,,the ,,american ,,journal ,,of         
,,photography4   ,illustration3         
8,,folwell',s ,,washington40            
,,negative ,,from ,,original4 ,,by      
,,julius ,f4 ,,sachse4                  
,,american                              
,,journal ,,of ,,photography4           
,published by ,,thos4 ,h4               
,mc,c,o,l,l,i,n  ,,co4           ,,vol4 
,,xi4           ,,philadelphia1 ,,july1 
,,no4 #g                                
#ahij4    ,,thos4 ,h4 ,mc,c,o,l,l,i,n1  
,managing ,editor4   ,j4 ,f4 ,,sachse1  
,associate ,editor4                     
,,the ,,silhouette4   ,our illustration1
 8,folwell's ,washington10 is a profile 
of the one person characterized in our  
nation's history as the 8,first in war1 
the first in peace1 and the first in the
 hearts of his countrymen40 ,our object 
in presenting this frontispiece to our  
readers for the current month is a      
two-fold one2--first1 in view of the    
,eleventh ,annual ,convention of the    
,photographic ,association of ,america1 

which is to be held in ,washington1     
,august #ab-ae4 ,the subject is a       
particularly appropriate one4  ,the     
original portrait was painted by        
,folwell1 in #agie1 while ,general      
,washington was in the presidential     
chair1 for ,col4 ,william ,washington1 a
 kinsman of the ,general1 and who in the
 year #ahjj1 but a short time after the 
,general's death1 presented the portrait
 to ,james ,henry ,stevens4  ,the       
following endorsement is written on the 
back of the picture3 8,done             
#agie1--,presented to--,james ,henry    
,stevens1 ,esqr41--by his friend        
,col4--,wm4 ,washington1 ,sept4--#ith1  
#ahjj--,said to be a--,correct likeness 
from life of--,his ,excellency          
,gen'l--,george ,washington--#ast       
,president of--the ,united--,states of  
,america40  ,the original is now in the 
possession of the ,historical ,society  
of ,pennsylvania1 and is classed among  
what are known as 8rare ,washington     
portraits40 ,in ,mr4 ,wm4 ,s4 ,baker's  

list we find on page #aji the following 
notice regarding the portrait and the   
painter4 8,samuel ,folwell1 #agie1      
miniature painter1 of whom little is    
known1 was practicing his art in        
,philadelphia1 the latter part of last1 
and the beginning of the present        
century4 ,the profile of ,washington in 
possession of the ,historical ,society  
of ,pennsylvania1 inscribed #8,s4       
,folwell1 ,pinxt1 #agie1' is said to    
have been taken upon a public occasion1 
the ,president being unaware of the     
fact4 ,it is drawn on paper and solidly 
painted in ,india ink1 with certain     
lights touched in1 and as declared at   
the time is #8certainly a most spirited 
and correct likeness4' ,there is no     
engraving of this profile40  ,in        
addition to this portrait by ,folwell1  
there are in existence two regular      
silhouettes of ,washington4 ,one was    
taken by ,samuel ,powell1 an ex-mayor of
 ,philadelphia1 by tracing on the wall a
 shadow thrown by an ,argand lamp1 which

 had just then been invented4 ,this     
picture is now in the possession of the 
,massachusetts ,historical ,society4    
,the other1 a psaligraph1 or silhouette 
cut with the scissors1 by a ,miss ,de   
,hart1 of ,elizabethtown1 ,n4 ,j41 in   
#aghc4  ,it will be noticed that the    
portrait belongs to the more advanced   
type of its class2 viz43 where an       
attempt is made to introduce detail by  
the use of the brush4  ,our other reason
 for reproducing this portrait is owing 
to the fact that the solid profile has  
of late again attracted considerable    
attention in photographic circles of    
,europe1 and strange to say much        
difficulty seems to have been           
experienced in obtaining desirable      
results4 ,as simple as the production of
 a solid profile seems to be 7and is to 
us in ,america7--if we may credit our   
,european exchanges--just so difficult  
has the process proved to some of the   
camera artists beyond the sea1 as will  
be seen from the accounts here given4   

,on account of the extreme plainness and
 simplicity of the old silhouettes1 we  
are too apt to pass them by as          
productions of but little or no artistic
 merit or value1 overlooking the fact   
that the plain outline contour1 in      
centuries past1 was the germ from which 
emanated the arts of bas-relief and     
portraiture1 the latter passing through 
all the various stages from the plain   
outline of the finished miniature1 and  
these in their turn to be supplanted by 
photography of the present day4  ,there 
are two traditions which have come down 
to us from the dim ages past relating to
 this subject4 ,one informs us that it  
occurred to an old ,greek to follow the 
contour of a friend's shadow with a     
piece of coal as it fell upon the white 
marble wall of the temple1 thus         
permanently securing the outline of his 
friend's features2 from this incident is
 said to date the ,greek ,school of     
,painting4 ,arkides1 of ,corinth1 and   
,telephanes1 of ,sikyon1 improved the   

process by filling out the space between
 the lines with a piece of coal or      
ruddle 7an argillaceous iron ore71 from 
thence the transition to pigments was an
 easy and natural one4  ,the other      
tradition1 a still more pleasant one1   
would have us believe that about        
twenty-five hundred years ago there     
lived in same city of ,sikyon1 in       
,greece1 a modeller in clay by the name 
of ,dibutades4 ,he had a daughter ,kora2
 he also had a young apprentice4 ,as    
usual in these old tales1 both were     
young and fair1 and in the course of    
events vows of betrothal were exchanged4
 ,shortly afterwards1 as the pair sat   
together1 ,kora suddenly seized a piece 
of coal from the brazier1 and asking her
 betrothed to remain still1 she traced  
upon the wall the outlines of the face  
which was so dear to her4 ,it was an    
inspiration on the part of the ,greek   
maiden1 and so correct was the likeness 
that when old ,dibutades saw it he      
recognized it at once1 and thinking to  

please his daughter1 he filled in the   
portrait with clay2 the result was a    
bas-relief1 the first that was ever     
made4  ,as crude as the silhouette      
appears1 it certainly was the best      
process1 prior to the advent of         
photography1 to reproduce the features  
of persons2 this applies1 however1 more 
to such as had a marked or prominent    
profile1 the result almost always being 
a recognizable portrait1 while in       
subjects with soft harmonic lines1      
especially female faces1 the            
identification of the original by means 
of the silhouette1 or profile1 was more 
or less difficult4 ,yet there was a     
time1 we will say in the century        
preceding the perfecture of ,daguerre's 
invention1 when the silhouette was      
popular and common as the carte or      
cabinet photo of the present day4  ,it  
was about the middle of last century    
when the rage for profiles broke out in 
,france4 ,it is said the style was      
introduced by the ,pompadour1 then at   

the zenith of her power4 ,be that as it 
may1 it struck the popular fancy1 as it 
was a branch of portraiture which came  
within the reach of all classes4 ,paris 
was soon flooded with profile artists1  
and the black profiles became known as 8
 la ,pompadour40 ,with the decline of   
her power1 and the appointment of one   
,etienne de ,silhouette as ,minister of 
,finance1 who on account of a system of 
retrenchment inaugurated by him had     
become an object of derision with the   
court favorites and the populace1 a     
reaction set in2 and so great a butt had
 the ,minister become with the populace1
 that everything that savored of        
retrenchment1 or was cheap1 poor1 or    
shopworn1 was 8 la ,silhouette40 ,our   
profiles1 on account of their           
inexpensiveness1 came under the same    
category1 and strange to say thus       
immortalized1 for all time to come1 the 
name of the honest ,minister of         
,finance4  ,towards the end of the last 
century the art of profile painting     

reached its highest development1 of     
which our example is a good specimen4   
,in our own country1 the demand for     
these pictures was so great that a      
special machine was invented for the    
purpose of producing correct outlines in
 miniature4 ,this apparatus was one of  
the features of ,peale's ,museum1 then  
in ,independence ,hall4 ,the process was
 first to outline the shadow1 then the  
machine was brought into play2 this     
consisted of a tracer1 which moved on a 
universal joint on the standard1 the    
respective ends being adjustable as to  
length1 so as to suit the required      
relative proportion between the shadow  
and the miniature copy4 ,in using1 one  
end of the tracer was caused to follow  
the line of the profile1 while the other
 marked upon the paper which was        
presented in a frame4 ,the paper was    
then removed1 and the portrait cut out  
by the scissors4 ,the silhouette        
portrait also came into vogue for book  
illustrations1 and specimens from       

copperplates are frequently found in old
 volumes4  ,towards the close of the    
last century the silhouette for a time  
was superseded by pastel portraits4     
,however1 it was not long before the art
 was again in favor1 and practiced by   
numerous artists4 ,the brush1 which had 
heretofore been almost exclusively used1
 was now supplemented by the knife or   
scissors1 resulting in the art of       
8,psaligraphy10 in which the portrait   
was either cut out of glossy black paper
 and then pasted on a white card1 or the
 reverse1 where the outline was cut with
 a knife from a sheet of white paper and
 then backed with a piece of silk1 thus 
showing a black profile on a white      
ground4 ,specimens of the latter process
 are very rare1 as it required an artist
 of no mean order for their execution4  
,owing to the popularity of the         
silhouette it soon became elevated to   
the rank of meritorious art4 ,noteworthy
 among the exponents of this school we  
will mention the late ,paul ,konewka1   

,strhl1 and others1 who produced effects
 of a surprising degree of naturalness  
in solid black4 ,half a century ago     
silhouettes of prominent persons1       
actors1 danseuses1 soldiers1 orators1   
etc41 were as common an article of      
commerce as the photograph of a         
professional beauty is at the present   
day4  ,the advent of photography        
eventually proved the death blow to the 
silhouette1 as a picture with all the   
detail and expression was far preferable
 to the simple profile4 ,yet at first1  
in many cases1 on account of poor posing
 or defective lighting1 the photograph  
showed less similarity to the sitter    
than the well-executed silhouette4 ,at  
the present day1 with the great advances
 in the photographic art1 all necessity 
for the silhouette has ceased to exist1 
nor is there any special reason why that
 style of portraiture should be made by 
use of the camera1 except as a pastime4 
,yet1 strange to say1 this subject has  
excited so much attention in ,europe    

that it was made the special order of   
business at the ,april meeting of the   
,photographische ,gesellschaft1 in      
,vienna1 where ,herr ,eisele1 a         
prominent member1 stated that he had    
experimented for the last two years in  
producing photographic silhouettes4     
,professor ,luckhart and the artist     
,herr ,schuer had also devoted much time
 to the subject without1 however1       
succeeding as well as the first speaker4
  ,the details of ,herr ,eisele's       
experiments certainly make interesting  
reading for us on this side of the      
water4 ,he states that at first he      
covered a frame with tracing paper1 then
 placed his principal between the sun   
and the screen1 thus throwing a shadow  
on the paper4 ,the camera was set up on 
the other side1 so as to photograph this
 shadow1 the lens1 of course1 pointed   
direct to the sun4 ,he then made the    
attempt to shade the lens with an       
umbrella4 ,he neglects to state how     
often he got the outline of the         

parapluie on his plate4 ,then he tried  
,blitz-pulver--sitter1 camera1 and      
screen in same position4 ,result as     
might have been foretold--a miserable   
failure4  ,next the screen was placed in
 a doorway with a bright light back of  
the screen4 ,the subject was placed in  
front of the screen1 the room darkened1 
the camera being placed in front of the 
sitter and screen4 ,a ,blitz-lamp       
exposure of five to six seconds was then
 made4 ,result--not a single specimen   
that equals our old silhouette4 ,so much
 for our ,viennese photographic cousins4
 ,in these great ,united ,states we     
simply tack a piece of muslin in front  
of a window1 place the subject directly 
in front1 shut off all other light in   
the room1 focus1 fire1 and develop4     
,result--a good sharp profile almost all
 the time4                              
,,julius ,f4 ,,sachse4                  
,,some ,,further ,,details ,,about      
,,prints4   ,the drying of a            
photographic print after the final      

washings have been completed is a simple
 enough matter1 and yet it is possible  
for the most exasperating failures to   
occur at this stage of the process2 the 
disappointment experienced being all the
 more keen because the work is in a     
certain sense finished4  ,those         
unacquainted with photographic          
neatnesses might easily imagine that all
 that was necessary was to take the     
print out of the water1 and lay it aside
 in any convenient place to dry4 ,they  
would soon find out1 however1 that if   
the substance with which the wet print  
came into contact were capable of       
communicating any impurity1 the print   
would be sure to show in the form of    
stains4 ,for instance1 suppose that the 
prints were hung over wooden poles1 or  
laid on wooden shelves while still wet1 
there would hardly be a possibility of  
escape from stains4 ,this would be true 
in the case either of silver prints of  
any kind1 bromides1 or blue prints4     
,silver prints on plain paper and blue  

prints are more manageable in drying    
than the other forms which are made on  
papers prepared with a contractile      
substance like gelatine or albumen4     
,supposing that the wooden poles or     
shelves before spoken of were covered   
with clean white linen or blotting      
paper1 all those forms of prints having 
a plain surface might safely be dried   
there1 but an albumen paper print would 
not do so well2 if laid out flat on the 
shelf it would contract unequally1 and  
be so crinkled and shrunken that there  
would be serious difficulty in trimming4
 ,drying over the pole would be         
preferable1 but the albumenized surface 
would be put on the stretch unequally1  
so that in the case of a highly glazed  
surface there would be fissures and     
cracks very detrimental to the finished 
result4  ,the best method of drying     
prints of all descriptions1 and a very  
convenient and inexpensive one also1 is 
the following3 ,provide a number of     
spring clothes-pins1 a few yards of     

ordinary brass wire1 and a couple of    
good-sized screw-eyes4 ,having selected 
a suitable place in the workroom where  
the prints will not be disturbed1 screw 
in one of the screw-eyes to the wood of 
the window or door jamb at the height of
 the shoulder2 pass one end of the brass
 wire into the eye and secure it1 then  
string the clothes-pins on to the wire1 
and secure its other end by means of the
 other screw-eye at a convenient point  
across the room4 ,having brought the    
prints from the washing tank in an      
ordinary deep pan1 select those of      
similar sizes1 bring them together      
neatly1 back to back1 while in the      
water1 then take them out and suspend   
the pair from one or more of the        
clothes-pins1 according to the size of  
the prints4 ,if they are very large1 it 
may require three of the clothes-pins to
 fully support them1 and avoid risk of  
the wet mass tearing by its own weight4 
,while on the other hand1 small sizes1  
such as #ed inches1 may be held by a    

single pin4 ,when the paper is very     
glossy1 and the weather dry1 the larger 
sizes may require to be pinched together
 at the bottom corners by an additional 
couple of clothes-pins1 which will      
prevent the prints from separating until
 thoroughly dry4  ,prints dried in the  
manner described will be quite flat1 and
 free from stains of any kind4 ,we need 
hardly add that the clothes-pins should 
be new and clean1 and kept for this     
purpose only4 ,if the prints are hung up
 to dry in the evening1 they will be    
ready for trimming in the morning1 when 
the end of the wire may be released1 and
 the whole turned aside out of the way  
until the next occasion for use4 ,if the
 wash-water is muddy1 as is often the   
case1 the deep pan in which the prints  
are transferred to the drying-room may  
be filled with clean filtered water1 so 
that the collected mud in the paper may 
be soaked out before drying4  ,the warm 
weather we are now passing through      
reminds us of a few matters which have  

greatly eased our own labors in the     
printing-room1 and simple as they are we
 will mention them4  ,it sometimes      
happens that there is trouble in        
securing pure whites in prints on       
albumen paper1 an universal yellow stain
 covering everything4 ,the best remedy  
for this is the use of alum in the      
printing bath1 as originally suggested  
by the late ,mr4 ,anthony1 of ,new      
,york4 ,care also must be taken that the
 paper is quite dry before being fumed4 
,operators are too apt to forget that as
 the thermometer rises1 so does the     
amount of watery vapor in the air       
increase1 and that sheets of paper will 
often dry more quickly on a bright day  
in winter than on many hot days in      
summer4 ,the way the paper feels to the 
hand is the best guide1 and some little 
attention is required to be able to tell
 accurately4  ,the question whether the 
strength of the silver bath should be   
reduced or not during warm weather is   
open to some discussion4 ,if the paper  

be of first-class quality1 and the bath 
contain alum1 as before alluded to1 it  
would be possible to continue making    
good prints having pure whites with the 
bath at full strength1 by which we mean 
fifty to seventy grains to the ounce4   
,there is no question of the fact that  
the sensitiveness of the prepared paper 
increases when floated on a strong bath1
 and that the compound which is then    
formed between the albumen and the      
silver is more prone to decomposition4  
,it will occasionally happen1 if the    
prints come out yellow1                 
metallic-looking1 and covered with      
minute black specks1 that weakening the 
silver bath down to the strength of     
forty-five or even forty grains will    
cure the trouble4 ,a strength of forty  
grains1 however1 we should consider a   
low one1 and only to be resorted to for 
unusually hot weather or for particular 
kinds of paper1 such as very thin and   
delicate ,rives4  ,the paper should not 
be left in the fuming-box for too long a

 time in hot weather4 ,if things are    
properly arranged for the purpose1 ten  
to twelve minutes ought to suffice for  
thorough fuming4 ,it is important1 of   
course1 that good strong ammonia be     
employed1 and care should be taken that 
the glass stopper be well secured in the
 bottle4 ,in a hot printing-room the    
stoppers of ammonia bottles are         
frequently blown out by the vapor and   
fall on the floor1 leaving the contents 
of the bottle to lose strength rapidly4 
,,ellerslie ,,wallace4                  
,,the ,,convention ,,at ,,washington4   
,the time for the ,eleventh ,annual     
,convention of the ,photographic        
,association of ,america is approaching1
 and we hope the craft through the      
length and breadth of the land are      
preparing for it4 ,mr4 ,j4 ,m4          
,appleton1 the president1 sends the     
following circular1 which should be     
carefully studied by every photographer1
 and also a specimen of the blank form  
to be filled up by intending exhibitors4

 ,those who may not have received a copy
 should apply to him4  ,we published a  
list of the prizes to be awarded in our 
,march number1 and now print the        
following3                       ,,rules
 ,,for ,,judges ,,and ,,exhibitors3     
,,rules ,,governing ,,judges ,,in ,,the 
,,grand ,,prize4  #a4 ,the points to be 
considered are3 ,first1 historic2       
second1 originality2 third1 composition2
 fourth1 lighting2 fifth1 technique4    
#b4 ,ten marks to be the highest for any
 one point1 consequently1 fifty marks   
the most that can be given to any one   
picture4  #c4 ,the standard of this     
award must be thirty-five markings out  
of a possible fifty4                    
,,rules ,,governing ,,judges ,,in       
,,class ,a4  #d4 ,the principal points  
to be considered are3 ,first1           
originality2 second1 composition2 third1
 lighting2 fourth1 technique4           
,,rules ,,governing ,,judges ,,in       
,,classes ,b1 ,c1 ,d ,,and ,h4  #e4 ,the
 following points to be considered are3 

,first1 lighting2 second1 posing2 third1
 chemical effect2 fourth1 general       
effects or finish4  #f4 ,ten marks to be
 the highest for any one point1         
consequently forty marks the most that  
can be given to any one picture4  #g4   
,the above regulations also to govern   
,class ,a4  #h4 ,applications for space 
must be made to ,george ,h4 ,hastings1  
,no4 #adg ,tremont street1 ,boston1     
,massachusetts4  #i4 ,entries to close  
on ,tuesday1 ,july #ae1 and no space to 
be allotted for exhibits after that     
date4 ,all exhibits must be shipped so  
as to reach the exhibition on the       
,saturday preceding the opening of the  
same1 and all charges to be prepaid4    
#aj4 ,each picture or set of pictures   
must be marked with a letter signifying 
the class in which it is offered for    
competition4  #aa4 ,the exhibition of   
photographs connected with the          
convention is to be considered an art   
exhibition pure and simple4 ,in order   
not to detract from this standard1 no   

sign of any description shall be allowed
 in the hall devoted to the display of  
photographs1 except the names and       
addresses of the exhibitors4  #ab4 ,no  
exhibit for the grand prize or classes  
,a1 ,b1 ,c1 ,d and ,h to occupy space of
 more than eight lineal feet1 and in    
class ,e1 ten lineal feet4  #ac4 ,all   
photographs exhibited must be from      
negatives made since the tenth annual   
convention1 held at ,boston1            
,massachusetts1 ,august1 #ahhi4  #ad4   
,all exhibitors must see that their     
displays are properly placed before #aj 
o'clock ,a4,m41 on ,august #ab1 and no  
exhibits will be admitted after that    
date4  #ae4 ,all art exhibits must be   
sent to ,george ,h4 ,hastings1 ,art     
,department1 ,photographers'            
,association of ,america1 ,smithsonian  
,institute1 ,washington1 ,d4 ,c41 all   
charges prepaid4       ,,eleventh       
,,annual ,,convention ,,of ,,the        
,,photographers' ,,association ,,of     
,,america4--,,smithsonian ,,institution1

 ,,august #ab ,,to #ae4                 
,,office ,,of ,,the ,,secretary1        
,,iowa ,,city1 ,iowa1 ,may #bd1 #ahij4  
,to the ,photographers of ,america3     
,the eleventh annual convention of the  
,photographers' ,association of ,america
 will be held in the ,smithsonian       
,institution at ,washington14 ,d4 ,c1   
,august #ab to #ae1 inclusive1 and from 
present indications the attendance will 
be larger than ever before4 ,why not    
take a few days' vacation and attend    
this meeting8 ,if you only knew the     
treat that awaits you in ,washington1   
every photographer in the land would    
attend1 if they had to close their      
business for a week to do so4  ,a visit 
to the places of interest in            
,washington1 the most beautiful city in 
the world1 will alone be worth the time 
and money spent4 ,the fine collection of
 paintings in the ,corcoran ,art        
,gallery is of special interest to      
photographers1 as it contains some of   
the finest pictures in this country or  

in ,europe4 ,a visit to the capitol and 
government buildings1 the ,washington   
monument1 the ,white ,house1 the        
,smithsonian ,institution1 and many     
other interesting points will add to the
 pleasure of this occasion1 and is alone
 well worth the time and expense of the 
trip4  ,the ,committee on ,railroads    
have secured a rate of one and one-third
 fare for the round trip on all trunk   
lines in every direction4 ,in order to  
obtain this rate1 you must obtain a     
receipt from the ticket agents of whom  
you purchase tickets on all roads1 and  
have them signed by ,w4 ,v4 ,ranger1    
second vice-president1 at the           
convention1 this will entitle you to a  
one-third fare returning4  ,the         
headquarters of the convention will be  
at the ,ebbitt ,house1 and the following
 rates have been obtained at the        
different hotels3 ,ebbitt ,house1 two in
 a room1 #b4ej per day2 ,ebbitt ,house1 
one in a room1 #c per day2 the          
,arlington1 #c per day2 ,millards1 #c   

per day2 the ,national1 #b4ej per day2  
the ,riggs1 #c per day2 the ,harris1 #b 
per day2 and many other hotels from     
#a4ej to #b4ej per day2 also several on 
the ,european plan1 rooms from #ej cents
 to #a4ej per day4  ,if you will look at
 the benefits to be derived from        
attending this meeting1 we feel sure    
that you will take the time and meet    
with us4  ,the unveiling of the         
,daguerre memorial during the           
convention1 to be permanently placed in 
the ,smithsonian ,institution1 will be  
one of the special features4 ,this      
memorial is the gift of the             
photographers of ,america4 ,the fund is 
raised by one or more dollar            
subscriptions from the photographers    
7which it would be well for you to send 
in your subscription at once to one of  
the different committees1 and help the  
matter along1 and do honor to the man   
who first brought to light this noble   
profession of ours74  ,you will miss it 
if you fail to come4 ,there will be some

 of the finest specimens of ,american   
photography ever exhibited1 as well as  
,european4 ,i have the promises of      
exhibits from all the leading           
photographers of the world4  ,rules and 
regulations1 list of awards1 entries for
 competition1 etc41 will be mailed on   
application4  ,is not this association  
worthy of your support8 ,any            
photographer of good moral and          
professional standing is eligible4 ,if  
not already a member1 lose no time in   
uniting yourself with an organization   
already a power in the land4 ,it has    
stood the test of time 7eleven years71  
and has a creditable standing throughout
 the length and breadth of the civilized
 world4  ,to become a member1 send five 
dollars if a proprietor1 and two dollars
 if an employ 7which pays entrance fee  
and dues for first year71 to the        
treasurer1 ,g4 ,m4 ,carlisle1           
,providence1 ,r4 ,i4 ,if already a      
member kindly remit your dues 7#b4jj71  
and by so doing avoid waiting your turn 

at the entrance when you arrive at the  
convention1 as none can be admitted     
whose annual dues remain unpaid4        
,,extract ,,from ,,constitution4        
,,article ,,ii41 ,section #d4--,the     
annual dues become payable on ,january  
#a of each year1 and any member failing 
to pay the same prior to the adjournment
 of the annual convention shall forfeit 
his right to membership1 and can only be
 reinstated on payment of an initiation 
fee 7#c4jj7 and 7#b4jj7 dues1 #e4jj1 as 
provided in case of admission of new    
members4  ,become a member and get the  
benefits of the art lectures1 practical 
talks1 and a grand exhibition of        
photographic productions and stock      
exhibit4 ,fraternally yours1            
,d4 ,r4 ,,coover1 ,secretary4  ,we      
expect to publish1 in our next number1  
an additional article on this subject1  
from the pen of the president1 ,j4 ,m4  
,appleton1 which will reach our         
subscribers in ample time for the       
convention4                             

,s4                    99       99      
99       99       99  ,the average      
newly-fledged photographer wishes to    
begin before breakfast4 ,the barn or the
 back-yard fence is good enough for him1
 and if nothing else alive is in sight1 
it is easy enough to try it on the dog4 
,few dogs1 however1 have a proper sense 
of the responsibility of being          
photographed4 ,after everything is      
carefully arranged1 they get up and want
 to go home4 ,sometimes they remain     
silent until the picture is started1    
when they begin to stroll around and    
make eight or nine dogs on the plate2 or
 they sit still and only wag their ears1
 until the negative shows something like
 a halo of ears4 ,this would give a     
professional photographer much worriment
 of mind1 but the amateur is generally  
wise enough to see that his failures are
 the funniest things he has4--,photo4   
,times4                                 
,,orthoscopic ,,photography4   ,it is   
well-known that there are a large number

 of coal-tar color products1 which have 
the property of causing an orthoscopic  
action on the ordinary sensitive dry    
plate1 making the plate more sensitive  
for a certain color than the others2 for
 instance1 eosine is a superior         
sensibilator for green-yellow and       
yellow-green2 cyanin1 again1 is         
especially sensitive for reds4 ,other   
products1 such as rhodamin1 cyclamin1   
methyl1 violet1 and others1 generate in 
each instance an especial color         
sensitiveness4  ,while we have no       
deficiency in these mediums which       
answered for the greens and yellows1 we 
have but few that answer for the various
 shades of red4 ,although ,dr4 ,vogel   
has strongly recommended a mixture of   
chinolin red and chinolin blue 7cyanin71
 the latter has two great drawbacks1    
viz41 the salt is very dear1 and does   
not keep4 ,to overcome this difficulty  
,i have instituted numerous experiments 
to replace the above with a more durable
 and cheaper medium4 ,among the various 

substances which ,i have tried1 the     
mixture of indophenol and malachite     
green1 has given me the most            
satisfactory results4 ,malachite green  
alone produces a strong sensibility to  
red1 but the addition of the indophenol 
greatly enhances this sensibility4  ,in 
connection with the experiments with    
this solution1 the interesting fact was 
observed that the sensibility for blue  
was greatly reduced in the brom-gelatine
 film1 while green and yellow appeared  
in their true color values4  ,my        
proceeding is as follows3  7,a47        
,dissolve #j4a g4 indophenol 7napthalin 
blue7 in #ejj ccm4 alcohol4  7,b47      
,dissolve #a g4 malachite green in #bjj 
ccm4 water4  ,the latter solution is    
heated to about #gj c4  ,in the         
meantime1 prepare a solution of #aj g4  
doppelt chrom sauris kadi in #ajj ccm4  
water1 at a temperature of #gj to #hj1  
then pour this to the hot solution of   
malachite green4  ,this mixture is kept 
hot for half an hour and then filtered1 

the precipitate which remains on the    
filter is now washed in several waters1 
and finally again dissolved in a        
solution of                             
,alcohol         #bej ccm4              
,chinin sulphate   #j4h g4  ,the latter 
is first dissolved in a little alcohol  
by heating1 then the volume is added to 
until the amount is reached4 ,the       
filtered fluid has a beautiful          
greenish-blue color4 ,this forms the    
stock solution4  ,to sensitize the      
plates1 make the following bath1 pour in
 graduate3                 ,indophenal  
solution 7as above7     #d ccm4         
,malachite green 7stock solution7   #d  
ccm4                ,water 7distilled7  
#fjj ccm4  ,pour #fj ccm4 of this       
solution in a tray 7#ac by #ah cm47     
cover the plates and soak #b minutes1   
keeping the tray in constant motion4    
,during the operation all red rays must 
be carefully excluded2 then the plate is
 drained and dried in absolute darkness4
  ,plates so treated are much quicker   

than when in their normal condition4    
,they give the reds in their true color 
value1 even through an intensive yellow 
color screen4 ,even this extreme color  
sensibility can be enhanced with the use
 of a 8supplementary-ray filter0        
78,ergnzungs-,strahlen filter071 which  
is made from a substance which absorbs  
all colors except the reds and yellow4  
,gelatine1 dyed by soaking in a         
erythrosin solution1 furnishes an       
excellent ,ergnzungs-,strahlen filter1  
which is used in connection with the    
usual yellow color screen               
,m4 ,,leon ,,vidal4                     
,,photography ,,in ,,rome4   ,the       
,bollettino1 a journal published every  
two months in ,rome1 and the chief organ
 of those interested in photography in  
that city1 gives the result of the last 
election of members of its ,photographic
 ,society as follows3 ,adler1 ,dottor   
,vittoria2 ,intriglio1 ,avv4 ,benedetto2
 ,tenerani1 ,cav4 ,carlo2 and of the    
correspondent members--,calvaria1 ,cav4 

,avv4 ,giuseppe1 of ,castellamare di    
,stabia2 ,daniele1 ,oreste1 of ,catania2
 ,garzia1 ,oronzo1 of ,maglie2 ,hermans1
 ,charles1 of ,brussels2 and ,orsini1   
,marchese ,antonio1 of ,solmona4  ,the  
opening of the ,second ,annual          
,exhibition of ,photography took place  
in the ,palazzo di ,belle ,arti on the  
#b;d of ,may1 when a large number of    
members took part4  ,the display        
included landscapes and interiors1      
portraits1 instantaneous views1 film    
negatives1 photo-micrographs1           
enlargements1 flash-light pictures1     
architectural views1 and representations
 of costumes taken in ,morocco and in   
,sweden4  ,an excellent article on 8,the
 ,duration of the ,pose0 begins         
thus3--8,formerly1 when collodion       
occupied the whole field of photography1
 the first difficulty in the art was the
 preparation of the sensitive surface4  
,now that the preparation has undergone 
a radical change1 passing into a branch 
of industry1 that first difficulty has  

vanished1 and there has succeeded to its
 place the duration of the pose1 the    
exact determination of which has over   
the resulting picture an influence as   
great1 and possibly greater than        
formerly1 seeing that in the very short 
poses of the present time even a little 
error has a value of relatively greater 
importance40 ,the article goes on to say
 that the duration depends 7#a7 on the  
sensitive preparation1 7#b7 on the      
actinic power of the light1 7#c7 on the 
object1 7#d7 on the diaphragm1 and 7#e7 
on the distance4 ,thus1 if it were      
required to represent by an algebraic   
formula the conditions governing the    
pose t1 we should have--                
t  k4 ,p4 ,l4 ,o4 d4 ,d4  where k is the
 invariable constant4  ,the article1    
which is too long to translate1 is      
written by ,a4 ,roncalli4 ,it is        
succeeded by a short notice of the      
effects of the ,schippang varnish upon  
collodion enlargements4 ,this article1  
written by ,ab4 ,f4 ,castracane1 makes  

mention of some unhappy results of the  
use of this varnish on some of his own  
pictures4 ,after this comes a letter    
from ,sac4 ,d4 ,ratti1 on halation1 or  
aureole1 as the ,italians call it4 ,then
 a paper on the development of          
instantaneous negatives and on the      
toning of aristotype paper1 by ,bne4 ,t4
 ,melazzo4 ,various notes and receipts1 
with a bibliography and a short notice  
of the illustrated supplement1 complete 
this interesting number4 ,the           
illustration is that of a moonlight     
effect1 the negative by ,a4 ,ducros1 the
 phototype by ,danesi1 of ,rome4 8,to   
obtain this picture10 says the          
letter-press note1 8it was sufficient to
 set the machine against the            
setting0--pardon the indiscretion2 ,i   
was about to add sun--8and to remove the
 cap4 ,but1 before this is done1 that   
certain fifth sense has to be taken into
 account1 without which1                
#8,non licet adire ,corintum6'  and     
,signor ,ducros1 profound and advanced  

artist and photographer as he is1       
possesses this fifth sense1 and uses it 
in a masterly manner40--,photographic   
7,london7 ,news4                        
,,amateur ,,experiences4--,,iv4   ,if   
any one wants to become thoroughly      
acquainted with the weaknesses and      
frailties of humanity1 just let him     
become a camera carrier1 in 8all that   
the word implies10--and he will enter a 
school1 wherein he will learn more of   
the different phases of human nature in 
one lesson than he has during the last  
ten years of his life4 ,no other        
vocation1 if we except that of the live 
newspaper reporter1 offers the same     
advantages in this biological study4    
,varied indeed are the experiences and  
vicissitudes of the amateur             
photographer1 whether the camera bearer 
carries the latest ,universal1 with     
aluminium mounting1 or rejoices in a    
,premium ,pinhole outfit1 he experiences
 the same annoyances and                
disappointments4 ,ignorant and          

unreasonable people are sure to be met  
with on an outing1 and1 worse than all1 
he has frequently to suffer for the sins
 of some rude member of the guild who   
has been there before him4 ,experiences 
like these are but too apt to discourage
 persons of a nervous or sensitive      
temperament2 the picture1 however1 is   
not all shadows4 ,there is often a      
bright side for the camera bearer1      
especially if he be susceptible of the  
humorous4 ,photographically speaking1   
the writer1 in addition to such         
annoyances as double exposures1         
unaccountable fog1 forgetting to draw   
the slide1 put plates in the holder1 or 
take the cap off1 to say nothing of     
neglecting to insert the stop1 has met  
with many rebuffs and disappointments on
 his outings1 through meeting with      
ignorant or unreasonable people1 in all 
such cases his rule has been always to  
look upon the comical side of the       
situation1 and try to achieve his       
object1 bringing into play his common   

sense1 tact and knowledge of human      
nature1 generally with the result of    
obtaining the coveted negative4  ,the   
trouble1 however1 does not always lay in
 the strangers we meet in our travels2  
the fault too often is with the camera  
bearer4 ,there is a class of persons1   
largely represented among the guild of  
amateur photographers1 who presume      
entirely too much on their wealth or    
social standing1 and who at home pride  
themselves on their good breeding and   
polite manners1 claiming to be within   
the so-called exclusive social circles  
or sets2 yet they no sooner get away    
from the restraint of their immediate   
surroundings1 such as a photographic    
outing affords1 than they seem to forget
 that at least a little courtesy is due 
the strangers on whose premises they    
trespass4 ,the dweller in a picturesque 
tumble-down shanty1 or custodian of an  
old colonial or religious land mark1 no 
matter in how humble circumstances of   
life they may be1 have rights guaranteed

 them under the law1 which even the     
exclusive amateur is bound to respect4  
,one specimen of this kind will often   
spoil the game for all amateurs for some
 time to come4 ,we will give a few      
instances which have come under our     
notice4  ,early last spring two         
prominent members of the ,quaker ,city  
,camera ,club concluded to photograph an
 historic old church in one of the      
,german counties 7so-called7 in our     
state4 ,the place was rather difficult  
of access1 being away from the usual    
lines of modern travel1 so extensive    
preparations were made4 ,the day proved 
all that could be desired4 ,a team had  
been telegraphed for1 and met the pair  
at the nearest railroad station4 ,when  
the spot was reached the outfits were   
quickly unpacked and set up4 ,no        
permission was asked1 nor notice was    
taken of flower-beds trampled over1 or  
other damage done4 ,then the bell of the
 parsonage was rung1--the clergyman     
answered the call in person4 ,the       

spokesman1 great in his own importance1 
asked for the keys of the church1 as    
they wished to photograph it4 ,the      
dominie answered1 with an unmistakable  
,pennsylvania ,dutch accent1 that the   
sexton lived about a half a mile down   
the road4 ,the reply was1 that as he had
 a key it did not suit them to run after
 the sexton4 ,well1 one word brought on 
the other1 and the parley ended with the
 clergyman saying1 8,you will please    
excuse me2 ,i got no time to fool with  
such nonsense1 and ,i can't be bothered 
with opening the church for every fool  
photographer who chooses to come out    
here from town2 please go about your    
business1 if you have any40 ,the        
interview closed with the threat by the 
parson to use a hoe-handle over the next
 photographers who should come to bother
 him with their intrusiveness4 ,our two 
amateurs packed up their outfits and    
beat an ignominious retreat1 going back 
to ,philadelphia with temper ruffled and
 object unaccomplished4  ,a few days    

after this episode one of the twain1    
wishing to have some sport at our       
expense1 suggested to the secretary of  
the ,leopardville ,camera ,club the     
advisability of a trip to the adjoining 
county1 and securing for him a set of   
negatives of the old landmark4 ,we knew 
nothing of what happened1 and           
consequently1 owing to our innocence and
 unsophisticated nature1 we             
unconsciously fell into the snare that  
our kind friend laid for us on the first
 fine day4 ,we made an early start4 ,we 
went merrily over hill and dale1 not    
dreaming of trouble4 ,when within half a
 mile of the church1 we stopped at a    
roadside inn to water our horse and     
inquire our way4 ,we remembered the     
hostler1 who1 while reigning up1 caught 
a glance at our outfit4 ,to our         
surprise1 he broke out with1 8,say1     
,mishter1 vas you a fotegraf feller80   
8,why80 we queried4 8,vell1 if you vas1 
tont go to der krch up dere2 der        
breecher letzt woch putty near broke    

zwei fotegraf feller's het's up40 ,here 
was a revelation4 ,our nickel had been  
well invested4 ,we made closer          
inquiries1--from the description1 we at 
once recognized our friend from the     
,quaker ,city who had suggested our     
trip1 and was no doubt chuckling in     
anticipation of a countryman's          
discomfiture4 ,after a few moments'     
thought we continued on our way4 ,we met
 the dominie1 and when we got back to   
our home we had eight negatives1        
exteriors and interiors1 in our satchel4
 ,in one of the latter the dominie      
appears in the quaint old pulpit4 ,with 
our ten dollar outfit1 by the use of    
civility1 tact1 and common sense1 we had
 accomplished that in which our         
predecessors had so signally failed1    
mainly by not exercising the common     
civility due towards a stranger4        
,another case which came under our      
notice but a few weeks ago3 ,in an      
adjoining county there still exist      
several quaint old buildings1 erected   

during the middle of last century by a  
religious community1 and used by them   
until long after the ,revolution4 ,owing
 to the curious architecture and        
proximity to a summer resort1 the       
property is often overrun by visitors   
and sightseers1 who run over the        
grounds1 enter the houses1 intrude on   
the privacy of the inmates1 as if they  
had no rights of their own whatever1 and
 in fact act as if the whole premises   
were public property4 ,the custodian or 
trustee of the property is a plain      
country ,dutchman1 and keeps an         
especially sharp lookout for amateur    
photographers1 as the religious sect to 
which he belongs frowns down portraiture
 of any kind4 ,a few weeks ago a party  
of nine or ten persons1 ladies and      
gentlemen1 made a pilgrimage to the old 
settlement under the leadership of a    
well-known pulpit orator in             
,pennsylvania4 ,among the party were    
several amateur photographers4 ,when the
 party arrived at the grounds they      

entered1 without as much as asking      
permission1 and at once made themselves 
at home within the premises regardless  
of the inmates4 ,while the amateurs were
 setting up their cameras1 the preacher 
was airing his knowledge of the         
religious doctrines of the community    
which flourished there in days gone by4 
,while making these derogatory          
allusions1 the party had been joined by 
a stranger1--it was the trustee1 and who
 lost no time in introducing himself to 
the preacher4 ,the two men were a study 
for an artist4 ,the preacher1 who prided
 himself on his fine physique1 oratorial
 powers1 and dignity1 was the ideal     
picture of the petted fashionable       
preacher of the present day4 ,the other1
 a man of medium height1 bare-footed1   
unkempt2 a straw-hat of last season's   
growth1 a shirt of unbleached muslin1 a 
pair of overalls1 which hung by a single
 8gallus10 completed his wardrobe2 his  
language was pure and unalloyed         
,pennsylvania ,dutch4  ,in appearance   

the two men as they faced each other    
were as diametrically opposite as the   
poles4 ,the trustee1 without any        
ceremony1 asked the preacher what he was
 doing there2 the latter1 looking down  
at the speaker with contempt and scorn1 
and nettled at the interruption1 curtly 
told him to attend to his own affairs4  
,this was more than the trustee could   
stand1 and he at once ordered the party 
to pack up and get out4 ,this in turn   
was too much for the preacher2 so1      
turning to the trustee1 said1 8,my good 
fellow1 you seem not to know whom you   
are addressing2 ,i am the ,rev4 ,dr4    
----1 of ---- ,church1 in ,philadelphia1
 and ,i wish you to understand that you 
are in the presence of ladies and       
gentlemen1 and ,i would advise you to   
take yourself off without ado1 as your  
presence here is unwarranted1 uncalled  
for1 and distasteful to the persons     
present as well as myself personally2   
and further1 your appearance is hardly  
such as would be permitted within the   

circles in which the ladies present are 
in the habit of moving40 ,during this   
speech the trustee stood with mouth and 
eyes wide open4 ,the others of the party
 nodded approval as their spiritual     
leader was delivering himself4 ,one of  
the photographers was trying to train   
his camera on the countryman1 who had   
for a few moments stood speechless4 ,but
 it was only the calm before the coming 
storm4 ,with a bound the trustee kicked 
over the tripod and camera2 then1       
turning to the preacher in an           
unmistakable attitude1 told him in his  
rich ,german ,english1 that he was on   
private property1 tramping down a       
growing grass crop1 and if he and his   
crowd didn't pack themselves off at once
 he would arrest and fine the party for 
trespassing4 8,but1 my good fellow10    
ventured the now crestfallen preacher4  
8,don't speak to me60 was the retort4   
8,you claim to be a gentleman2 maybe you
 try to be at home4 ,but if you were    
one1 you would know better than coming  

with a crowd on another's place1 where  
you have no business1 without even      
asking permission40 8,but1 my good man1 
we are willing to pay you if--0 broke in
 the preacher4 8,we don't want your     
money4 ,all ,i want is for you to go and
 not bother us4 ,or do you want me to   
show you the way80 ,all this was said in
 the rich vernacular peculiar to the    
locality4 ,there was no help2 the       
trustee was on his own ground4 ,so the  
party retreated and filed singly over   
the old stile into the road4 ,it would  
be hard to say which of the party felt  
the sadder as they wended their way     
towards their conveyance1 the           
crestfallen preacher or the ,rittenhouse
 amateur with his shattered outfit4     
,this was but another instance where a  
little courtesy and politeness would    
have saved humiliation and photographic 
disappointment4                         
,j4 ,,focus ,,snapschotte4              
99       99       99       99       99  
,a ,,record ,,in ,,development4--,many  

amateurs are so fidgety about their     
dark-room and its appendages that we    
describe1 both for the benefit of the   
finic and also for 8those who go down to
 the sea0--in trains1 how an            
extemporized traveling dark-room was    
successfully used by a member of the    
newly founded ,croydon ,camera ,club4   
,in case the railway superintendent     
should reprimand the guard who connived 
at the measures adopted1 we must        
perforce suppress the gentleman's name1 
the date1 and the station where the     
train was joined4  ,about a fortnight   
ago ,mr4 ,x4 ran down for the day to    
visit his friend ,y41 who dwells        
somewhere on the south coast1 within    
about one and a half hour's journey from
 ,croydon4 ,mr4 ,x4 having exposed      
sixteen quarter-plates1 ,y4 enquired of 
him when they would be developed4       
8,to-night10 answered ,x41 and added1   
8,perhaps before ,i get to ,croydon40   
,y4 expressed incredulity1 on which ,x4 
guaranteed that he would have all the   

plates developed before reaching his    
destination4  ,no previous preparation  
had been made1 and the train started in 
forty minutes from the time of above    
conversation4 ,a sheet of ruby paper1   
some drawing pins1 some oiled paper1 and
 a piece of ,willesden waterproof paper1
 together with ,beach's developer1 in   
two solutions1 were procured4 ,the guard
 was duly 8tipped10 and a pail of water 
obtained from the engine-driver4 ,mr4   
,x4 being safely locked in a third-class
 compartment1 the ,willesden paper was  
made into a tray1 with sides three      
inches deep1 on account of the swaying  
of the train4 ,the ruby paper was pinned
 over the carriage lamp1 and the blinds 
carefully drawn4 ,the night was1        
fortunately1 a dark one4 ,most of the   
plates were shutter views2 these were   
first developed1 the developer being    
used for about three plates and then    
thrown away4 ,the time views were       
subsequently developed1 with a suitable 
modification in the proportions of      

developer4 ,the plates were well rinsed 
in the pail of water1 and while wet     
wrapped in oiled paper1 and thus packed 
in the ordinary boxes in which they are 
sold2 the object of using oiled paper   
being that it does not stick to the film
 when the latter is either dry or wet4  
,the plates were all developed before   
,red ,hill was reached2 the fixing being
 deferred until arriving home4  ,the    
resulting negatives were not noticeably 
inferior to those which the same worker 
generally produces in his dark-room4 ,we
 have before us a print of a wreck with 
fisher-boats 8salving10 which is        
distinctly above the average skilled    
amateur work4  ,if so good a result is  
attained by adapting a railway carriage 
on the spur of the moment1 even better  
could be done by pre-arranging to make  
use of the dreary time spent in         
traveling by night4 ,the above tour de  
force is a strong argument in favor of  
those railway companies who run journeys
 of from five hours upwards1 such as the

 ,scotch express1 providing a           
well-fitted but inexpensive dark-room4  
,a luggage van might be converted1 with 
an open compartment for workers to sit  
in when their 8dark deeds0 are done4  ,a
 pleasant vision is opened up of        
snap-shot views1 taken from a railway   
carriage1 and developed during the      
journey4 ,of course1 plates need not be 
exposed while the train is 8hurtling0   
along at seventy miles an hour2 but in  
a1 say1 ten hours' journey there are    
many stoppages and slackenings of speed 
which a member of the 8wideawakes0 could
 profitably utilize4--,the ,amateur     
,photographer4                          
,,military ,,photography4   ,captain    
,curties1 of the ,royal ,engineers1 has 
written a series of articles on the     
above subject1 which were published in  
the ,broad ,arrow4 ,in the last of the  
series he gives a description of his    
photographic outfit4 ,his arrangements  
for exposing and developing the plates  
in the field afford interesting reading4

 ,however1 judging from our own         
experiences on the scout1 the picket    
line1 or field1 we should say that the  
whole scheme1 as portrayed by ,captain  
,curties1 is more or less chimerical1   
and no matter how plausible the plan may
 seem or read to the members of a       
theoretical camera club in their        
well-furnished quarters1 there are      
certain difficulties in the way which   
would make the scheme impracticable1 and
 even if these were overcome1 the       
results would be of but little if any   
use in actual service1 a fact which will
 be apparent to anyone who has seen     
active military service4  ,the captain  
in his articles says3  8,the one object 
,i have kept in view all through has    
been to simplify the art as much as     
possible1 and to make each photographic 
section complete in itself1 and able to 
take1 develop1 and print a picture      
without any outside help in the shortest
 time possible4 ,having this end in     
view1 my equipment supplies in the first

 place two light knapsacks1 to be       
carried in a reconnaissance by two      
mounted officers or men4 ,one contains a
 very light fold-up camera1 capable of  
taking pictures #aj in4 by #ab in41     
round which is wrapped the focussing    
cloth4 ,it has not appeared to me       
desirable to place before a general a   
view of a country smaller than this4    
,the extra weight would be more than    
compensated for by the comprehensive    
picture obtained2 moreover1 in a small  
plate1 ,i take it1 distance would not be
 fairly and distinctly portrayed4 ,the  
other knapsack carries three dark       
slides1 very light but strong1 each     
containing two plates4 ,this knapsack   
also contains the lens1 instantaneous   
shutter1 etc4 ,both knapsacks are made  
to fit close to the back1 and1 in       
addition to the straps passing over the 
shoulders1 are secured to the           
sword-belt1 thus preventing any         
injurious motion when riding4 ,by the   
simple act of unbuckling one strap1 each

 can be at once unslung ready to be     
unpacked4 ,the tripod1 which is made as 
light as can be consistently with       
strength and stability1 is carried      
folded up in a bucket attached to the   
saddle1 and fixes immediately on to the 
camera4 ,we next proceed to the         
all-important subject of 8developing0 in
 the field4 ,for this purpose ,i use a  
tent composed of a large1 folding1      
umbrella-shaped top1 made of a material 
which admits a deep ruby light4 ,when   
this is opened and fixed in the ground1 
it stands just clear of a tall man's    
head4 ,over it is dropped a sort of     
sack1 open at bottom ends1 the top end  
being much smaller than the bottom end1 
and capable of being drawn together by  
means of two cords4 ,this sack is       
lightproof and waterproof4 ,the lower   
end is held down by means of a light    
iron hoop or ring1 which also folds up  
to facilitate packing4 ,the hoop is     
attached to the bottom of the sack in   
such a way that a border of the material

 extends beyond it1 and rests upon the  
ground4 ,this1 in the ordinary way1 is  
sufficient to keep out light1 but should
 any find its way in1 a few handfuls of 
earth or stones heaped up round the     
border will effectually keep it out4    
,the stick of the umbrella is a hollow  
bamboo1 open at the top4 ,it is pierced 
with holes to about half its length2    
this ventilates the tent4 ,a cap placed 
over the top of the stick excludes      
light1 but not air4 ,we now have a      
complete tent in which a man can move   
about freely1 and use his hands without 
constraint1 and1 above all1 he is not   
half stifled1 as one generally is in the
 usual run of developing tents4 ,it can 
be taken down at a moment's notice1 and 
packed in a very small compass1 the     
whole being exceedingly light and       
compact4 ,a few stays may be necessary  
in windy weather to keep it steady4 ,the
 person about to develop a plate slings 
over his shoulders1 knapsack fashion1 a 
small metal tank1 containing sufficient 

water to wash several plates2 attached  
to it is a gutta-percha tube and tap4   
,round the waist is buckled a broad     
leather belt1 in which are fixed bottles
 containing the developing solutions1   
etc4 ,a light fold-up trough1 with a    
gutta-percha drain-pipe1 carried outside
 the tent1 and two light shelves1 hook  
on to the stick of the umbrella4 ,all   
that now has to be done is to lift up   
the walls of the tent1 step inside1 and 
develop and print the picture1 which by 
using bromide-paper 7undoubtedly the    
process for military use71 would take   
something like a quarter of an hour1 the
 printing1 of course1 to be done from   
the wet plate4 ,i may mention that ,i   
use scarcely any glass beyond the plates
 7which ,i believe in72 those articles  
which are made of glass are protected to
 prevent breakage4 ,i believe myself    
that the whole of the articles now made 
of glass can be manufactured from a     
preparation of celluloid1 which is      
strong1 light1 and durable4 ,i hope     

shortly to have a complete set of       
bottles1 measures etc41 made of         
celluloid40                    99       
99       99       99       99  ,m4      
,,stravos ,,zellis1 of ,alexandria in   
,egypt1 recommends the following process
 for marking or lettering on the        
sensitized paper such names as we wish  
to give the prints4 ,he takes a piece of
 thin white paper and traces upon it the
 words which he wishes to have at the   
bottom of his negative1 and oils it on  
both sides2 having removed the excess of
 oil by rubbing it between two sheets of
 bibulous paper1 he coats it with       
varnish on both sides and allows it to  
dry4 ,on the other hand1 he removes from
 the bottom of the negative a portion of
 the gelatine1 equal to the size of the 
paper1 and substitutes for it the paper1
 which he sticks by means of a solution 
of gum arabic and water4 ,he removes    
then the air bubbles1 which would       
prevent complete adherence1 and this    
being done1 waits for his work to dry4  

,if1 when printing on the sensitized    
paper1 it is found that the letters do  
not show very white1 the defective      
portions should be retouched on the back
 of the oiled paper4 ,to write his name 
,mr4 ,zellis makes use of a mixture of  
gum arabic1 lampblack1 and water4 ,this 
process is simple1 cheap1 and gives     
excellent results4--,annals             
,photographique4                    99  
99       99       99       99  ,at the  
meeting of the ,photographic ,society of
 ,berlin1 ,president ,stolze exhibited  
the sketch of the ,daguerre monument to 
be erected in ,washington city1 at the  
cost of six thousand dollars4  ,dr4     
,julius ,stinde declared never to have  
seen anything more disgusting           
7schauerlicheres7 than this unhappy head
 of ,daguerre1 crushed under the weight 
of a large ball1 and attributes the     
depravity of our taste to the high duty 
on articles of fine arts4 ,he says that 
such monstrosities show that we         
,americans are yet in point of art      

barbarians of the purest water4 ,mr4 ,e4
 ,himly1 as well as ,dr4 ,stolze1 takes 
our part1 and shows that the ,american  
photographic journals have unanimously  
condemned and ridiculed ,mr4 ,h4        
,mc,michel's scheme1 and exonerate us as
 a body4 ,bravo6--,photographische      
,nachrichten4                           
,,daguerre4   ,on the twelfth of        
,august1 in front of the ,smithsonian   
,institute1 in ,washington1 dedicated to
 manifold arts and sciences1 will be    
erected a lasting memorial to ,daguerre1
 the author that we all know fixed the  
visible image on a given surface1 which 
is photography1 with all its varieties  
and names1 and they are numerous4  ,why 
should we ,americans put up such a      
memorial8 ,the inscription on the       
granite below the bronze portrait tells 
the story3  ,illustration  8,to         
commemorate the first half century in   
photography1 #ahci-ahhi4 ,photography1  
the electric telegraph1 and the steam   
engine are the three great discoveries  

of the age4 ,no five centuries in human 
progress can show such strides as these4
 ,erected by ,,the ,,photographers'     
,,association ,,of ,,america1 ,august1  
#ahij40  ,the monument1 now almost      
complete1 its bronze features being of a
 high order of art1 will stand sixteen  
feet high1 and will be the only         
international monument in the city of   
,washington1 where ,smithson himself    
dedicated his fortune for the           
advancement of science in the western   
world4  ,in connection with this        
celebration we present to our readers a 
portrait of ,daguerre4 ,strange to say1 
there are but few authentic portraits of
 ,daguerre in existence4 ,in our search 
for such a portrait we discovered the   
one here reproduced2 it was engraved by 
,orr from a photograph by ,dr4 ,meade1  
of ,new ,york1 for the ,international   
,magazine1 of that city1 and used to    
illustrate the obituary of the eminent  
,frenchman1 ,september #a1 #ahea4 ,as   
everything relating to ,daguerre cannot 

but prove of interest at the present    
time1 we republish the interesting      
article in full as it appeared at the   
time3  ,lewis ,jacques ,mande ,daguerre1
 whose name is forever associated with  
the photographic process1 of which he   
was the discoverer1 died on the tenth of
 ,july1 in ,paris1 in the sixty-second  
year of his age4 ,he was a man of       
extreme modesty and great personal      
worth1 and was devoted to art4  ,he was 
favorably known to the world before the 
announcement of his discovery of the    
,daguerreotype4 ,his attempts to improve
 panoramic painting1 and the production 
of dioramic effects1 were crowned with  
the most eminent success4 ,among his    
pictures1 which attracted much attention
 at the time of their exhibition1 were1 
8,the ,midnight ,mass10 8,land-slip in  
the ,valley of ,goldan10 8,the ,temple  
of ,solomon10 and 8,the ,cathedral of   
,sainte ,marie de ,montreal40  ,in these
 the alternate effects of night and day1
 and storm and sunshine1 were           

beautifully produced4 ,to these effects 
of light were added others1 from the    
decomposition of form1 by means of      
which1 for example in 8,the ,midnight   
,mass10 figures appeared where the      
spectators had just beheld seats1       
altars1 etc42 and again1 as in 8,the    
,valley of ,goldan10 in which rocks     
tumbling from the mountains replaced the
 prospect of a smiling valley4  ,the    
methods adopted in these pictures were  
published at the same time with the     
process of ,daguerreotype1 by order of  
the ,french ,government1 who awarded an 
annual pension of ten thousand francs to
 ,daguerre and ,m4 ,niepce1 ,jr41 whose 
father had contributed towards the      
discovery of the ,daguerreotype4        
,daguerre was led to experiments on     
chemical changes by solar radiations1   
with the hope of being able to apply the
 phenomena to the production of effects 
in his dioramic paintings4 ,as the      
question of the part taken by him in the
 process to which he has given his name 

has been discussed sometimes to his     
advantage1 it appears important that his
 position should be correctly           
determined4 ,in #ahjb1 ,wedgwood1 of    
,eturia1 the celebrated potter1 made the
 first recorded experiments in          
photography2 and these1 with some       
additional ones by ,sir ,humphrey ,davy1
 were published in the journals of the  
royal institution4 ,in #ahad1 ,mr4      
,joseph ,nicephore ,niepce was engaged  
in experiments to determine the         
possibility of fixing the images        
obtained in the camera obscura2 but     
there does not appear any evidence of   
publication of any kind previously in   
#ahbg1 when ,niepce was in ,england4 ,he
 there wrote several letters to ,mr4    
,bauer1 the microscopic observer1 which 
are preserved and printed in ,hunt's    
8,researches on ,light40  ,he also sent 
specimens of results obtained to the    
,royal ,society1 and furnished some to  
the cabinets of the curious1 a few of   
which are yet in existence4 ,these were 

pictures on metallic plates covered with
 film of resin4  ,in #ahbd ,daguerre    
commenced his researches1 starting at   
that point at which ,wedgwood left the  
process4 ,he soon abandoned the         
employment of the nitrate and chloride  
of silver1 and proceeded with his       
inquiry1 using plates of metal and glass
 to receive his sensitive coating4 ,in  
#ahbi ,mr4 ,vincent ,chevalier brought  
,niepce and ,daguerre together1 when    
they entered into partnership to        
prosecute the subject in common4 ,for a 
long time they appear to have used the  
resinous surface only1 when the contrast
 between the resin and the metal plates 
not being sufficiently great to give a  
good picture1 endeavors were made to    
blacken that part of the plate from     
which the resin was removed in the      
process of heliography 7sun drawing71 as
 it was most happily called4 ,amongst   
other materials1 iodine was employed2   
and ,daguerre certainly was the first to
 notice the property possessed by the   

iodine coating of changing under the    
influence of the sun's rays4 ,the       
following letter from ,niepce to        
,daguerre is on this subject3           
8#ha1 ,,loup ,,de ,,varvennes1 ,june    
#bc1 #ahca4    8,sir and ,dear          
,partner3--,i had long expected to hear 
from you with   too much impatience not 
to receive and read with the greatest   
pleasure your letters of the tenth and  
twenty-first of last ,may4    8,i shall 
confine myself in this reply to yours of
 the twenty-first1   because1 having    
been engaged ever since it reached me in
 your   experiments on iodine1 ,i hasten
 to communicate to you the results      
which ,i have obtained4 ,i had given my 
attention to similar   researches       
previous to our connection1 but without 
hope of success1   from the             
impossibility1 or nearly so1 in my      
opinion1 of fixing in   any durable     
manner the image received on iodine1    
even supposing the   difficulty         
surmounted of replacing the lights and  

shadows in their   natural order4 ,my   
results in this respect have been       
entirely similar   to those which the   
oxide of silver gave me2 and promptitude
 of   operation was the sole advantage  
which these substances appeared to      
offer4 ,nevertheless1 last year1 after  
you left this1 ,i subjected   iodine to 
new trials1 but by a different mode of  
application4 ,i   informed you of the   
results1 and your answer1 not at all    
encouraging1 decided me to carry these  
experiments no farther4 ,it   appears   
that you have since viewed the question 
under a less   desperate aspect1 and ,i 
do not hesitate to reply to the appeal  
which   you have made4                  
8,j4 ,n4 ,,niepce40  ,from this and     
other letters it is evident that ,niepce
 had used iodine1 and abandoned it on   
account of the difficulty of reversing  
the lights and shadows4 ,daguerre       
employed it also1 as it appears1 with   
far more promise of success than any    
obtained by ,m4 ,niepce4 ,on the fifth  

of ,july1 #ahcc1 ,niepce died2 in #ahcg 
,daguerre and ,isodore ,niepce1 the son 
and heir of ,nicephore ,neipce1 entered 
into a definite agreement1 and in a     
letter written on the first of          
,november1 #ahcg1 to ,daguerre1 ,isodore
 ,niepce says1 8,what a difference1     
also1 between the method which you      
employ and the one by which ,i toil on6 
,while ,i require almost a whole day to 
make one design1 you ask only four      
minutes6 ,what an enormous advantage6   
,it is so great1 indeed1 that no person 
knowing both methods would employ the   
old one40 ,from this time it is         
established that although both ,niepce  
and ,daguerre used iodine1 the latter   
alone employed it with any degree of    
success1 and the discovery of the use of
 mercurial vapor to produce the positive
 image clearly belongs to ,daguerre4 ,in
 ,january1 #ahci1 ,daguerreotype        
pictures were first shown to the        
scientific and artistic public of       
,paris4  ,the sensation they created was

 great1 and the highest hopes of its    
utility were entertained4 ,on the #aeth 
of ,june ,m4 ,duchatel1 ,minister of the
 ,interior1 presented a bill to the     
,chamber of ,deputies relative to the   
purchase of the process of ,m4 ,daguerre
 for fixing the images of the camera4 ,a
 commission appointed by the ,chamber1  
consisting of ,arago1 ,etienne1 ,carl1  
,vatout1 de ,beaumont1 ,toursover1      
,delessert 7,francois71 ,combarel de    
,leyral1 and ,vitet1 made their report  
in ,july1 and a special commission was  
appointed by the ,chamber of ,peers1    
composed of the following peers3 ,barons
 ,athalin ,besson1 ,gay ,lussac1 the    
,marquis de ,laplace1 ,vicomte ,simeon1 
,baron ,thenard1 and the ,comte de ,noe1
 who reported favorably on the #cjth of 
,july1 #ahci1 and recommended           
unanimously that the 8bill be adopted   
simply1 and without alteration40 ,on the
 #aith of ,august the secret was for the
 first time publicly announced in the   
institution by ,m4 ,arago1 the ,english 

patent having been completed a few days 
before1 in open defiance and            
contradiction of the statement of ,m4   
,duchatel to the ,chamber of ,deputies1 
who used these words3  8,unfortunately  
for the authors of this beautiful       
discovery1 it is impossible for them to 
bring their labor into the market1 and  
thus indemnify themselves for the       
sacrifices incurred by so many attempts 
so long fruitless4 ,this invention does 
not admit of being secured by patent40  
,in conclusion1 the ,minister of the    
,interior said3 8,you will concur in a  
sentiment which has already awakened    
universal sympathy4 ,you will never     
suffer us to leave to foreign nations   
the glory of endowing the world of      
science and of art with one of the most 
wonderful discoveries that honor our    
native land40 ,daguerre never did much  
towards the improvement of his process4 
,the high degree of sensibility which   
has been attained has been due to the   
experiments of others4  ,daguerre is    

said to have been always averse to      
sitting for his own picture1 and there  
are but few photographs of him in       
existence4 ,the one from which our      
engraving is copied was taken by ,mr4   
,meade of this city1 and first appeared 
in the ,daguerrean ,journal1 a monthly  
periodical conducted by ,s4 ,d4         
,humphrey and ,l4 ,l4 ,hill1 who were   
distinguished for their improvements    
upon ,daguerre's process4               
,,gelatinography4   ,a very rapid       
process to make newspaper illustrations1
 called gelatinography1 is described in 
the following3  ,a black glass plate or 
a tin plate coated with black varnish1  
as used by sign-painters1 is covered    
with plaster of ,paris 7gypsum7 to a    
thickness of four-ply cardboard4 ,the   
plaster of ,paris must be of the best   
quality and reduced to a very fine      
powder4 ,add thereto some alum and some 
sulphate of barium1 and in order to     
prevent the coating from being too      
brittle1 add also a trifle of glycerine 

or of a gelatine solution4  ,this       
mixture must have the consistency of a  
thin pulp when applied to the glass or  
tin with a soft camel's-hair brush4     
,when dry1 the artist may engrave into  
this coat of plaster of ,paris1 by means
 of a lithographic engraving needle1 any
 design or picture with the greatest    
ease2 the plate or glass is thereby laid
 bare1 and design or picture appears    
black through the plaster of ,paris     
coating4 ,mistakes or errors are easily 
remedied by filling in the plaster of   
,paris preparation4  ,with the regular  
printers' roller composition a          
stereotype is now made of the picture or
 design on the glass or plate1 in the   
usual way2 some bichromate of ammonia   
solution should be added to the roller  
composition1 to make the stereotype hard
 enough for the type press1 and it will 
be as durable as any electrotype1 and   
answer the same purpose4--,am4 ,lith4   
and ,printer4                    99     
99       99       99       99           

,,stereoscopic ,,photography4--,of late1
 there is quite a revival in this branch
 of our art-science1 several ,english   
and many foreign amateurs having been   
working with twin lenses during the last
 and present seasons4 ,the ,belgian     
,bulletin has an article on the subject1
 and the last technical meeting of the  
,photographic ,society was devoted to   
it4 ,although ,wheatstone announced the 
instrument in #ahch1 it was not until   
photography had come to his aid by      
furnishing satisfactory diagrams1 and   
,brewster had popularized the matter by 
the invention of the lenticular         
stereoscope1 that much progress was     
made2 then ,wheatstone gave his         
,bakerian lecture on ,january #aeth1    
#aheb1 to put the finishing touch to    
this important branch of scientific     
work4 ,the earlier attempts failed by   
reason of employing too wide an angle4  
,,eclipse ,,photography4   ,probably in 
no department of science1 certainly in  
no branch of astronomical science1 has  

photography been of such use as in the  
study of solar eclipses4 ,it is only    
when the sun is obscured by the moon    
that we are able to see and properly    
photograph the corona or luminous       
atmosphere around the sun4 ,this solar  
corona1 as has been said by ,young1 8is 
visible only about eight days in the    
century in the aggregate1 and then only 
over narrow strips of the earth's       
surface1 and but from one to five       
minutes at a time by any one observer40 
,very little of the eight days1 however1
 can be utilized2 indeed1 as has been   
pointed out by ,miss ,clerke in her     
admirable ,history of ,astronomy ,during
 the ,nineteenth ,century1 the corona   
has only been observed by scientific men
 during forty-five minutes in as many   
years4 ,opportunities of observing an   
eclipse occur therefore at such         
comparatively long intervals1 the       
phenomena to be observed are so varied  
and extensive1 and the time during which
 the observations must be made is so    

very limited1 that any permanent records
 of the phenomena1 such as photography  
enables us to obtain1 cannot fail to be 
of the greatest value4 ,the most careful
 drawings of the same eclipse by        
different observers at the same station 
are so very dissimilar that it is       
generally unsafe to base any conclusion 
on them2 whereas in photographs we have 
truthful records of the actual phenomena
 without personal equation of any kind1 
and with the additional advantage that  
there is more detail in the photograph  
than it is possible to insert in any    
drawing made during an eclipse1 or even 
at leisure after the three or four      
minutes' observation of such an         
indefinite and irregular object as the  
corona4 ,the history of the increase of 
our knowledge of the corona is          
practically the history of the          
improvement of our photographic methods 
of attacking the phenomena of an        
eclipse4  ,the first occasion on which  
photography was used at an eclipse of   

the sun was on ,july #h1 #ahdb1 when    
,professor ,majocchi1 at ,milan1        
attempted to obtain ,daguerreotype      
pictures of the corona4 ,his account of 
the attempt informs us that 8a few      
minutes before and after totality an    
iodised plate was exposed in a camera to
 the light of the thin crescent1 and a  
distinct image was obtained2 but another
 plate exposed to the light of the      
corona for two minutes during totality  
did not show the slightest trace of     
photographic action4 ,no photographic   
alteration was caused by the light of   
the corona condensed by a lens for two  
minutes1 during totality1 on a sheet of 
paper prepared with bromide of silver40 
,no details are given of the apertures  
of the lenses employed1 or of their     
focal lengths4 ,at the outset1          
therefore1 astronomers were met with    
failure1 but the failure at ,milan did  
not deter ,dr4 ,a4 ,h4 ,busch and ,herr 
,berkowski from a similar attempt at    
,konigsberg on ,july #bh1 #ahea4 ,the   

telescope used on this occasion had an  
aperture of #b4d inches1 and a focal    
length of #cj inches4 ,commencing       
immediately after the beginning of      
totality1 a plate was exposed for #hd   
seconds in the focus of the telescope1  
and on development an image of the      
corona was obtained4 ,a second plate    
exposed for from #dj to #de seconds was 
fogged by the sudden breaking out of the
 sunlight4 ,the picture thus            
obtained--the first photograph of the   
corona and prominences--is known as the 
,konigsberg ,daguerreotype1 and is still
 preserved at the ,strasburg            
,observatory4 ,it was lent by ,professor
 ,winnecke for the exhibition of        
scientific instruments at ,south        
,kensington in #ahgf4 ,on it the        
prominences1 and the lower portion of   
the corona extending about one-fourth of
 a solar diameter from the moon's limb1 
are distinctly shown1 the encroaching of
 the prominences on the dark disc of the
 moon1 owing to irradiation1 being      

particularly evident4  ,daguerreotype   
was again used for the annual eclipse of
 ,may #bf1 #ahed1 by ,mr4 ,campbell and 
,professor ,loomis at ,new ,york2 by    
,dr4 ,bartlett and ,victor ,prevost1 who
 obtained nineteen photographs1 at ,west
 ,point2 and by ,professor ,stephen     
,alexander and ,mr4 ,e4 ,h4 ,old at     
,ogdensburg4  ,liais in #aheh obtained  
photographs of the partial phases1 using
 wet plates4 ,on one of these the moon  
can be seen projected on the corona     
before totality4 ,with the introduction 
of the collodion process more sensitive 
plates were obtained1 and a great       
advance was anticipated4 ,at the total  
eclipse of #ahfj1 ,july #ah1 ,mr4       
,warren de la ,rue1 at ,rivabellosa1 in 
,spain1 used wet plates4 ,his instrument
 was one specially devised by himself   
for photographing the sun's disc for    
sun-spots1 and is known as the ,kew     
heliograph4 ,it is an ordinary          
equatorial mounting with driving clock1 
carrying a photographic object-glass1   

#c4d inches clear aperture1 and #ej     
inches focal length4 ,the primary image 
is 4#dff of an inch in diameter1 but    
before the image falls on the plate it  
is enlarged by an ordinary ,huyghenian  
eyepiece to #c4h inches diameter4 ,the  
exposing apparatus for the ordinary sun 
photographs is an instantaneous shutter2
 this1 of course1 had to be abandoned   
for the eclipse photographs4 ,two plates
 were exposed during totality1 the      
exposure being #fj seconds in each case1
 but only slight traces of the corona   
were obtained4 ,at the same eclipse     
,father ,secchi and ,professor          
,monserat1 working at ,desierto de las  
,palmas1 obtained good photographs of   
the corona1 using an object-glass of    
4#ae metre diameter1 and #b4e metres    
focus1 the primary image being #bc      
millimetres in diameter4 ,the plates    
were placed in the primary focus and    
according to ,secchi1 8all the phases of
 the phenomena are represented on the   
photographs40 ,the original negatives   

obtained at ,desierto de las ,palmas of 
this eclipse have unfortunately been    
lost4  ,the next attempt at             
photographing the corona was on ,august 
#ah1 #ahfh1 this being remarkable as the
 first attempt to use a reflector for   
the purpose4 ,colonel ,tennant and      
,sergeant ,phillips at ,guntoor used a  
#i-;inch silver-on-glass mirror1 by     
,with1 of #f feet focal length1 mounted 
equatorially by ,browning on the        
,newtonian plan4  ,unfortunately the    
weather was unfavorable1 but plates were
 exposed through light clouds1 the      
longest exposure being #aj seconds4 ,the
 photographs obtained show the          
prominences sharply defined1 but only   
slight traces of corona are visible4    
,mr4 ,sutton1 at ,mautawali ,kiki1 and  
,drs4 ,g4 ,fritsch1 ,h4 ,vogel1 and ,w4 
,zener1 at ,aden1 were1 from atmospheric
 and other causes1 unsuccessful with    
refractors4  ,at the eclipse of ,august 
#g1 #ahfi1 many attempts were made to   
photograph the corona4 ,in all cases    

where the image was enlarged before it  
fell on the plate1 slight traces of the 
corona were obtained2 while ,professor  
,winlock and ,mr4 ,j4 ,a4 ,whipple1 at  
,shelbyville1 with a #e-;inch lens of #g
 feet focal length1 obtained seven      
pictures taken in the primary focus1 one
 with #dj seconds' exposure1 showing    
more detail than had previously been    
photographed4  ,at this eclipse1        
,messrs4 ,hoover photographed the corona
 with a lens of #ab inches focus1 and   
,professor ,stephen ,alexander also     
obtained photographs at ,ottumwa some of
 which give good ideas of the coronal   
structure4  ,at the #ahgj eclipse1      
,december #bb1 a #d-;inch ,dallmeyer    
lens 7rapid rectilinear71 stopped down  
to three inches aperture1 and with a    
focal length of thirty inches1 was used 
by ,mr4 ,brothers at ,syracuse4 ,wet    
plates were used1 and the photographs   
were taken through light clouds1 the    
best of the pictures having had eight   
seconds' exposure4 ,details in the      

corona are very well shown in these     
photographs4 ,in discussing his results1
 ,mr4 ,brothers says1 8,the photographs 
taken 444 prove that the light of the   
corona is very actinic1 and that several
 photographs of this beautiful          
phenomenon can be taken during the time 
of totality40 ,he further adds1 8,that  
it is impossible to obtain satisfactory 
photographs of the corona either with   
reflecting or refracting telescopes as  
ordinarily used is1 ,i think1 now       
conclusively proved40  ,professor       
,winlock1 at ,jerez1 during the same    
eclipse1 obtained two good photographs  
with ordinary telescopes2 while ,lord   
,lindsay1 at ,maria ,louis ,observatory1
 with a #ab-;inch mirror of #f feet     
focus1 obtained plates so much fogged as
 to be useless4  ,on ,december #ba1     
#ahga1 splendid photographs were        
obtained at ,baikul by ,mr4 ,davis      
7,lord ,lindsay's observer71 and by     
,colonel ,tennant1 ,j4 ,b4 ,hennessey1  
,esq41 and ,captain ,waterhouse1 at     

,dodabetta4 ,in each case ,dallmeyer    
#d-;inch rapid rectilinear lenses of    
thirty-three inches focus were used1 the
 exposures varying from five to forty   
seconds4 ,herr ,dietsch1 in ,java1 also 
obtained two good photographs with a    
8lens of short focus10 with exposures of
 half and one-third second4 ,captain    
,hogg1 at ,jaffna1 also got fair results
 with cameras #af inches and #bc inches 
long4 ,at the eclipse of ,april #f1     
#ahge1 ,dr4 ,schuster1 in ,siam1        
obtained good photographs1 although     
small1 with an ordinary camera4  ,the   
eclipse of #ahgh marked another         
departure in photography4 ,dr4 ,draper  
used wet plates1 and got much detail in 
#afe seconds4 ,mr4 ,ranyard used ,mawson
  ,swan's extra sensitive dry plates1   
with a #ac-;inch lens of #f feet #b     
inches focus1 and obtained photographs  
extending #f 7one-fifth of a sun's      
diameter7 from the limb with exposures  
of one and three seconds4 ,professor    
,harkness1 the director of the ,american

 operations1 arranged two cameras1 with 
#f-;inch ,dallmeyer lenses of           
#cg4i-;inch focus1 and ,mr4 ,j4 ,a4     
,rogers and ,mr4 ,clark with these1     
using specially prepared dry plates made
 by ,mr4 ,rogers1 obtained two good     
series of photographs4 ,in the report on
 the eclipse operations published from  
the ,united ,states ,naval ,observatory1
 ,mr4 ,j4 ,a4 ,rogers not only discusses
 the value of photographs as compared   
with drawings1 but enters fully into all
 the details of eclipse photography1    
concluding by strongly advocating the   
adoption of dry plates4 ,mr4 ,o4 ,l4    
,peers during this eclipse obtained a   
wet plate photograph showing greater    
extension of the corona than any of the 
dry plate ones1 but there seems some    
doubt about the apparatus he used4 ,he  
used either a #b-;inch or #c-;inch      
,voigtlander portrait lens1 and exposed 
either for twelve or for twenty-three   
seconds4 ,mr4 ,peers says he used a     
#b-;inch lens1 and twelve seconds'      

exposure1 while ,voigtlander declares he
 makes only #c-;inch lenses of the focus
 #a3h ,mr4 ,peers used1 and on          
examination of the photograph it is     
found that the trail of the moon on the 
plate indicates an exposure of          
twenty-three seconds4 ,after the #ahgh  
eclipse dry plates were universally     
adopted by eclipse observers4  ,the     
photographic arrangements of the        
expedition to ,sohag1 in ,egypt1 for the
 eclipse on ,may #ag1 #ahhb1 were made  
by ,captain ,abney1 the chief objects of
 the expedition being to photograph the 
spectra of the corona and prominences4  
,arrangements were also made by ,captain
 ,abney for corona photographs with a   
#d-;inch lens of sixty inches focus     
belonging to him4 ,the spectrum         
photographs taken show as many as thirty
 lines in the prominences1 while the    
photographs of the corona obtained by   
,dr4 ,schuster with exposures of from   
three to thirty-two seconds show great  
extension of the corona with the most   

exquisite detail4 ,these plates are also
 remarkable for the discovery of a comet
 in the photographs1 although the comet 
was not seen by observers4 ,captain     
,abney and ,mr4 ,j4 ,norman ,lockyer    
were responsible for the methods of     
photographic attack adopted by the      
,english observers1 ,messrs4 ,lawrence  
and ,woods1 at the ,caroline ,islands1  
on ,may #f1 #ahhc4 ,the spectroscopic   
results and the corona photographs taken
 with the #d-;inch lens of ,captain     
,abney1 previously used in #ahhb1 were  
most successful4 ,janssen on this       
occasion used two objectives1 one       
#f-;inch and one #h-;inch diameter1 and 
using long exposures1 photographed the  
corona extending two diameters from the 
sun1 this being much further than it    
could be traced with a telescope4       
,photography was again used on          
,september #h1 #ahhe1 at the total      
eclipse in ,new ,zealand4  ,at the      
eclipse of ,august1 #ahhf1 visible at   
,granada1 ,captain ,darwin used a       

chronograph as devised by ,dr4 ,huggins1
 consisting of a mirror inclined in a   
tube in such a manner as to enable      
photographs to be taken in the primary  
focus without the intervention of a     
flat4 ,good results were obtained4 ,dr4 
,schuster and ,mr4 ,maunder used        
#d-;inch lenses of #fj-;inch focus1 and 
obtained good results4 ,their spectrum  
photographs were also successful4       
,professor ,pickering1 of ,harvard1 used
 a heliostat and a photo-heliograph of  
#ch feet focus1 supported horizontally1 
but no results were obtained with this  
apparatus1 although he was partially    
successful with his other instruments4  
,very few photographs were obtained of  
the eclipse of ,august #ai1 #ahhg1 in   
,russia1 owing to the unfavorable       
weather4 ,the ,english observers        
intended to use similar instruments to  
those employed in #ahhf1 but the weather
 did not permit4  ,the eclipse of       
,january #a1 #ahhi1 was very            
successfully photographed by the        

,american observers1 the largest        
aperture used being thirteen inches4 ,on
 some of the plates used during this    
eclipse the standard intensity scale    
recommended by ,captain ,abney several  
years ago was fixed1 and for the first  
time definite conclusions as to the     
brightness of the corona were obtained4 
,the expedition sent out by the ,royal  
,astronomical ,society for the eclipse  
of ,december #bb1 #ahhi1 were each      
fitted with a #d-;inch photographic     
lens1 belonging to ,captain ,abney1     
mounted on the usual equatorial plan1   
and intended to continue the series so  
well begun by ,dr4 ,schuster in #ahhb1  
and also with a #bj-;inch mirror of #de 
inches focus1 specially constructed and 
mounted for eclipse work1 and designed  
to photograph the outer portions of the 
corona too faint for ordinary           
instruments4 ,the plates for use with   
the #d-;inch lenses were specially      
prepared by ,captain ,abney1 and on each
 of them he had placed a scale of       

standard intensity squares for measuring
 the brightness of the corona4 ,small   
squares on each of the plates were      
exposed to a standard light for various 
times2 these squares were then covered  
with a strip of black paper1 and the    
plates taken out to the ,eclipse        
,station and exposed on the corona4     
,when the plates were developed the     
image of the corona and the squares     
were1 of course1 developed to the same  
extent1 the squares thus serving as     
standards for absolutely measuring the  
photographic intensity of the light of  
the corona4 ,the density of the deposit 
in any part of the picture of the corona
 can be compared with the density of the
 most similar of the squares on the same
 plate by ,captain ,abney's photometer1 
and as this photometer depends upon the 
method of limiting apertures1 it gives  
absolute readings4  ,the ,african       
expedition was entirely unsuccessful1   
owing to clouds1 but the expedition to  
,salut ,isles1 under charge of the late 

,father ,perry1 obtained successful     
photographs1 which are at present under 
examination4 ,from them ,captain ,abney 
will be able to measure the absolute    
photographic intensity of the light of  
the corona4  ,an ,american expedition   
was sent to ,cayenne with instruments   
used on ,january #a1 #ahhi1 and obtained
 successful photographs1 while an       
,american expedition to ,southwest      
,africa was unsuccessful1 for the reason
 already given4 ,this expedition1 under 
the direction of ,professor ,david ,p4  
,todd1 was located at ,cape ,ledo1 about
 half a mile from the ,english ,eclipse 
,station4  ,several new departures in   
eclipse photography were introduced4    
,chief amongst these was the remarkable 
apparatus by means of which no less than
 twenty-three objectives and two mirrors
 were accurately pointed at the sun and 
caused to follow it by one large clock4 
,a large duplex polar axis 7the old     
,english form as used for the #ab4e inch
 reflector at ,greenwich7 was mounted on

 solidly constructed stone piers and    
very carefully adjusted4 ,this axis is  
constructed of #f-;in4 wrought-iron     
tubing1 the total weight being about    
#bjjj lbs4 ,in it the cameras were fixed
 by set screws1 the optic axis of the   
instruments being adjusted parallel to  
each other1 and at an angle equal to the
 south polar distance of the sun at the 
time of totality4 ,the carefully        
regulated and very powerful clockwork   
attached to the instrument caused the   
polar axis to rotate1 and thus the whole
 battery of instruments followed the    
sun4 ,each lens was fitted with a       
pneumatic shutter regulated to give the 
required exposure in each case4 ,the    
cameras themselves were enclosed in a   
dark-room1 the lenses only being exposed
 to the sun1 so that dark slides were   
not required1 the plates being held on  
open rotating frames1 these frames being
 rotated at the proper time by pneumatic
 arrangements4 ,when the cameras were   
once pointed1 and the clock driving     

properly1 all the operations of exposure
 and changing of plates were performed  
without personal superintendence by     
means of the pneumatic apparatus1 and a 
chronograph attached to the valve system
 of this apparatus recorded the exact   
time at which each exposure was begun   
and ended4  ,it is to be regretted that 
this ingenious and elaborate apparatus  
did not have a satisfactory trial1 owing
 to the dense clouds2 but ,professor    
,todd assures us that he was thoroughly 
satisfied with the success of the       
pneumatic movements during the three    
minutes ten seconds he brought it into  
operation at the time of totality4  ,it 
is not improbable that 7in spite of the 
great strength and weight of the axis   
and the solidity of the supporting      
piers7 with this plan of fixing a large 
number of cameras and spectroscope on   
one polar axis1 the constant opening and
 shutting of shutters1 and the changing 
of the plates1 may produce so much shake
 that none of the long exposure         

photographs will be satisfactory4 ,this1
 of course1 can only be ascertained by  
the use of the instrument on the corona1
 and several years must elapse before   
the trial can be made4  ,another unusual
 instrument was a photo-heliograph of   
five inches aperture and forty feet     
focus1 mounted on a combination of the  
equatorial stand and tripod4  ,the long 
tube was made of iron1 coiled spirally  
and strongly riveted1 the necessary     
rigidity being attained by strong wires 
extending from end to end1 and tightly  
stretched by a disc in the middle of the
 tube4 ,close to one end of the tube the
 polar axis was attached by a universal 
joint2 the other end of the tube being  
supported by two rods1 one on the east  
and one on the west side1 these rods    
being also attached by universal joints4
 ,by means of these rods the proper     
inclination was given to the tube4 ,the 
east rod was the declination rod1 and   
was capable of sliding along the polar  
axis4 ,the west rod was for giving      

motion in right ascension1 being        
terminated at the free end in the form  
of a piston of a sand clock fixed in an 
inclined position4 ,the rate at which   
the sand escaped from the cylinder could
 be accurately regulated1 so that the   
rate of descent of the piston was       
completely under control1 and was1 of   
course1 such as would cause the         
instrument to follow the sun4  ,this    
instrument was erected at ,cape ,ledo1  
close to a hill of such inclination that
 the sun could be followed during the   
whole of the eclipse1 while the long    
tube could be manipulated with greater  
advantage than would have been possible 
if the instrument had been erected on   
level ground4 ,the hot air rising from  
the heated hill probably affected the   
definition in the photographs1 but under
 the circumstances that could scarcely  
be avoided4  ,this form of mounting     
certainly solved the question of the    
possibility of using long-focus lenses  
mounted as direct photo-heliographs1 but

 the apparatus is certainly unwieldly1  
and was only got into the fit state that
 it was on the eclipse day by the very  
great care and patience of ,professor   
,bigelow4 ,as it was intended           
principally to photograph the partial   
phases of the eclipse with this         
instrument1 instantaneous exposures were
 arranged for1 but ,professor ,bigelow  
succeeded so well in the adjustment of  
the instrument and the regulation of the
 sand clock1 that he would have tried to
 obtain photographs of the lower corona 
with it had the weather permitted4  ,the
 photographic apparatus on this         
instrument has a very ingeniously       
constructed revolving plate holder1     
carrying round plates of twenty-two     
inches diameter4 ,the exposing apparatus
 and the apparatus for rotating the     
plate between the exposures were moved  
by pneumatic arrangements1 exposures    
being made at intervals of six seconds1 
the exact time of each being recorded on
 a chronograph4 ,as no dark slides were 

used1 it was necessary to enclose the   
whole of the photographic apparatus in a
 dark-room4 ,one hundred and ten        
exposures were made with this telescope 
during the partial phases of the        
eclipse1 all the photographs taken      
having to be obtained through clouds4   
,in several expeditions previous to     
this1 where more than one kind of       
observation has been required1 two or   
more objectives have been mounted on the
 same stand and driven by the same      
clock2 but this plan is always open to  
the objection that any accidental       
disturbance in the manipulation of one  
of the pieces of apparatus will most    
probably spoil the results for both4    
,with the ,american plan of many        
objectives on one heavy axis1 and a     
pneumatic apparatus to manage all the   
actual operations of exposures and      
changing of plates1 this objection of   
possible accidental disturbance is to   
some extent overcome2 but the shake of  
the many operations taking place on the 

one axis introduces another risk4       
,beside this1 the apparatus is very     
heavy1 and exceedingly difficult to     
transport and erect1 even in a civilized
 country4  ,such is a very summarized   
account of the instruments hitherto     
employed1 and it seems to me that the   
time has now come when much can be      
gained by the employment of fixed       
instruments and a moving large plane    
mirror4 ,this idea of using a heliostat 
is1 of course1 not new1 for it has been 
used several times on a small scale1 and
 for special purposes4 ,there is nothing
 beyond the difficulty of making a plane
 mirror sufficiently large for the work 
to prevent the adoption of this method  
in the future2 and this difficulty now  
has ceased1 as it is only a matter of   
time and labor to make plane mirrors of 
sufficient size4 ,with a large plane    
mirror1 twenty inches or upwards in     
size1 mounted on a heliostat mounting1  
and so arranged as to reflect sunlight  
into a series of instruments rigidly    

supported in a horizontal position1 the 
difficulties of eclipse observers will  
be very considerably lessened4 ,the one 
driving clock will keep the pencil of   
light constantly in the same direction1 
and this can be used partly for         
photographing the corona1 partly for    
spectroscopic work1 partly for          
polariscopic observations1 and so on for
 any other purposes1 the whole of the   
instruments being fixed in the best     
possible positions for the observers4   
,practically1 with a large flat mounted 
in the manner indicated1 we can fix any 
portion of the sky we require to        
observe1 and to do it we can point as   
many instruments as we can crowd into   
the pencil1 each instrument being quite 
independent of the others4 ,the length  
of focus of an objective would not      
introduce any difficulties on this plan1
 for the length of the tube is of little
 importance when it can be fixed in an  
horizontal position4 ,the observers at  
the ,eclipse ,station only have one     

astronomical adjustment to make1 i4e41  
that of the position of the heliostat1  
and only one driving clock to regulate4 
,this clock1 since it has only to move  
the weight of the plane mirror and its  
mounting1 can be more accurately made   
and regulated than is possible with a   
clock when it has to carry the weight of
 the tube and heavy axis of an ordinary 
telescope4 ,the positions of the        
observers are more easy and natural     
during the precious seconds of totality2
 or1 if personal superintendence is to  
be abolished in favor of the ,american  
pneumatic apparatus1 this suggested     
arrangement of the instrument is better 
fitted for the pneumatic attachments    
than the old plan is4 ,the whole of the 
photographic apparatus can be fixed up  
in a dark hut or under a dark tent with 
far less trouble and risk of stray light
 than is possible with the old manner of
 mounting4  ,the cost of a good         
heliostat mounting is about the same as 
that of a good telescope1 and with one  

heliostat we can do the work of at least
 half a dozen of the usual instruments4 
,a4 ,a4 ,,common1 ,f4,r4,s41 and ,a4    
,,taylor1 ,a4,r4,s4,m4                  
99       99       99       99       99  
,,the ,supreme ,court at ,st4 ,paul1    
,minnesota1 handed down a decision on   
,july #ast in the case of ,ida ,moore1  
of ,minneapolis1 against ,photographer  
,rugg4 ,rugg sold a copy of ,mrs4       
,moore's picture1 which was put on      
exhibition in improper places1 much to  
the discredit of the lady1 and she      
brought suit for damages4 ,the ,supreme 
,court holds that it is a case in which 
there is ground for the recovery of     
damages2 that the photographer has no   
right to dispose of pictures which are  
the sole property of the sitter4 ,the   
decision is an important one4 ,similar  
cases have arisen once or twice         
previously in other parts of the        
country4                                
,,general ,,notes4   ,a ,,novel ,,carbon
 ,,process4--,mr4 ,o4 ,volkner publishes

 the following dust carbon printing     
process1 which appears to be easy to    
carry out1 requires no reversed         
negatives1 and yields permanent prints4 
,we also think it can be used in making 
phototypic printing blocks4 ,make a     
solution of gelatine in water #a-fj1 and
 draw sheets of good strong paper       
through it1 and hang it up to dry4 ,wet 
it again and squeeze it down on a piece 
of glass4 ,now brush over it a solution 
of ten parts gelatine1 ten parts gum    
arabic1 twenty parts white sugar1 eighty
 parts distilled water4 ,while still    
quite moist put it in a dusting box     
7such as used for photogravure7 which   
contains a mixture of #ajj parts of     
white dry sugar and five parts of       
,french lamp black4 ,after a lapse of   
eight to ten minutes1 withdraw it and   
you will find it covered with           
innumerable particles of dust4 ,paper   
thus prepared will keep1 and has to be  
sensitized in a bath of fifty parts     
bichromate of potassium1 fifty parts    

bichromate of ammonia1 six thousand     
parts water and aqua ammonia1 until it  
assumes a light yellow color1 and at    
last1 to avoid the too quick dissolution
 of the gum arabic1 immerse in twenty   
parts chromic acid in #a1ejj alcohol4   
,print by ,vogel's photometer #af to    
#ah4 ,to develop1 use warm water first1 
and afterwards cold1 leaving the print  
for several hours in water1 to which may
 be added a little aqua ammonia1 in case
 the printing was carried too far4 ,the 
prints show a singular and very pleasing
 grain and need no transferring4--,dr4  
,eder's ,jahrbuch4                    99
       99       99       99       99    
,,every photographer is1 no doubt1 to   
his own sorrow1 familiar with a yellow  
stain in the negative1 caused by taking 
the plate from the fixing bath before it
 is thoroughly fixed4 ,mr4 ,belitski1   
the well-known photo-chemist1 made some 
experiments recently to remove this     
stain1 and succeeded very well4 ,a      
slight stain can often be removed by    

placing the negative in the following   
solution3 #ej parts alum1 #ajjj parts   
water1 #aj parts bichromate of          
potassium1 #bj parts muriatic acid4     
,after several minutes the negative     
turns yellow all through4 ,it is washed 
now very thoroughly1 exposed to sunlight
 for several minutes1 and developed or  
blackened with the ordinary iron        
developer4 ,when the stain is very      
intense this remedy will not prove to be
 of any avail1 and only by leaving it   
for twenty-four hours in the ,lainer    
acid fixing bath 7so often described in 
all journals recently7 he succeeded in  
removing the stain and saving a valuable
 negative4--,deutsche ,photographen     
,zeitung4                    99       99
       99       99       99  ,,the      
article on 8,fixing ,plates0 which      
appeared in our ,june number1 page #afc 
should read in the heading 8,fixing     
,prints40 ,our readers have doubtless   
discovered this for themselves before   
now4                                    

----------------------------------------
--------------------------------        
,,transcriber',s ,,notes    #a4         
,silently corrected typographical errors
 and variations in spelling4  #b4       
,retained anachronistic1 non-standard1  
and uncertain spellings as              
printed4  #c4 ,enclosed italics font in 
underscores4