,,the ,,mentor #aiah4jh4ja1 ,no4 #afj1 ,photography ,,learn ,,one ,,thing ,,every ,,day ,,august #a #aiah ,,serial ,,no4 #afj ,,the ,,mentor ,,photography ,by ,,paul ,l4 ,,anderson ,,department ,,of ,,volume #f ,,fine ,,arts ,,number #ab ,,twenty ,,cents ,a ,,copy ,a ,voice ,from ,far ,cathay ,dear ,mentor3--,one of my most respected college professors advised his classes to review their several groups of studies every seven years1 and in the broad1 ,i agree with the advice4 ,it is just this review that ,the ,mentor gives some of us4 ,the ,mentor is not learned4 ,it furnishes a most readable review1 with pithy editorials and discriminatively selected pictures4 ,it can be appreciated by the man who has never been outside the town of his birth1 and it can be enjoyed by the person who has converted stamped gold into the legal tender which lets one into the city1 or gallery1 or park1 or museum1 or observatory described2 and it can be read with profit by the one who is interpreting life in the class room4 ,i usually read it by bits between courses at the dinner table1 and it often has taken the place of another seat4 ,it has this advantage3 it never talks shop1 save in an entertaining way4 ,the pictures make good material for 8identification0 or 8information tests40 ,a selection of twenty makes good material for one 8stunt0 of an evening for a small group of guests4 ,but ,i like them best for use in a bulletin board in my class room4 ,with titles or brief notes translated into ,chinese1 they attract the students around the board between classes4 ,it is an easy matter to have a series of fifteen or twenty groups through the year1 that are of interest to one's students1 and give real information and stimulus4 ,this letter is not designed to lead you to believe that the publication takes its place with the essential possessions of the ,american missionary in the ,orient--the ,bible1 ,montgomery ,ward catalog1 and tennis racquet--but it is written that you may know that it helps one to keep 8fit40 ,in appreciation1 yours1 ,,daniel ,s4 ,,dye ,west ,china ,union ,university ,chengtu1 ,west ,china 99 99 99 99 99 ,,the ,,mentor ,,association ,,established ,,for ,,the ,,development ,,of ,a ,,popular ,,interest ,,in ,,art1 ,,literature1 ,,science1 ,,history1 ,,nature1 ,,and ,,travel ,,the ,,mentor ,,is ,,published ,,twice ,a ,,month ,,by ,,the ,,mentor ,,association1 ,,inc41 ,,at #aad-aaf ,,east #af,,th ,,street1 ,,new ,,york1 ,n4 ,y4 ,,subscription1 ,,four ,,dollars ,a ,,year4 ,,foreign ,,postage #ge ,,cents ,,extra4 ,,canadian ,,postage #ej ,,cents ,,extra4 ,,single ,,copies ,,twenty ,,cents4 ,,president1 ,,thomas ,h4 ,,beck2 ,,vice-,,president1 ,,walter ,p4 ,,ten ,,eyck2 ,,secretary1 ,w4 ,d4 ,,moffat2 ,,treasurer1 ,j4 ,s4 ,,campbell2 ,,assistant ,,treasurer ,,and ,,assistant ,,secretary1 ,h4 ,a4 ,,crowe4 ,,august #ast1 #aiah4 ,,volume #f4 ,,number #ab4 ,entered as second-class matter1 ,march #aj1 #aiah1 at the postoffice at ,new ,york4 ,n4,y41 under the act of ,march #c1 #ahgi4 ,copyright1 #aiah1 by ,the ,mentor ,association1 ,inc4 ,illustration3 ,,by ,,paul ,l4 ,,anderson ,,photograph ,,from ,a ,,daguerreotype ,,photography ,a ,daguerreotype ,,one ,louis ,jacques ,mande ,daguerre 7born #aghi1 died #ahea71 was a great ,french scene-painter who experimented for many years trying to find some way of rendering permanent the image projected by a lens4 ,j4 ,nicphore ,nipce was engaged in the same research1 and from #ahbi until the death of ,nipce in #ahcc the two worked together1 but it was not until some years after the latter date that ,daguerre discovered the process that bears his name4 ,this process may be briefly described as follows3 a highly polished and perfectly clean silver plate is rendered sensitive to light by the formation of a deposit of silver iodide on the surface1 this being accomplished by exposing the plate--of course in the dark--for some minutes to the vapor of iodine4 ,when the plate has assumed a uniform golden-brown color it is placed in the camera and the exposure is made1 the light projected by the lens causing a chemical change to take place in the silver iodide4 ,the image thus obtained is very weak1 and in order to strengthen it the plate is exposed for some minutes to the vapor of mercury4 ,it is subsequently fixed1 or rendered permanent1 by bathing with a solution of sodium thiosulphate 7ordinarily known to photographers as 8hypo074 ,this dissolves the silver compounds that were not affected by light4 ,in some cases the picture is still further strengthened by treating it with chloride of gold4 ,this not only increases the vigor of the image but at the same time improves its stability1 so that it is less likely to fade as the result of atmospheric action or exposure to light4 ,the effect of the chloride of gold is literally to gold-plate the image4 ,as the surface of the completed daguerreotype is very sensitive to any mechanical action1 it must be protected by glass4 ,a mere touch of the finger leaves an irremediable scratch4 ,the daguerreotype was at one time very popular for portraiture1 but the process has certain drawbacks that have caused it to be superseded by improved methods4 ,among these drawbacks are the following3 ,the exposures required are rather long2 it is impossible to make duplicates--a separate exposure must be made for each picture2 the picture must be held at a certain angle to make it visible1 and the process is rather expensive and laborious to work4 ,nevertheless1 exquisite effects may be obtained in daguerreotype2 the writer has seen pictures of this kind which for sheer beauty yield to none of the modern printing mediums4 ,the decadence of the daguerreotype is to be regretted for at least one reason1--the man who elected to work in that medium was necessarily at least a craftsman1 whereas at the present time many photographers are neither artists nor craftsmen1 but merely mechanics of only fair skill4 ,photography has been brought to such a state of perfection that good technical results may be obtained by persons that work by rote and know absolutely nothing of the principles underlying the craft4 ,this lack of training and enthusiasm for the work must evidently be reflected in the results obtained4 ,there are few forms of portraiture art that equal in beauty choice early examples of daguerreotype photography4 ,they have the exquisite delicacy1 softness and individual charm of the best miniature portraits4 ,good old daguerreotypes are treasured possessions in the homes of many families--and rightly so1 for they combine a fine quality of art with a gentle personal appeal4 ,,written ,,for ,,the ,,mentor ,,by ,,paul ,l4 ,,anderson ,,illustration ,,for ,,the ,,mentor4 ,,vol4 #f1 ,no4 #ab1 ,,serial ,no4 #afj ,,copyright1 #aiah1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,from ,a ,,print ,,by ,,alvin ,,langdon ,,coburn ,,self-,,portrait ,,photograph--,,by ,d4 ,o4 ,,hill ,,photography ,portraits by ,d4 ,o4 ,hill ,,two ,david ,octavius ,hill 7born #ahjb1 died #ahgj71 was a ,scotch painter who conceived the idea of producing a great historical picture representing the ,disruption of the ,church of ,scotland4 ,this work involved painting some four or five hundred portraits1 and ,hill1 despairing of obtaining satisfactory sittings from so many persons1 turned to the newly discovered art of photography to furnish the portraits he needed1 with the idea of using the photographs as a guide in painting4 ,hill used the calotype process1 invented by ,fox ,talbot1 which rendered a piece of paper sensitive to light by coating it with iodide of silver4 ,when it was exposed in the camera and developed1 a negative resulted1 and positive prints were made from this negative in the same medium4 ,hill became so much interested in photography that he worked with it for several years1 to the neglect of his painting4 ,during those years he produced photographic portraits which have certainly never been surpassed1 and which some people think have never been equalled4 ,the exposures necessary were very long--four or five minutes in bright sunlight4 ,this fact lends a great deal of beauty to the results1 for there is no doubt that full sunlight gives effects that cannot be obtained in any other way1 and these may be of surpassing beauty1 provided the photographer is skilful enough to manage his apparatus and pose the sitter properly4 ,it is regrettable that so many photographers of the present day shun out-door portraiture1 for there is unquestionably a great opportunity in that class of work4 ,the claim of some photographers that out-door light is not satisfactory for portraiture is refuted by ,hill's results4 ,hill was not a great painter4 ,his works in that medium are well-nigh forgotten1 but he was unquestionably a man of great sensitiveness1 who possessed the quality of psychic insight so necessary to a portrait worker4 ,it is the estimate of an authority that1 though he could never be compared with the great masters of portraiture1 ,rembrandt and ,velasquez1 nevertheless his works are entitled to a place in the second rank4 ,hill was especially fortunate in his sitters1 for the men and women that he photographed were persons whom it would be difficult to render commonplace in appearance1 among them being ,christopher ,north 7,professor ,john ,wilson71 ,j4 ,g4 ,lockhart1 ,lady ,ruthven1 ,robert ,haldane1 ,william ,henning1 ,mrs4 ,anna ,brownell ,jameson1 and others of equal note in ,great ,britain4 ,the paper negatives made by ,hill are carefully preserved4 ,the writer is fortunate in the possession of prints from two of these negatives4 ,the reproduction shown herewith1 a gum-platinum plate made and given to him by ,alvin ,langdon ,coburn1 is from one of them4 ,much of the beauty of this example of ,hill's work is due to modern printing methods1 but the quality in this negative1 brought out in the print1 proves undeniably that ,hill merits recognition as a master of portraiture4 ,,written ,,for ,,the ,,mentor ,,by ,,paul ,l4 ,,anderson ,,illustration ,,for ,,the ,,mentor4 ,,vol4 #f1 ,no4 #ab1 ,,serial ,no4 #afj ,,copyright1 #aiah1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,photographed ,,at ,,yerkes ,,observatory1 ,,williams ,,bay1 ,,wisconsin4 ,,october #ai1 #aiaa ,,brooks' ,,comet--,,astronomical ,,photograph ,,photography ,astronomical ,photography ,,three ,photography has made possible many discoveries of tremendous importance in the realm of astronomy by revealing the existence of stars too faint--because of their small size or great distance--to be seen by the eye4 ,this is one of the most conspicuous ways in which the sensitive plate has been an aid to the scientist4 ,a device for carrying a photographic plate is attached to a telescope and the plate exposed to the image projected by the telescope for a prolonged period4 ,this may1 in fact1 amount to several hours2 exposures are sometimes partly completed one night and finished the next1 a comparatively small area of the heavens being chosen for investigation at one time4 ,on development of the plate the stars are counted and compared with existing charts of the area in question4 ,of course this method requires that the telescope move with the same angular velocity as that of the earth's rotation1 so that the image of each star may remain in precisely the same position on the plate during the entire time of exposure4 ,otherwise the star would be represented as a trail of light1 the slightest variation in the speed of rotation being sufficient to cause blurring of the image4 ,it is apparent that the clockwork employed for driving the telescope must be a marvel of accuracy4 ,the power which this method possesses of revealing hitherto undiscovered stars depends on a curious fact4 ,if an observer looks into the eye-piece of a telescope he can discern only those heavenly bodies that send to the earth a certain minimum of light2 but when a photographic plate is exposed for long periods there is a cumulative effect of light on the sensitive emulsion4 ,that is1 the long-continued impact of the light rays causes1 little by little1 a gradual change in the constitution of the sensitive silver salt4 ,the action thus piles up1 so to speak1 and records light that is far below the visible minimum4 ,the photographic plate has not only aided discoveries in the vast realms of interstellar space1 but has also revealed to us things so exceedingly minute that no other method of observation could bring them within the range of our perceptions4 ,,written ,,for ,,the ,,mentor ,,by ,,paul ,l4 ,,anderson ,,illustration ,,for ,,the ,,mentor4 ,,vol4 #f1 ,no4 #ab1 ,,serial ,no4 #afj ,,copyright1 #aiah1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,by ,,paul ,l4 ,,anderson ,,portrait--,,by ,,the ,,bromoil ,,process ,,photography ,a ,bromoil ,print ,,four ,in the bromoil process1 the first step is to make a bromide enlargement4 ,the negative from which a print is to be made is placed in an apparatus resembling the familiar stereopticon and an enlarged image is projected on a piece of bromide paper1 or paper that has been coated with an emulsion similar to that used for plates4 ,after the paper has been exposed to the image it is developed1 fixed and washed1 the result being a large positive print of the original small negative4 ,often this print is allowed to remain as it is1 and it is then known as a bromide enlargement1 or1 simply1 an enlargement2 sometimes the worker converts it into a bromoil4 ,the image in an enlargement consists of metallic silver in a film of gelatine1 the gradations of the picture resulting from the varying thicknesses of the silver image4 ,the first step toward changing this to a bromoil is to treat it with certain chemicals that bleach out the silver image and at the same time harden the gelatine in proportion to the amount of silver present4 ,the bleached print is then soaked in warm water1 and the high-lights of the picture1 where the gelatine is least hardened1 absorb the water freely1 the half-tones less so1 and the shadows least of all4 ,an oily ink1 then dabbed on the print with a brush1 adheres freely in the shadows1 less freely in the half-tones1 and least of all in the lights1 being repelled by the water in the film4 ,the final result is a print in which the image is formed by varying thickness of ink1 which1 of course1 may be of any color4 ,the advantages of bromoil over bromide are numerous4 ,in the first place1 a bromide print cannot be regarded as absolutely permanent1 but a bromoil may be4 ,next1 the color of a bromide print is limited to black and varying shades of brown1 unless chemical toning is resorted to1 which still further reduces the stability of the image4 ,but a bromoil may be of almost any color1 and1 indeed1 of different colors in different portions of the picture4 ,the greatest advantage of the bromoil process1 however1 lies in the fact that as much or as little ink as may be desired can be put on any given area4 ,by varying the consistency of the ink it can be made to adhere more or less freely4 ,by modifying the brush action it can be placed on the print or omitted from it1 and can even1 at times1 be removed after being deposited on the paper4 ,it will be seen that the artist has complete control over the gradations1 and to some extent1 also1 over the outlines of the picture4 ,he can therefore make the process respond to his desire for artistic expression to an extent not possible with any other photographic printing medium1 even the superficial texture of the image being largely under the worker's control4 ,a variant of bromoil is the oil process1 though it would be more correct to put it the other way about1 the latter process being the older of the two4 ,a sheet of paper is coated with gelatine alone1 this being rendered sensitive to light by means of certain chemicals and then printed under a negative4 ,the effect is to render the gelatine hard in proportion to the amount of light-action1 that is1 hardest in the shadows1 less so in the half-tones1 and least of all in the lights4 ,the print is then washed to remove the excess of sensitizer1 and soaked in warm water2 the subsequent operations are the same as in bromoil4 ,oil is superior to bromoil in being slightly easier to manipulate and in not requiring a dark-room1 but it is inferior in that it demands either daylight or a powerful artificial light for printing4 ,furthermore1 a negative the size of the finished print is necessary1 whereas with bromoil1 large prints can be made from small negatives4 ,oil and bromoil have the drawback of not being very rapid to work1 three or four #aaad bromoils representing a good day's work for a careful manipulator1 but they are by far the most satisfactory of all photographic printing mediums when the desire is for artistic expression4 ,,written ,,for ,,the ,,mentor ,,by ,,paul ,l4 ,,anderson ,,illustration ,,for ,,the ,,mentor4 ,,vol4 #f1 ,no4 #ab1 ,,serial ,no4 #afj ,,copyright1 #aiah1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,photograph ,,by ,,paul ,l4 ,,anderson ,,the ,,lake1 ,,winter--,,nature ,,photography ,,photography ,pictorial ,photography ,,five ,the accompanying photograph entitled 8,the ,lake1 ,winter10 illustrates admirably the use of the soft-focus lens4 ,it is also of interest as showing the advantages sometimes to be gained from the intentional use of defects4 ,the normal human eye is unsurpassed for the purpose for which it is designed2 it is difficult to imagine an organ more perfect in this respect4 ,the eye automatically1 and almost instantaneously1 adjusts itself for near or distant objects and for varying intensities of light1 and has1 moreover1 a field of view of nearly #ahj degrees--almost a complete half-circle4 ,nevertheless1 it has two defects that tend to impair the accuracy of vision1 namely1 chromatic and spherical aberration4 ,chromatic aberration is the inability to focus simultaneously on two or more of the primary colors 7it is this defect in the eye that causes red letters to seem to stand out from a blue or green background1 a trick sometimes used in poster work74 ,spherical aberration is the inability to bring to a focus the rays of light that pass through the lens near the margins at the same time as those that pass through near the center4 ,for these reasons--and1 in lesser degree1 some others--the eye cannot see sharp lines1 and a lens that gives sharp definition to the edges of objects produces results that are esthetically unpleasing1 because foreign to our experience4 ,the soft-focus lens--of which there are numerous makes--is so designed that it possesses the errors that are normal to the eye1 and therefore--if the characteristic softness of definition is not over-done by a too enthusiastic worker--gives results having an agreeable vagueness of outline4 ,at one time the qualities of this type of lens were over-worked1 the results being so excessively diffused that1 as one writer said of a print1 8it was impossible to tell whether it was a #8,portrait of a ,lady' or a #8,water-,spout in the ,gulf ,stream4'0 ,but for some years past the pendulum has been swinging the other way1 and photographers in general 7it must be understood that this refers only to artistic workers1 not scientists7 are now using the unconnected lens so as to secure as nearly as possible the quality characteristic of the normal eye with1 perhaps1 a slight exaggeration for the sake of suggestion1 and as a stimulus to the imagination4 ,,written ,,for ,,the ,,mentor ,,by ,,paul ,l4 ,,anderson ,,illustration ,,for ,,the ,,mentor4 ,,vol4 #f1 ,no4 #ab1 ,,serial ,no4 #afj ,,copyright1 #aiah1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,illustration3 ,,photograph ,,by ,,karl ,,struss1 ,,by ,,courtesy ,,of ,,harper',s ,,bazaar4 ,,photograph ,,illustration ,,for ,a ,,story ,,photography ,motion ,picture ,photography ,,six ,a phase of photography that has a very broad scope is motion-picture work1 the mechanics of which depend on this fact3 ,if an object is looked at for a time and is suddenly removed from before the eye1 the eye continues to see it for an appreciable time after its removal4 ,this phenomenon is called 8persistence of vision40 ,a motion-picture camera is so arranged that a long strip of film can be drawn past the lens in a series of jerks1 the shutter being opened to permit the image projected by the lens to fall on the film during the period that the latter is at rest2 the film is drawn on to the next position while the shutter is closed4 ,naturally1 an object moving before the lens will move slightly during the interval between exposures1 so the film1 when developed1 shows a consecutive series of photographs of the object in slightly different positions4 ,a positive print is made from this series of negatives on a similar strip of film4 ,this is projected by means of an apparatus something like the familiar magic lantern or stereopticon1 but so arranged that this film may be drawn along in jerks4 ,each photograph is shown for a fraction of a second1 and is replaced1 during the time that the shutter is closed1 by one showing a slightly later phase of the motion4 ,because of the persistence of vision the eye blends these successive photographs into one apparently continuous motion4 ,it will be seen that the term 8moving pictures0 is really a misnomer1 since the pictures on the screen do not move1 but remain perfectly stationary during the time that they are seen4 ,by taking the pictures rapidly and projecting them slowly the apparent motion may be slowed down1 so that a rifle bullet may take three or four minutes to travel across a screen space of as many feet4 ,by taking them at wide intervals and projecting rapidly the motion may be speeded up1 and a plant may seem to grow from a seedling to maturity in a few minutes4 ,the ordinary taking and projecting speed is sixteen pictures per second1 experiment having shown that this is the least number that the eye will blend satisfactorily4 ,since each picture is one inch wide by three-quarters of an inch high--in the film--it is evident that each second of time represents one foot of film4 ,the writer has seen a rather elaborately staged photo-play that required an hour and forty minutes for projection2 a simple calculation shows that this involved #f1jjj feet of positive film--a little over a mile4 ,the length of the negative film was undoubtedly more1 on account of retakes1 cuts1 and so on4 ,an expenditure of five or six hundred dollars for film1 however1 is but a small item in the cost of producing an elaborate photo-play1 for the actors receive large salaries--though not so large as the press-agents would have us believe--and the cost of scenery is great4 ,the production of photo-plays is nevertheless a profitable industry1 as may be understood from the fact that the average daily attendance in this country is estimated at about twelve million4 ,assuming that each spectator pays only ten cents1 this represents an intake of #a1bjj1jjj daily and1 as is well known1 the prices of admission in many theatres range from #be cents up to #a4jj and more4 ,the artistic possibilities of the motion-picture play are obviously limited--it can never hope to rise to the emotional heights of the legitimate drama--but they are none the less considerable4 ,it is to be regretted that the motion picture industry is at present so much in the hands of producers who pander to the coarser instincts of the public1 through sensationalism and slap-stick farce2 who are often indifferent to detail--the writer has seen a cow-puncher represented as wearing his six-shooter butt-foremost2 who treat the author's work according to their own ideas4 ,a well-known author remarked1 on seeing the screen version of one of her books3 8,if ,i hadn't been fairly familiar with the story ,i wouldn't have known what it was all about40 ,in general1 firms seem to be more concerned with getting the public's money than with producing really artistic results4 ,the writer once saw a photo-play version of a fairly well-known book1 in which the producer had changed an elderly1 gray-haired1 quiet1 experienced cattleman into a cheap imitation of a ,bret ,harte gambler of thirty years of age1 the purpose of this metamorphosis being to transform a noble and self-sacrificing affection into a piece of gaudy sensationalism4 ,such tactics cannot fail to displease thinking people1 but there are1 fortunately1 producers to whom these remarks do not apply--really conscientious men of high ideals1 and signs are not wanting of an improvement in this regard4 ,the motion picture1 in worthy hands1 can be made an educational medium of great value1 not only in the dramatic art but in many other ways4 ,films frequently show scenes of historical interest1 life in foreign lands1 industries4 ,scientific subjects are treated1 such as the peristaltic movements of the intestines and the action of the heart1 photographed by means of the ,x-ray2 also the life cycle of micro-organisms1 the microscope being used in this case--and many other activities of life4 ,among the most interesting of these films are those produced by the ,williamson brothers1 showing sea life1 though mechanical difficulties have so far prevented the photographing of the most interesting phase of marine life1 that of the extreme depths4 ,,written ,,for ,,the ,,mentor ,,by ,,paul ,l4 ,,anderson ,,illustration ,,for ,,the ,,mentor4 ,,vol4 #f1 ,no4 #ab1 ,,serial ,no4 #afj ,,copyright1 #aiah1 ,,by ,,the ,,mentor ,,association1 ,,inc4 ,,the ,,mentor ,,august #a1 #aiah ,,department ,,of ,,fine ,,arts ,,the ,,story ,,of ,,photography ,by ,,paul ,l4 ,,anderson ,artist ,photographer1 ,author of 8,pictorial ,photography0 ,,mentor ,,gravures ,,photograph ,,from ,a ,,daguerreotype ,,self-,,portrait ,,photograph ,,by ,d4 ,o4 ,,hill ,,brooks' ,,comet ,,mentor ,,gravures ,,portrait ,,by ,,bromoil ,,process ,,the ,,lake1 ,,winter ,,illustration ,,for ,a ,,story ,illustration3 ,a ,,daguerreotype ,entered as second-class matter ,march #aj1 #aiac1 at the postoffice at ,new ,york1 ,n4 ,y41 under the act of ,march #c1 #ahgi4 ,copyright1 #aiah1 by ,the ,mentor ,association1 ,inc4 ,numerous investigators1 ,daguerre1 ,nipce1 ,fox ,talbot1 and others1 have been credited with the discovery of photography1 but the fact seems to be that these1 and many more1 merely contributed1 each in his turn1 some portion of the total that goes to make up the art as it now stands4 ,photography means1 literally1 8light-writing10 the name being derived from two ,greek words1 phos1 light1 and graphein1 to write4 ,the practice of photography depends primarily on the fact that certain chemical compounds are changed into other compounds by the action of light4 ,another fact is closely allied with this1 namely1 that a suitably constructed lens of glass or other transparent material1 or a fine needle-hole used instead of a lens1 will project the image of objects placed in front of it4 ,a camera1 then1 consists of a light-tight box having at one end an arrangement for holding a lens or a card with a needle-hole in it1 and at the other end a device for holding some light-sensitive chemical to receive the image projected by the lens4 ,in modern practice this light-sensitive chemical is almost always bromide of silver or a mixture of the bromide with other silver compounds1 these chemicals being held in an emulsion of gelatine4 ,when the gelatine emulsion is coated in a thin film on a sheet of glass the result is known as a dry-plate1 or1 simply1 a plate4 ,when it is coated on a strip of celluloid wound on rollers so that successive portions may be exposed to light1 it is called a roll film1 and when it is coated on separate sheets of celluloid1 arranged like a pad1 to be exposed successively1 it is called a film pack4 ,a similar emulsion coated on paper gives bromide or gas-light paper1 which1 as will be seen later1 is used for making prints4 ,at one time wet collodion plates were generally used1 a sheet of glass being coated with collodion and sensitized by bathing it with iodide of silver4 ,the exposure was made before the plate dried2 but these plates were inconvenient to handle and have been almost entirely superseded by the gelatine dry plate4 ,the prepared plate1 of whatever type it may be1 is placed in the camera and exposed for a longer or shorter time1 depending on circumstances1 to the light projected by the lens1 but no image is visible after exposure1 7unless1 indeed1 the exposure has been tremendously excessive17 and the plate must be developed4 ,illustration3 ,from a platinum print by ,gertrude ,ksebier 8,,blessed ,,art ,,thou ,,among ,,women0 ,portrait ,photograph ,illustration3 ,from a photograph by ,paul ,l4 ,anderson ,a ,,country ,,station ,,master ,portrait ,photograph ,there are about fifty different reducing agents on the market2 most of them are derived from coal-tar1 though some are made from nut-galls1 lichens1 and other substances4 ,the developer consists of a solution in water of one or more of these reducing agents1 with other chemicals to control the action1 the exposed plate being bathed in this solution1 either in the dark or in a light to which the plate is not sensitive4 ,wherever light has acted on the silver salts the developer causes metallic silver to be deposited in proportion to the amount of light-action1 so that on holding the developed plate up to the light a dense deposit is seen in those parts representing the brightest portions of the subject1 while the shadows of the original are represented by thin areas1 and the half-tones by deposits of intermediate density4 ,for this reason the developed plate is called a negative4 ,the plate is then bathed in a solution of sodium thiosulphate 7generally called 8hypo071 which dissolves the unaffected silver salt but does not affect the metallic silver--or at least does so only very slowly4 ,next1 the plate is washed in water to remove all unnecessary chemicals1 and is dried4 ,the ordinary plate is sensitive only to ultra-violet 7invisible7 and violet light1 so it cannot render truthfully any subject having color1 but by the addition of certain aniline dyes to the emulsion it may be rendered sensitive to green in addition to violet and ultra-violet2 it is then described as orthochromatic 78right-colored07 or isochromatic 78equally-colored074 ,still other dyes extend the sensitiveness to include not only ultra-violet but also the entire visible spectrum2 such a plate is called pan-chromatic 78all-colored074 ,illustration3 ,from a photograph by ,paul ,l4 ,anderson ,a ,,portrait ,,photograph ,printing the ,photograph ,the finished negative1 when dry1 must of course be printed1 and there are many printing mediums available4 ,the carbon process gives an image in lamp-black or some earth pigment1 bound up in a film of gelatine2 the gum-pigment process gives an image similar to that of carbon1 the binder in this case being gum arabic2 the platinum process gives an image of black metallic platinum direct on the paper support4 ,other processes give different effects1 one of the most valuable to the pictorial worker being gum-platinum1 in which a completed platinum print is coated with a gum-pigment film and printed under the negative a second time1 the final result being a gum-pigment image superposed on the platinum image4 ,of all printing mediums the one that has most intrinsic beauty1 and is at the same time most capable of rendering satisfactorily the gradations of the negative1 is probably platinum1 so this is most used by pictorial workers4 ,but1 since it is expensive and requires daylight or strong artificial light for printing1 nearly all commercial workers prefer the somewhat less beautiful and less permanent1 but more convenient1 gas-light paper1 so-called because it can be manipulated entirely by gas-light1 neither daylight nor a dark-room being required4 ,this medium consists of paper that has been coated with an emulsion somewhat similar to that used for plates1 but requiring much longer exposure4 ,the negative is placed in an appliance that holds it in close contact with the paper1 then a sheet of paper is put in1 and an exposure of a few seconds is given4 ,obviously1 the paper receives most light under the thin parts of the negative and less under the denser portions1 so that when the print is developed1 fixed1 washed and dried the resulting picture is light where the original subject was light1 dark where that was dark1 and show intermediate gradations where these existed in the original4 ,illustration3 ,photograph by ,karl ,struss ,,capri1 ,,italy ,illustration3 ,from a bromoil transfer by ,charles ,kendall ,,the ,,shadow ,,of ,a ,,sign ,for purposes of reproduction two processes depending on photography have almost entirely superseded the older methods of etching and wood engraving4 ,these photo-mechanical processes1 as they are called1 are far more rapid and much cheaper1 and are1 in addition1 more accurate4 ,in photo-gravure the photographic image--copied by photographing the original--is transferred to a copper plate and the plate is automatically etched in an acid bath to varying depths1 depending on the depth of shadow in the original4 ,this plate is then inked all over1 the ink being worked into the depressions in the copper1 and the surface ink wiped off4 ,a sheet of paper is brought into contact with the plate under heavy pressure1 and1 being forced into the hollows of the copper and taking up the ink from them1 a print results4 ,in the less beautiful but cheaper and more rapid half-tone process the copy is made through a cross-ruled glass screen1 the image being thus broken up into a series of dots4 ,the image so obtained is transferred to a zinc plate1 which is etched in an acid bath or with an acid spray4 ,the dots serve to protect the zinc from the action of the acid4,a ,the finished plate shows an image consisting of dots with hollows between them1 the dots being large and near together in the shadows1 small and far apart in the lights4 ,this plate is inked with a roller1 and a sheet of paper1 lightly pressed against it1 takes up the ink to form a print4 ,thus it will be seen that photo-gravure is an intaglio 7cut-in7 process1 and half-tone a surface-printing process4 ,a ,see cut on page #i4 ,photographic ,illustrations ,illustration3 ,from a platinum print by ,w4 ,e4 ,macnaughton ,,scene ,,on ,,the ,,connecticut ,,river ,photography has not only superseded manual processes for reproduction1 but has also largely replaced them for purposes of illustration4 ,practically all news illustrations are now made by photography1 which is also extensively used for advertising work4 ,to a less extent it is employed for fiction illustration1 admirable work having been done in this field by ,clarence ,h4 ,white1 ,karl ,struss1 and ,lejaren ,hiller4 ,it does not1 however1 seem probable that photography will ever entirely replace draughtsmanship for the illustration of fiction1 since the very strength of the camera1--that is1 its surpassing power of rendering accurately the outlines and gradations of natural objects1--operates as a severe limitation in the case of original1 imaginative work4 ,it is difficult to conceive of 8,the ,fall of the ,house of ,usher0 or 8,the ,rime of the ,ancient ,mariner0 being satisfactorily illustrated by photography1 and if1 for instance1 8,le ,morte d',arthur0 were made a photographic subject1 the cost of models1 costumes and scenery would probably be excessive4 ,illustration3 ,from a carbon print by ,h4 ,y4 ,smmons 8,,the ,,stygian ,,shore0 ,despite the limitations of the camera as regards imaginative work there is a small but devoted band of photographers who use the camera as a means of artistic expression1 and these men and women have produced some wonderfully fine results that fulfil the definition of art3 8,a means of arousing an emotion in the spectator40 ,in the last analysis1 however1 it will be found that such results are due to one of two methods of approach3 either the careful selection of an unusual natural effect1 or the use of one of the so-called 8control processes0--that is1 printing mediums that allow the worker to modify at will either the outlines or the gradations of the negative1 or both4 ,in the former case1 however1 the photographer cannot be regarded as more than an exceptionally sensitive and perceptive craftsman1 and in the latter instance the camera user1 of course1 ceases to be a photographer and becomes a creative artist1 using photography merely as a basis on which to construct an imaginative result4 ,the possibilities of this second method of work have not yet been fully explored2 they appear to be limitless4 ,the ,precision of ,photography ,illustration3 ,photograph by ,struss ,,afternoon ,,sun ,the ,biltmore1 ,new ,york ,illustration3 ,photograph by ,struss ,a ,,misty ,,day ,chatham ,square1 ,new ,york ,illustration3 ,photograph by ,struss ,,sunshine ,,and ,,shadow ,park ,row1 ,new ,york ,illustration3 ,photograph by ,struss ,,sunlight ,,on ,,surf ,the literalness of photography1 which prevents its ever competing with etching or painting in imaginative art1 makes it of inestimable value in certain realms1 and scientists of all sorts1 astronomers1 physicists1 physicians1 pathologists1 as well as architects1 building contractors1 business men1 who wish a precise and accurate record of any object1 recognize the value of the camera4 ,photographs are often admitted as legal evidence in court4 ,it is impossible to overstate the value of the dry-plate to the surgeon1 since the ,x-ray1 generated by passing an electric discharge through a glass tube from which most of the air has been exhausted1 penetrates many objects that are opaque to ordinary light1 and1 though invisible to the eye1 nevertheless affect a photographic plate1 thus making possible a precise diagnosis of fractured bones1 gun-shot wounds1 digestive disturbances1 and many other pathological conditions in which diagnosis without a radiograph would be mere guesswork4 ,in portraiture1 photography is superior to any other graphic art1 since the camera worker can1 by judicious selection of lighting1 pose and facial expression1 render the character of the sitter quite as well as the draughtsman1 this being the final test in portrait work1 though it must be admitted that few portrait photographers meet this requirement4 ,microphotography ,illustration3 ,by ,paul ,l4 ,anderson ,,photograph ,,taken ,,in ,a ,,snowstorm ,new ,york ,the human eye and mind are1 from a mechanical point of view1 but imperfect instruments4 ,admirably as they serve the purpose for which they are designed1 it is nevertheless impossible for them to observe with absolute accuracy4 ,the camera1 however1 has no such limitations2 its observations are accurate and its records unquestionable1 so long as no definite effort is made to impair their exactness4 ,for this reason photography is used not only in astronomy but in many other branches of science1 among its most important uses being the making of records of microscopic objects4 ,a device carrying a photographic plate is attached to the eye-piece of a microscope2 the plate being exposed affords1 on development1 a precise record of the subject under observation4 ,it may be noted that in this case1 as in astronomical photography1 no camera lens is required2 the microscope1 like the telescope1 projects an arial image which is impressed on the plate4 ,it thus becomes possible for the microscopist to study at leisure a photograph of the object that was in the field of the microscope1 and thereby eliminate eye-strain and minimize the likelihood of overlooking any feature of interest4 ,it is further possible to make lantern-slides from the negative so obtained4 ,a lecturer by this means is enabled to show the photograph to a large group of individuals simultaneously4 ,illustration3 ,photograph by ,struss ,by courtesy of ,cleveland ,metal ,products ,co4 ,,advertising ,,illustration ,an example of commercial photography ,illustration3 ,,thumb-,,print ,,on ,,dark ,,wood ,finger-prints are made visible by dusting with a fine powder1 and are photographed with a special detective camera ,though the photographic plate thus extends the usefulness of the microscope1 this is not the limit of its value in this respect4 ,light is transmitted by waves1 similar in some ways to waves in water1 the light waves being disturbances of the light-bearing ether1 an invisible1 imponderable substance of zero density and infinite elasticity1 which pervades all matter4 7,it must be understood that the ether has never been observed nor its actual existence proven2 it is1 however1 a necessary assumption for the satisfactory explanation of the observed phenomena of light1 so far as our present knowledge extends47 ,the distance from the crest of one wave to the crest of the next is known as the wave length1 the lengths of the various light waves having actually been measured4 ,the human eye is sensitive only to waves between about four-ten-thousandths and seven-ten-thousandths of a millimeter in length1 a millimeter being about one-twenty-fifth of an inch1 and an object is invisible in the microscope if its diameter is less than half the wave length of the light by which it is illuminated1 since in that case the light waves bend around the object and meet on the other side4 ,we cannot1 therefore1 see objects whose diameter is less than about two-ten-thousandths of a millimeter4 ,but the photographic plate is sensitive to shorter waves than the eye2 these waves are known as the ultra-violet4 ,by illuminating the microscope stage with ultra-violet light it therefore becomes possible to photograph objects so small that they must forever remain invisible to the naked eye1 unless1 indeed1 the progress of human evolution brings with it increased sensitiveness to the shorter wave lengths4 ,in this connection it is interesting to note that there are organisms so small that they cannot be made apparent to us even by photography1 though we are made aware of their existence by inductive reasoning from their observed effects4 ,illustration3 ,,newspaper ,,illustration ,enlarged to show half-tone screen ,in the case of some objects1 a fuller knowledge of their character is gained if they are examined in a manner somewhat different from that usually adopted4 ,one of the photographs given herewith shows the effect obtained by what is known as 8dark ground illumination40 ,ordinarily1 the light by which a microscopic object is examined passes through the slide1 so that an opaque object is really seen only as a silhouette1 but in dark ground illumination an opaque background is placed behind the object1 and the light is allowed to fall on it from the sides4 ,the object is thus made visible by the light that is refracted 7that is1 bent7 into the lens of the microscope4 ,in the present instance the effect seen by looking into the eye-piece was wonderfully beautiful1 the crystals glowing with a brilliant yellow light against an intensely black ground4 ,radiography ,some persons object to the inclusion of radiography as a branch of photography1 since no camera or lens is used1 but 8photography0 means1 literally1 8light-writing10 and radiography is precisely this4 ,if the air be nearly exhausted from a glass tube1 so that a high vacuum exists therein1 and it be then sealed up1 a current of electricity may be sent through the remaining air1 setting up ether vibrations that pass out from the tube4 ,these ether waves have the power of passing through many substances that are opaque to visible light1 the ,x-rays1 as they are termed1 being totally invisible1 though light waves to which the eye is sensitive are set up at the same time within the tube4 ,many persons confuse the greenish light from an ,x-ray tube with the ,x-rays1 but the two are actually entirely different manifestations4 ,the ,x-rays1 though invisible to the eye1 are nevertheless able to affect a photographic plate strongly1 so that photographs may be made through solid objects4 ,for example1 if a sensitive plate be laid on a table and the arm or the hand placed on it1 and an ,x-ray tube is brought near the arm1 a photograph results in which the bone is represented as a dark area and the flesh around it as lighter1 this being1 of course1 simply a shadow picture4 ,this affords an intensely valuable aid to diagnosis1 and a good surgeon will1 if possible1 first radiograph a fractured bone before setting it1 unless the circumstances are very exceptional4 ,the value of radiography is not1 however1 confined to fractures1 but extends to wounds 7it is of great help in locating metallic fragments or other foreign bodies in a wound71 to many intestinal disorders1 and to the diagnosis of other diseased conditions4 ,illustration3 ,,strip ,,of ,,motion-,,picture ,,film ,actual size4 ,the photography consumed five-eighths of a second1 or just long enough for the subject to turn her head ,illustration3 ,by courtesy of ,w4 ,faitoute ,munn ,,microphotograph ,,of ,,crystals ,,of ,,brucine ,,sulphate 7,a7 ,by transmitted light 7,b7 ,with dark-ground illumination ,though not strictly bearing on photography1 it is interesting to note that the ,x-rays1 like the 8gamma rays0 7-rays7 of radium1 are in reality ether vibrations of very short wave length1 and like the shorter waves 7the ultra-violet7 in sunlight1 possess curative powers in some skin disorders and also the power of causing terrible burns4 ,sunburn does not result from exposure either to visible sunlight or to the heat of the sun1 but to the ultra-violet rays2 and an ,x-ray burn is identical with sunburn4 ,in extreme cases the ,x-rays may cause complete destruction of the skin and even cancer1 and before the properties of the ,x-rays were so well known as at present many operators lost hands1 and some their lives1 as a result of excessive exposure to the rays4 ,at present1 ,x-ray workers shield themselves1 and1 when necessary1 the patient1 with lead screens1 that metal being practically opaque to the rays4 ,color ,photography ,many workers have tried1 with varying success to devise a means whereby photography could be made to reproduce not only the outlines and gradations of natural objects but the colors as well1 and there is now available a method of great worth for this purpose4 ,in brief1 it consists in making1 by one exposure in an ordinary camera1 a set of three-color negatives1 each of which represents that portion of one of the primary colors--violet1 green and red--which was reflected from the subject4 ,that is1 one negative represents the violet 8sensation10 the second the green1 and the third the red4 ,prints are made from these negatives in suitable dyes on transparent films1 which are cemented together1 one over the other1 thus giving a true color photograph1 in which the secondary and tertiary colors--blue1 yellow1 orange1 purple1 brown1 etc4--are obtained1 as in painting1 by the mixture in proper proportions of two or more of the primaries4 ,this is the first method of color photography to possess the great advantage of producing prints--not transparencies1 so that any number of duplicates may be made4 ,no special camera is required1 and the process is within the reach of any careful amateur4 ,the writer believes the artistic value of color photography is relatively slight--a black and white art is capable of the fullest intellectual expression1 and color is merely sensuous in its appeal4 ,after much experiment with different color processes1 he finds his own monochrome 7single tone7 prints more satisfying than the color work4 ,however1 the value of color to the scientific worker is incalculable1 as will be realized at once on considering only one of the possible applications--namely1 the study of skin affections4 ,it is interesting to note that several methods have been devised for the reproduction of natural colors in motion-picture work--the familiar method of coloring the positive film by hand being only an approximation to truth4 ,but none of those presented up to this time is fully satisfactory1 though the prospects of future development are good4 ,when we consider the manifold and widespread uses of photography and the pleasurable diversion that it affords1 it seems safe to say that there is no other form of industry not an actual necessity that is of such importance to the welfare and happiness of the human race4 ,illustration3 ,by courtesy of ,dr4 ,t4 ,w4 ,harvey ,,radiograph ,,of ,,normal ,,hand ,,supplementary ,,reading ,,pictorial ,,photography1 ,,principles ,,and ,,practice ,by ,paul ,l4 ,anderson ,,instruction ,,in ,,photography ,by ,sir ,william de ,w4 ,abney ,,science ,,and ,,practice ,,of ,,photography ,by ,john ,r4 ,roebuck ,,photography ,,of ,,today ,by ,h4 ,c4 ,jones ,,the ,,artistic ,,side ,,of ,,photography ,by ,a4 ,j4 ,anderson ,information concerning the above books may be had on application to the ,editor of ,the ,mentor4 ,,the ,,open ,,letter ,one summer afternoon1 some years ago1 ,i went into a front room of my home and drew down the window shades to shut out the glare and heat4 ,the room became quite dark1 but1 in one of the shades1 there was a small hole1 through which the sunlight penetrated--casting on the white wall opposite1 vivid images of all the objects in the street outside4 ,i had before me a full-color1 moving picture of the panorama of life that was passing the window4 ,here was the original 8camera obscura0 78dark chamber074 ,if one placed in the small hole in the shade a glass lens to give a sharp image1 and substituted for the wall a movable screen1 on which the projected objects could be focussed1 one would have the essential elements of a modern camera4 ,through just such simple experiences as this important scientific discoveries are sometimes made4 99 99 99 99 99 ,for many years photography was largely confined to portraiture and the faithful reproduction of objects and scenes4 ,all that was expected of a camera was to 8make a picture0 of a thing4 ,within the last forty years1 however1 as reproductive processes have been invented1 photography has come to be one of the most useful of arts4 ,beginning about #ahhc1 the quality and character of the illustrations in our magazines and books changed radically4 ,where1 previously1 there had been nothing but hand engravings of one sort or another1 photo-engraving appeared1 and1 with that1 the horizon of magazine illustration extended far beyond the reach of the liveliest imagination4 ,who could have foreseen1 then1 in the first photo-engraving processes1 such possibilities as photographic printing in full colors1 or moving picture films8 ,today1 pictorial illustration depends on photography1 and there is apparently little or nothing in life beyond the reach of photographic art4 ,it discloses the internal arrangements of human anatomy2 it makes a record of the affairs of the heavenly bodies2 it pictures things that the human eye cannot see2 it is even potent in the realm of mystery1 for have we not seen photographs of ghosts787 reproduced from spirit seances8 ,when objects and situations in life that do not exist are wanted1 the camera can1 by some trick or device1 create them for us4 ,there seems to be no limit to the possibilities4 ,each wonder displayed in photographic reproduction gives way to some new effect more wonderful still4 99 99 99 99 99 ,consider briefly a few of the wonders of modern photography4 ,first and foremost1 and most spectacular of all1 is the moving-picture film4 ,then1 in the world of practical things1 we have the telephoto-lens--a combination of the telescope and camera--that takes pictures of objects far beyond the reach of the naked eye4 ,this enables one to photograph the head of a gargoyle on a distant cathedral1 or the fledglings in an eagle's nest1 or a mountain goat on a crag high up a mountain side4 ,then there is the swinging camera1 by means of which a wide sweep of view can be included in one plate4 ,a device of great practical value is photo-telegraphy1 by which portraits for purposes of identification can be sent by cable and by wireless4 ,in modern warfare the uses of the camera are many and varied4 ,they include panoramic photography1 photographing by moonlight1 photographing of projectiles in the air1 even photographing the noise of a gun by recording the vibrations due to the displacement of the air1 photo map-making1 photo surveying from the air1 and the aviation gun camera4 ,radiography1 too1 must be mentioned--the ,x-ray and its use in surgery4 99 99 99 99 99 ,while all these wonders have come to pass in practical service1 photography has likewise grown and expanded in the field of fine art4 ,there are photographic art schools1 and clubs and exhibitions--all for the purpose of cultivating and developing the camera to the finest forms of expression4 ,we have highly cultivated and skilled photographers who are true artists1 and who are engaged in employing photography as a means to fine art achievement4 ,among such artist photographers in this country mention should be made of ,mr4 ,paul ,l4 ,anderson--the author of the present article2 ,arnold ,genthe1 who1 besides his wonderful portraits1 has1 by his art1 preserved for future generations the scenes of old ,san ,francisco--especially ,chinatown--that have now passed away2 ,gertrude ,kebier1 ,baron de ,meyer and ,jan de ,strelecki1 ,stieglitz1 ,eyckmeyer1 ,steichen1 ,smons and so many others that the list would fill this page4 ,illustration3 ,w4 ,d4 ,moffat ,,editor ,what1 ,who1 and ,when8 ,,what ,,is ,,photography8 ,it is the science and art of producing pictures by the action of light on chemically prepared 7sensitized7 plates or films4 ,,who ,,discovered ,,photography8 ,no one particular individual4 ,there is no known date on which 8photographic action0 was first recorded4 ,the action of the sun in making impressions of one sort or another on surfaces was known to man from the earliest times4 ,records of it can be seen in fossilized vegetable remains--and this action of the sun is apparent in the change of color that takes place in the ripening of fruits and foliage4 ,,who ,,first ,,applied ,a ,,sensitized ,,plate ,,to ,,the ,,purpose ,,of ,,making ,,photographic ,,prints8 ,no single individual discovered this essential principle of photography4 ,it came to be recognized in the course of many experiences1 beginning with the alchemists2 and developing through the experiments of a number of investigators1 until the end of the eighteenth century1 when the sensitiveness of various silver compounds to light became well known1 and the character of the change produced on these compounds by light became established4 ,thomas ,wedgwood1 the fourth son of ,josiah ,wedgwood1 the renowned potter1 developed a process by means of which the image printed by photographic means could be 8fixed0 and made permanent4 ,,what ,,instrument ,,brought ,,the ,,photographic ,,process ,,to ,a ,,perfected ,,form8 ,the camera4 ,the camera is the photographic apparatus in which the image is projected upon the sensitized plate1 thus securing a photographic impression4 ,the word 8camera0 is ,italian for 8room10 and the full name of the original instrument1 8camera obscura10 means 8dark room40 ,,who ,,invented ,,the ,,camera8 ,giovanni ,baptista della ,porta1 who lived in the sixteenth century1 has often been stated to have invented the camera1 but he appears only to have popularized and improved it4 ,the first use of cameras was not for printing photographs1 but simply as an interesting toy or to assist one in tracing the outlines of various objects4 ,there are many applications of the 8camera obscura0--a notable one being the periscope of a submarine4 ,it was not until a suitable sensitive plate was discovered that the camera became useful as an apparatus of photography4 ,,who ,,were ,,most ,,prominently ,,identified ,,with ,,the ,,development ,,of ,,the ,,photographic ,,process8 ,joseph ,nipce and ,louis ,j4 ,m4 ,daguerre4 ,nipce was successful not only in getting pictures produced in the camera1 but he succeeded in 8fixing0 them permanently1 ,daguerre developed a process known as 8daguerreotype10 which was the first method of photography available for practical purposes4 ,this was in #ahcg4 ,with the general acceptance of daguerreotypes1 photography became a profession4 ,the process had no rival until about #ahea1 when the 8collodion process0 was discovered1 and1 after that1 the daguerreotype process became obsolete4 ,,who ,,developed ,,the ,,modern ,,process ,,of ,,photography8 ,william ,henry ,fox ,talbot1 an ,english inventor 7#ahjj-ahgg74 ,he greatly increased the sensitiveness of paper1 and from his negatives prints were produced in much the same way as in the present day4 ,,the ,,mentor ,the ,wealth of ,the ,mentor #a ,beautiful ,children in ,art1 by ,gustav ,kobb4 #b ,makers of ,american ,poetry1 by ,hamilton ,mabie #c ,washington the ,capital1 by ,dwight ,elmendorf4 #d ,beautiful ,women in ,art1 by ,willing4 #e ,romantic ,ireland1 by ,elmendorf4 #f ,masters of ,music1 by ,henderson4 #g ,natural ,wonders of ,america1 by ,elmendorf4 #h ,pictures ,we ,love to ,live ,with1 by ,huneker4 #i ,the ,conquest of the ,peaks1 by ,fay4 #aj ,scotland1 the ,land of ,song and ,scenery1 by ,elmendorf4 #aa ,cherubs in ,art1 by ,kobb4 #ab ,statues with a ,story1 by ,lorado ,taft4 #ac ,the ,discoverers1 by ,albert ,bushnell ,hart4 #ad ,london1 by ,elmendorf4 #ae ,the ,story of ,panama1 by ,bonsal4 #af ,american ,birds of ,beauty1 by ,e4 ,h4 ,forbush4 #ag ,dutch ,masterpieces1 by ,van ,dyke4 #ah ,paris1 the ,incomparable1 by ,elmendorf4 #ai ,flowers of ,decoration1 by ,h4 ,s4 ,adams4 #bj ,makers of ,american ,humor1 by ,burges ,johnson4 #ba ,american ,sea ,painters1 by ,arthur ,hoeber4 #bb ,the ,explorers1 by ,albert ,bushnell ,hart4 #bc ,sporting ,vacations1 by ,dan ,beard4 #bd ,switzerland1 the ,land of ,scenic ,splendors1 by ,elmendorf4 #be ,american ,novelists1 by ,hamilton ,mabie4 #bf ,american ,landscape ,painters1 by ,samuel ,isham4 #bg ,venice1 the ,island ,city1 by ,elmendorf4 #bh ,the ,wife in ,art1 by ,kobb4 #bi ,great ,american ,inventors1 by ,bruce4 #cj ,furniture and ,its ,makers1 by ,richards4 #ca ,spain and ,gibraltar1 by ,elmendorf4 #cb ,historic ,spots of ,america1 by ,mc,elroy4 #cc ,beautiful ,buildings of the ,world1 by ,ward4 #cd ,game ,birds of ,america1 by ,e4 ,h4 ,forbush4 #ce ,the ,contest for ,north ,america1 by ,a4 ,b4 ,hart4 #cf ,famous ,american ,sculptors1 by ,lorado ,taft4 #cg ,the ,conquest of the ,poles1 by ,rear ,admiral ,peary4 #ch ,napoleon1 by ,ida ,m4 ,tarbell4 #ci ,the ,mediterranean1 by ,elmendorf4 #dj ,angels in ,art1 by ,van ,dyke4 #da ,famous ,composers1 by ,henry ,t4 ,finck4 #db ,egypt1 the ,land of ,mystery1 by ,elmendorf4 #dc ,the ,revolution1 by ,albert ,bushnell ,hart4 #dd ,famous ,english ,poets1 by ,mabie4 #de ,makers of ,american ,art1 by ,j4 ,t4 ,willing4 #df ,the ,ruins of ,rome1 by ,botsford4 #dg ,makers of ,modern ,opera1 by ,h4 ,e4 ,krehbiel4 #dh ,two ,early ,german ,painters--,drer and ,holbein1 by ,f4 ,j4 ,mather1 ,jr4 #di ,vienna1 the ,queen ,city1 by ,elmendorf4 #ej ,ancient ,athens1 by ,botsford4 #ea ,the ,barbizon ,school1 by ,hoeber4 #eb ,abraham ,lincoln1 by ,a4 ,b4 ,hart4 #ec ,george ,washington1 by ,mc,elroy4 #ed ,mexico1 by ,frederick ,palmer4 #ee ,famous ,american ,women ,painters1 by ,arthur ,hoeber4 #ef ,the ,conquest of the ,air1 by ,woodhouse4 #eg ,court ,painters of ,france1 by ,coffin1 ,n4 ,a4 #eh ,holland1 by ,elmendorf4 #ei ,our ,feathered ,friends1 by ,e4 ,h4 ,forbush4 #fj ,glacier ,national ,park1 by ,hornaday4 #fa ,michelangelo1 by ,cox4 #fb ,american ,colonial ,furniture1 by ,esther ,singleton4 #fc ,american ,wild ,flowers1 by ,eaton4 #fd ,gothic ,architecture1 by ,ward4 #fe ,the ,story of the ,rhine1 by ,elmendorf4 #ff ,shakespeare1 by ,mabie4 #fg ,american ,mural ,painters1 by ,hoeber4 #fh ,celebrated ,animal ,characters1 by ,hornaday4 #fi ,japan1 by ,elmendorf4 #gj ,the ,story of the ,french ,revolution1 by ,albert ,bushnell ,hart4 #ga ,rugs and ,rug ,making1 by ,mumford4 #gb ,alaska1 by ,browne4 #gc ,charles ,dickens1 by ,mabie4 #gd ,grecian ,masterpieces1 by ,lorado ,taft4 #ge ,fathers of the ,constitution1 by ,albert ,bushnell ,hart4 #gf ,masters of the ,piano1 by ,finck4 #gg ,american ,historic ,homes1 by ,singleton4 #gh ,beauty ,spots of ,india1 by ,elmendorf4 #gi ,etchers and ,etching1 by ,weitenkampf4 #hj ,oliver ,cromwell1 by ,albert ,bushnell ,hart4 #ha ,china1 by ,elmendorf4 #hb ,favorite ,trees1 by ,hornaday4 #hc ,yellowstone ,national ,park1 by ,elmendorf4 #hd ,famous ,women ,writers of ,england1 by ,mabie4 #he ,painters of ,western ,life1 by ,hoeber4 #hf ,china and ,pottery of ,our ,forefathers1 by ,esther ,singleton4 #hg ,the ,story of ,the ,american ,railroad1 by ,albert ,bushnell ,hart4 #hh ,butterflies1 by ,holland4 #hi ,the ,philippine ,islands1 by ,worcester4 #ij ,great ,galleries of the ,world--the ,louvre1 by ,van ,dyke4 #ia ,william ,m4 ,thackeray1 by ,mabie4 #ib ,the ,grand ,canyon1 by ,elmendorf4 #ic ,architecture in ,american ,country ,homes1 by ,aymar ,embury4 #id ,the ,story of the ,danube1 by ,albert ,bushnell ,hart4 #ie ,animals in ,art1 by ,kobb4 #if ,the ,holy ,land1 by ,elmendorf4 #ig ,john ,milton1 by ,mabie4 #ih ,joan of ,arc1 by ,ida ,m4 ,tarbell4 #ii ,furniture of the ,revolutionary ,period1 by ,esther ,singleton4 #ajj ,the ,ring of the ,nibelung1 by ,finck4 #aja ,the ,golden ,age of ,greece1 by ,botsford4 #ajb ,chinese ,rugs1 by ,mumford4 #ajc ,the ,war of #ahab1 by ,albert ,bushnell ,hart4 #ajd ,great ,galleries of the ,world--,the ,national 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,finck4 #adi ,the ,luxembourg ,gallery1 by ,wm4 ,a4 ,coffin4 #aej ,julius ,caesar1 by ,prof4 ,george ,w4 ,botsford4 #aea ,the ,incas1 by ,osgood ,hardy4 #aeb ,rodin1 by ,emile ,villemin4 #aec ,the ,columbia ,river1 by ,ruth ,kedzie ,wood4 #aed ,the ,story of ,coal1 by ,c4 ,f4 ,talman4 #aee ,benjamin ,franklin1 by ,a4 ,b4 ,hart4 #aef ,the ,forest1 by ,henry ,s4 ,graves4 #aeg ,metropolitan ,museum of ,art1 by ,s4 ,p4 ,noe4 #aeh ,the ,cradle of ,liberty1 by ,a4 ,b4 ,hart4 #aei ,rainier ,national ,park1 by ,belmore ,browne4 ,you need only mail a post card--listing ten or more of the numbers opposite the titles--and we will send the selections of your choice1 all charges paid4 ,ten copies1 at #bj cents each1 may be paid for on easy installments of but #a4jj a month for two months4 ,we urge you to mail the card to us today4 ,,the ,,mentor ,,association1 #aad-aaf ,east #afth ,street1 ,new ,york ,city ,,make ,,the ,,spare ,,moment ,,count