,baby ,,chair4 ,the ,baby ,holder is not a chair1 but a holder1 and can be placed in any chair or on a table1 ,it can be adjusted to any angle1 to hold the baby securely in position4 ,these baby lounges and chairs should be raised on a platform1 when in use4 ,the platform should be from #f to #ab inches high and on large1 easy casters1 so that it can be easily moved about the room4 ,such a platform is a great convenience for all sitters1 the subject can so readily be moved without being put to the inconvenience of rising from the seat4 ,with these chairs certain little cushions for the back and seat are very useful1 and are supplied when required4 p#adj ,,part ,,second4 ,,field ,,photography4 ,that the thousands who formerly practiced photography in the fields1 as an amusement and recreation1 took great delight in it and found it to be an extremely fascinating pursuit1 there can be no denial4 ,when we think of the difficulties that were continually being encountered1 and the trials of patience and temper that had to be submitted to--to say nothing of the disagreeable nature of the many solutions that were necessary1 the stains on the hands and clothing incidental to the use of nitrate of silver and the solution of iron1 and the heavy and bulky nature of the apparatus--we are constrained to believe that the rewards must have been more than commensurate to the fatigue incurred1 to the disappointment occasioned by frequent failures1 and to the dislike of dirty hands and stained and spoiled clothing4 ,illustration3 ,,amateur ,,apparatus4 ,apparatus set up1 consisting of camera box1 lens1 carrying case and tripod4 ,now1 however1 by the introduction of the new process of dry plate work1 all that was disagreeable has been done away with4 ,the collodion1 the silver-bath1 the developer and fixing solutions--as things to be carried with you--are now of the past1 and even the glass plates will soon be known no more as impedimenta to the amateur4 ,in place of the heavy ,camera and p#ada plate-holders1 we have now feather-weight constructions1 that are no more a burden1 but rather1 ornamental objects1 the possession of which and their use is more of a pleasure than otherwise4 ,it is not surprising1 then1 that in view of these wonderful changes1 the thousands who formerly practiced photography for amusement have increased to tens of thousands4 ,and the dry plate equipment for viewing has become a part of the impedimenta of the summer tourist1 as well when he or she travels by land as when they voyage by sea4 ,the bicyclist1 too1 goes out with a ,camera1 that may be attached to his wheel1 and makes instantaneous views as he spins along the road1 or dismounts and takes in some beautiful bit of scenery4 ,the boys1 and also the girls1 have seized upon this fascinating pursuit1 and the gardens and conservatories have been converted into studios1 where every member of the family1 including the baby and the pet animals1 have been posed1 and their pictures bear witness to the triumph and delight of the young artists4 ,amateur photographers1 male and female1 may be found during the season at the summer resorts by the sea or at the breezy mountain house2 wherever the well-to-do citizen takes his family for rest and recreation during the dog days1 there will the tripod be set up and the ,camera will record the topography of the vicinity4 ,for every one of these thousands of amateurs there p#adb is something to learn before he or she can succeed in producing a picture2 to know how to make a photograph never comes by intuition1 but must be acquired by study and practical experiment4 ,this need not be prolonged or difficult1 and the purpose of these pages is to afford the beginners that instruction1 which will enable them to surmount the difficulties of a new and untried pursuit2 to open up to them the knowledge that will enable them to bring the little dry plate and the quantum of pyro together1 so that they may tell a story1 the constantly varying changes of which will afford ever renewing delight1 a pleasure gained without undue fatigue and never followed by regret or pain4 ,one little gem of a negative or transparency will afford the maker more real pleasure1 than many a costlier amusement4 ,illustration3 ,,tn3 ,outdoor ,scene with ,amateur ,photographer1 ,dog and ,children4 ,,the ,,amateur ,,outfit4 ,the number and variety of outfits manufactured for the use of amateurs are so great that the question of selection becomes one of more than ordinary interest and importance4 ,indeed1 this fact is impressed upon the mind and fully established when one undertakes p#adc to inspect and examine the variety exhibited by one house alone1 but when one has seen the stock of all the different large concerns and has examined the bewildering variety1 he becomes aware of the immensity of the demand that has brought into existence such an enormous supply2 for here1 beside the toy outfit for the child of ten or twelve years1 he will see the perfect equipment for the professional photographer1 and every possible grade between1 in every style of finish and ornamentation1 and all supplied with so many appliances for easy handling and accurate adjustment as to astonish one at the amount of skill and ingenuity exhibited by the makers4 ,it is not the intention of the writer of these pages to describe this great variety of apparatus2 having himself used with success and pleasure the instruments of the great house of ,e4 ,h4 ,t4 ,anthony ,co41 he will merely point out some of the advantages of and the valuable improvements lately added to their amateur photographic equipments4 ,the amateur preparing for the field will find it necessary to provide himself first with the apparatus necessary to the making of negatives2 these articles constitute the viewing outfit4 ,having made himself familiar with the use of the camera and lens1 he may next provide himself with the chemical constituents of the developer and proceed to develop his own plates4 ,these chemicals and the necessary dishes1 etc41 constitute the developing outfit4 ,it is recommended that the beginner confine himself at first to the preliminary of selecting his views and making the exposures1 taking his plates to some photographic establishment to be developed1 where he p#add may learn as to the correctness of exposure1 and receive such information in connection therewith as may be of benefit afterwards4 ,having made himself somewhat proficient in exposing1 he may then take up the development and enjoy the true delight of the amateur in witnessing the growing of the picture upon his developing plate4 ,with this end in view1 then1 we will proceed to consider1 describe and explain the apparatus of an outfit1 the construction thereof1 and how to use the same4 ,,the ,,viewing ,,outfit ,,consists ,,of3 ,sensitive dry plates and ,plate holders or shields1 ,the ,camera box1 ,the view lens1 ,the tripod or ,camera stand1 ,the instantaneous shutter1 ,the focussing cloth1 and a ,carrying box to contain the whole4 ,it is necessary that the beginner should receive some instruction in the use of each of these articles1 and for that purpose we will consider them in the order above given4 ,,dry ,,plates4 ,the manufacture of dry plates has now reached such a state of perfection that the purchaser may procure them of every grade of sensitiveness1 each of the several grades of a perfect uniformity and all of them very free from imperfections and blemishes4 ,and also the prices have been so reduced of late that the incentive to manufacture on the part of individuals for their own use is almost entirely lacking4 ,however1 there may be found p#ade a certain interest and fascination in preparing plates for one's own use1 which would prompt some to incur the outlay and trouble incidental to such a course1 and for those full instructions and formul may be found in the first part of this book4 ,it will1 however1 be found1 after due trial1 that for work of importance1 and where certainty of results is desired1 it will be better to procure the plates of some maker of established reputation1 and of such a grade of sensitiveness as will be most suitable for the work in hand4 ,certain makers of dry plates use the ,sensitometer to ascertain the degree of rapidity of each and every emulsion produced in their works4 ,the ascertained degree of rapidity is indicated on each box of plates by the ,sensitometer number--the higher the number1 the more sensitive the plate4 ,the highest numbers attained up to this time are from #bj to #be1 and these numbers would indicate a very high degree of sensitiveness1 such as render plates of #bc to #be quite suitable for work requiring the shortest possible1 in fact1 instantaneous1 exposures1 such as bodies in motion across the plane of focus4 ,views of still life are better made with plates of a lesser degree of rapidity4 ,the handling of dry plates of such extreme rapidity requires great care4 ,the boxes should never be opened1 even the outer wrappings should not be removed1 except in the darkened room and by such a light as that produced by ,carbutt's dry plate lantern or some similar device4 ,when plates are taken from the boxes for the purpose of fitting the holders1 they will be found to have one clear1 smooth and shining surface4 ,this is the back of the plate and is clear p#adf glass2 the other surface is of the same color1 but of a mat or dead color1 not reflecting so much light4 ,this is the sensitive surface1 and before being placed in the holder or shield it should be brushed with a soft1 flat camel's hair blender1 to remove any dust that may be attached to the surface4 ,this brush should be used for no other purpose2 and should be used without pressure1 merely touching the surface of the plate4 ,the plate may then be put in the plate carrier of the shield1 with the sensitive surface outward1 and when the carrier is run into its place in the holder1 the sensitive surface is next the slide or door4 ,it is of some importance that attention should be given to this manipulation1 as it not unfrequently occurs that the wrong side of the plate is turned outward and the image1 when the plate is exposed1 is made through the glass and against the back of the film1 and is reversed and thus rendered worthless1 even should a good impression have been secured4 ,the holders or shields for dry plates for out-door work are always--except in the largest sizes--made double1 each holder containing two plates4 ,illustration3 ,,anthony',s ,,patent ,,perfect ,,double ,,dry ,,plate ,,holders ,,or ,,shields4 p#adg ,the diagram exhibits the plate holder1 #c1 with the plate carrier1 #a1 partly drawn out2 the slide or door corresponding to #b is withdrawn to show the interior of the holder1 #c1 and the spring that presses the plate into focus1 when pushed into the carrier1 #a4 ,this carrier presents the same appearance on the other side and will hold two plates4 ,when filled with plates1 it is pushed into its place in the holder1 #c1 and the brass loops or fasteners1 #d1 are pressed down flat1 thus securely holding it in place4 ,when the holder is put in place at the back of the ,camera the slide1 #b1 next the box1 is pulled out quickly and in a perfectly level position1 so that the spring shut-off may close instantly and permit no light to enter the opening4 ,the lens must be covered before the slide is pulled out4 ,the exposure is then made and the slide is returned to its place in the same manner1 carefully observing that one corner is not entered first1 but the end must be inserted into the groove squarely and pushed quickly home4 ,if another exposure is to be made immediately1 the holder is removed and the opposite side placed next the box1 and the same process is repeated1 covering the lens1 removing the slide1 make the exposure by removing the cover of the lens and replacing it1 then return the slide to its place4 ,when a second exposure is not made at once1 with a pencil or in some other manner mark the side that has been exposed1 to prevent any mistake4 ,when both plates are exposed1 return the holder to the carrying case and take the next1 if you carry more than one4 ,usually a half dozen holders are carried1 which gives command of one dozen plates1 which should be quite enough for one outing4 p#adh ,having exposed the plates1 the holders are returned to the carrying case1 and should not be removed therefrom until they are taken into the dark room for development1 when1 by the aid of some safe light1 they may be removed from the holders1 one at a time1 and developed1 or all taken out and put into a negative box1 to be ready for development when convenient4 ,,the ,,view ,,camera ,,for ,,amateurs4 ,in an article on ,cameras1 in the first part of this work1 we have given a very accurate description of the ,view ,camera for professional photographers4 ,the ,view ,camera1 as manufactured for amateurs1 is smaller1 lighter and more compact1 and1 in many cases1 more highly finished and ornamented than those made to stand the rough usage of hard work4 ,beginning with the smallest1 we have the ,,detective ,,camera4 ,illustration3 ,,schmid',s ,,patent ,,detective ,,camera4 ,patented ,january #b;d1 #ahhc4 ,this ,camera is focussed once for all by means of a ground glass which slides in the place to be afterwards p#adi occupied by the double dry-plate holder1 for objects of various distances1 and the position of the focussing lever on top of the ,camera is marked for each distance4 ,after this the ground glass may be entirely dispensed with1 as it is then only necessary to estimate the distance of the object to be photographed1 and move the focussing lever to the mark corresponding to that distance1 when the ,camera will obviously be in focus4 ,the small lens in the upper left-hand corner serves to throw the picture on a piece of ground glass on the top of the ,camera1 thus showing the position of the image on the plate4 ,when the picture appears in proper position on this ground glass1 it is only necessary to touch the button on the right of the ,camera1 and the exposure of the plate is instantly made1 its development being afterward accomplished in the ordinary manner4 ,the slide is then replaced in the plate-holder1 which1 being reversed1 the shutter reset and the other slide drawn out1 everything is ready for the next shot4 ,this ,camera is made to carry in the hand1 and is held against the side under the arm while exposures are made4 ,a tripod or stand is not required4 ,the plate-holders are carried in a small satchel1 with a strap passing over the shoulder4 ,the new sensitive paper film1 however1 obviates the necessity of carrying more than one holder1 which will contain a band on which may be made #bd exposures1 and which is of no greater weight than one of the double holders when filled with #b glass plates4 ,this ,camera is calculated to make pictures #c-a_/d by #d-a_/d inches in size1 and they are technically called quarter plate size4 p#aej ,,the ,,patent ,,bijou ,,camera4 ,illustration3 ,for #c-a_/dd-a_/d ,plate4 ,this little ,camera is the neatest1 nattiest and altogether nicest ,camera of its kind ever made4 ,when folded it measures #eec-a_/b inches1 and can readily be put in an ordinary hand-grip1 or may even be carried in the overcoat pocket4 ,it weighs only #ad-a_/b ounces1 and the holders are correspondingly light and compact4 ,it has a sliding front1 hinged ground glass1 and folding bed1 which is provided with a novel arrangement for fixing it in position1 enabling the operator to adjust it in a few seconds4 ,it is made of mahogany1 with a new hard finish1 flexible bellows and brass mountings1 making a remarkably elegant little instrument4 ,as the plate is the same size as those used with magic lanterns1 slides may be made from them by contact printing in an ordinary printing frame4 ,by using rapid printing paper in connection with the enlarging lantern1 the pictures may be made as large as desired4 ,for tourists1 to whom weight and bulk are objections1 this ,camera is of especial value4 ,the introduction of the ,schmid ,detective ,camera was a pronounced success4 ,the popular favor with which it was received stimulated the manufacturers to p#aea greater exertions to supply a perfect and effective instrument1 against which no objections whatever could possibly be raised4 ,with this object in view1 they have placed on the market ,,anthony',s ,,patent ,,satchel ,,detective ,,camera4 ,illustration3 ,,tn3 ,anthony's ,patent ,satchel ,detective ,camera4 ,in outward appearance1 and to the ordinary observer1 this latest modification of the ,detective ,camera looks exactly like an alligator hand-satchel that is carried by a shoulder-strap at the side of the pedestrian4 ,upon closer observation1 one sees that it consists of an artfully concealed ,detective ,camera1 in which all the various movements to secure a picture are situated upon the under side4 ,for use1 the ,camera is held so that the base of the satchel rests against the body of the operator4 ,by means of a brass pull at the side the shutter is set4 ,a plate in the regular holder is placed in position at the back cf the ,camera1 and the slide is drawn ready for exposure4 ,the release of a short catch exposes the front of the shutter ready for action1 p#aeb and by raising a small leather-covered lid the little camera obscura1 called the finder1 on the 7now7 upper side of the ,camera1 shows the position that the object will occupy on the plate4 ,the slightest touch upon a small brass button releases the shutter1 and the exposure is made4 ,replacing the slide in the plate-holder1 reversing the holder1 and setting the shutter again1 leaves the apparatus in readiness for another shot1 when the plate-holder slide is withdrawn as before4 ,by removing a screw that takes the place of the spring lock of an ordinary satchel1 the ,camera proper can be removed from its cover1 and a tripod screw serves to attach the ,camera to a tripod for ordinary use4 ,illustration3 ,,tn3 ,anthony's ,detective ,camera ,proper4 ,this last form of the ,detective ,camera allows the operator to carry with him twelve plates in the interior of the apparatus1 and so carefully packed away that no light can strike them4 ,it is also furnished with an p#aec ingenious attachment by which the speed of the shutter can be regulated to suit the speed of the object1 moving with greater or less velocity2 while1 by simply releasing a catch1 time exposures can be made at the will of the operator4 ,in fact the whole affair is the latest achievement in ingenious and compact light photographic apparatus4 ,illustration3 ,,camera ,,showing ,,the ,,detachment ,,of ,,satchel4 ,,amateur ,,equipments ,,for ,,field ,,work4 ,the manufacturers of these goods1 for the convenience of those at a distance who might desire to order by p#aed mail1 have classified and catalogued these outfits of the various sizes as view equipments1 and have numbered them from #a upwards4 ,illustration3 ,,equipment ,,no4 #a4 ,stained ,camera1 for making pictures vertically or horizontally1 measuring #de inches1 with one double dry-plate holder1 fine single achromatic lens1 improved tripod1 and carrying case4 ,this is called the #aj equipment1 and by which very beautiful and perfect work may be done1 examples of which1 as negatives and transparencies1 may be seen at the warerooms1 and only need to be seen to be admired4 ,for a complete descriptive catalogue of these goods1 send to ,messrs4 ,e4 ,h4 ,t4 ,anthony ,co4 ,,the ,,fairy ,,camera4 ,there has long been a demand on the part of the public for a ,camera that would at once embrace these most necessary requirements--portability1 compactness and strength1 combined with beauty and accuracy of working4 ,hitherto the nearest approach to this has been the ,novel ,camera1 which for a time seemed to be everything p#aee that could be desired4 ,but urgent calls for something still better were frequently made1 and the result is the ,fairy ,camera1 by far the most attractive and elegant piece of apparatus of its kind ever offered4 ,in presenting it1 attention is invited to the following advantages it possesses over all others4 ,strength4--,they are put together as rigidly as wood and metal will admit of1 and are therefore perfectly rigid4 ,compactness4--,they occupy less space than any other view ,cameras of the same capacity1 and the plate-holders actually require little more than one-half the room of the lightest of any others in use4 ,the plate-holders are made of hard wood1 with metal carriers for the plates1 and fitted with all the later improvements4 ,portability4--,the small compass to which they may be reduced renders them in this respect incomparably superior to any4 ,they are packed in canvas-covered wooden cases1 and each double plate-holder has its own compartment4 ,the cover of its case telescopes over its body4 ,several new features have been availed of in the construction of this ,camera1 to wit3 ,the bed may be instantly rendered rigid1 without the use of screws1 by means of a brace of hooks1 that hold the two sections of the bed with great firmness4 ,secondly4--,the rabbet commonly found on the plate-holder is dispensed with1 and instead1 it is placed on the ,camera1 thus saving the otherwise additional weight rendered necessary for twelve such rabbets when made on the plate-holders 7two on each of the six usually carried71 and the not inconsiderable item of three-quarters of an inch in bulk4 ,third4--,the ,camera is focussed with a long1 continuous p#aef metallic rack1 cog-wheel and pinion1 the latter being held firmly in position by a binding screw4 ,the ground glass swings backward in its frame1 like that in the regular ,novel ,camera1 and is held tightly in position by metallic spring corners4 ,when windy1 this is a decided advantage4 ,the ,fairy ,camera is made in finely polished mahogany1 the metal work being nickel-plated1 thus making it the most elegant and perfect ,camera known4 ,they are made with and without stereoscopic attachments4 ,naturally1 those without stereoscopic attachments are lighter and more compact than those with1 and may be preferred by persons desiring to make single views or portraits only4 ,these ,cameras are made in four sizes only--from #d-a_/df-a_/b to #haj4 ,those desiring a larger ,camera should procure the ,novel ,camera1 which is manufactured of all sizes up to #ahbb4 ,illustration3 ,,the ,,novel ,,camera ,,with ,,double ,,swing ,,back ,,in ,,the ,,act ,,of ,,being ,,reversed4 p#aeg ,an ingenious improvement has been introduced in connection with the ,fairy and ,novelette ,cameras1 which is shown in the cut4 ,illustration3 ,,tn3 ,ingenious ,improvement4 ,it consists in the use1 with a #eh ,camera1 an additional body and bellows for #haj1 which can be attached to the front and bed of the #eh on removal of the #eh bellows to back4 ,this substitution can be made in a few seconds1 giving the user the command of two ,cameras at small expense4 ,,the ,,view ,,lens4 7,see article on lenses in ,part ,first47 ,view lenses may be classed in two groups3 ,single combination lenses and double combination lenses4 ,single combination lenses are intended for producing pictures of inanimate objects1 in the production of which the time of exposure is of minor importance4 ,they are of greater focal length than the double1 and1 on account of their simple form1 are less expensive4 ,the combination consists of a meniscus1 composed of two lenses1 one convergent1 the other divergent4 ,the two are cemented together1 so that only two surfaces are presented to reflect light4 ,this lens is well calculated p#aeh for out-door work1 but does not give such roundness of form nor such delicacy and finish as may be obtained by the double combination4 ,but it has greater depth of focus1 and1 having but two reflexive surfaces1 fits it peculiarly for views of foliage1 and enables it to work into the green of the landscape more completely and vigorously4 ,the single lens is not free from distortion4 ,the marginal rays are apt to give the barrel-shape figure to the view1 but for landscapes this is practically of little or no consequence4 ,the smaller sizes of single lenses are more effective than the larger4 ,they are quicker and have much less distortion1 and when stopped very small have practically none4 ,,the ,,double ,,combination is formed by reversing the single lens and making it the front lens of the double combination1 and adding a similarly constructed achromatic lens to the rear4 ,these lenses are indispensable for very rapid work and for work requiring straight lines4 ,as the double combination is more perfectly corrected for spherical aberration1 it is better adapted for architectural and other work not admitting of distortion4 ,of this class of lenses we would recommend ,,anthony',s ,,rapid ,,dry ,,plate ,,lens1 p#aei which has a double achromatic combination for making instantaneous views1 portraits groups1 etc41 and will meet all the requirements of those who do not care to incur the expense of a ,dallmeyer or other first-class lens4 ,illustration3 ,,anthony',s ,,rapid ,,dry ,,plate ,,lens ,illustration3 ,,the ,,platyscope ,,lens ,of a higher class is ,,the ,,platyscope ,,lens1 which is a rectilinear or perfectly corrected lens of great working rapidity1 and is well suited for all the requirements of the amateur2 and as to price1 it holds a middle place and next to the ,,dallmeyer',s ,,rapid ,,rectilinear ,,lens1 which is the most perfect instrument at present known to the profession1 and is almost universally used by professional out-door photographers and by all amateurs who care to produce the finest possible work4 ,this lens might be considered indispensable for all p#afj work requiring an instantaneous exposure1 as by means of the dry plate and the drop shutter some very remarkable pictures have been made of bodies in rapid motion4 ,illustration3 ,,dallmeyer',s ,,rapid ,,rectilinear ,,lens ,,wide ,,angle ,,lenses4 ,there is another class of lenses of double combination1 which are called wide angle lenses4 ,they are constructed to embrace an angle of from #ij to #ajj degrees1 and are therefore indispensable for use in confined situations1 such as narrow streets and interiors4 ,they are also capable of being used with advantage for all the purposes of a view-lens1 their only disadvantage being that they are not so rapid as lenses of a lesser angle4 ,for certain subjects the back lens of the combination may be removed and the front lens used in the same manner as an ordinary landscape lens4 ,illustration3 ,,the ,e4 ,a4 ,,wide ,,angle-,,lens ,,the ,e4 ,a4 ,,wide ,,angle-,,lens is of this class1 and being of short focus and made on the rectilinear principle1 it is a useful lens for all the purposes already enumerated1 and for architectural subjects1 as well as for copying of maps1 drawings1 printed matter1 etc41 etc4 ,every amateur should possess one of these lenses1 as p#afa well as one of the more rapid-acting lenses for instantaneous work1 unless he can well afford to get the best4 ,illustration3 ,,dallmeyer',s ,,wide-,,angle ,,rectilinear ,,lens ,,dallmeyer',s ,,wide-,,angle ,,rectilinear ,,lens will completely fill the bill4 ,this lens consists of two cemented combinations1 each composed of a deep meniscus crown and a deep concavo-convex flint glass lens4 ,unlike other lenses of this class the dense refracting medium--the flint--is made to occupy the external position in both combinations1 and though both are deep menisci externally1 and of nearly the same focal lengths1 the front combination is of larger diameter and greater curvature than the back1 and between the two1 dividing the space in the proportion of their respective diameters1 is placed the revolving diaphragm1 with graduated openings1 the largest of which is ,f4 #ae4 ,an important characteristic of this instrument1 besides the method of achromatization1 is the thinness of the lenses1 thus offering less obstruction to the passage of the light1 constituting these lenses the quickest acting of their kind4 ,the outfit1 which includes a ,dallmeyer wide angle and a ,dallmeyer rapid rectilinear1 may be said to be prepared to do all work within the range of photography4 ,every outfit should include a piece of fine1 soft chamois p#afb skin for cleaning the lenses2 it will often be found that moisture and dust obscure the image in the ground glass2 when such is the case the lenses should be unscrewed and carefully cleaned with the chamois4 ,and when carrying1 it would be well to wrap each lens in a piece of chamois4 ,lenses thus carefully kept will repay the trouble in fine1 clear and incisive work4 ,illustration3 ,,fig4 #a4 ,illustration3 ,,fig4 #b4 ,illustration3 ,,the ,,fairy ,,tripod ,,the ,,tripod ,,or ,,camera ,,stand4 ,there are a variety of these stands manufactured1 the two principal of which are the ,telescopic leg1 ,fig4 #a1 and the ,folding leg1 ,fig4 #b4 ,among the lighter stands or tripods p#afc ,,the ,,fairy ,,tripod deserves particular mention1 being less than two pounds 7#b lbs47 in weight and folding to a length of #af inches only4 ,when placed in its neat leather case1 with shoulder-straps for carrying1 it is the smallest and lightest practical tripod that has yet been offered to the public4 ,the tripod1 when not in use1 is taken apart1 the top placed in the carrying box1 and the legs folded or telescoped and tied together4 ,when set up for work be sure to have the tripod top level1 which may easily be done by adjusting the legs to the inequalities of the ground4 ,the ,camera is fastened to the tripod top by a thumb-screw1 which passes up from beneath1 through the tripod top1 and into the leg of the box4 ,when adjusted tighten the screw firmly4 p#afd ,,the ,,instantaneous ,,shutter4 ,the rapid dry plate and the quick acting lens have created a necessity for a shutter that would make an instantaneous exposure1 in order that sharp pictures might be made of objects in motion4 ,this has been accomplished in a variety of forms1 the earliest and simplest of which is ,,the ,,drop ,,shutter1 which consists of two pieces of wood1 each having a hole cut into it1 and so arranged that when one piece is placed upon the end or hood of the lens 7which fits into the circular opening71 the other piece can be made to slide up and down against it1 thus for an instant bringing the two openings opposite1 and making the exposure depend upon the rapidity with which one opening passes the other4 ,illustration3 ,,fig4 #a4 ,illustration3 ,,fig4 #b4 ,fig4 #a represents the common form1 in which the release is made by the withdrawal of a metal catch1 which fits the indent in the side of the sliding upright piece4 ,fig4 #b represents an improved form1 in which the release is made by pressing a rubber bulb connected with a rubber tube attached to a metal valve4 ,the action of both these styles of drop shutter may be hastened by using rubber p#afe bands to quicken the fall of the sliding piece1 as represented in ,fig4 #b by ,a and ,b4 ,so that while a rapid exposure might be made by the fall of the slide1 by its own weight1 it would not be quick enough for an object moving across the plane of focus1 but might be sufficient for an object moving away from or toward the lens4 ,by the use of the rubber bands the exposure may be made as quick as a flash1 or the small fraction of a second1 thus enabling one to secure a sharp impression of the trotting horse1 the railroad train1 the racing yacht1 and many other interesting and difficult subjects4 ,another peculiarly effective form of shutter is that known as ,,the ,,prosch ,,eclipse ,,shutter1 which is a small and compact instrument1 made of metal and rubber1 by which an exposure of #a_/bjj part of a second may be made1 with the power of reducing the speed to about one-half second4 ,illustration3 ,,the ,,prosch ,,eclipse ,,shutter p#aff ,a late and decided improvement on the ,eclipse ,shutter has been produced by ,mr4 ,prosch1 which he has named the ,duplex4 ,illustration3 ,,tn3 ,prosch's ,duplex ,shutter4 ,prosch's ,duplex ,shutter is intended both for timed and instantaneous exposures4 ,it is equal to any requirement for the most rapid work1 and as a time shutter1 exposures can be made of from one-half second to any duration required4 ,the peculiarity of this shutter is that the exposing slides are placed between the front and back combinations of the lens1 necessitating a separation of the tube at the centre4 p#afg ,mr4 ,prosch makes a special tube to which is affixed the apparatus of the shutter4 ,this special tube is of the exact size of that to which the lenses belong1 from which the lenses are taken and fitted to the special tube4 ,the other is kept for future use if necessary4 ,,the ,,carrying ,,box4 ,all this apparatus is1 with the exception of the tripod1 enclosed in a neat carrying case1 with a telescopic cover1 and is carried with a hand-strap4 ,the box contains separate places for from one to six double holders1 as may be desired4 ,and there is room for the head-cloth1 and an extra box of plates if necessary4 ,the head-cloth furnished with this apparatus is a light rubber-covered muslin1 about a yard or a yard and a quarter square1 and its principal use is to cover the head and exclude light from the ground-glass while adjusting the focus4 ,it may also be used to cover the apparatus if caught out in a shower1 or to wrap the carrying case in under the same circumstances4 ,,the ,,developing ,,outfit ,,for ,,amateurs4 ,the amateur is recommended to get some experience in making exposures before attempting to develop4 ,by taking plates to some photographic establishment for development1 and observing carefully the method of manipulating them1 one will soon learn about the proper exposure to allow2 and then the advice of the operator may be of some value4 ,there may1 however1 be some who are so situated as to be unable to avail themselves of such an opportunity1 and are compelled to rely on printed instructions for all they have to do4 ,to such we have only to say1 p#afh ,,do ,,not ,,over-,,expose1 then go ahead and do the best you can4 ,the outfit for development would consist first of the apparatus or dishes2 second1 of the chemical components of the developer1 and the clearing and fixing solutions4 ,the dishes or apparatus are3 ,developing trays1 ,tray or dish for alum solution1 ,tray or dish for fixing solution1 ,washing box1 ,negative racks1 ,glass stoppered bottles1 #b of #a lb4 each for pyro and soda1 #b of #a_/b gallon each for oxalate and iron1 #b of #a_/b gallon each for alum and hypo1 ,glass graduates1 #a of #h oz41 #a of #a oz1 ,glass funnels1 ,filtering paper1 ,a balance scales for weighing #a grain to #a_/d lb4 ,the developing tray is made of japanned iron1 of ebonite or of hard rubber4 ,illustration3 ,,japanned ,,iron ,,developing ,,trays4 ,these are all made to suit the various sizes of plates in use2 the japanned iron trays are the cheapest1 but they wear out rapidly2 the ebonite trays are rather p#afi higher in price1 but they are more durable1 and have a clean polished surface4 ,the hard rubber dishes are the most expensive1 and perhaps the most durable4 ,illustration3 ,,ebonite ,,trays4 ,illustration3 ,,anthony',s ,,glass ,,baths ,,in ,,boxes4 ,the amateur should procure his trays of a size suitable for the largest plate he uses1 and should have two or more on hand always for developing purposes4 ,these dishes are also suitable for the clearing and fixing solutions2 but for these solutions the upright bath dish and dipper are better for several reasons2 first1 because there is less evaporation2 second1 all sediment sinks to the bottom1 and the solution is always clean2 and last1 but not least1 they take up less room4 ,,the ,,washing ,,box4 ,the gelatine plate requires much and prolonged p#agj washing to free it from the solutions by which it is developed and fixed1 and which1 if not thoroughly washed from the film1 would ultimately injure and perhaps distroy it ,an apparatus has been devised for washing dry plates1 which may be adapted to any size plate from #de to #haj4 ,it has a perforated false bottom1 the water is received into the box beneath the bottom1 passes up through the perforations and out through a pipe at the side2 the plates are placed in the grooves and rest on the false bottom4 ,the force of the water is checked in passing through the false bottom and flows evenly up through the plates4 ,a half hour of washing in this box would be quite enough to thoroughly cleanse the film from hypo1 etc4 ,another and very effective model is the ,,anthony ,,self-,,changing ,,shower ,,washing ,,box4 ,illustration3 ,,anthony ,,self-,,changing ,,shower ,,washing ,,box4 p#aga ,the ,anthony ,self-,changing ,shower ,washing ,box for dry plate negatives is a nicely constructed and convenient apparatus4 ,made substantially1 and well japanned inside and out1 it has interior grooves in which either #eh or #haj negatives may be placed4 ,when the negatives are introduced1 the hose is attached to a faucet2 the lid is now closed and locked if desired1 and the water turned on4 ,it will be seen that the water enters the washer from above1 and that the inside of the lid is made in the form of a perforated fountain1 which discharges a spray over the plates4 ,when the negatives are entirely submerged1 the water is all drawn off by means of a self-acting syphon1 and the process of showering is repeated4 ,with this apparatus the hypo can be thoroughly eliminated from the gelatine film in from fifteen minutes to half an hour4 ,the change of water is continuous4 ,when the plates are well washed they are removed from the washing box and set up in ,,negative ,,racks1 where they will soon dry1 and when dry they should be stored in boxes to be kept free from dampness and dust4 ,illustration3 ,,anthony',s ,,folding ,,negative ,,rack4 p#agb ,illustration3 ,,negative ,,boxes4 ,these boxes are made of every size and are indispensable for the proper preservation of dry plates4 ,,chemical ,,components ,,of ,,the ,,developer4 ,the solutions for developments1 both by the neutral oxalate and the alkaline pyro processes1 should be kept in air-tight glass-stoppered bottles2 in fact1 rubber stoppers are superior to glass for keeping out the air1 and when they can be had should be preferred4 ,glass funnels and filtering paper for filtering the various solutions should always be kept handy for use4 ,glass graduates are quite indispensable in preparing and mixing the developing solutions4 ,a balance scale is equally necessary for the same purpose4 ,the chemical constituents of the developing outfit are3 ,neutral oxalate of potash1 ,protosulphate of iron1 for oxalate development1 ,sulphite of soda1 ,sal-soda or carbonate of soda1 ,carbonate of potash1 p#agc ,bromide of ammonium1 ,concentrated ammonia1 ,pyrogallic acid1 for alkaline pyro development1 etc41 ,alum and citric acid1 for clearing solution1 ,hyposulphite of soda1 for fixing solution4 ,,the ,,amateur ,,dark ,,room4 ,it is not necessary that the amateur should have a thoroughly appointed dark room1 although such a room is a great convenience and not at all difficult to construct nor expensive to keep up4 ,those desiring to construct a convenient and safe dark room should consult the article on dark room in the first part of this book4 ,such a room might be put up in an out-building where running water could be had1 but for occasional use the bath-room or any closet in the house that contained running water and is large enough to hold a small table would answer every purpose4 ,it would be necessary to stop every crevice that would admit white light1 by covering such places with heavy red orange paper4 ,the window1 if there is one1 may be covered with the same paper or a heavy shawl4 ,the room may then be lighted comfortably with ,carbutt's ,dry ,plate ,developing ,lantern1 which may set upon the table with the developing tray before1 as in the cut4 ,when abroad making views it is sometimes necessary to change the plates in the holders2 for this purpose carry with you a ruby glass gas burner chimney1 which is a plain cylinder of ruby glass1 about one and a half inches in diameter and six to eight inches long4 ,light a short piece of candle and set the chimney over it2 this in any small dark closet will give plenty of p#agd light for the purpose1 and indeed might do to develop by at a pinch4 ,illustration3 ,,lantern ,,arranged ,,for ,,developing1 ,,and ,,after ,,fixing1 ,,examining ,,negatives ,,by ,,opal ,,light4 ,,ferrous ,,oxalate ,,development ,,of ,,dry ,,plates4 7,,roche47 ,first make two stock solutions as follows3 ,no4 #a4 ,a saturated solution of oxalate of potash 7a pint or quart7 and test with blue litmus paper4 ,if it does not show an acid reaction dissolve a little oxalic acid in water and add enough to the solution to cause the blue test paper to turn red4 ,this solution should be filtered for use4 ,no4 #b4 ,make a saturated solution of pure sulphate of iron1 and to one quart add three or five drops of sulphuric acid1 to prevent oxidation1 and filter4 ,now1 to develop a #ex#h plate1 take three ounces of ,no4 #a and to this add one quarter of a dram of bromide of potassium solution 7which is water one ounce1 bromide of potassium twelve grains71 then add half an ounce of ,no4 #b2 this forms the developer4 p#age ,then transfer the plate to a developing disk1 and pour over it the developer4 ,if the picture comes out gradually and develops sufficiently1 it is good so far1 but if from under-exposure the details hang back and refuse to develop further1 then add two drams1 or half an ounce1 more of ,no4 #b1 which will bring out the picture with full details1 unless greatly under-exposed4 ,never exceed one ounce of ,no4 #b 7iron7 to three ounces of ,no4 #a 7potash71 for if you do you will form a sandy deposit and discontinue the action of the developer4 ,always develop until the picture seems sunken into the surface4 ,do not judge by looking through the negative only4 ,wash and fix in hypo1 #a ounce2 water1 #h to #aj ounces4 ,after fixing1 wash well4 ,for pictures taken instantaneously1 use no bromide in the developer4 ,,cooper',s ,,soda ,,developer4 ,no4 #a4 ,anthony's ,sodium ,sulphite ,crystals #c_/d lb4 ,distilled water #b qts4 ,anthony's ,pyrogallic ,acid #b ozs4 ,no4 #b4 ,anthony's ,sal ,soda ,crystals #a_/b lb4 ,water #b qts4 ,to develop1 take ,no4 #a #b ozs4 ,no4 #b #b ,water #b ,for restraining over-exposure use the above quantity of developer1 one-half to one dram of ,bromide potassium #a oz4 ,water #f ,it is always advisable to use two developing trays1 p#agf and have the normal developer in one and the restrained developer in the other4 ,then1 by changing the plate from one tray to the other1 the character of the negative is under full control4 ,four to six plates can be developed in one lot of developer4 ,this developer can be used for a number of plates1 and gives fine negatives of good printing quality4 ,after development1 return your old developer to a stoppered bottle1 and keep for commencing development4 ,the reason for doing this is as follows3 ,as a rule1 ,i give a little more time than necessary to make a full-timed negative1 and1 by commencing with the old developer1 give the high lights a start of the shadows1 which ,i can readily soften afterwards by the use of a stronger developer at the finish1 thus obtaining the sparkling high lights so much admired in the wet plate2 and so seldom found in the average ,dry ,plate ,pictures4 ,this developer never becomes muddy1 and may be used repeatedly with fine effect4 ,always place plates in a strong solution of alum after developing and rinsing1 and before fixing4 ,this gives brilliancy to the negative and prevents the possibility of softening4 ,in the use of the above formula it is important that the best ,chemicals be employed4 ,it is not necessary to make up the full amount of #b oz4 pyro at one time4 ,in the foregoing two formul will be found all that is necessary for making good negatives by either process4 ,every box of plates that is put up for sale carries p#agg with it the formula supposed to be best for that plate4 ,there are other forms of development that produce good work4 ,the following is one of them3 ,,ferro-,,cyanide ,,of ,,potassium ,,developer4 ,make a saturated solution of yellow prussiate of potassium and dilute with an equal bulk of water2 add #b drops of ammonia and #b grains of dry pyro to each ounce used4 ,the solution can be used repeatedly until exhausted4 ,four ounces of this solution would contain #h grains of pyro1 which is enough to develop #b #haj plates1 or their equivalent of smaller plates4 ,mix only the amount that will be used at one sitting4 ,it will be noticed in all the foregoing formul that the matter of greatest uncertainty is the exposure of the plate2 you never can tell if your plate is properly exposed until you begin to develop1 and then if your picture flashes out at once it is too late to correct by modifying the developer4 ,the theory of development is that the pyro is the developing agent and gives the strength4 ,the soda1 or ammonia1 as the case may be1 gives the detail4 ,the bromide is a restrainer1 and to a certain extent will correct over-exposure4 ,sulphite of soda1 citric acid and sulphurous acid are used to keep the pyro from oxidizing4 ,therefore1 when developing a plate1 say a #eg1 put it in the tray and pour over it the amount of pyro necessary to develop such a plate1 say two grains in four ounces of water1 let the plate remain in this solution for a short time1 in the meantime take of your alkaline solution the amount you would use for the p#agh same size plate1 but add only a small portion to the solution covering the plate4 ,to do this pour off the pyro solution into a graduate and add a drop or two of the alkaline solution1 soda1 potash or ammonia1 whatever it may be1 then turn the solution back on the plate and watch for the effect2 if in a few minutes there is no change1 then add more of the alkaline solution in the same manner1 and in a short time the image will begin to appear2 if it comes up too slowly1 give it the remainder of the alkaline solution1 and unless the plate has been under-exposed the image will come out and strengthen gradually until it has well sunken into the plate1 when it may be removed and washed4 ,if you use the oxalate developer1 proceed upon the same plan2 oxalate in the place of pyro1 iron in the place of alkali1 but always add the iron to the oxalate1 not the reverse4 ,do not be persuaded that the bromide is only a restrainer2 it is that and more too2 it may greatly affect the quality of the negative1 making it much finer in grain and clearer in the shadows4 ,under-exposed plates at best make but poor negatives1 and it is preferable to err1 if at all1 on the other side1 but with the rapid plates now made exposures are very seldom too short4 ,when the plate has been developed it must be washed and then placed in the hypo solution to fix4 ,the most effective strength of hypo solution is half saturated4 ,make a saturated solution of hypo and dilute it with an equal bulk of water4 ,the plate should lie in this solution until it appears perfectly clear1 and about five or ten minutes longer1 then it should be p#agi taken out and well washed4 ,it should then be put in the ,,clearing ,,solution4 ,water1 #a_/b gal4 ,alum1 #a_/d lb4 ,citric acid1 #b oz4 ,allow the plate to remain in this solution a few minutes and it will be found to have been greatly improved1 having lost the color and cleared the shadows4 ,this solution1 besides clearing the negative1 decomposes the hypo remaining in the film1 and a short wash after being taken from it is sufficient4 ,,eastman',s ,,improved ,,negative ,,paper4 ,the ,eastman ,dry ,plate and ,film ,co41 of ,rochester1 ,n4 ,y41 exhibited at the ,p4 ,a4 of ,a4 ,exhibition1 at ,buffalo1 ,n4 ,y41 in ,july1 #ahhe1 a very remarkable display of photographs1 the negatives of which were made on gelatinized paper and called the ,eastman flexible negative support4 ,they gave a demonstration of their process at the same time1 and also explained the working of their new holder for a continuous web or band of paper4 ,the sensitive gelatine emulsion is prepared in the same manner as for glass plates1 and it is spread by means of ingenious machinery on continuous bands of paper1 which bands are afterwards cut into sizes1 or rolled on spools which will contain enough paper to make from #bd to #dj views or portraits1 according to size4 ,they have invented a very neat apparatus to hold the paper when cut into sizes so that it may be inserted in the common dry-plate holder4 p#ahj ,they have also invented and patented a roller holder which may be made to fit any camera1 in which is inserted a spool of the paper1 and by means of ingenious devices it may be drawn across a flat table and wound upon another roller with an apparatus to register each length of paper as an exposure is made4 ,this apparatus is absolutely correct in operation1 and the proper length of paper is infallibly transferred from the table to the roller by simply turning the roller with a key from the outside4 ,by this invention the viewist is given command of as many as #bd exposures1 with no greater weight to carry than one double dry-plate holder when filled with glass1 thus reducing his tote the weight of five double dry-plate holders and ten glass plates1 and his resources are increased two-fold4 ,the exposures having been made the holder is taken to the dark room1 the paper unwound from the spools1 cut at the register marks and developed in the same manner as glass plates1 but with the difference that several pieces may be developed at the same time in the same manner that paper prints are toned1 thus securing a uniform intensity to the negatives2 the fixing and washing are performed in the same manner as silver prints and as easily4 ,the paper negatives after being washed are dried between blotters1 or in any other preferred manner1 and they are then saturated with castor oil and ironed with a hot flat-iron1 to make the oil more effectually permeate the fibre of the paper4 ,these negatives are more perfectly susceptible of being retouched and worked up than those on glass4 ,they are printed from the gelatine side1 and when p#aha the prints are made the negatives are stored in portfolios4 ,if after a time it is found that the oil has dried out of the film1 they may be again oiled the same as at the first4 ,the roller holders are made for every size and style of camera box from the ,detective and the ,bijou pocket apparatus1 up to the #bjbd mammoth size ,novel ,camera4 ,,how ,,to ,,use ,,the ,,eastman-,,walker ,,roll-,,holder4 ,the ,eastman paper films for the roll-holder are prepared in continuous bands1 and are rolled up on wooden spools and neatly packed in paper boxes4 ,the spool may be removed from its box and placed in the holder in daylight1 at the expense of the outside roll or length of paper necessary to extend from the spool to the winding-reel1 so that if one were so situated as to find it necessary to change rolls in the field1 the loss would be trifling--being at the utmost not more than would be required for two exposures from each spool4 ,the proper course1 however1 is to charge the holder with its spool of film in the dark room before going abroad4 ,in doing this it is necessary that the light in the room should be strong enough to enable the operator to see comfortably2 but of such a quality as not to injure the paper1 which is at least #be per cent4 more sensitive than the same emulsion would be if on glass instead of paper4 ,figure #a gives a general idea of the shape of the holder1 with the slide partly drawn to show a portion of the film4 ,also may be seen the brass loops or clamps p#ahb which hold the cover securely over the working parts1 and the key at the bottom which turns the reel to which the loose end of the paper is attached4 ,illustration3 ,,fig4 #a4 ,illustration3 ,,fig4 #b4 ,the working parts are fastened to a light metal frame1 and consist of a spool of film at the right end1 and the winding reel at the left1 as seen in ,figure #b4 ,both the spool and the reel are provided with spring brakes1 that prevent the uncoiling or unrolling of the paper from either the spool or reel4 ,the milled p#ahc heads of the chucks which hold the near ends of the spool and reel are provided with pawls1 which1 while permitting them to turn easily in the right direction1 prevent the possibility of turning the other way4 ,when the cover1 as seen in ,fig4 #b1 is to be removed1 the keyhole guard and the indicator knob are pulled out as far as they will come1 the two loops on each side are turned down1 the cover lifted off1 leaving the working parts exposed1 attached to the back of the holder by spring bolts1 two at each end of the frame4 ,now1 with the thumb and fore-finger of the right hand1 press these bolts1 and thus release the right end of the framework1 which you may turn up1 as seen in ,fig4 #c1 which is the position for removing and replacing the roll of film4 ,illustration3 ,,fig4 #c4 p#ahd ,illustration3 ,,fig4 #d4 ,the proper method of doing this is more particularly shown in ,fig4 #d4 ,with the left hand you hold the roll of film and draw back the spring brake2 now press the end of the roller that has the saw-cut or groove across it against the chuck1 as seen on the left1 while the right hand unscrews the pivot or support for the other end of the roller1 which is then placed in position2 the pivot is inserted and screwed home4 ,this completes the operation of placing the roll of film in position4 ,the frame is then turned down and secured by the two bolts1 the paper band on the roll of film is torn off1 and the end of the film is carried beneath the guide roller and over it and across the exposing table to the other end1 which is next released and raised to a perpendicular position4 ,the end of the film is now brought over the guide roller and attached to the winding reel1 as shown in ,fig4 #e4 p#ahe ,illustration3 ,,fig4 #e4 ,the paper is fastened to the winding reel by a metallic clamp1 which is pivoted to the ends of the winding reel4 ,now see that the film occupies a central position across the table and over the guide rolls1 and then take up the slack by means of the milled head tension screw or chuck at one end of the reel4 ,the pawls should now be adjusted on the milled heads of the chucks1 the cover replaced and fastened by raising the loops or clamps over the pins in the side of the cover1 and you are ready for work4 ,for the purpose of indicating plainly where the first exposure will be1 insert the key and screw it home then turn it slowly until you hear a sharp click1 then pull out the slide and draw a pencil across the film at each end of the holder1 then return the slide4 ,when about to make another exposure1 note the position of the indicator at the right end of the holder1 then turn the key slowly2 the proper length will be p#ahf indicated both by the sound of the sharp click within and by the position of the indicator on the outside of the holder4 ,at every turn of the guide-roll the paper is punctured by a sharp point which occurs simultaneously with the sound of the click4 ,for the smaller sizes1 three clicks and three punctures will surely indicate that the proper length of paper has been replaced on the exposing table4 ,for the medium sizes four clicks and punctures are required4 ,and for the larger sizes1 as many as six or eight may be necessary4 ,the proper information is given with the holder4 ,illustration3 ,,fig4 #f4 ,when the exposures are made1 and it is desired to remove the paper from the winding reel and cut it for development1 proceed as before1 and remove the cover from the holder2 then1 with a sharp knife-blade1 cut the paper1 as shown in ,fig4 #f1 by drawing the blade over the paper and in the tin-lined groove in the guide-roll ,then release the spring pawl at the reel end and p#ahg draw the paper from the reel across the table1 then cut by measurement1 or by counting the punctures4 ,the directions for developing and preparing the films for printing accompany each package of the paper4 ,,the ,,roche ,,film4 ,the year #ahhe has been remarkable for the great importance of the numerous improvements in photographic processes that have been brought before the profession1 and for the great impetus thereby given to the extension of the uses of the art4 ,the substitution of paper for glass as a vehicle for sustaining the sensitive film has long been an aspiration of the progressive photographer2 and this year has witnessed the perfection of at least two paper film processes that may be said to be perfect4 ,the ,eastman paper film has already established itself as a practical success1 and now we have a new candidate for photographic favor in the ,roche ,film1 just perfected and patented by that able experimentalist1 and assigned to ,messrs4 ,anthony ,co4 ,this ,roche ,film is remarkable for the ingenious manner by which the disagreeable necessity for oiling the paper is avoided4 ,this particular improvement consists in coating both sides of the paper with the same sensitized gelatine emulsion1 which has the effect of preventing any trace of the fiber of the paper showing1 from the fact that the light penetrating the front film has sufficient power to impress an image on the back film as well1 the interstices between the fibres of the paper permitting a more energetic action of the light on the back film than through the fibre1 equalizes the intensity and thus prevents p#ahh the fibre showing in the negative when examined by transmitted light1 or leaving any impression on prints made therefrom4 ,the double impression has also the power of giving a more plucky or bolder character to the prints1 and greatly enhancing the atmospheric effect and beauty of both portraits and landscape pictures4 ,also other imperfections1 either in the front film or in the body of the paper1 are corrected by the back coating1 as neither the fibre of the paper nor any imperfection therein can have any effect on the front coating1 but both the fibre and any spots1 either opaque or transparent1 in the paper or front film will affect the back image in the exact ratio of the opacity or transparency of the spots or imperfections4 ,in other words1 all the imperfections of the paper and front film will be corrected by the back1 rendering the double negative quite smooth and even1 whatever the character of the texture of the paper may have been4 ,this special paper offers other advantages4 ,it will stand a protracted washing without weakening1 and does not easily tear or crack from handling in the water1 and when dried it will not curl1 but remains flat1 ready for immediate use4 ,directions for development accompany each package4 ,,enlarging ,,and ,,duplicating ,,small ,,negatives4 ,many amateurs have of late discarded their larger equipments1 and for general work use the smallest sizes1 such as the ,detective ,camera and the ,bijou or ,novelette1 which are of the smallest sizes1 such as #c-a_/dd-a_/d and #de4 ,it is contended on their part that these small outfits1 which are so light and portable as to give the minimum p#ahi of trouble in their use1 give also 7when good lenses are used7 the most brilliant and perfect negatives1 which are capable of being enlarged to any desirable size4 ,indeed1 the copying and duplicating apparatus may be found in the rooms of many of the leading amateurs4 ,and by its use many valuable negatives are duplicated1 and secured against loss by breakage2 others are enlarged to more useful sizes1 and most beautiful transparencies are made4 ,,the ,,copying ,,and ,,duplicating ,,camera4 ,illustration3 ,,the ,,copying ,,and ,,duplicating ,,camera4 ,this apparatus1 as will be seen in the engraving1 is a camera with an unusually long bed-rail and bellows4 ,it has a central frame which supports a lens1 and a front frame supporting a negative1 so placed for duplicating or enlarging1 which is done by transmitted light4 ,the front is fitted with a kit of frames for the various sizes of negatives1 from #c-a_/dd-a_/d to #haj1 or the largest size the box is capable of producing4 ,for copying by reflected light the lens is removed from the central frame and adjusted or attached to the front1 where the negative is seen in the cut2 and the picture to be copied is attached to an upright support 7which is usually a part of the copying table or stand7 p#aij and exposed to the strongest diffused light available1 the camera being adjusted squarely in front of it4 ,for duplicating or enlarging negatives the adjustment of the apparatus is as shown in the engraving4 ,such work being done by transmitted light4 ,the negative to be enlarged is placed in the appropriate sized frame in front and the lens in the middle frame1 which is placed nearer to the negative than to the ground glass4 ,the conjugate focus is then found by drawing out the rear or ground glass focussing screen until the image is sharply defined on the glass4 ,when the subject is sharply in focus1 if the image is found to be too small the frame supporting the lens is pushed a little nearer the front2 on the contrary1 if the image is too large the lens is drawn back from the front4 ,for all such work the camera should be directed toward a window commanding a clear view of the sky1 or if trees or buildings intervene then a sheet of tissue paper or a square of ground glass should be placed immediately in front of the camera and against the window4 ,it will be found that ,anthony's mineral paper is superior to either tissue paper or ground glass for this purpose1 and should be used when it can be procured4 ,when it is desired to make a duplicate negative it is necessary first to produce a dia-positive or transparency2 this is merely a copy of the negative 7by transmitted light1 or light passing through the negative to the lens7 with its lights and shadows transposed or reversed4 ,great care must be taken to have this transparency in sharpest focus1 and full-timed in exposure to secure line detail4 ,when a suitable positive has been secured it should p#aia be dried and set up in the place occupied by the negative from which it was made1 and with the film side toward the lens4 ,the process is now repeated1 but with a shorter exposure1 and the resulting picture is a negative 7if well done7 identical with the original4 ,the adjustment for size is1 as before mentioned1 effected by moving the lens support4 ,if it is desired to enlarge1 the lens is moved nearer the subject2 if to reduce1 move the lens back from the front4 ,if the duplicate negative is to be of the same size as the original1 the lens is moved to the position near the centre between the front and back1 which will give the image on the ground glass the same dimensions by measurements as the original4 ,it will be observed that as there are two plates to be used the utmost care must be taken in the adjustment of the focus and in timing the exposure in both instances1 to avoid loss of definition or quality4 ,duplicates and enlargements of negatives made by this process and with dry plates need be in no particular inferior to the originals1 if care and skill are exercised in their production4 ,,duplicate ,,negatives ,,by ,,contact4 ,when it is not desired either to enlarge or reduce the size of the duplicate1 a more direct and simple method is to make the positive by contact printing4 ,place the negative in a printing frame1 and upon it lay a dry plate so that the two film surfaces are together2 use a thick pad and see that the pressure is strong enough to force the two surfaces into intimate contact2 now expose to a gas flame for four to six p#aib seconds and develop4 ,this will make an admirable positive or transparency if properly done4 ,the same process repeated1 serves to make a duplicate negative from the transparency4 ,it is advisable to make a positive by this method from every valuable negative4 ,this positive will serve to make duplicates from1 should the original be lost or broken4 ,enlarged prints from small negatives can be made by the use of ,anthony's enlarging camera1 and their gelatino-bromide paper by artificial light1 so that when one or more or only a few large prints are required from a small negative it would perhaps be more advantageous to make them direct from the original negative by the use of this instrument than by making an enlarged negative and printing by contact4 ,however1 the latter method would be the best in cases where many prints are required4 ,,printing ,,processes4 ,the amateur who has secured a fine negative of some choice bit of scenery1 or has made a hit on any subject interesting or beautiful1 will naturally desire to secure prints or impressions from it1 that he may gratify his friends with a copy or supply the demand for exchanges with the members of his camera club4 ,the accomplishment of this desire is neither difficult nor expensive1 as there are several processes by which the amateur may print for himself as many impressions as will suit his purpose4 ,if silver prints are preferred1 any photographer will produce them at small expense2 or if the amateur is sufficiently posted in this branch of the art1 and has the facilities1 he can easily p#aic make them himself4 ,the matter is much simplified by procuring from the nearest stock dealer or photographer1 ready sensitized paper4 ,few amateurs1 however1 ,i imagine1 would care to incur the expense of a silver-printing outfit4 ,those who would will find in the first part of this book full instructions in the article on silver printing4 ,the processes by which the amateur may most easily produce prints from his own negatives by his own skill and labor are3 ,the ,gelatino bromide paper process4 ,anthony's collodio-chloride process4 ,ferro-prussiate or blue process4 ,transparencies in glass or opal4 ,,printing ,,on ,,anthony',s ,,gelatino ,,bromide ,,paper4 ,this paper is prepared with a sensitive surface1 similar to the dry plates commonly used1 and must be handled with the same care and subject to the same conditions of light2 consequently the printing must be done by artificial light only4 ,the paper being cut to the sizes desired1 should be kept in a light-tight box1 and in a dark room4 ,when about to print1 place the negative in a printing frame in the same manner as for silver printing1 lay the paper with the gelatine surface down upon the negative1 place a cloth pad upon the paper1 then press the frame back firmly down to secure even contact of the paper with the negative4 ,all this should be done in a dark room by the aid of a non-actinic light1 and for this purpose ,anthony's ,climax ,dark-,room ,lantern1 ,patented1 as shown in the following cut1 p#aid would seem to fulfil every requirement4 ,a more expensive1 but very convenient instrument1 however1 is ,,carbutt',s ,,multum ,,in ,,parvo ,,dry ,,plate ,,lantern1 p#aie which has proved to be most suitable for this particular purpose4 ,illustration3 ,,tn3 ,anthony's ,climax ,dark-,room ,lantern4 ,illustration3 ,,carbutt',s ,,multum ,,in ,,parvo ,,dry ,,plate ,,lantern ,the paper having been placed in the printing frame1 the frame is set up1 as seen in the ,,tn3 following cut1 and the door in the side of the lantern opened1 which permits the white light from the lamp to fall upon the surface of the negative2 an exposure of from #e to #aj seconds is all that will be necessary1 even in case the negative is quite dense2 a thin negative will print with less exposure1 say #c to #e seconds1 at a distance of from #ab to #ae inches from the light4 ,illustration3 ,lantern arranged for making positives by contact4 ,the paper when taken from the frame presents no change of surface1 and must be developed in the same manner as a dry plate1 to bring out the picture4 ,previous to developing1 lay the paper in a dish of clean water for a short time1 and then transfer it to the developing tray4 p#aif ,the developing is done by the ferrous oxalate process4 ,solutions as follows3 ,saturated solution oxalate potash #c oz4 ,saturated photosulphate iron #a_/b oz4 ,bromide 7#ab grains bromide of ammonium to #a oz4 water7 #a_/d dram4 ,saturated solution tartaric acid #b drops4 ,this developer can be used several times successively until it becomes turbid4 ,the best way is to first print and develop one print1 to ascertain the proper time of exposure4 ,then make as many prints as are necessary1 and develop them all together in a dish large enough1 and with sufficient of the solution to cover them nicely4 ,observe carefully not to develop too far1 as the resulting prints will be too dark4 ,when the prints are developed1 wash them well and fix them in a new solution of ,hyposulphite of soda #a ounce4 ,water4 #h ,the fixing will require from five to ten minutes2 then wash and pass the prints through a clearing solution consisting of ,alum #b ounces4 ,water #f then wash again and hang up1 or place between clean blotters to dry4 ,it is necessary that the hands be free from any trace of silver or hypo when handling these prints while developing1 or afterwards when wet1 to avoid stains1 etc4 ,the same precautions as to the relative proportions of the oxalate solution and the iron are to be observed as for the development of negatives4 p#aig ,,the ,,magic ,,lantern ,,and ,,its ,,use ,the ,magic1 or1 more properly1 the ,projecting lantern1 is an optical instrument1 consisting of a case of wood or metal1 enclosing a lamp or other illuminating agent1 the light of which being gathered and condensed by a suitable condensing lens1 and directed upon a small transparent picture1 so powerfully illuminates it that its image1 brilliantly lighted and greatly magnified1 may be projected upon a distant screen by means of an objective--a combination of lenses in a tube--similar or identical in construction with a photographic portrait lens4 ,the modern projecting lantern1 now a scientific instrument1 bears very little if any resemblance to the earlier magic lantern1 which was a rude construction1 and1 as its name implies1 was first used by magicians1 or professors of the magic arts1 as a means of imposing upon the ignorance and superstition of their times4 ,later it became a toy for the amusement of young people4 ,and occasionally it furnished amusement for popular assemblies1 at what were called ,magic lantern exhibitions1 usually the projection upon a screen of greatly enlarged images of a series of comic pictures painted in brilliant colors upon glass4 ,the perfected instrument is now used in advanced schools and colleges for illustrating scientific lectures1 and more popularly by public lecturers to illustrate by luminous projection scenes and incidents of travel1 etc41 without which the mere narrative would be exceedingly dry and devoid of interest4 ,since dry plate photography became a popular amusement1 the projecting lantern has greatly increased in public favor1 and the members of the amateur p#aih photographic societies and camera clubs throughout the country are interested and engaged in the production1 as slides for the lantern1 of views of almost everything in animate or inanimate life4 ,the projecting lantern1 in its highest development1 is a complicated and costly instrument1 the different designs and constructions of which have received1 each1 a long and high-sounding name1 the antepenultimate of which is usually of ,greek or ,latin origin1 such as panopticon1 sciopticon1 stereopticon1 etc41 etc41 and requiring such powerful illumination as can only be furnished by the oxy-hydrogen or calcium lights or electricity4 ,a new instrument1 however1 suitable both in cost and in means of illumination for amateurs and amateur societies1 has lately been introduced by ,messrs4 ,e4 ,h4 ,t4 ,anthony ,co41 which1 to be in the fashion1 has received the name ,triplexicon4 ,the ,triplexicon is the perfection of oil-burning lanterns2 in it refined petroleum oil is burned in a burner having three wicks2 the centre wick being opposite the centre of the condensing lens1 and in its optical axis1 entirely removes the most objectionable fault of such lanterns1 the central shadow or flare4 ,the ,triplexicon1 therefore1 being of its class the most perfect instrument1 and requiring little if any skill to manage it1 becomes the appropriate instrument for the amateur photographer whereby to exhibit in a very acceptable manner the trophies of his skill in the use of the camera and alkaline pyro4 ,illustration3 ,,tn3 ,triplexicon ,lantern4 ,a gentleman thoroughly familiar with all the various modifications of the magic lantern1 in describing the ,triplexicon says of it3 ,we have seen many lanterns in our time1 and in p#aii several respects this eclipses them all1 especially those for use with kerosene oil only4 ,the lamp itself is completely shielded with a well-made hood of ,russia iron1 and is provided with the patent triplex wick1 which affords the utmost illumination obtainable with any oil light4 ,the back and front of the hood are closed interiorly by glass plates1 specially annealed to withstand extreme heat1 and the rear one is again closed by perforated sheet iron1 covered interiorly with a highly polished metallic reflector1 back of which is inserted an eye piece of ruby glass4 ,the latter enables one to always observe the condition of the flame and wicks1 and regulate them without disturbing or discontinuing the action of the instrument4 ,the chimney is made telescopic1 to pack more compactly4 ,the diffusing lens1 specially constructed for the purpose1 is mounted on a cylindrical slide to extend1 if p#bjj necessary1 the focal distance1 while the condensing lenses1 which are of four inch diameter and can be separated for cleaning1 are inserted in a corresponding slide within the wooden case4 ,the case itself is quite compact1 and appears very ornamental in its highly polished mahogany1 with its little bronzed ventilators on either side at the bottom4 ,the metal front is burnished and has a spiral spring adapter for the admission of the slides4 ,a substantial wooden box contains all1 and serves also as a table for the instrument while in use4 ,altogether this is the finest example of its kind we have yet seen2 it will also serve admirably for enlargements with the gelatino-bromide paper4 ,,lantern ,,slides4 ,the pictures prepared for projection by the magic lantern are made on glass of one size1 invariably #c-a_/dd inches1 and are copies of negatives made by transmitted light and by two methods4 ,when the negative is made by the detective1 or pocket cameras and on plates #c-a_/dd-a_/d1 the positives or slides may be made by contact printing2 that is1 the prepared plate is placed in contact with the negative1 film sides together or touching in a printing frame1 the back pressed closely down and the plate exposed to the light of a gas or lamp flame--daylight is too strong--for from five to ten seconds1 according to the density of the negative2 the plate is then developed perfectly with ferrous oxalate until the picture is seen clearly on the surface2 when the shadows have become sufficiently dense1 or before there is any discoloration of the high lights1 remove and wash and fix in hypo and alum4 7,see ,roche's formula p#bja in article on ,transparencies47 ,remember that all parts of the pictures that represent the whites should be clear glass4 ,when the negative is larger than the slide1 then the copy must be made in the ,camera4 7,see article on transparencies47 ,it is claimed by some that slides made by the collodion process are superior to those made on dry plates1 but in my own personal experience ,i have found ,anthony's transparency dry plates superior to all others and better than collodion4 ,to protect the film surface of the slide1 thin1 clear glass of a corresponding size is placed against the film surface with a paper mat 7the opening of which should closely correspond with the outline of the picture7 between1 and the two bound together neatly with adhesive paper4 ,,printing ,,by ,,anthony',s ,,collodio ,,chloride4 ,collodio chloride is a collodion emulsion1 consisting of plain collodion and silver chloride4 ,it is a grayish-white substance in liquid form1 and being quite sensitive to light1 it must be kept in a covered bottle4 ,anthony's collodio chloride is supplied in #h-ounce or larger bottles1 and will keep indefinitely4 ,the formula for its preparation is not known1 but it is sold at a price that renders its preparation by individuals unprofitable4 ,the following formula will give a superior quality of collodio chloride to those wishing to make their own4 ,,formula ,,for ,,collodio ,,chloride4 ,no4 #a4 ,nitrate silver #a drachm4 ,water #a dram4 p#bjb ,no4 #b4 ,chloride of calcium #fd grains4 ,alcohol #b oz4 ,no4 #c4 ,citric acid #fd grains4 ,alcohol #b oz4 ,to #b oz4 plain collodion add of ,no4 #a #cj drops4 ,no4 #b #a dram4 ,no4 #c #a_/b dram4 ,by the use of this emulsion most beautiful pictures may be made on paper and upon porcelain1 opal1 stoneware1 and other plain white surfaces4 ,when paper or any other flexible surface is to be used1 it is simply coated with the emulsion4 ,first place the paper flat upon a square of glass and pour upon it the emulsion1 causing it to flow evenly over the whole surface and the excess to flow back into the bottle from the lower corner4 ,this must be done in a subdued light1 but not necessarily in a dark room or by non-actinic light1 as in the case of the use of gelatine bromide paper4 ,when the paper is coated it should be placed in a closet or some dark place to dry1 and when dried it is printed in the same manner as silver paper1 by placing it in a printing frame in contact with a negative4 ,it is printed by sunlight1 and may be examined while printing1 to see the progress made4 ,the printing should be carried a shade or two beyond the color suitable for a finished print1 and when done should be washed in clean water and toned with gold1 and afterwards fixed in hyposulphite soda and again well washed in the same manner as for silver prints4 ,flat porcelain or other enameled surfaces1 before p#bjc being coated with the emulsion should be albumenized in the same manner as glass plates for the collodion process4 ,the white of an egg to #f ounces of water1 well beaten1 will be the most suitable proportion for this purpose4 ,for printing on porcelain or other enamel plane surfaces1 specially prepared printing frames are necessary in order that the progress of the printing may be ascertained4 ,all articles with uneven surfaces1 such as plaques1 plates1 saucers1 of porcelain china or stoneware1 that cannot be placed in printing frames1 may have pictures printed on them by the aid of the ,solar ,camera or by ,anthony's ,enlarging ,camera1 and the lime or the magnesium light4 ,see ,anthony's ,enlarging ,camera4 ,,the ,,enlarging ,,camera ,method of making large pictures from small negatives4 ,illustration3 ,,tn3 ,the ,enlarging ,camera4 p#bjd ,the prevalent use of the ,detective ,camera1 and other cameras1 for making pictures on small plates1 has caused a demand for an apparatus whereby large pictures may be produced from such negatives4 ,this demand has been met by the production of ,anthony's ,new ,enlarging ,camera in connection with the ,gelatino bromide papers4 ,this enlarging box is at once simple and effective4 ,it consists of a black wooden box containing a good kerosene lamp4 ,the sides of the box have a number of grooves that carry a slide holding a large condensing lens1 ,o1 while another slide holds the negative1 ,n1 that is to be printed4 ,illustration3 ,,tn3 ,schematic of the ,enlarging ,box4 ,to the outside of one end of the box is attached a sliding bellows1 and an objective1 ,e1 by which the picture is enlarged and thrown upon any white surface4 ,in a few words1 the enlarging box is a small solar camera1 but using artificial light instead of the sun's rays2 or it is a magic lantern so arranged that no light can come out of it except that which passes through the objective4 p#bje ,the use of the instrument is as simple as its construction4 ,the lamp is lighted1 and then adjusted in the box so that a shadowless circle of light is projected upon a white wall or other surface1 all the light being utilized by means of the reflectors situated back of the lamp4 ,this adjustment is effected by moving the condensing lens and the lamp nearer or farther apart4 ,it is perhaps best to place the condenser in a groove near the objective1 but sufficiently far from the end of the box to allow the slide containing the negative to be inserted4 ,having obtained a good circle of light1 now place the negative in the slide and adjust the slide in the box so that it is between the condensing lens and the objective1 and as close to former as may be4 ,by means of the objective a good focus is now obtained1 and we are ready for an enlargement4 ,with this apparatus and an artificial light1 of course rapid printing paper is necessary4 ,the cap is placed on the objective1 and by the aid of red light a piece of the gelatino bromide paper is adjusted on the surface where the image was projected from the enlarging box4 ,this part of the operation maybe assisted by removing the cap from the objective and placing a piece of ruby glass before it1 allowing the image to fall on the paper through the ruby glass4 ,a simple and effective way of holding the paper is to tack two common wooden laths upon a board in such a way that they will serve to hold the paper along two of its longer sides1 in which case the board must be used to focus upon4 ,the exposure necessary will depend upon the density and character of the negative4 ,with a medium density in a portrait negative1 one minute appears sufficient1 but something also depends upon the paper p#bjf used1 those of ,english manufacture being rather slow4 ,with a little care and this little contrivance much pleasure and success are attainable in enlarging pictures from small negatives4 ,the use of the new tooth surface printing paper admits of the application of crayons to the enlargements4 ,by substituting the lime or the magnesium light for the kerosene lamps1 pictures may be printed by the collodio chloride process upon a variety of uneven surfaces1 such as plaques1 plate1 saucers1 pots1 etc41 etc4 ,in fact1 this instrument might very easily be converted into a solar camera by fixing it in a window and adjusting a mirror outside that would reflect the sun's rays into the condenser within the box4 ,,to ,,enlarge ,,negatives ,,by ,,the ,,reversing ,,action ,,of ,,light4 ,having coated a plate with the common negative collodion and excited it in the usual nitrate of silver negative bath1 expose it to the light for about a second at the door of the dark room1 wash it and then apply to the surface as a wash a solution of ,iodide of potassium #af grains4 ,bromide of potassium #h ,water #a ounce4 ,the plate is now ready for exposure in the enlarging camera2 the lime or the magnesium light being sufficiently powerful for the purpose4 ,on its removal from the camera the plate is washed1 immersed for a brief period in the nitrate of silver bath1 or otherwise treated with a solution of this salt1 after which the image is developed by the ordinary developing solution p#bjg for wet plates4 ,in this way is obtained an enlarged negative from a small one without the necessity of an intermediary transparency4 ,,printing ,,without ,,salts ,,of ,,silver1 ,,from ,,the ,,silver ,,sunbeam4 ,the discovery that certain of the per salts of iron when exposed to light undergo decomposition and are reduced to proto salts1 is attributed to ,sir ,john ,herschell4 ,but we are indebted to ,poitevin for numerous interesting developments in this department4 ,for instance1 the per-chloride so exposed becomes reduced to the proto-chloride2 or1 as ,von ,monckhoven more appropriately remarks1 to the state of oxy-chloride4 ,for this purpose the sesqui-chloride must be quite neutral4 ,the ammonia tartrate1 potassa tartrate and the ammonia citrate of iron are much more sensitive to light than the sesqui-chloride1 and the latter salt 7ammonia citrate7 most of all4 ,the image formed by means of these salts is much fainter than that with the chloride of silver2 but it can be intensified by the application of other metallic salts4 ,the mode of operation consists in floating the paper on the solutions in question in the dark room1 in allowing them to dry1 and then exposing them afterward beneath a negative1 as usual with paper prepared with chloride of silver4 ,,the ,,ferro-,,prussiate1 ,,or ,,blue ,,process4 ,the preparation of the paper by this process is very simple1 and requires very few manipulations1 while the results1 when prints are made1 are pleasing and lasting4 ,prints in blue are so easily made as to be p#bjh extremely convenient for making proofs from negatives1 and they are well adapted for mottoes1 plans1 drawings1 manuscript1 circulars1 and for representations of scenery1 boats1 machinery1 etc41 etc41 and for engravers' use4 ,ferro-prussiate paper can be procured from ,e4 ,h4 ,t4 ,anthony ,co41 or can be easily made by the following formula3 ,float the paper until it lies quite flat upon a solution prepared as follows3 #a4 ,water #b ounces fluid4 ,red prussiate of potash #abj grains4 #b4 ,water4 #b ounces4 ,ammonia citrate of iron #adj grains4 ,when these two are dissolved1 mix them together and filter into a clean bottle4 ,the solution should not be exposed to a strong light1 and the paper must be floated on it in a very subdued light1 and in the same manner as paper is floated on a silver solution4 ,when it no longer curls1 but lies flat on the solution1 take it by the corners and raise it slowly from contact1 and hang it up to dry in a dark place4 ,when dry1 it can be used at once1 or may be kept for future use by rolling it1 prepared surface in1 and placing it in a tin box or other receptacle1 free from light and dampness4 ,to make a print on this paper1 place the prepared surface in contact with the negative in a printing frame and expose to sunlight4 ,the time of exposure will vary according to the density of the negative and the intensity of the light4 ,the rule is to allow the light to act long enough for the portions which first turn blue to become gray1 with p#bji a slight metallic luster4 ,at this point remove the paper from the frame and place it in a dish of clean water4 ,it now gradually becomes a rich blue throughout1 except the parts which should remain white4 ,change the water from time to time1 until there remains no discoloration in the whites2 dry1 and the picture requires no further treatment4 ,the blue color may be totally removed at any time by placing the print in ammonia water4 ,this is the standard formula4 ,,another ,,process ,,for ,,blue ,,prints4 ,float the paper for a minute in a solution of ,ferridcyanide of potash #a ounce4 ,water #e ounces4 ,dry in a dark room1 and then expose beneath a negative until the dark shades have assumed a deep blue color1 then immerse the print in a solution of ,water #b ounces4 ,bichloride mercury #a grain4 ,wash the print1 and then immerse it in a hot solution of ,oxalic acid #d drachms4 ,water #d ounces4 ,wash again1 and dry4 ,,another ,,process--,,the ,,cyanotype4 ,float the paper on a solution of the sesqui-chloride of iron4 ,dry and expose1 afterwards wash the prints1 and then immerse them in a bath of ferrid cyanide of potash4 ,the picture will appear of a blue color in all those places where the sun has acted4 p#baj ,,process ,,with ,,salts ,,of ,,uranium4 ,the paper1 without having undergone any preceding preparation1 except that of having been excluded from the light for several days1 is floated on a bath of the nitrate of uranium as follows3 ,nitrate of uranium #b drachms4 ,distilled water #aj drachms4 ,the paper is left on the bath for four or five minutes1 it is then removed1 hung up and dried in the dark room4 ,so prepared1 it can be kept for a considerable time4 ,the exposure beneath a negative varies from one minute to several minutes in the rays of the sun1 and from a quarter of an hour to an hour in diffused light4 ,the image which is thus produced is not very distinct1 but comes out in strong contrast when developed as follows3 ,,nitrate ,,of ,,silver ,,developer4 ,distilled or rain water #b drachms4 ,nitrate of silver #g grains4 ,acetic acid a mere trace4 ,the development is very rapid in this solution4 ,in about half a minute it is complete4 ,as soon as the picture appears in perfect contrast1 the print is taken out and fixed by immersion in water1 in which it is thoroughly washed4 ,,chloride ,,of ,,gold ,,developer4 ,this is a more rapid developer than the preceding4 ,the print is fixed in like manner by water1 in which it must be well washed1 and afterwards dried4 ,when dried by artificial heat1 the vigor of the print is increased4 p#baa ,prints that have been developed by the solution of nitrate of silver may be immersed in the gold bath1 which improves their tone4 ,the picture may be developed1 also1 by immersing the prints in a saturated solution of bichloride of mercury and afterwards in one of nitrate of silver4 ,in this case1 however1 the times of exposure must be increased4 ,pictures may be obtained1 also1 by floating the papers on a mixture of equal quantities of nitrate of silver and nitrate of uranium in about six times their weight of water4 ,when dry1 they are exposed beneath a negative4 ,in this case the image appears1 as in the positive printing process1 with chloride of silver1 being effected by the decomposition of the nitrate of uranium1 which1 reacting on the nitrate of silver1 decomposes this salt and reduces the silver4 ,these prints require fixing in the ordinary bath of hyposulphite of soda1 and then washing1 as usual4 ,,process ,,for ,,red ,,pictures4 ,float the papers for four minutes in the preceding bath of nitrate of uranium1 drain and dry4 ,next1 expose beneath a negative for eight or ten minutes1 then wash and immerse in a bath of ,ferridcyanide of potash #cj grains4 ,water #c ounces4 ,in a few minutes the picture will appear of a red color1 which is fixed by washing thoroughly in water4 ,,process ,,for ,,green ,,pictures4 ,immerse the red picture1 before it is dry1 in a solution of p#bab ,sesqui-chloride of iron #cj grains4 ,distilled water #c ounces4 ,the tone will soon change to green2 fix in water1 wash and dry before the fire4 ,,process ,,for ,,violet ,,pictures4 ,float the paper for three or four minutes on a bath of3 ,water #b ounces4 ,nitrate of uranium #b drachms4 ,chloride of gold #b grains4 ,afterward take them out and dry4 ,an exposure of ten or fifteen minutes will cause the necessary reduction2 the picture has a beautiful violet color consisting of metallic gold4 ,wash and dry4 ,,transparencies ,,on ,,glass ,,and ,,opal4 ,photography1 throughout its varied range1 produces no more charming or satisfying picture than the transparency1 whether it is on glass for the window1 or on porcelain or opal for the lamp4 ,the beautiful and sparkling gradation of light and shade1 the variety and depth and richness of tone and color inherent in a fine example of this picture1 renders it most positively a thing of beauty and a joy forever1 ,it is a picture made by a peculiarly simple and easy process1 the most exalted expressions of which have always commanded the popular favor and a high price1 and the working of which has1 both for the amateur and the professional photographer1 the highest interest and attractiveness4 ,by no other method or process can the amateur succeed in producing pictures of p#bac equal excellence1 with the same outlay of time and skill1 which is a peculiarly fortunate circumstance1 as the tendency among amateurs at this time is to form themselves into clubs and societies for the exchange of their most beautiful and successful efforts as picture makers4 ,and an exchange in the form of a transparency enables the receiver to command all other styles of pictures1 through the negative that may be produced from it4 ,the production of these pictures has assumed such importance already as to have called forth a special dry plate for making transparencies1 to say nothing of the other special goods for the same line1 such as metal frames1 ground1 engraved and etched glass for mounting1 the beautiful borders of which greatly enhance the beauty and elegance of the finished picture4 ,transparencies are adaptable for the exhibition of every kind of picture that can be copied2 paintings1 engravings1 portraits1 landscapes1 all become equally acceptable when skilfully finished and properly displayed4 ,by this process1 also1 the amateur is enabled to provide himself with slides for his magic lantern and to have the satisfaction of exhibiting to his friends the trophies of his own skill in the use of the camera and the developing solution4 ,the amateur1 in order to succeed in producing high class work1 should possess himself of one of ,anthony's duplicating and copying cameras1 so that he may be enabled to avail himself of both methods of work2 that is to say1 by the camera and by contact printing1 as by the latter method he is restricted to the range and size of his negatives1 while by aid of the camera he is enabled to copy all kinds of pictures to acceptable sizes1 p#bad and he can make his transparencies of equal size with his negative1 or vary the size to suit the requirements of the case4 ,the use of the duplicating and copying camera is fully detailed in the article on ,duplicating ,negatives4 ,by its use the amateur is enabled to work by the wet collodion process1 which has many advantages1 or by the dry plate process1 using ,anthony's transparency plates or the gelatino albumen plates made in ,philadelphia4 ,if he confines himself to contact printing1 he is restricted to the use of dry plates only4 ,the outfit of goods for making and finishing transparencies consists of3 ,transparency frames1 common and patented1 made with rings for hanging horizontally or vertically4 ,ground glasses1 with borders4 ,etched glasses1 with borders4 ,anthony's transparency plates4 ,gelatino albumen plates4 ,porcelain and opal plates for lamp shades1 etc41 etc4 ,,formula ,,for ,,developing ,,dry ,,plate ,,transparencies4 ,when making transparencies by contact use artificial light1 either gas or a common lamp4 ,a deep printing frame is the most suitable1 having a piece of thin plate glass in it to support the negative4 ,lay the negative down with the film side up1 place upon it the dry plate1 put in the back and press firmly down with the springs2 expose to gas light from six to ten seconds at a distance of twelve to fourteen inches2 expose longer to lamp light1 say from ten to twenty seconds1 or the duration of time that may be considered sufficient1 judging from the density of the negative in use4 p#bae ,the time of exposure and the strength of the developers are the most important factors in determining the quality and tone of the resulting transparency4 ,giving a short exposure and using a strong developer will ensure a vigorous picture with a rich velvety black tone4 ,a long exposure1 necessitating a weak developer1 will produce fine gradation of light and shade1 clear shadows and a warm brown tone4 ,when making transparencies for the window1 cut a mask1 with an opening1 allowing for the border or margin on the ground glass it is intended to use4 ,a suitable paper for this purpose is of deep orange color and moderately heavy2 place the mask between the negative and the dry plate to be acted on1 and it will protect the margin from the action of light1 leaving it clear glass1 and so exhibiting to better advantage the ornamented border of the ground or etched glass1 which is placed against and covers and protects the film of the dry plate4 ,when making lantern slides the mask is not necessary4 ,,ferrous ,,oxalate ,,developer ,,for ,,transparencies4 ,no4 #a4 ,sulphate of iron 7,anthony's7 #b ounces4 ,distilled or ice water #cb ,sulphuric acid #h drops4 ,no4 #b4 ,neutral oxalate of potassium #h ounces4 ,warm distilled water #cb ,citric acid 7or tartaric7 #fj grains4 ,bromide of potassium #ahj ,when about to use1 mix equal parts of ,nos4 #a and #b1 always pouring ,no4 #a into ,no4 #b4 p#baf ,the exposure having been made in the camera or in the printing frame1 place the plate in the developing tray and pour upon it sufficient of the developing solution1 mixed as directed1 to cover the plate at once1 and keep it in motion from time to time4 ,develop until detail in the high lights is plainly visible4 ,when this is the case remove the plate1 wash well and fix in hypo-solution4 ,water #bj ounces4 ,hyposulphite of soda #f ounces4 ,when the plate is quite cleared1 of which it is better to make sure by leaving the plate in the fixing solution for fully five minutes after it first appears clear1 remove it and wash again very thoroughly1 and then immerse it in the clearing solution4 ,water #bj ounces4 ,sulphuric acid #a_/b ,alum #b ,leave the plate in the clearing solution two minutes or more1 then wash again1 rubbing the surface lightly with a tuft of cotton to remove any sediment that may adhere to the film1 then set it up in a rack to dry4 ,,porcelain ,,and ,,opal ,,transparencies may be developed in the same manner until detail may be seen in the face1 if it is a portrait2 then remove it and instantly flow with a solution of bromide of ammonium to stop developing action1 then wash1 fix and dry as before4 ,for portraits on porcelain or opal1 to be viewed as positives by reflected light1 develop until the fine half-tones in the face are visible4 ,when they are for transparencies1 p#bag either for window or lamp shades1 develop until the detail in the high lights of portrait or landscape are well out4 ,this may necessitate a longer exposure by lamp-light4 ,transparencies developed by other methods receive a stain or color1 which1 in many cases1 is not unpleasing2 for instance1 the following formula will give a very beautiful yellowish color3 ,saturated solution yellow prussiate of potash1 #d ounces4 ,pyro #b grains4 ,ammonia 7conc47 #b drops4 ,this will cover and develop one #haj plate1 giving it an agreeable color similar to that produced by development by sal soda and pyro1 but much more agreeable4 ,a very fine blue color is imparted to the plate when developed by the following formula3 ,saturated solution sal soda #e minims4 ,saturated solution potash #e ,saturated solution ferrocyanide of potash #e ,bromide ammonium #a grain4 ,pyro #b grains4 ,water #d ounces4 ,from the fact that these different developments impart different colors to the negatives1 it might be inferred that the gelatine film is susceptible of receiving color from a stain or dye2 if such is the case1 transparencies may be made in every color of the chromatic or solar spectrum4 ,i have seen one of a beautiful rose color1 and was informed that the color was received in development4 p#bah ,this was possibly so1 but it is very easily ascertained if the film of the developed plate is capable of receiving a dye of any pleasing color suitable to the subject4 ,,transparencies ,,by ,,wet ,,collodion4 ,from the ,photographic ,times4 ,transparencies for the decoration of windows1 or gas shades1 or for examination in the stereoscope1 differ from those intended for lantern projection in being somewhat more intense4 ,a lantern transparency must have its high lights of pure glass2 in the case of the others1 it is of less consequence1 should they be slightly shaded4 ,to produce a transparency by wet collodion1 a camera is required the body of which will be capable of extending to twice the focus of the lens1 although a still further extension is desirable4 ,the reason for this lies in the fact that when making a transparency the same size as the negative1 the sensitive plate must be withdrawn from the lens to the extent of precisely twice the solar focus4 ,it occasionally happens that it is desirable to make the image in the transparency on a scale a little larger than that in the negative4 ,to permit of this being done1 it is necessary that the distance between the sensitive plate and the lens be increased1 for according to this distance1 so is the amount of enlarging4 ,the negative must be so arranged as to have a clear sky or a uniform light behind it4 ,if the work is to be effected at a south window into which the sun is shining1 the requisite uniformity of illumination is obtained by placing a sheet of ground glass within a few inches of the negative4 ,arrangements must be made by p#bai which the negative may not only be held rigidly in an upright position1 but that such adjustments may also be made as will bring it as near to or as far from the lens as will be found requisite1 and also as will permit of its being raised1 lowered or having any part far removed from the centre brought into the axis of the lens4 ,these conditions are fulfilled in all good transparency cameras4 ,we do not assert that a properly constructed camera for the special purpose of making transparencies is an absolute necessity1 seeing that a light framework erected in front of the camera1 and with which it need not be connected with a bellows body1 will suffice1 but the great convenience of a camera expressly for the purpose cannot be overrated4 ,in order to ensure clearness of the high lights1 the collodion should be rendered of a dark sherry color by the addition of a few drops of an alcoholic solution of iodine4 ,the strength of the solution is not of consequence1 but enough must be added to the collodion to render it of the color indicated4 ,collodion for this purpose works rather better after it has been kept for a few weeks or months than when it is quite new4 ,no hints can here be given as to the length of exposure requisite1 but if the camera be pointed to a moderately bright sky1 the negative one of average density1 and the lens worked with a small diaphragm1 an exposure of twenty-five or thirty seconds may be given1 and1 by noting carefully the quality of the resulting picture when finished1 the data for a more accurate timing of the exposure may be ascertained therefrom4 ,after developing the image with iron1 if it should1 upon examination prove to be too thin1 wash off the developer and apply pyrogallic acid and silver and bring it up to the required intensity4 ,fix and wash4 p#bbj ,at this stage--that is1 after fixing and previous to the plate being dried--the image may be toned to almost any desired color4 ,it is to be regretted that some of the most desirable tones cannot be recommended1 on account of the want of permanence4 ,a type of the best of this class of toning agents is as follows3 ,make a saturated solution of bi-chloride of mercury in hydrochloric acid and dilute it with twelve volumes of water4 ,into this place the plate1 after having thoroughly removed the hyposulphite by washing4 ,when it has become quite bleached1 wash carefully again and place in a bath composed of a dram of sulphide of ammonium to a pint of water4 ,the image will soon acquire a rich dark brown color1 and when this is found to have penetrated the film1 it may be washed1 dried and varnished4 ,a solution of sulphide of potassium imparts a good brown color4 ,chloride of gold gives a tone which may be described as a neutral black1 that is both durable and very pleasing for quite a variety of subjects4 ,a solution of chloride of platinum gives a tone which is very permanent4 ,it is essential when using either gold or platinum that the toning solution be weak4 ,it is possible1 however1 so to develop a collodion transparency as to obtain a rich purple black tone without any after toning4 ,the addition of a few drops of a saturated solution of citric acid per ounce of developer effects this1 but as it checks development at the same time1 the proportion of protosulphate of iron must be increased to such an extent as to impart energy to the developer4 p#bba ,a few drops of a solution of gelatine in sulphuric acid is also of great utility when added to an iron developer4 ,it promotes clearness of image and richness of tone4 ,illustration3 ,,anthony',s ,,bicycle ,,camera4 p#bbb ,how delightful a pleasure it is in the early morning1 or of a fine afternoon1 to mount a bicycle and take a spin along the country roads4 ,the bracing air1 the easy motion1 the sense of independence1 so act upon the mind as to make it keenly sensitive to the beauties of the foliage and scenery that so swiftly pass before the eyes4 ,such must have been the thought of him who penned the following3 ,most of us1 no doubt1 have experienced the desire1 as our machines have passed some pretty and specially picturesque bits of scenery1 to take away with us some memory1 to be recalled at some future time1 of what we were then passing by4 ,and most of us have also experienced the difficulty1 as one picturesque scene is replaced by another1 and so on to the end of our journey1 of preventing the many scenes getting somewhat blended in our minds1 and an inability to produce details with accuracy4 ,to sit and sketch such scenes would be to reduce the journey to a sketching tour1 and the distance to be covered must be reduced accordingly1 thus depriving the 'cyclist' of the usefulness of his machine4 ,that which this tourist desires may be accomplished by the aid of photography1 and the whole addition to the impedimenta of the 'cyclist' can be so arranged as to be trifling4 99 99 99 99 99 ,the apparatus consists of a tripod1 camera and case4 ,my camera1 with leather case and provisions for exposing a dozen #ed plates1 weighs between fourteen and fifteen pounds4 99 99 99 99 99 ,i have endeavored to show in the brief space of time p#bbc at my disposal1 how the enjoyment of a 'cyclist's' ramble may be enhanced by that most wonderful combination of chemistry1 optics and mechanics1 which has resulted in placing the science of photography within the reach of the amateur4 ,when we have imprisoned our sun pictures1 and have them safe1 though latent and invisible1 intangible and impalpable to any of our senses1 we may at our leisure 7it may be months after71 by means of those marvelous chemical affinities which throw the haloid salts of silver again into chemical life1 produce on the film the pictures we have so desired2 and then again1 by further use of the light1 we print our scenes on the sensitive paper4 ,we have then a pictorial history of our journey in our albums1 which will recall the pleasant memories of happy days spent long1 long years ago4 ,,frank ,,cobb4 ,the amateur who wrote as above rode on a tricycle and carried a load of apparatus for #de plates1 amounting to fourteen or fifteen pounds1 for a dozen pictures4 ,that is the way it is done in ,england2 but in this country mechanical skill has reduced that load to less than five pounds for two dozen pictures of the same size1 and the cyclist goes forth with a small camera and a roll-holder charged with films for #bd exposures1 which are carried in a small case supported by a strap passing over the shoulder1 and these films are so sensitive that it is not necessary that he should dismount and undergo the trouble of erecting a tripod1 and attaching his camera thereto4 ,he has only to fix his camera by a universal joint to his steering-bar and shoot as he flies1 with the full confidence that at the proper time p#bbd he will find his bit of scenery spring into beauty and brilliancy under the influence of the developing solution4 ,or if the exigencies of the situation require that the point of view would be better off the road1 then the wheel is very easily converted into a support for the camera by the little brass telescopic rod which is adjusted against the pedal at the side of the wheel by a strap1 and lengthened to reach the ground1 against which the wheel may rest quite sufficiently steady for all purposes in question4 ,the little camera1 with double holder telescopic support for wheel and the case1 will weigh about two pounds1 which may be carried by means of a strap on the shoulder1 or may be buckled to the saddle of the machine4 ,the detective camera1 also1 is quite well suited for such a purpose1 with the roll-holders or otherwise1 as may be desired2 but the paper films are more sensitive than the plate1 and are1 therefore1 more suitable for such rapid work as may be required4 ,,photo ,,micrography4 ,if you place any natural object at a distance from a convex lens1 a much smaller image of the same will appear at the focus of the lens4 ,when this small image is reduced to that point that it cannot be seen clearly with the naked eye1 and is photographed1 it may be called a micro-photograph4 ,on the contrary1 if the object is a microscopic one1 and is placed at a point very near a convex lens1 an enlarged image may be found at a considerable distance from the lens4 ,a photograph of this enlarged image of a microscopic prepared object1 is termed a photo-micrograph4 p#bbe ,some confusion among so-called authorities on this subject renders their definition of sufficient importance to be given in this connection4 ,with the former we have nothing to do1 as there can be very little interest attaching to the production of pictures of any object on so small a scale as to require a microscope to look at them4 ,with the latter1 however1 it is otherwise1 for by the aid of photo-micrography we are enabled to place in permanency for closer study those enlargements of natural objects that are revealed to the human eye by the microscope4 ,the secrets of the composition of the drop of water and a knowledge of its monstrous and terrific inhabitants1 are thus made known4 ,previous to the introduction of the sensitive dry plate the practice of photo-micrography was confined almost wholly to those possessed of leisure1 and ample means to provide the expensive and complicated instruments necessary1 or to savants like ,dr4 ,woodward1 backed by the resources of a liberal government supplying apparatus and appliances far beyond the means of the ordinary student of natural science4 ,the advent of the gelatine dry plate placed the workers in this branch of scientific research more nearly on a level1 at least as far as the possession of suitable and efficient instruments are concerned1 and one of these workers has published for the instruction of amateurs and others a very valuable article on photo-micrography1 from which we extract by permission a description of the instruments necessary to the successful practice of this interesting study4 ,mr4 ,walmsley1 in the article referred to1 says3 ,i will now describe the apparatus ,i am using at present1 p#bbf passing unnoticed the various stages by which its comparative perfection has been reached4 ,four essential parts make up the complete outfit4 ,a microscope with its object glasses and other accessories4 ,a camera with long extension bellows4 ,a lamp for illumination4 ,a solid platform to carry the entire apparatus4 ,a microscope with a joint to the body permitting the same to be inclined to a horizontal position may be employed1 but the essentials to accurate1 comfortable work are as follows3 ,a heavy1 solid stand1 perfectly firm in all its positions1 with a short body 7the #f-;inch ,continental model is admirable71 good coarse adjustment for focus1 and a very delicate1 fine one1 the latter controlled by a large milled head1 in the periphery of which a groove is turned to admit the focussing cord1 hereafter to be described4 ,a solid1 mechanical stage rotating in the optic axis1 and a sub-stage moved by rack and pinion1 capable of carrying an achromatic condenser1 polariscope1 etc41 are almost indispensable4 ,the objectives should be the very best1 especially corrected for photography in all powers under the one-fifth of an inch and of moderate angular aperture4 ,perfect corrections of chromatic and spherical aberrations1 with the greatest penetrating and defining powers1 are essential features in objectives designed for photography4 99 99 99 99 99 ,a binocular microscope can be used quite as well as a monocular1 by simply shifting the prism1 but if an instrument is to be selected purposely for photographing1 p#bbg the latter is recommended in preference to the former4 ,in either case1 the tube is to be lined with black velvet or flock paper1 otherwise there will be a reflection from its inner surface1 which will cause a ghost in the negative4 ,an accurately centered double or triple nose-piece1 carrying as many objectives of different powers1 will also be found an immense convenience1 saving much time and labor in choosing the proper object glass for any particular object4 ,i use a triple nose-piece1 upon which are always screwed a two-thirds1 a four-tenths1 and a one-fifth inch objective1 being the powers most generally used4 ,if the one-fifth is to be employed in making an exposure1 the object is readily brought into the centre of the field under the two-thirds by a simple rotation of the nose-piece2 the one-fifth is now brought into position1 when the object will be found to occupy the centre of its field of view4 ,much valuable time1 which would otherwise be expended in finding a minute object under so considerable a power1 is thus saved4 ,most chemical crystals being colorless and nearly invisible under ordinary illumination1 require to be examined and photographed by polarized light4 ,for this purpose1 the polariscope prisms should be of large size1 and both mounted in revolving settings4 ,the lower prism should also fit into a sub-stage1 capable of carrying an achromatic condenser above1 in order to properly illuminate the field with any objective above the two-thirds inch4 ,the achromatic condenser itself should consist of at least two combinations of different powers and of wide angular apertures4 ,it is always necessary to employ a condenser of greater power than the objective4 ,if a one-fifth is used1 the p#bbh illumination should be by a four-tenths to get the best results1 whilst a one-tenth should be illuminated by a one-fifth4 ,for lower powers1 the ordinary bull's-eye condenser1 in connection with a diaphragm of varying apertures1 will be found all-sufficient4 ,for the great majority of workers the following powers of object glasses are recommended3 ,two inch or one and one-half inch1 two-third inch1 four-tenth inch1 one-fifth inch and one-tenth inch1 the latter an immersion capable of being used with glycerine1 since water evaporates too rapidly for practical use4 ,with these powers1 and a camera having thirty inches extension of bellows1 a range of powers from about ten to six hundred diameters may be obtained1 whilst the addition of an achromatic amplifier will increase the power of the one-tenth to more than one thousand diameters1 without perceptible loss of light or definition4 ,all the foregoing features are combined in the microscope ,i am using for this work1 and1 in enumerating them1 ,i have but described that very perfect and complete instrument4 ,we pass now to the second part of our outfit4 ,,the ,,camera4 ,probably the most convenient and generally useful form of camera is one with bellows extending some thirty inches1 and capable of carrying both quarter and half sized plates1 horizontally or vertically4 ,my box is a square one1 carrying plates from the #d-d size 7#f-a_/bh-a_/b inches7 down to #c-a_/dd-a_/d4 ,the bellows are in three divisions1 extending fully four feet1 giving altogether nearly six feet from the microscopic stage p#bbi to the focussing screen when fully drawn out4 ,it is very carefully made of hard wood1 and the framework carrying the bellows moves with the utmost smoothness upon its -shaped runners4 ,a short cone front receives the microscope tube1 and all extraneous light is shut out by a wrapping of black velveteen around the opening1 secured by a rubber band4 ,the focussing screen 7which is only used for arranging the object in the centre of the field or plate1 and is entirely removable7 has a space of the precise size and shape of a lantern slide pencilled in its centre1 as a guide to the making of quarter plate negatives4 ,an object filling this space on the ground glass will necessarily occupy the same position on the quarter plate when the holder containing the latter is made to take the place of the focussing screen4 ,as stated1 the ground glass is used only for containing the object1 and for coarse adjustment of focus4 ,it is impossible to grind it finely enough to accurately focus any delicate tissue with high or even moderate powers4 ,many suggestions have been made and devices used1 but all ,i have tried proved unsatisfactory1 until the following appeared in an ,english journal3 ,an evenly coated gelatine plate is to be exposed to a flood of white light1 developed to a very slight intensity--a mere smokiness--fixed and washed as usual1 then bleached with mercury1 washed and dried4 ,the result is the most perfect focussing surface imaginable4 ,to use1 remove the focussing screen from the camera and replace it with the plate holder from which the slides have been removed4 ,the bleached gelatine plate 7which of course must be of proper size to fit the holder7 is to be placed therein with the film side p#bcj toward the microscope4 ,now place a focussing glass against the back of the plate1 apply the eye to it and adjust the focus by a delicate pull of the cord4 ,nothing can be more satisfactory4 ,when the proper adjustment is determined upon1 secure it from possible change during exposure1 by winding the cord once or twice over the screw eye at the rear of the camera frame4 ,the plate holder 7single7 opens at the back to receive the plate1 and being square1 like the camera box1 admits of the negative being taken vertically or horizontally1 as may be desired1 a matter of no small importance in many cases4 ,this feature1 in connection with the revolving stage1 enables one to place any object upon the plate in the best position for printing4 ,the full size of the plate carried by my holders is #f-a_/bh-a_/b inches1 but by the employment of removeable rabbett kits1 plates #eg1 #de and #c-a_/dd-a_/d can be used4 ,it is desirable to have two or three additional holders as time savers4 ,for our work to possess any real uniformity or value1 it is absolutely necessary that the magnifying power used with each exposure should be ascertained and noted4 ,to make measurements each time would be a waste of that precious commodity1 to avoid which ,i have adopted the following device3 ,the bed or framework upon which the bellows extends1 is divided into spaces of one inch1 and the same plainly marked thereon4 ,suppose this extension is thirty inches1 and that by means of the stage micro-meter we find the one and one-half inch objective to magnify twenty diameters with the bellows closed and fifty fully extended4 ,this gives the value of one diameter p#bca to each inch of bellows drawn out1 and if the magnified object reaches the desired dimensions1 at1 say twenty inches extension1 we at once know the power to be forty diameters4 ,suppose1 again1 a power of one-fifth is being used1 magnifying #abe diameters with bellows closed1 and #bge with the same extended thirty inches2 this gives a value of five diameters to each inch1 and if the desired size is reached at twenty-five inches extension1 we have a power employed of #bej diameters4 ,by making these measurements 7closed and open7 for each objective habitually used1 and recording the same in our note-book1 an accurate and readily adjustable table of measurements is ready for all future work4 ,we now pass 7thirdly7 to the important subject of illumination1 in many respects the most important in photo-micrographic work4 ,it goes without saying that to the favored few1 whose time and means permit the harnessing of the sun's rays in their service1 no artificial light can be produced which will quite take the place of the great luminary1 but for the many1 some other means must be sought4 ,when the promised days arrive that are to place in every man's house electric lights1 cheaper than gas and as easily controlled1 the problem will be satisfactorily solved2 but at present we must content ourselves with prosaic kerosene1 seeking only for the most practical method of utilizing its brilliant light4 ,after many experiments ,i have settled upon a flat1 broad-based lamp of good oil-holding capacity1 which is attached to a heavy retort stand with movable arm1 enabling it to be carried to any desired height4 ,a duplex burner and a tall chimney1 producing perfect p#bcb combustion1 afford a light of thirty candle power1 rendering possible the following average exposures with the plates ,i am now using1 the variation in time being caused by differing densities and actinism of the tissues or substances to be photographed3 #a-a_/b inch objective #c to #e seconds4 #b_/c inch objective #g to #ij #d_/aj inch objective #a_/b to #c minutes4 #a_/e inch objective #b to #g #a_/aj inch objective #d to #aj ,this lamp produces sufficient light for use with the highest powers1 requiring the employment of a diaphragm to reduce its intensity4 ,too brilliant an illumination1 flooding the field with diffusive rays1 will almost certainly produce a blurred and indistinct image4 ,microscope1 camera and lamp being ready for use1 it becomes necessary to provide a suitable support for each1 in order to form a complete working outfit4 ,some writers have described and illustrated their apparatus as being carried upon two or more separate tables or trestles4 ,this ,i have found to be a most objectionable method in our city houses1 since the vibration produced by passing vehicles is unevenly communicated to camera and microscope1 producing inevitably a disturbed or blurred image1 especially when high powers are employed4 ,by adopting1 however1 a long1 solid platform1 carrying all the separate parts of the apparatus1 this objectionable feature is removed1 any vibration is communicated to camera and microscope alike1 and there is no blurring of the resulting image whatever4 ,in my apparatus this platform is about five feet in length1 with a raised portion at one end1 p#bcc upon which the camera is firmly clamped by a milled head operated from beneath4 ,the cone front extends toward the platform1 upon which the microscope 7inclined horizontally7 is secured at such a height that its tube precisely enters the middle of the cone4 ,thus1 a straight line drawn from the object upon the stage through the microscope tube and camera should fall upon the centre of the focussing screen1 and if all the parts are properly put together this will be the result1 and the whole field will be equally illuminated when the lamp is placed in position4 ,the stand of the latter is not secured to the platform1 but is left free to be moved about and placed nearer to or farther from the microscope1 as may be found necessary to secure the best results4 ,a bull's-eye condenser upon a movable stand placed between the lamp and the stage of the microscope1 is necessary to concentrate the light upon the object1 or upon the achromatic condenser when the latter is used and to aid in the equal illumination of the field4 ,the latter is of great importance1 since the result of an uneven illumination will be a negative of differing densities in different parts1 marring its beauty1 and at times rendering it utterly worthless4 ,too much stress cannot be placed upon the necessity of securing an even1 brilliant light of proper intensity for the object under examination4 ,the arranging of the object in the centre of the field 7under a low power7 and the coarse adjustment of focus are done with the bellows tightly closed1 which brings the focussing screen so near to the microscope that1 whilst the operator sees the object thereon1 his hand can readily reach the milled head1 controlling the p#bcd stage and other movements4 ,but when the bellows is extended to the length affording the desired magnification it will be found that the object1 whilst retaining its central position1 has lost its sharpness1 necessitating a final and careful focussing which is no longer possible in the same manner as before1 since the ground glass and microscope are so widely separated that the one cannot be reached whilst looking into the others4 ,some special device becomes necessary in this emergency1 and many have been made1 mostly complicated and costly4 ,the method ,i have adopted is the old and simple one of a fine cord passing around the periphery of the milled head controlling the fine adjustment1 in a groove cut for that purpose1 thence through a series of screw eyes to the rear of the frame-work carrying the bellows extension1 where it is kept taut by a couple of small leaden weights4 ,the slightest tension upon this cord causes a corresponding movement of the fine adjustment1 and nothing can exceed the delicacy of its working or its freedom from derangement4 ,a fine fishing1 line makes an admirable cord for this purpose4 ,having sketched the various portions of the apparatus and brought the whole together into complete form1 a few random extracts from my note-book may not prove uninteresting or valueless to some who are working in this direction4 ,gelatine plates for photo-micrography4 ,the requisites of a perfect plate are1 great sensitiveness1 combined with extreme latitude in time of exposure1 and density in development4 ,it should be of a fine texture1 showing clearly the most delicate lines and markings1 p#bce evenly coated and free from spots or blemishes of any sort4#b #b ,the ,stanley dry plate has all these qualities in the highest perfection4 ,it is most provoking to have an otherwise perfect negative marred or ruined by opaque or transparent spots appearing in its most important portions4 ,for development1 ferrous oxalate or alkaline pyro are equally useful1 and either may be employed1 as suits the fancy or convenience of the operator4 ,my own preference is for the latter1 and ,i always use it with ammonia well restrained1 having had no success with either soda or potash in this class of work4 ,for all objects possessing much color it is best to continue the development until full density is obtained1 but for very thin or transparent subjects1 such as diatones or unstained vegetable tissues1 it is far better to stop the development as soon as all details are out and resort to after-intensification1 for which purpose bleaching with mercury followed by a ten per cent4 bath of sulphite of soda will be found eminently satisfactory4 ,i always use the alum bath1 and invariably secure a clean negative of a cool gray color1 resembling iron development4 ,printing4 ,the best ready sensitized paper can be depended on for producing satisfactory prints1 showing the most delicate lines and markings of diatones and turning to any desired shade4 ,avoid over-printing1 wash but slightly in two changes of water1 the last slightly acidulated with acetic acid1 and use an acetate of soda toning bath4 ,undesirable portions of the negative may be stopped out with a mat of suitable p#bcf shape4 ,any ordinary cabinet card makes a neat mount of convenient size1 upon which may be written the name of the object or specimen objective and magnification employed1 and any other matter referring to print or negative which may be necessary to note4 ,a carefully kept note-book is a most important aid to the worker in photo-micrography1 and it should contain all his failures and successes alike4 ,notes should be made of the specimen objective1 magnification1 exposure1 plate and developer1 which1 carefully studied1 will almost certainly enable him to secure a success with each exposure4 ,lantern ,slides4--,it is well to make the negative as far as possible of a suitable size for producing the positive by contact printing1 which is convenient and satisfactory1 though there can be no doubt that reproduction in the camera affords better results4 ,slow gelatino bromide plates1 such as ,carbutt makes for this purpose1 produce very satisfactory work1 but the chlorides are so far superior that there can be little doubt of their being exclusively employed for positives in future4 ,there is a richness of tone1 combined with great transparency in the shadows and clear glass in the high lights1 quite unattainable with bromide emulsions1 and rivaling the best wet work4 99 99 99 99 99 ,opaque ,objects4--,these may be photographed by the light from a lamp quite as well as transparent ones1 through which the light is thrown1 a matter of which ,i have thus far spoken only4 ,a strong illumination must be obtained by the employment of a suitable bull's-eye condenser or a silvered reflector4 ,the p#bcg most satisfactory method1 however1 is by sunlight1 allowing its direct rays to fall upon the object without the intervention of any condenser whatever4 ,very short exposures suffice with such illumination1 varied only by the reflecting capacities of the object itself4 ,a successfully exposed plate of this class of objects will give a print of the subject1 standing out most brilliantly upon a black ground4 ,to secure the best results1 most objects should be specially mounted for photographing4 ,some are best in a resinous medium1 such as ,canada ,balsam1 but most tissues are obscured or entirely obliterated in this medium4 ,so far as possible all preparations should be mounted in a fluid of some description that will distinctly render visible many tissues and markings which would be lost in balsam4 ,this subject1 however1 is one of so great extent that it would require a special paper1 and ,i merely refer to it now because of its importance1 hoping at some future time to enlarge more fully upon it4 ,you will notice that my remarks have been confined to work that may be done with objectives of low or moderately high powers1 in no case exceeding one thousand diameters1 having preferred to speak only of that which ,i have demonstrated by actual work as being practical4 ,from recent experiments ,i am fully convinced that the lamp light1 such as ,i have described1 is capable of producing satisfaction1 work with very much higher powers1 and shall hope1 at no distant day1 to show prints made from magnification of not less than two thousand diameters1 that will be satisfactory in all respects4 ,w4 ,h4 ,,wamsley4 p#bch ,,practical ,,suggestions4 ,when preparing for an outing1 consider the kind of work you intend to do and select your plates accordingly4#c ,if it is intended to make instantaneous exposures1 get the most sensitive plates possible2 those of the highest sensitometer number should be procured4 ,for subjects from still life1 inanimate objects1 landscapes1 etc41 etc41 slower plates are preferable4 ,when filling your holders1 carefully brush all dust from the surface of the plates1 ascertain that the lenses are clean1 and wrap them in chamois4 ,carry no useless weight4 #c ,the ,stanley lightning is particularly recommended to amateurs for all quick work4 ,when you have selected your standpoint1 plant the legs of the tripod well apart to insure steadiness of support and make sure that the camera is level and firmly screwed to the tripod4 ,if you use a drop shutter1 slow exposures may be made by holding the slide in the hand and passing it down slowly over the opening in front of the lens4 ,when using double holders mark the side exposed as soon as made4 ,carry a piece of cetaceum paper1 which may be used as a substitute in case you break your ground glass4 ,the head cloth may be used as a changing box by covering the holder and box of plates with it and folding the ends around the wrists1 securing them by rubber bands2 then proceed by the sense of feeling4 ,before exposing draw the slides1 so that no light may enter the plate holder4 ,be sure you are right1 then go ahead4 ,before developing plates that have been exposed instantaneously1 let them soak a few minutes in water p#bci with a small portion of soda or ammonia1 then wash them and develop with the normal developer4 ,mr4 ,inglis suggests that for extra rapid exposures a very slow development with weak developer will give better detail and strength4 ,the paper films must be developed always with a strong developer to secure best results4 ,,transcriber',s ,,endnote4 ,the headings in the ,table of ,contents do not necessarily correspond to headings in the text4 ,a few examples will be mentioned4 ,there is no heading for ,,part ,i4 in the text1 though ,,part ,,ii4 is present4 ,there are two headings ,,camera ,,boxes in the ,table of ,contents1 but only one in the body4 ,a second1 matching one1 has been added on page #aaj4 ,the ,table of ,contents lists several types of pneumatic shutter for pp #abd-abi that do not appear in the text under the same names4 ,in the ,table of ,contents1 under the level-three heading ,,gelatino ,,emulsion at page #ch1 the two level-four headings ,preparation of ,glass and ,coating ,glass occur in the text under a level-three heading ,,description ,,of ,,apparatus ,,used ,,in ,,making ,,and ,,washing ,,emulsions4 on page #dd1 which corresponds to a level-three heading in the ,table of ,contents ,,apparatus ,,used ,,in ,,making ,,emulsions4 ,this heading seems to refer to the same section of text as the level-four heading ,apparatus for ,making in the ,table of ,contents under page #ch4 ,in the ,table of ,contents under heading at page #aha1 ,how to ,use the4 was changed to ,how to ,use them4 ,a few other such simple printing errors have been fixed silently4 ,some captions of images or tables originally functioned in situ as section headings2 some of these have roughly corresponding entries in the ,table of ,contents4 ,originally1 and in the html version of this ebook1 section headings or captions of images or tables may also function in situ as part of the body text4 ,in this text version1 such captions and illustrations have been retained4 ,however1 any images that were originally embedded within paragraphs were moved out of paragraphs to between paragraphs1 and if necessary1 the caption was then duplicated in the text4 ,some illustrations that originally had no captions have been provided with captions labeled with ,,tn34 ,in the table on page #dc1 showing the formul for gelatine emulsion1 the fifth row duplicates the third row1 probably erroneously4 ,the name ,ever appears in the table of contents twice1 in connection with ,emulsions ,c and ,d1 under the section starting at p #ch4 ,this name is spelled ,eder on pp #dc and #dd4