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23d YEAE.
J-J^lSTTJJS.lEt.'^r S, X886.
Number 265.
30 Cents.
THE
PHILADELPHIA
Ii0t00rapfor.
AN ILLUSTRATED SEMI-MONTHLY JOURNAL,
DEVOTED TO PHOTOGRAPHY.
SUMMARY OF CONTENTS.
A Happy New Year, 1
Dry Plates — Continued. By Thomas Pray,
Jr., 2
Washing Dry Plates. By C. W. Hunt, . . 3 Practical Points from the Studios, .... 4
Bibliography, 5
Good Things from Mosaics, 1S86, . . . . C An Amateur in Australia. By Chas. D.Irwin, 8
The Humor of It, 11
A Model Studio "Away Down in Maine."
By W. C. TcTTLE, 13
Translations from Unus, 13
A Plea for Over-timing. By Eugene Albert, 14
Photographic Facts and Fancies 15
Society Gossip, 16
The Open Corner 20
The Department of Art, 21
Queries, Conundrums, and Conclusions, . . 23
Our Picture, 24
Correspondence, 25
German Correspondence, 25
The World's Photography Focussed, ... 27
Studio Studies, 29
Editor's Table 29
Embellishment. — Child Portrait. By J. Landy, Cincinnati, Ohio,
ED\VARD L. W^ILSON, 853 Broadivay, New York.
8UBSCEIPTI0NS EEOEIVED BY ALL NEWS AND STOOKDEALEES. Five Dollars per Annum, in Advance.
Entered at the Post-Office at Philadelphia, as second-class matter.
ADVERTISEMENTS.
ALLEN BROTHERS, The Suter Lens.
ANTHONY & CO., E. & H. T. The New N. P. A. Pense Extra Brilliant Dresden Albumen Paper.
BIGELOW'S ARTISTIC PHOTOGRAPHY.
BURRELL, D. T. Burrell's Prepared Emulsion.
CARBUTT, J. Gelatine Dry Plates and Improved Dry Plate Lantern.
CARPENTER, H. F. Analytical and Manufact- uring Chemist.
COLLINS, SON &, CO., A. M. Photograph Cards.
COOPER, CHAS. & CO. Union Negative Cotton.
CRAMER, G. Lightning Plates.
DEALERS' DIRECTORY.
DOUGLASS, THOMPSON & CO. Supplies for the Art-Science of Photography.
EASTMAN DRY-PLATE AND FILM CO.
ENTREKIN, W. G. Patent Eureka Burnisher. Duplex Rotary Burnisher. Duplicating Print- Cutter.
FRENCH & CO., BENJ. Voigtlander & Son and Darlot Lenses. The Wonderful Buryscope.
HANCE'S SPECIALTIES.
HODGE & HUSTON. The Solar Printers.
HYATT, H. A. New Brand of Dry Plates.
MAGEE & CO., JAS. F. Photographic Chemicals.
MOORE, ALBERT. Solar Enlarger.
MOSAICS, 1S86.
OPTICAL LANTERNS AND SLIDES.
PASSAVANT'S DRY PLATES.
PHOTOGRAPHIC COLORISTS' GUIDE.
PHOTOGRAPHIC PUBLICATIONS.
PHOTOGRAPHISCHB MITTHEILUNGEN.
PICTORIAL EFFECT IN PHOTOGRAPHY.
ROBERTS & FELLOWS.
ROBINSON'S NEW MODEL PHOTO. TRIMMER.
SCOVILL MANUFACTURING CO. New Dres- den Albumen Three Crown Paper. Gihon's Cut-Outs. Photo. Apparatus.
THE PHOTO-GRAVURE COMPANY.
THE ST. LOUIS DRY PLATE COMPANY.
VOGEL'S PHOTOGRAPHIC PROGRESS.
WAYMOUTH'S VIGNETTE PAPERS.
WILSON, HOOD & CO. Ross and Steinheil Lenses, Photo. Frames, Goods, Stereoscopes, and Views.
WILSON'S PHOTOGRAPHICS.
WILSON'S LANTERN JOURNEYS.
WILSON'S VIEWS OF THE ORIENT.
ADVERTISING RATES.
The Philadelphia Photographer is acknowledged to be the best advertising medium in the trade.
Its circulation is among the first class, at home and in nearly every foreign country.
Its rates, all advantages considered, are the most favorable, and it will bring you fine returns.
One Issue. Six Issues. Twelve Issues. Twenty-four Issues.
1 Page $20.00 $110.00 $200.00 $350.00
1-2 " 12.00 66.00 120.00 200.00
1-4 " 7.00 38.50 70.00 120.00
1-8 " 4.00 22.00 40.00 70.00
Special contracts made with bona-fide dealers and manufacturers. Address
EDWARD L. WILSON,
853 BROADWAY, NEW YORK.
NOTICE TO SUBSCRIBERS.
In remitting by mail, a post-office order, or draft, payable to the order of Edward L. Wilson, is preferable to bank-notes. Postage stamps of the denomination of two and five cents each will be taken. Clearly give your Post-Office, County, and State.
Foreign subscriptions must be accompanied by the postage in addition.
THE PHILADELPHIA PHOTOGKAPHER. i
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ENTREEIN'S PATENT EMKi BURNISHER.
The unprecedented popularity of this
Burnisher is wonderful. Over seventeen
thousand (17,000) sold in less than five
llllll»)i»^^s?*^^^s?^^^3^='^t'^Wl'Htt^Wja\ \K\ years. Agencies in London, Berlin, and
^OM ' — I— i w _=^ Vienna, and sold by all stockdealers in the
United States. The machines are built in first-class style, and warranted to do the work claimed. The above cut represents our 25 inch Eureka. ^ull directions accompany each machine.
PRICES:
6 incliRoll, $15 00 20 inch Roll, ..... $6000
10 " 25 00 25 " 70 00
14 " 35 00
BNTRBKIN'S ex Rotary Burnisher.
PATENTED JUNE 1, 1875.
PRICES:
10 inch, $15 00
15 " 25 00
20 " 35 00
25 " 45 00
ENTREKIN'S DDPIICATIN6 PRINT CDTTER.
Cabinet and Stereo. Sizes, $25.00 Small Panel Size, $35.00.
Size 6}4 X 8)4, $40.00.
MANUFACTURED AND FOR SALE BY
W. 6. ENTEEKIN, i384 Main St., Manayunk, PMada., Pa.
TKE PHILADELPHIA PHOTOGEAPHEK. iii
ENTREKIN'S
IMPROVED
DUPLEX ROTARY BURNISHER.
PATENTED.
10 in., $23.00. 15 in., $35.00. 20 in., $45.00. 25 in., $60.00.
This Machine isan improvement on our old Duplex Rotary Burnisher, invented by us in 1874.
It is so constructed that by changing the Large Gear or Cog-wheel, from the stud to the end of the draw-file or upper roll, you reverse and change the speed of the lower or polishing roll, thus getting the same result as in the old Duplex Rotary ; but to secure the best polishing surface, use the machine with the large cog-wheel on the Stud, by so doing you secure three times the polishing surface. All the machines will be sent out with gearing so arranged as to give this result. It is optional with the Photographer how he may use the machine. The Fire- Pan is so arranged that it is impossible for it to come in contact with the surface of the polished roll, and it can be turned away to cleanse the roll.
EVERY MACHINE WARRANTED PERFECT.
FOR SALE BY
W. 6. ENTREKIN, Inventor and Sole Manufacturer,
4384 Main St., Manayunk, Philadelphia, Pa. AND BY ALL PHOTOGRAPHIC STOCKDEALERS.
THE PHILADELPHIA PHOTOGEAPHEE.
Eastman Dry Plate and Film Co.
MANUFACTURERS OF
Eastman s Dry Plates,
Eastman s Negatiue Paper,
Eastman s Bromide Paper for Contact Printing and Enlargements,
The Eastman-Walker Roll- Holder,
We have been awarded the Highest Medals of the International Inventions Exhibition, Royal Cronwall Polytechnic Society, Photo- graphic Society of Great Britain.
THE ONLY COMPLETE SYSTEM OF FILM PHOTOGRAPHY.
Send for circulars.
THE EASTMAN DRY PLATE AND FILM CO.
ROCHESTER, N. Y.
THE PHILADELPHIA PHOTO&EAPHBE. v
WILSON'S LANTERN JOURNEYS
These descriptions should be in the hands of every Lantern Exhibitor and Lecturer. They help you choose slides. They tell you what facts and figures the public want to know about the places and things you exhibit. The contents are divided into JOXJUNEYS or selections as per list below :
DESCRIBES
SLIDES
ALL OYER
THE WORLD.
3 VOLUMES.
VOLUME I. 306 PAGES,
Contains NINE Journeys:
A — France and S^vitzerland.
B— Belgium, Germany, Austria,
Saxony, and Bavaria. O — Italy — Lakes, Cities, and the
Italian Art Galleries. D— Holland, Denmark, Nor^way,
Sweden, Russia, and Spain. E — Egsrpt, Palestine, Syria, Turkey,
Greece, and India. F — England, Scotland, and United
States of America. G — Centennial Exhibition, Philada. H — Centennial Exhibition, Philada. I — The Paris Exposition, 1878.
IN ALL, or ER 900 SUBJECTS.
PRICE $2, POST-PAID.
DESCRIBES
SLIDES
ALL OVER
THE WORLD
3 VOLUMES.
VOLUME n. 331 PAGES,
Contains TWELVE Journeys:
J — Germany and Russia.
K — Belgium and Austria.
L — France— Cities and Provinces.
M— Spain and Portugal.
N— Switzerland— The Four Alpine
Routes. O — Italy, Ischia, and Sicily. P — Turkey, Greece, and Egypt. Q — Palestine and India. R — Scotland — Cities and Ruins. S— Ireland. T — England— Cities, Museums, and
Ruins. U — United States of America.
IN ALL, 1073 SUBJECTS.
PRICE $2, POST-PAID.
B^-VOLUME III— ON THE ORIENT— NOW READY.-®a PRICE $2, POST-PAID.
Gl-ves descript i lis f all the slides made tty Mr. Edward Li. 'Wilson of his personally
taken vie-ws f The Slnal Peninsula ; The Desert of the Exodus ; The
Route of the Israelites to the Promised Land ; and
THE TAKING OF PETRA
FOR SALE BY ALL DEALERS.
EDWARD L. WILSON, Photo. PnbUsher, 853 Broadway, New York.
VI
THE PHILADELPHIA PHOTOGEAPHBE.
PHOTOGRAPHIC MOSAICS, • 1 8 8 6 •
NOW READY.
144 PAGES.— 50 CENTS; CLOTH COVER, $1.00—144 PAGES.
CONTENTS.
The Year of Photography the Last.
Preparation of Paper with Emulsion.
Yellow Stains in Gelatine Negatives. W. H.
Sherman, Milwaukee, Wis. My Developer. Wm, McComb, Muskegon, Mich. An Easy Method of Saving the Silver from Old
Fixing Baths. H. D. Garrison, Chicago, Ills. An Amateur's Experiments. Marcus H. Rogers,
East Brimfield, Mass. A Good Black Stain George W. Leas, Peru, Ind White Light on Unfixed Negatives and the Stains
Attributed to It. Harry Piatt, Nantucket, Mass. The Background, and Its Artistic Importance in
Portraiture. Dr. St. Samnier, Easton, Md. Insurance by the P. A. of A. M. P. Brown,
Tecumseh, Mich. Success. B. T. Rice, Frankfort, Kan. The Storage of Negatives. T. B. Clark, Indiana,
Pa. Some Good Hints and Dodges. Ranald Douglas,
West Gardner, Mass. Abuses of Retouching. C. F. Moelk, Edina, Mo. Sensitizer for Gelatine Plates. Fr. Perces, Point
Pleasant, N. J. Snap-shutter Pictures on Slow Plates. Walter
Browne, Brooklyn, N. Y. Printing on Canvas. J. Burnet. The Proper Distribution of Photographic Objects
in the Space Allotted to Them. J. H. Sunder-
line, Philadelphia. What to Do with Your Printing Bath when it Turns
Yellow. H. G. Parcel!, KirksviUe, Mo. Hintsonthe Picturesque. E. Livingstone, Aberdeen. Things to " Dont," — for Immatures Exclusively.
Thomas Pray, Jr., Boston, Mass. Development of Instantaneous Pictures. Garvey
Donaldson, New York. A Word about Emulsion Paper. B. Brargeoin
Barnes. Dots, Dodges, and Do Thems. Fred. H. Wilson,
Philadelphia. An Architectural Morsel for Our Yearly Plate.
M. H, Albee, Marlboro, Mass. Just Try It Once. W. B. Tyler, San Francisco, Cal. Notions from Nova Scotia. John H. Stubbert,
Cape Breton, N 'S. A Very Simple " Dry " Developer. E. D. Ritton,
Danbury, Conn.
29. Othello's Occupation is Not Gone. J. Pitcher
Spooner, Stockton, Cal.
30. Russian, Prussian, French, German, English, and
Italian. A. Fore. Unner.
31. Photography a Fine Art. Xanthus Smith, Phila-
delphia.
32. Jots from My Journal. Old Graybeard.
33. Printing at the New Orleans Exposition. Charles
E. Fellows, Philadelphia.
34 Good Prices, and How Obtained. J. W. Denton, Jacksonville 111.
35. Stereo Printing Without Cutting. F. M. Rood, Poultney, Vt.
36 Experience and Its Worth. David Cooper, Roches- ter, N Y.
37. The Magic Lantern. Jay Densmore, Niles, Mich.
38. The Tones of Lantern Slides. Ellerslie Wallace.
39. One Step Higher. Mrs. E. N. Lockwood, Ripon,
Wisconsin.
40. Five Years of Progress. C. M. French, Oneonta,
New York.
41. Development of Dry Plates in Two Solutions. D.
Bachrach, Jr , Baltimore, Md.
42. The Babies. H. S. Keller, Utica, N. Y.
43. An Experience. W. J. Baker, Buffalo, N. Y.
44. Fine Equipment versus Old Traps. G. L. Hurd,
Providence, R. I.
45. Destiny. W. H. Potter, Indianapolis, Ind
46. Negative Paper : Its Development and Manage-
ment. David Cooper, Rochester, N. Y.
47. Thin versus Thick. Geo. Sperry, Evansville
Indiana.
48. A Riddle for Others to Answer. R. M. Wilson
Grand Rapids, Mich.
49. An Instantaneous Shutter. C. C. Clarke, Lincoln,
Nebraska.
50. Practical Fixing and Washing Trays. J J.
Eskil, Florence, Wis.
51. Photography and Realistic Art. John Bartlett,
Philadelphia.
52. On Development. Frank Robbins, Oil City, Pa.
53. Don't. J. F. Ryder, Cleveland, O.
54. Practical Notes from Various Sources : Studies
for All Studios. Charles W. Blood, Petoskey, Michigan.
55. Retouching Made Easy on Dry Plates. E, J.
Kildare, Guatemala, C. A.
OVER 2000 SOLD BEFORE ISSUE.
EDWARD L. WILSON, Photo. Publisher, 853 Broadway N. Y. Mailed on receipt of price. For Sale by all Dealers.
THE PHILADELPHIA PHOTOGEAPHEE.
THE STANLEY DRY PLATE
Has passed through the ordeal of its first summer, and its manufacturers have almost entirely- escaped the usual trials of fogging, frilling, and other perplexities. In fact, the quantity sold in July exceeds that of any former month.
Its unusual cotnbination of sensiHve?tess and brilliancy have made it a general favorite, and the territory into which it penetrates grows constantly larger.
AMONG ITS RECENT ACHIEVEMENTS ARE
Instantaneous Views of the Decoration Day Parade (3d size stop), taken without sunlight, used as a Bulletin Illustration.
Views of Horses and Carriages enterAtig Central ParJc, trotting rapidly across the field of view, sharp and clear cut. These will appear in the Bulletin.
Views of Steamboats going twenty miles an hour directly across the field, taken at 5.30 p. M. Sharp and clear as if standing still.
Tlie I/ife-size Portrait of J. F. Ryder, by McMichael, shown at the Buffalo Con- vention, was made on an 18 x 22 Stanley Plate in five seconds, with a Dallmeyer Rapid Rectilinear Lens.
Instantaneous Vieivs, by Mr. Henry J. Newton, President of Photographic Section of the American Institute, about which he writes :
" I found that sunshine was not absolutely necessary for instantaneous negativeis on these plates, and I think a majority of the negatives I send you were made when there was not sufficient sunlight to cast a visible shadow. I think it is due that I should say that the plates wofked satisfactorily in every respect, exhibiting extreme sensitiveness, responding readily to the developer, and going steadily on to the finish.
P. S. I used the Prosch Shutter at its full speed." (Signed), II J. Newton.
And now to crown the whole, Mr. Parkinson writes as follows :
Parkinson Photo. Parlors, 29 W. 26TH St., E. & H. T. Anthony & Co. : New York, August 12, 1885.
" Gentlemen : I take pleasure in assuring you that I made a group portrait in my gallery of an old lady of eighty years, with child of four years, a month or two since, on a Stanley 18 X 22 plate, in one second, with Dallmeyer Rapid Rectilinear Lens. A little more time would have done no harm ; but the picture in question has elicited as many words of praise from visitors to my studio as any other in same length of time."
Yours truly, W. B. Parkinson.
The Stanley Dry Plates can be had from any dealer, or direct from
E. & H. T. ANTHONY & CO,
591 BROADWAY, NEW YORK.
Another thing that has gone rapidly to the front is the
When Dry Plates were first introduced it was not yet on the market, and the old stereotyped developing formulas do not mention it; but in the developing formulas of the more rtctnt popular plates, as the STANLEY and the St. Louis, the E. A. Pyro is recommended as most desirable, and in the Eastman Dry Plate Co. formulas the same preference is given ever since \iity knew of its merits. It is always used by the veteran "Roche," and constitues one of the main elements in the'popu- lar Cooper's Developer.
0 Every photographer shonld try the E. A. Pyro. Every dealer has it, or ought to have it, or it can be had direct from
E. & H. T. ANTHONY & CO., 591 Broadway, N. Y.
viii THE PHILADELPHIA PHOTOGEAPHEE.
PASSAVANTS DRY PLATES
AltE CONCEDED BY THE LEADING JPSOTOOMAPHEMS OF THE PACIFIC COAST TO BE
THE BEST AND MOST RELIABLE IN THE MARKET.
CIP,
HL.
Specially for Portraiture and Instantaneous Views, requiring one-half the time of other Dry Plates, working with great softness and delicacy.
For ordinary Studio Work and Landscape.
|
«~ |
^^* PRICE |
LIST. ^ |
"» |
||
|
Per Doz. |
Per Doz. |
Per Doz. |
|||
|
3Xx4X, . |
. . 80 60 |
5x8,. |
. . $1 75 |
11x14, . |
. . $6 50 |
|
4x5,. |
. . 90 |
6>^x8>^, . |
. . 2 30 |
14x17, . |
. . 12 00 |
|
4.%xQ%, . |
. . 1 20 |
8 X 10, . |
. . 3 40 |
17x20, . |
. . 20 00 |
|
5x7, |
. . 1 75 |
10 X 12, . |
. . 5 00 |
18x22, . |
. . 24 00 |
Numerous testimonials from all parts of the States at hand. Try them.
Passavant's Photographic Dry Plate Factory,
306 GUERRERO STREET, SAN FRANCISCO, CAL
OSCAR FOSS, sole' AGENT FOR THE PACIFIC COAST.
OUR SPECIALTIES.
BROMIDE AMMONIUM, Chem. Pure.
BROMIDE POTASS., Chem. Pure.
NITRATE SILVER, Chem. Pure.
FOR DRY PLATES.
CROSS-SWORD DRESDEN ALBUMEN PAPER, Single and Extra Brilliant. The Best in the Market.
ALSO A GENERAL LINE OF
PHOTOGRAPHIC CHEMICALS.
A circular, " How to Save Waste," sent on application.
CHAS. COOPER & CO.
194 Worth St., New York.
THE PHILADELPHIA PHOTOGEAPHEK. ix
Benj. French & Co.
No. 319 V^^ASHINGTON STREET, BOSTON,
Sole Agents in the United States for the Celebrated Lenses Manufactured by
VOIGTLANDER & SON,
ALSO, THEIR FAMOUS
Which is unrivalled for groups, full-length figures, and other demands in the gallery, and every species of out-door work, including instantaneous photography.
g^- THE EURYSCOPE is made exclusively by Voigtlander & Son, and their name is engraved on the tube.
PORTRAITS. DaRLOT L£Nd£|S views.
IMPORTERS, ALSO, OF THE CELEBRATED
TRAPP & MUNCH .
ALBUMEN PAPER,
AND DEALERS IN ALL KINDS OF
Photographic Materials and Magic Lantern Slides.
SEND FOR OUR MW ILLUSTRATED PRICE LIST OF LENSES
THE PHILADELPHIA PHOTOGEAPHEE.
THE PHILADELPHIA PHOTOGEAPHEE.
11
H. F. CARPENTER,
29 & 31 Page St., Providence, R. I.
Analytical and Hanufacturing Chemist.
Refiner of PHOTOGRAPHIC WASTES.
Assayer and Sweep Smelter.
Nitrate of Silver and Chloride of Gold.
Chemically pure gold prepared especially for Photographers' use at ^i.io per dwt.
Information given on application in regard to methods of saving waste.
WHAT IS SAID BY ITS READERS:
We cannot recommend it too highly to our colleagues. — MoNS. Leon Vidal, Editor of the Paris Moniteur.
The success of this latest gem of photographic litera- tare will, no doubt, bo as great as the merit of the work deserves. Among the photographic writers of America E. L. Wilson stands without a compeer.— Dr. H. Vogel, Editor of the Photo. Mitth.
By far the best photographic book ever published in America. It is written with great elegance and mas- terly handling of the subject. — Dr. E. Horning, Editor of Photograpliio Correspondez, Vienna.
Would not be without one for triple the price. — Emmerson Goddard, Woonsocket, R. I.
It is a perfect encyclopaedia of the photographic art up to date. — H. L. Bliss, Buffalo, N. Y.
Photographies is the most imposing book devoted to photography I have seen. — J. F. Ryder, Cleveland.
Photograj3hic8 looks fine, and is selling well. We are doing our best to push it. — W. Irving Adams, N. Y.
The plan of the book is novel. . . . Mr. Wilson could hardly fail by this plan in making a useful and prac- tical publication. — Anthony's Bulletin, N. Y.
It is the very best text-book upon our beloved art. — John R. Clemons, Phila.
I have inquiries for a good book on photography, and I think yours is that book. — John Carbutt, Phila.
It is a pity you can't send to every one the pages from 1 to 17 ; all would be sure to go for the rest of it. — J. H. Hallenbeck, New York.
It is a complete library. — W. D. Gatchel, Cinn.
We know of no one in our fraternity more capable of compiling such a work for the benefit of the photo- graphic brotherhood than Mr. Wilson. — J. H. Fitz- GlBBON, in St. Louis Practical Photographer.
It demands a position in the library of every photog- rapher, and this position it will assuredly attain as soon as its merits become known. — Editor Photographic Times and American Photographer.
Photographies is my evening companion, and with it the evenings are very short. It is just what I have been wanting for a long time. — Well G. Singhi, Bing- hampton, N. Y.
It is a good work, and I look to see you issue a second edition as soon as it has had time to commend itself. — D. Bachrach, Jr., Bait., Md.
I consider it greatly superior to anything yet pub- lished.— J. B. Leisenring, Fort Dodge, Iowa.
It is a most useful book, and its practical teachings to the studious photographo-r contain the most valuable information. — -C. D. Mosher, Chicago.
Photographies hits the nail right on the head. I would rather have it than all the other books on pho- tography put together. The idea is capital, as it is original, and gives us the whole thing in a nutshell. — B. W. KiLBURN, Littleton, N. H.
I hope that every photographer will see to it that his $4 goes direct to you, without any dealer's commission off, in order that you may have the full benefit of its price — a benefit indeed for the many years you have played your part so carefully upon the photographic stage for us. — Fred. C. Phillips, St. Thomas.
It is the most unique aud powerful work upon the subject I have ever seen. — J. E. Beebb, Chicago.
The book of photography. It is worth the price with compound interest. — P. Kellmer, Hazleton, Pa.
I have read Photographies through, and am fully satisfied it is without a peer in photographic literature. To me it is invaluable. — E. P. Hovey, Rome, N. Y.
My friend and tutor, allow me to thank you for your noble book, and may thousands testify to its value by giving it the chiefest place in their library. — F. M. Spencer, Mansfield, Pa.
I can assure you sincerely that I never invested $4.00 for reading with as much satisfaction as in this case. — C. T. Stuart, Hartford, Conn.
A short time since I had the pleasure of perusing your new book Photographies. As a result I want it, and enclose check for four dollars. — Geo. Pine, Trenton, New Jersey.
Of all the photographic literature published, this book seems the very best. — J. P. Spooner, Stockton, Cal.
I am very much delighted with it. The treatises on dry-plates, emulsions, etc. etc., are all very minute in detail. — J. A. Van Drelzen, Peoria, 111.
I think the Photographies a very valuable book, one that every photographer should have. — K. T. Sheldon, West Winsted, Conn.
It is the best book I ever got possession of. Those who want lightning or instantaneous processes had better get a copy and work with pleasure. Nothing like it; too good to be without. — Joseph Theiring, Cincinnati, Ohio.
The first short article that I read was worth the cost of the book, and in looking it over find it contains an inestimable amount of valuable information which would not be found out in a lifetime of practice. — E. F. BuRCHAND, Worthington, Minn.
Your Photographies will supply a want long felt among the fraternity, more especially among those like ourselves who are "out of the world," so to speak. — J. R. Hanna, Auckland, Australia.
One hundred dollars would not buy mine if I could not get another. I do not see how I managed so long without it. — Oscar Cromwell, Grizzly Flat, Col.
Photographies suits me better than any similar work I have come across. The giving of the experience of different workers on the same subject, and giving it in their own words, being an especially valuable feature. — S. B. Hill, Flemington, N. J.
Your Photographies is the best thing out; practical and lo the point, and no nonsense. — Walt. C. North, Utici^, N. Y.
SALE DON'T STOP.
Will be mailed, post-paid, to any address, on receipt of $4.00.
EDWARD L. WILSON, Author and Publisher, 853 Broadway, New York.
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PHIL A DELPHI A.
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.Scovill Manufacturing Company, Trade Agents. FOR SALE BY ALL DEALERS.
XIV
THE PHILADELPHIA PHOTOGEAPHEE.
New Book by Dr. H.W.Vogel,
PROGRESS OF™PHOTO&RAPHY.
THE BEST EFFORT OF THIS VETERAN TEACHER.
Every Photographer and Amateur should Read it Carefully.
CHAPTER I.
PHYSICAL EFFECTS OF LIGHT.
CHAPTER II.
CHEMICAL EFFECTS OF LIGHT.
CHAPTER III.
PHOTOGRAPHIC CHEMISTRY.
CHAPTER IV.
PHOTOGEAPHIC OPTICS.
CHAPTER V.
PHOTOGRAPHIC APPARATUS.
CHAPTER VI.
THE NEW PHOTOGRAPHIC PROCESSES.
CHAPTER VII.
PHOTOGRAPHIC ESTHETICS AND PORTRAIT TECHNiaUE.
CHAPTER VIII.
PHOTOGRAPHY FOR AMATEURS
As the Artist should Study all about the Face, so should the Photographer Study all about his Art.
NO BETTER OPPORTaUITT TO DO THIS IS AFFORDED THAN THAT FOUND
IN
Progress of Photography.
34= "T"
J^CSr'ESS.
PRICE
$3.00
$3.00
With Seventy-two Illustrations, and an admirable portrait taken with Electric Light, by W. Kurtz, New York,
EDWARD L. WILSON, Publisher, 853 Broadway New York.
THE PHILADELPHIA PHOTOGEAPHEE.
XV
720 {5 gross) of these trimmers were sold to one party in July.
ROBINSON'S NEW MODEL
riOTOGBAPH TRIMERS!
a ^
rt .2
1 fu ;*
These invaluable instruments are already used all over the country, and now, a change of form having permitted an immense reduction in price, they must soon be UNIVERSALLY USED as they afford a quicker, better, and less expensive means of trimming photographs than any other. The inventor assures photographers that his trimmers can be used with greater ease when held as indicated in the drawings below. These trim- mers are now made entirely of metal, and in quality are fully equal to those of the old model. They answer for oval, round, arch top, and square work.
Plan of holding the Straight Cut Trimmer when in use. PRICE, 50 CENTS.
Plan of holding the Revolving Trimmer when in use. PHICE (with one card guide) $1.00.
o
II^SOKT^S CSt-XJI 33 EBS.
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MADE OF SHEET-IRON. We have the following Regular SiZOS always on hand at lo cents per inch the longest way of the aperture.
SQUAEE OE BOUND OOENEEED. 2Xx3| 2^^x3| 2|x4J 4x5|
2|x3| 2^5x3J 2|x4| 4^x61
2^x3^ 2|x4J ^:s.b\ 3|x6
2/^x3i| 4x6i
FOR STEREOGRAPHS. Arch Tops. Round Cornered. Round.
3^x3f, 3x3 3^1^x31, 3x3 3x3
The above sizes suit the Collins Card Mounts, and photographers knowing that they can be always had at the low price of ten cents per inch, would do well to make their sizes accord, as orders can also be filled more quickly. Ten days are required to make special sizes.
Special Sizes made to order, at 15 cents per inch, tlie longest way of the aperture.
ROBINSON'S PHOTOGRAPH TRIMMERS are substitutes for the Knife for Trimming
Photographs, and do the work much more expeditiously and elegantly.
They Save Time, Save Prints, and Save Money.
They do not cut, but pinch off the waste paper, and leave the print with a neatly beveled edge which facilitates adherence to the mount. Try one, and you will discard the knife and punch at once. For ovals and rounded corners they are worth their weight in gold.
SUlSl ROBERTS & FELLOWS,
Snccessors to E. L. WILSON, 1 126 Chestnut St., Phila.
XVI
THE PHILADELPHIA PHOTOGEAPHEE.
DEALERS' DIRECTORY.
The following houses are to be recommended as the best for photographers in their localities.
S. T. BLESSING,
New Orleans, La. And Galveston, Texas.
H. A. HYATT,
Mound City Photo. Stock House,
8th and Locust Sts.,
St. Louis, Mo.
THE
BEST BOOK
IS
SMITH & PATTISON,
New Location,
145 & 147 Wabash Avenue,
Chicago.
SCOVILL MANF'U CO,
423 Broome St., New York.
O.H.OODMAN&OO.
Boston, Mass.
BDCHAMK, SMEDLEY & BROMLEY,
25 N. Seventh St.,
Philadelphia.
OSCAR FOSS,
San Francisco, Cal.
WILSON'S
PHOTOGRAPHICS,
$4.00.
D. TUCKER & CO.,
Buffalo,
N. Y.
WILSON, HOOD & CO,
825 Arch Street, Philadelphia, Pa.
A. B. PAINE & CO.
Fort Scott,
Kansas.
E.&H,T,ABTHOKY&CO.
591 Broadway,
New York.
D. J. RYAN,
Savannah,
Ga.
ALLEN BROS.
Detroit,
Michegan.
B. FRENCH & CO.
Boston, Mass.
MHLLETT BEOS,,
Kansas City, Mo.
SHEEN & SIMPKINSON,
Cincinnati,
Ohio.
CINCINNATI.
THE
PHILADELPHIA
PHOTOGRAPHER.
EDITED BY EDWARD L. WILSON.
VOLUME XXIII.
NEW YORK:
EDWARD L. WILSON, PUBLISHER,
No. 853 BROADWAY. 1886.
G^^^.^3. /S'^Y
PHILADELPHIA: DORNAN, PRINTER,
No. loo North Seventh Street.
EMBELLISHMENTS.
January 2(i.— Child Portrait. By James Landt, Cin- cinnati, Ohio. Silver print, by Egberts & Fellows, Philadelphia.
January 16</i.— Mother Shipton. By Falk, New York. Photogravure, by the Photogravuee Co., New York.
February 6th. — Good Morning. By D. T. Burrell, Brockton, Mass. Silver print, by Koberts & Fellows, Philadelphia.
February 20th.— A Study from Themasses. By H. L. Roberts, Philadelphia. Photogravure, by the Photogravtjre Co., New York.
March 6th.— The South. By H. L. Bobeets, Philadel- phia. Silver print, by Roberts & Fellows, Phila- delphia.
March 20th.— The Toilers of the Sea. By U. S. Wyees, Yonkers, N. Y. Photo-gelatine print, by the Photo- gravuee Co., New York.
April 3tZ. — The Bride. By J. F. Ryder, Cleveland, Ohio. Silver print, by Roberts <& Fellows, Phila- delphia.
April 17/ft.— Island of Phite— South Colonnade. By Edward L. Wilson. Moss-type, by the Moss En- graving Co., New York.
May ls<.— The East. By Geo. Hanmer Ceoughton, Richmond, Va. Silver print, by Robeets & Fel- lows, Philadelphia.
May 15th. — Listening to the Birds. By John E. Du- MONT, Rochester, N. Y. Photo-gelatine print, by the Photogravuee Co., New York.
June blh. — A Mikado Maiden. By G. Cramer, St. Louis, Mo. Silver print, by Roberts & Fellows, Phila- delphia.
June 19(/i.— The Studio of Talamea, from "Adonis." Negative by electric light by W. J. Mozart, New York. Photo-gelatine print, by the Photogravure Co., New York.
July ^d.— A. Study from "The Merry Wives of Wind" sor." By Reichmann & Co., New York. Silver print, by Roberts & Fellows, Philadelphia.
JidyVJth — On the Pennypack. From an original oil sketch in black and white by Xanthus Smith, Philadelphia. Moss-type, by the Moss Engraving Co., New York.
August 7th. — The Valentine. By H. P. Robinson, Tunbridge Wells, England. Silver print, by Roberts & Fellows, Philadelphia.
August 21sl. — After Play. By Abell & Son, Portland, Oregon. Photo-gelatina print, by the Photogravure Co., New York.
September 4lh. — The West. By Henry Butler, Ver- million, Dak. Silver print, by Roberts & Fellows, Philadelphia.
September ISth. — A Ramesian Studio. By Edward L. Wilson. Photo-gelatine print, by the Photoqra\x"rk Co., New York.
October 2d —Meditation. By F. W. Gueein, St. Louis, Mo. Silver print, by Roberts & Fellows, Phila- delphia.
October Wth. — A Child Study. Negative and phototype print by F. Gutekunst, Philadelphia.
November Gth. — Bavarian Beauties. By Franz Werner, Munich, Bavaria. Silver priut, by Roberts A' Fellows, Philadelphia.
November 20th. — The Midnight Sun at the North Cape. From the Prang chromo. Negatives on ortho- chromatic and ordinary plates. Ives process prints, by Fred. E. Ives, Philadelphia
December ith. — From My Office Window. By Edward L. Wilson. Silver print, by Roberts & Fellows, Philadelphia.
December I8th.—Gems from the Rhine. By J. Winter, Jr. Photo-gelatine print, by the Photogravure Co , New York.
ILLUSTRATIONS.
Apparatus for balloon photography, G61
for photographing the heart, 610
in mines, GCO
the retina, 341
French, for washing plates, 328
Balloon photographic apparatus, 6G1
Carbon electrodes, 378 Celestial photography, 228, 229 Chevreul, portraits of, 031 Collins's focussing attachment, 312 Composition, illustrations of, 52, 98-101 Corean pictures, 103 Craj'on outline, 284
Design of the N. P. A. medal, 308 Diagram for photographing pictures, 145 Dubois's file, 310
Eastman easel, 157
enlarging apparatus, 439-444 Eclipse, 242 Eye, photographing the, 340-341
Figures in landscape, 418
German prizes, the, 758 Gradation, 504 Gray's vest camera, 039 Grouping, illustrations of, G91-693
Head of lion, GG4
Heart, photographing the, 610-613 Hepworth's four poster, G29 Horse in motion, 687
Impression, feeling, illustrations of, 579-582 Ives's process print, 742
Klein stop, 217
Kruse's negative numberer, 741
Landscapes, eastern, 285 Light and shade, illustrations of, 178, 179 Lines, illustrations of, 194, 289-291 Listening to the birds, 294
Miss Cora and her pets, 665
Molteni's lantern, 78
Moss-types, 247
Mountains and marines, illustrations of, 708-710
My photographic hobby, 353
Perspective fancies, 724 Photographing an anarchist, 346 Plate tongs, 740 rocking, 741
Sensitometer, 926
S. 0. S. P. emblem, 149
St. Louis, plan of space at, 371
convention building, 148, 321 Skylight of a model studio, 13 Stars around the pole, 626 Steinheil lenses, 312 Studio study, 29 Support for camera, 216
Technique, illustrations of, 354-356
Ventilator, a simple, 707
Washing pan for dry plates, 4 Waves at Crescent Beach, 190
INDEX.
A HAPPY new year, 1 JDsthetics and photography, 225 Amateur in Australia, an, 8 Amateur's album, an, 646
in new quarters, 342 American exhibition in London, the, 695
astronomers were right, 730 Animal photographs, some, GG-1 Annoying strike off, an, 380 Argentic dry plates, 63'i Aristotypic paper, use of, 555 Art, photo., an answer to Mr. W. J. Stillman, 386
and photography, 57, 193, 258, 515
censorship, 470
is photography, 392
photography a pictorial, 249 as a iilastic, 682
the department of, 21, 131, 289, 354, 579 As in our 1886 volume, 754 Autographic and calcographic transfers, 726 Y
T) ACKGROUNDS and accessories, use and abuse of, 655 ^ Balloon, photography from a, 513, 661 Barker's views of Niagara and Florida, 476 Bibliography, 5 Big offer, that, 360 Blair Camera Co., the, 665
Bleaching over-printed photographs for photo-engrav- ing, 497 Blue prints, 322
Brains and judgment needed in photography, 405 Bromide paper, the improved American, 155 Business management of a photographic establishment,
on the, 406 Burnham, Mr., his large negative, 497
pAMEEA without a lens, a, 495 ^ Canada convention, the, 476, 564 Carbon electrodes without metal, 373
prints, transfer on wood of, 720 Cardboard, concerning, 634
use only good, 73 Celestial photography, 219
at the Observatory of Paris, 227 Centenarian chemist, a, 583 Centrifugal separator in preparing gelatine emulsion,
the, 526 Chatterings of this and that, 493, 605 Chautauqua school of photography, the, 381
photographic day at, 477, 536 Cloud portraits with orthochromatic plates, 614 Collodio-chloride printing, 361 Color-sensitive patent specifications, ,Dr. Vogel's, 594
value by photography, true, 597
Colors, a first step toward photographing, 688 Coloring positive prints, 292 Composition, 51, 97 Convention items, 437, 473
the St. Louis, 386, 429, 449
photographic, of the United Kingdom, 565 Conventions, our, do they pay enough, 597 Copyright law in Great Britain, the new, 267 Correspondence, 25, 112, 189, 243, 282, 308, 369, 488 Crayon portraits, Gihon en, 346 Criticisms on our picture, 272
DARK room, lighting the, 322, 359 Developer, another word for oxalate, 591 dodges, some, 740 for rapid exposures, which, 197 Developers for instantaneous plates, 030 Developing negatives with very short exposure, 482 Development, comparison of iron and pyro, C53 in two solutions, 101 with carbonate of soda, 34, 377 Did you ever try it? 079 Do our conventions pay enough? 597 Dry Christmas collation, a, 743 plates, continued, 2 defects in, 232 nineteen years old, 014 washing, 3
EAGLE Dry Plate Co.'s Works, a visit to the, 187 Eastman permanent bromide paper, on the use of, 357 film negatives, printing, 357 Eclipse of the sun, photographing the, 240
late, 568 Editor's table, 29, 02, 95, 126, 158, 191, 223, 254, 287, 318, 349, 383, 415, 448, 479, 507, 542, 574, 606, 639, 009, 702, 734, 707 Elimination of hypo by salts of lead, 570 Emulsion making and plate coating, 588 Enlarged negatives, a new method for, 517
reproductions, 66 Enlargement, daylight, 585 Errors and helps, 076 Exhibition of the Camera Club of Hartford, 183
Pacific Coast Amateur Photographic Association,
294 American Institute, photography at the, 754 Philadelphia Photographic Society, 60, 82 Society of Amateur Photographers of New York, 184 Exhibits, about, 739
Exposures, correct, and the area system of marking lenses and stops, 649 precision in calculating, 198 ■
INDEX.
Exposures, simple device for timing, 446 Eye, photographing the retina of the, 340
FADING, how to preTsnt, 712 Feeling, the life of art, 662 Ferric salts, the action of as reducers, 519 Field day, a pleasant, 545 Figures in landscape, 417 Flap shutter, the, 619 "Forward," 731 Framing photographs, 557
p ELATINO-BKOMIDE a substitute for albumen in ^ silver printing, 395
emulsions, concerning, 584
plates, M. Balagny's flexible, 170
very slow, for landscape work, 397 German convention, the, 598
horse in motion, a, 686
prizes, the, 758 Glass, pasting copies on, 712
Prof. Abbe's new optical, 761 Good things from Mosaics for 1886, 6 Grained gelatin sheets, production of, 622 Gray's vest camera, 638 Grouping under the sun, 691
riEART, photographing the living human, 610
-'-*■ Henry Draper memorial, the, 244
Hepworth's four-poster, 628
Hints from Guatemala, 711
Home portraiture, 265
How scientific literature is studied, 689
shall we aim ? 613
we take with artists, 261 Humor of it, the, 11, 55, 117, 173, 239, 286, 294, 336, 379,
437, 490, 521, 618, 724, 759 Hydroquinone, the use of, in photography, 635
TLLUMINATION of the negatiTe or transparency in -'- enlarging, 173
Illustrated newspapers, photo-eleotrically, 74 Instantaneous portraiture, 504
work, 675 Interiors, photographing, 522 International photographic congress, an, 201 Is photography art ? 392 Items of practice, 677 Ives's process, report on the, 699
autographic process, the, 742
TAVELLB water,
T7"INDLT words for a worthy colleague, 307
T ANTERN, Molteni's enlarging and projecting, 78 -^ slides, a convenient and inexpensive apparatus
for making, 344 Large negative, Mr. Burnham's, 497 Light and shade, 172
and shadow, 177
for the dark-room, 322
Lighting the dark-room, 359
hints on, 719 Lincoln, photographing, 694 London correspondence, 281, 641, 738
]U A6NIFICENT work, a, 578
IVl
Marvellous accomplishment, a, 70
Measles again, 743
Men's heads, on, 565
Millions wanted, and money in it, 610
Model studio away down in Maine, a, 13
Money-making, 472
Motions of a German horse represented, 599
Mountains and marines, 708
Multiplying negatives, 713
My photographic hobby, 353
Vr ATURALISM and photography, 693 ■^^ Negative paper and films, 326
numberer, Kruse's, 741 Negatives after development, treatment of, 568
for enlargements, a few words about, 686 New eyes for science, 615
studio of Mr. P. H. Hose at Providence, R. I., 401 Notes from London, 641, 738
OBITTJART, 189, 244 Open corner, the, 20, 45, 75, 119, 138, 162, 237, 266, 298, 496, 722 Orthochromatic idea, an, 676
Our picture, 24, 49, 89, 120, 145, 188, 222, 246, 284, 314, 346, 370, 404, 446, 478, 502, 525, 569, 592, 627, 659 696, 723, 760 index for 1886, 737 young men, 754 Our next year, 705 Overdeveloped plates, managing, 311 Overtiming, a plea for, 14
PA. of A., pertaining to the, 41, 89, 122, 147, 215, 278, • 307, 341, 370, 429, 458, 644, 697 Paper, negative and permanent bromide, 257 negatives, 195
coated with gelatine emulsion for direct print- ing, 502 something about, 647 Patience in art, 289 Pellicles, manufacture of, 733 Permanent bromide prints ; are they permanent, 666
finishing on, 715 Phosphorescent substances, photographing with, 740 Photographically illustrated books, 102 Photographic facts and fancies. See Useful Hints. . feat extraordinary, a, 630 Mosaics for 1887, 662. 706 printing and enlarging, improvements in, 438 Photographing the heart, 610
retina of the eye, 340 Photographs of South Africa, 550 Photography, a good notice of, 260 a pictorial art, 247 as an art educator, 389 at the Louvre, 47 for the newspapers, 140
INDEX
VII
Photography from a balloon, 513
has it gone down, 663
in Newfoundland, 391
of the future, the, 69
subterranean, 660
threatened, 737 Photo-mechanical printing as a means of making money for photographers, 372 ""^
-zincographic process, the, 264 Picture, a new, 58 Pictures from Newfoundland, 329 Piece of presumption, a, 536 Please do not fold, 161 Portrait photography aa a plastic art, 682 Portraits on oil, an easy way to make, 668 Powell print, the 642 Practical points at random, 674
from the St. Louis exhibition, 551 from the Studios. See Useful Hints. Prices, cheap, 38
decline of, and the remedy, 467 Printer's troubles, the, 711 Printing and toning, on, 169
on silk, 622
points on, 673
positives on gelatino-chloride paper, 390
with fatty inks, 238
with salts of iron, 022 Print, how to, 330
Prints with jallate and tannate of iron, 175 Progress of photography in America, 421 in Germany and Austria, 408 in Great Britain, 424 Proof, the, 678 Public and press recognition of photography, 376
QUERIES, Conundrums, and Conclusions. See Use- ful Hints. Question of conscience, a, 368 Questions and answers, 679 Quicker than the wind, 19G
pAINT days, uses of, 481
-'■*' Eambling remarks, 484
Rapidity of images io chrono-photography, 702
Reduction, local, of gelatine plates, 646
ferric salts for, 519 Reproducing plans, engravings, etc., in black and white, a process for, 560
old boooks and prints, 717 Restoring discolored platinum paper, 594 Rose, Mr., his new studio, 401
SO. S. P., 149, 358 • St. Louis, our last call, 321 collection, the, 449 convention, the, 386, 429 Sensitometer, a universal, 725 Sharply, 312
Silver stains, removal of from gelatine negatives, 365 Society gossip, 16, 53, 79, 122, 146, 180, 213, 245, 280,
303, 343, 409,* 624, 755 Solar spectrum of 1884, the, 374
spots, the constitution of, 200 Spectroscopic detection of alkaloids, 559
Stars, recent photographs of the, 130
Steinheil lenses, 313
Stellar photography, 626
Storing iilms and prints, a new method of, 309
Studio studies, 29
Success, 567
rPALCOTT'S method of mounting, 667 -'- Telephone, a photo-rival to the, 379 Tissandier's balloon experience, 661 Toning, another amateur's experience in, 142
of albumen paper, 505 To the photographers of America, 44 Tray, a good, 663 Tribute to photography, a, 426 Triennial, on the, 634 "Type" pictures, on, 39
pSEFUL hints, 486 *-' Bleaching photographs, 497 Blue Pbints —
bleaching, 264 Burnishing —
Roberts & Fellows lubricator, 271 Cameea —
Multiplying, 71 Ceramics, photographs on, 36 Dark Room —
red window for, 5G9
ruby light for, 4 Developek—
for argento-chloride prints, 29
for underexposed plates, 176
French, 167
receipts for iron, 5, 38, 72, 263 blister-preventing, 659 for pyro, 7, 23, 115, 144, 338 pyro and ammonic sulphate, 37
strong, 489 Emulsion, receipt for, 5 Enamelling prints, 488 Film, to remove from glass, 264 Focussing, hints on accurate, 649 Fog, of oxalate of lime, to remove, 367 Glass, fluid for etching, 602 Halation, to avoid, 7
reducing, 153 Hypo, to detect, 36, 263, 723 Image, removing undeveloped, 37
phosphorescent, 710
reversed, 301 Intensifiers, 206
three good, 5 Lightning photographs, 208 Mounting, on paper, 366
pastes, 4, 264 Negatives, care of, 6
packing, 722 Oil paintings, photographing, 23, 145 Orthochromatic processes, Schumann's, 72, 144
with erythrosin, 487 Pa PEE —
albumen, working, 375
for development, 4
formulae of Roberts & Fellows, 116
Vlll
INDEX.
Papek —
gelatino-chloride positive, 368
How Koberts & Fellows work N. P. A., 301
negatives, making transparent, V, 61
preserving, 604 Photo-engkaving Processes —
Bonnaud's litho., 571
Braun's, 338
Meisenbach, 44
Names, 10, 719
to grain gelatine for, 263 Plans, reproducing, 92 Peinting —
a good system of, 270
on silk, 722
points on, 603
from Koberts & Fellows, 301 Keducees, receipts for, 24, 153, 489, 635 Residues, a barrel for, 6 Soda paper as a plate-protector, 524 Spots and Stains, 6, 37, 92, 170, 205, 232 Toning —
bath receipts, 151
black, 490
Roberts & Fellows formulse, 116
uniform, 367 Varnish —
dead black, 501, 533
India rubber, 414
negative, 92
shellac, 447
waterproof, 311 Varnishing, 24
Vignette, dark, 349
Washing negatives, javelle water for, 489
Water tests, 572
Whites, pure, in prints, 307
Writing on glass, 169
yENTILATOB, a simple, 707 ' Veteran's answer, a, 694 Views from my office window, 58, 117, 221, 283, 299,
359, 484 Voigtlauder lens, committee's report on, 563
WASHING gelatine plates, 328 ' ' Watertight your tanks, 665 Weights and measures, 235 What an old photographer says, 218 What an old teacher says of Photogeaphics, 403 Where art begins, 104 Woodbury tissue, 756 Word or two for 1886, a, 34 "Words, words, words," 78
of wisdom, 164 World's photography focussed, the. See Useful Hints.
YACHTING with the camera, 595 ■^ Yesterday and to-day, 404 Toung men, our, 578 Tour dealer, 648
yiNG etching, asphalt process, 764
1887,
737
THE
EDITED BY EDWARD L. WILSON.
Vol. XXIII.
JANUARY 2, 1886.
No. 265.
A HAPPY NEW YEAR.
We wish all a happy New Year and promise as below to help make it so.
We desire to enlist your special interest in the Twenty-third Year of The Phila- delphia Photographer, and to call your attention to the following :
It will be issued twice a month.
There will be no advance in the price to subscribers.
The publication office will be at No. 853 Broadway (cor. Union Square), New York.
The first issue of each month will be em- bellished as usual with a fine Specimen Pho- tograph.
The middle-month issue will contain a splendid Photogravure, Encaustic, Photo- typie, or other process print — studies in portrait or landscape work.
An Art Department is introduced, with elaborate instructions on " How to see Pic- tures, and How to Produce them According to Art Eules." A department for "Ques- tions and Answers " is a new feature.
An "Open Corner," for news, notes, and discussions, will be supported by the craft. The gist of all the photo, news of the world will be given. The Society Gossip will be elaborated and the system of reports im- proved. An able staflT of foreign contrib- utors will supply a series of " condensed " articles on all the branches of our art, to be assisted by the Editor's list of newly dis- covered men and women able to teach prac-
tically in art and art photography, whose writings are new to us. The Editor will contribute a special series of papers on things he observes from time to time from his office window : through his imaginary spectacles, by reflection, with his field glass, and by means of his camera. The usual variety of papers from well-known con- tributors will appear. Some splendidly illustrated articles are in hand, and more are being prepared. Adept and Amateur will have best attention, and for all we mean to be pointed and practical.
Some of our patrons imagine it is a draw- back to a magazine to be controlled by those who are engaged in the manufacture or importation of photographic supplies. While there may be some objection to such a connection, our magazine, as heretofore, will be "free and independent." More- over, to further and better secure indepen- dence, we shall be, January 1, 1886, settled right among the dealers and the magazines of the metropolis, and shall battle for the best interests of the art and its votaries at large.
By increasing our issue we expect largely to increase our circulation.
Will not our old subscribers appreciate our supply of double the material for the same old j)rice and kindly send their five dollars now ?
We do not wish to " cut short" any sub- scription, but we cannot aflford the additional
THE PHILADELPHIA PHOTOGEAPHER
expense we are undertaking in good faith, unless we are promptly paid.
Do 7iot neglect this. If you cannot remit for the whole year now, remit promptly for a quarter or half year, so there may be no loss of numbers. We shall not print a large supply of oversheets for lag-behinds.
The subscription price is due now from those who wish to continue for 1886 and receive twenty-four numbers for five dollars. The current issue is sent as an earnest of what we propose to do. Shall we be up- held in it?
We give more and better material for the money than any photo, journal in the world. Compare and then judge.
I have disposed of my other business that I may entirely devote my time to my favorite work — my magazine — and ask for your hearty support, old patrons, and you shall be amply repaid. With more vigor and devotion than ever I shall work for you.
Kemember our book-list. Kemember that a book or subscription to a magazine pre- sented to a faithful employ^, will bring you back tenfold before the end of the year. Books and back numbers from our "Over- flow Stock " are good for such gifts.
Please remit for your 1886 subscription now. $5.00 a year, $2.50 for six months, $1.25 for three months ; single copies, 25 cents.
Edward L. Wilson,
Editor, Publisher, and Proprietor.
Up to January 1, 1886, 1125 Chestnut Street, Phila.
After January 1, 1886, 853 Broadway (Domestic
Bldg.), cor. Union Square, New York.
DRY PLATES— CONTINUED.
BY THOMAS PRAY, JR., Ex-amateur, New York.
People who are still interested in the dry plate, and who keep up their readings, must be amused, if not amazed, at the ideas advanced, and must become very much puz- zled if they " swallow " all that is put forth, or get exasperated if they should attempt to carry out instructions sent out by the platemakers in some cases.
Alum in the Pixing-bath. If platemakers and users were familiar with even elementary chemistry, let alone
the action on white bromide of silver, they would no more put alum, chlor-alum, or chrome alum, into the hyposulphite fixing- bath than they would put hypo into a silver bath, either negative or printing, yet we have just such formulae going the rounds.
The proper use of the alum bath in con- nection with the dry plate is this : When the plate is fully developed wash it under the tap, or souse it in a dish of water; wash it well, then plunge it into an alum bath for half a minute. Why ? If the developer goes over into the hypo a little on each plate, the hypo gets stained, and in the dark- room you can't see it, and then the film on the plate gets stained ; the washing will get off most of the developer, and the alum is a scavenger, and it readily picks up the pyro and the alkali, and cleans off what you cannot see, but what will show in the bot- tom of the alum bath, very prominently, after six or eight plates have been through ; then wash again, and chuck into the hypo ; now your plate will not "cockle, frill," or run off the hypo ; when through with it, it can be washed off best by a soak of five min- utes in still water, and then back into the alum bath, where it can lie five minutes or half an hour, and then let it go to the wash for three to five hours. Don't mix the de- veloper into the alum ; don't mix alum and hypo; don't mix hypo and alum. Don't carry a plate from one bath into any other without well washing each one every time.
Don't develop a dozen plates with an idea you can fix them just as well.
Gelatine is more peculiar than those who are workers m it ; if you allow a slouchy washing, and then let the plate stand, look out for stains, bye and bye.
Develop, wash — alum, wash — hypo, wash a considerable — more alum, and then wash several hours. Wash in this case does not mean a shiftless soak, or a lazy slouch imi- tation. What you do, do well; perhaps some of the younger ones don't understand why all this pains must be taken ; the old ones, " who know it all," can skip this.
The developer penetrates the film, and," if left in it, blackens or yellows the hypo, and imparts a certain amount of almost unno- ticeable discoloration to the film ; and this discoloration is not on the surface ; and
THE PHILADELPHIA PHOTOGEAPHEE.
this discoloration will increase slowly, but surely ; now, if this plate be put into hypo- alum, there is a slow, steady precipitation of sulphur going on, and the already stained film is the recipient of sulphur, in addition to the pyro and other elements of the de- veloper; and, in due time, negatives with a peculiar greasy-yellow stain in the film are the result ; if sulphurous acid is used in the p3'ro, so much the worse; and, if the hypo happens to be acid, then we have more ele- ments of uncertainty. Any of our readers can make an experiment in an hour which will illustrate all this : in any glass tube or graduate put some hypo solution — pour in alum solution — you will soon observe an " opalescence" or milky appearance ; and a very plain smell of sulphurous acid will be apparent, and the sulphurous acid soon changes into sulphuric acid ; and all of these are elements of uncertainty and very undesirable.
Now, to be certain you are right.
Be sure your hypo bath is alkaline, and, if not so, make it so with water of ammonia or carbonate of soda, and this applies to plates or prints; then do not use a hypo bath one moment after it becomes yellow; put it into a bottle, and add sulphuret of potassium in solution, and lei it settle ; add the sulphuret solution as long as the hypo turns black, and then pour oflF the yellow fluid, and keep the black precipitate for re- finer. In this way you will be sure of clean, good negatives, and they will never turn jellow, or disgust you by coloring in the film, so as to prevent printing.
Let every process be thoroughly and cleanly done; a negative once done and dry is not a tractable subject for any future ex- periment ; but if it is done well it becomes a matter of pleasant reference, and the record is beautiful prints.
Saturated solutions of hypo are not ad- visable fur gelatine plates — one ounce of hypo to five of water is about the right thing — it does not pay to rush a plate either in development or fixing, and we never should be hurried in washing; and a dry plate should never be set on its end to be dried — set in a rack or on pins so that the corner shall drip, and let the corner be an inch ur two clear of anything ; so the film
may dry and harden evenly, and be clean when done.
WASHING DRY PLATES.
BY C. W. HUNT.
One of the minor troubles with dry plates is the difficulty of completely eliminating the "hypo." Having had this trouble in common with most amateurs, I have thought that it might be useful to many to give them a description of the washing-pan that I have used for the last year with such satis- faction that it seems to me to leave nothing to be desired.
I had used various methods, such as soak- ing the plates, and frequently changing the water, washing under a tap, and washing in the trays sold b}* photographic supply deal- ers, but none of them were at all what was wanted. Soaking in a number of waters was slow, and, as usually performed, only diluted the hypo — did not eliminate it. Washing under a tap was good, but very wasteful of water and slow, as only one plate could be washed at a time. The washing-trays sold by the dealer had the serious objection that washing could not be commenced until after all the plates were developed. If washing was commenced before that, the insertion of a plate fresh from the hypo would contaminate all the water in the tray, and desti-oy one's con- fidence in the result.
The pan shown is intended to set on the top of an ordinary sink. The water runs from the tap into the space A, thence it flows in the direction of the arrows and enters the pan through small holes in the bottom of the partition B, flows over the negative C to the partition D, when it flows out through small holes in the top of the partition in the channel E, and running out of the pan at F into the sink. The water flows in one sheet, without eddies, from B to D. This can be easily tested by drop- ping into the channel A some soluble ani- line color. Plates fresh from the hypo are put near the end D, and when the pan is full negative C will be washed enough and can be removed, and the other plates shoved up to make room for the next plate to be developed. If desired, alum can be put in
THE PHILADELPHIA PHOTOGEAPHBR
a little ridge across the pan between 0* and C^ ; it will be gradually dissolved and act on the negative toward 1), but those on the other side will not be affected ; or the alum can be put in the channel A.
I will give the actual dimensions of my pan, and from that others can judge what size will best suit their wants. I use plates 8 X 10, 61- X 8J, and 4i x 6J. The pan I have is nine inches wide where the plates lay and thirty-six inches long. The sides are one and a half inches high ; the partition walls B and D are one and a quarter inches high. Partition B has sixteen holes one- eighth inch diameter, and as close to the bottom as possible. Partition D has the
PEACTICAL POINTS FROM THE STUDIOS.
EUBY LIGHT FOR THE DARK ROOM.
Dissolve dragon's blood in negative var- nish, all it will take up, filter, and flow both sides of glass, if needed ; on the inside of the room paste yellow paper ; saturate it .with castor oil. Such is my light, and I have no fog from light-struck plates. The paper on the inside makes it easier on the eyes. H. Btjtler.
Vermillion, Dakota.
AN EXCELLENT MOITNTANT.
Take one quart of good flour, add enough water to make it the consistency of milk,
ame number and size of holes seven-eighths of an inch from the bottom. The channels A and E are one inch wide. The outlet F is one-half inch diameter. The pan is made of copper, with a very heavy wire around the edge. There are four ridges running the whole length of the bottom, Jg inch high, to keep the plates up a little. The outlet F is brought close to the inlet A so that it can be placed in any direction on a common sink. The holes in partition B are placed close to the bottom to prevent eddies.
Any tinsmith will make one for a small sum ; and I presume that photographic stock- dealers would make and keep them, if their attention should be called to them by re- ceiving a few orders.
stir well so as to get all lumps out, and let stand for two hours; then stir it again ; heat it over a slow fire until it boils ; then add half teaspoonful of alum (pulverized) and boil until the right thickness is ob- tained ; when cold add fifteen drops of oil of cloves, stirring well (cook very slow). It will never sour. F. C. Emminger.
Germantown, Pa.
TERY SENSITIVE PAPER FOR DEVELOP- MENT, "WITH BEAUTIFUL TONES.
Good Steinbach paper is washed over by means of a sponge or soft brush with the following solution :
Common salt . . 4 grammes.
Succinic (amber) acid . .3 " Gum arable . .19 "
Distilled water . . 300
THE PHILADELPHIA PHOTOGEAPHEE.
Dissolved by heat and filter. This solution will keep indefinitely, and the paper may be coated in warm weather, when drying is more rapid.
Mark the side of the paper coated, and then float it upon a bath consisting of
Nitrate of silver Citric acid
10 per cent.
The paper is allowed to remain five min- utes upon the bath, avoiding bubbles.
If the bath is old, one-quarter per cent, citric acid must be added. The paper is dried with a moderate heat, then exposed until the image is visible in all its parts, but faint. With too long exposure the lights are made gray ; with too short exposure the lights are not sufficiently intense. After exposure it is transferred to the developing solution, which consists of a saturated solu- tion of gallic acid, diluted with 6 to 8 parts of water.
This solution must be made with cold water, or the picture will be measly.
The paper is allowed to float upon the de- veloper, without immersion, taking care to avoid bubbles.
The development is stopped when the image has sufficient intensity.
It is now floated upon water, which is changed several times, and afterwards washed in a water-bath ; and, finally, toned in a gold bath, consisting of
Chloride of gold . Fused acetate of soda Distilled water
1 gramme. 30 grammes.
1600 "
This bath is best made the day before it is intended to use it. On using it dilute it with four or five times the amount of water.
The fixing is eflFected in a solution of hyposulphite of soda of 25 percent., and sub- jected to the usual washing. — Adolf Swarz, in Liesegang' s Photographischen Almanac, 1886.
" DRY" RECIPES. — GOOD DEVELOPER FOR GELATINE PLATES. 1.— Water . . .300 c.cm. Protosulphate of iron 100 grammes. Tartaric acid . . 2 "
2.— Water . . .600 c.cm. Oxalate of potassa 200 grammes.
One part of No. 1 is poured into three parts of No. 2. A number of plates may be developed in this without renewal.
If the image appears too rapidly, add a few drops of
Water .... 100 c.cm. Bromide of potassium . 10 grammes.
or else dilute with water.
Too short exposures are brought up with the addition of a few drops of
Water Hypo
100 c.cm. 1 gramme.
100 c.cm. 10 grammes. ,75 c.cm.
8.5 grammes.
2 25 c.cm.
0.8 gramme. 100 c.cm. 12 grammes.
EMULSION.
a. — Water
Silver nitrate . 6.— Water .
Bromide of potas- sium . Nelson's gelatine c. — Water
Iodide of potassium ci.— Water .
Hard gelatine The water {d) is poured off after the gela- tine has swollen; a and c are warmed to about 50° C, and poured out, stirring slowly, into a, then c. After heating half an hour, in a water-bath, oJ is stirred in. — Liesegang's Photographischen Almanac, 1886.
BIBLIOGRAPHY.
The Photographischer Almanach TJND Kalender fiir das jahr 1886, by Dr. Ed. Liesegang Dusseldorf, Germany, has arrived in good time, and is, as usual with its annual predecessors, full of items of in- terest for the photographer. Tables, recipes, and practical articles abound, and we won- der how the talented editor crowded so much into such a small space. Among other things, we find the following useful paper :
For Strengthening Fixed Gelatine Negatives. No. 1. Saturated solution bichloride of mercury, in water.
No. 2. Water . . . .100 c.cm. Sulphate of soda . . 2 grammes. Carbonate of soda . 2 "
The well-fixed and thoroughly washed negative, after drying, is laid in No. 1, until
6
THE PHILADELPHIA PHOTOGEAPHEE.
it gets of a silvery-white color. It is then thoroughl}' washed in water and laid in No. 2, in which it must be kept in constant motion until it becomes dark. Instead of solution No. 2, ammonia and water may be employed, taking care not to use it too strong.
Intensifying may also be eifected with iron for this purpose:
Water . . . .80 c.cm.
Sulphate of iron . . 12 grammes.
Chrome alum . . . 2 "
The negative, if developed with pyro and fixed with hypo, may be laid in this without washing ; in a few minutes it will be cleaned and at the same time intensified. If it is strengthened too much, it may be re- duced by placing it in a solution of
Water 30 c.cm.
Muriatic acid ... 6 drops.
Another intensifier is made as follows : No. 1. Iodide of potassium . 8 grammes. Iodine .... 4 " Water . . . .100 c.cm.
No. 2. Silver Solution. Nitrate of silver . . 4 grammes. Distilled water . , 100 c.cm.
No. 3. Concentrated solution of alum 100 c.cm.
|
Muriatic acid |
. 12 " |
|
Iodine solution (1 above) . 6 " |
|
|
No. 4. |
|
|
Iron bath |
4 grammes |
|
Protosulphate of iron . |
4 " |
|
Citric acid . |
2 c.cm. |
|
Glacial acetic acid |
2 " |
|
Alcohol |
12 " |
|
Water .... |
100 " |
No. 3 is poured upon the wet negative, which is then well washed and placed in No. 4, to which are added a few drops of silver solution No. 2.
GOOD THINGS FROM MOSAICS, 1886.
Experience has taught me that it pays a photographer to take good care of his negatives. I enter in a book each day every negative I take ; before varnishing, I write with pen and ink the name and number on
the gelatine side of the negative ; as soon as an order is given, I write the order, ad- dress, etc., in the studio register. I also write the name and number in a registered book, arranged in alphabetical order, place each negative in a stout paper envelope made for that purpose, write name and number of the negative on the envelope, and arrange the negatives on shelves, com- mencing with negative No. 1, and so on, so that when an order is received there will be no trouble to find the negative. — Wm. Mc- CoMB, Muskegon, Mich., p. 43.
Set up a barrel at some convenient point out of doors, or in the cellar or basement, and throw into it twenty-five to fifty pounds of old scrap zinc, which may be had for about one cent per pound. Pour all the fixing baths into this barrel, and from time to time stir up the liquid and fragments of zinc. If the barrel fills, pour off" some of the liquid. At the end of six months or a year, or when you find yourself " hard up," pour off" all the liquid, collect the black mud on a muslin strainer, dry it, and send it to a refiner. The result will astonish you. — H. D. G-ARRisoN, Chicago, 111., p. 45.
Somebody has said that a woman's greatest trouble is dust, and a man's, a woman con- tinually brushing the same. Dust on a gelatine plate is also a source of much trouble to the amateur photographer, for no matter how carefully the plate may be brushed when put into the plate-holder, by the time the amateur has reached the place to make an exposure, dust has pretty surely settled on the plate, as he learns to his sorrow when the plate has been developed. — Marcus H. Kogers, East Brimfield, Mass., p. 46.
In investigating and correcting faults in dry-plate practice for others, I have some- times encountered brown spots and stains, which could not be traced to insufficient fixing. As they invariably occurred with those who used alum and acid as a cleaning or graying solution, before the plates were put in the hypo, I was induced to look to it for the trouble, and found that generally these alum baths were kept in some dark, out-of-the-way place in the dark-room, usually under the sink ; and being out of sight
THE PHILADELPHIA PHOTOGEAPHEE.
they were generally neglected, and the solu- tion allowed to evaporate until there was not sufficient to cover the plate entirely: then, as a matter of course, the brown pyro stain was only taken out of that portion which the alum covered, leaving the rest brown. The cure for this is simply to use enough of the solution to cover entirely the plate, always. — Harry Platt, Nantucket, Mass., p. 49.
If, under certain conditions, a slight de- viation in regard to the illumination of the figure be admissible in interior representa- tions, in order to set off the figures to better advantage, it must be remembered that under no circumstance, when the surrounding is a representation of landscape, should the slightest deviation of lighting be indulged in, for the figures are supposed to be in the open air, where the light is more uniform. — Dr. St. Samnier, Easton, Md., p. 51.
Every one is familiar, in photographing interiors, with the halo of light surround- ing windows that may be in the range of the focus. A very good, if not the best, way to overcome the blurring is to put up a dark curtain over the offending windows ; and, after the usual exposure necessary for the interior, to withdraw the curtain, then expose again for a few seconds, when the windows will impress themselves without the halos. If very dark and opaque cur- tains are used, it is thus possible to get good views of the interior and the view outside combined, provided the toning is carefully done. — Eanald Douglas, West Gardner, Mass., p. 57.
Above all, avoid so placing the figures that any two are in the same vertical line. Suppose, for instance, you have a standing figure and a kneeling or seated figure in the same view, do not let the heads of the two be so placed that a perpendicular line at right angles to the base line of the picture will connect the two. Or, if you have three figures, one standing and two seated, do not place them so that the heads shall be equi- distant— that is, the standing figure half way between the other two. — J. H. Sunde- LiNE, Philadelphia, p. 63.
There is nothing so perplexing at times, either to the operator or the sitters, as to
know how to place the hands. One is always safe when the sitter naturally places them together. They should either be thus or very widely apart ; in either case they are less distracting to the spectator. If apart, and within a foot from each other, the effect is bad, and generally this is the result of not knowing how and where to place them. It is important also to notice that where the figure is sitting in a three- quarter point of view, the hands (where they come in) should not be directly below the head. This gives repose to the more important part — the seat of intellect. — E. LiviisrosTONE, Aberdeen, pp. 67, 68.
Don't use anybody's double guaranteed developer that has bromide of everything except brains in it. Whether you believe it or not, bromide actually calls for the use of more pyro, and we are all using more than too much pyro now. And while we are on the subject of bromides, allow me to say that bromide of soda is worth all the other bromides when soda or potash is in the developer, and bromide of ammonium is positively not allowable in some of the combinations of soda and potash. Citrate of soda is an elegant retarder, but all hands use too much as a rule. — Thomas Prat, Jr., New York, p. 71.
Comparatively few, either professional or amateur, know that in developing instan- taneous or short-timed negatives, if the de- veloper is used very weak much detail that would be lost with a very strong developer can be brought out, and a much softer and finer effect secured. After the detail is all out, the developer can be strength- ened and the lights developed until sufficient intensity is obtained. — Garvey Donald- son, New York, p. 73.
Make a pad of manilla paper (say, six thicknesses) ; on this lay your negative, face down, and smear the back with castor oil ; use plenty of oil — a dessertspoonful at least to every 5x8 negative. Now, with a polishing iron with rounded edges, such as is used in laundries (quite hot), smooth the negative with a uniform pressure, following the path of the iron with a sponge or rag saturated with the oil. Proper oiling will be indicated by a uniform dark color all
THE PHILADELPHIA PHOTOGEAPHER
over the back ; no spots or mottling should be seen ; if any are seen, continue heating and rubbing on oil till they disappear. — David Cooper, Eochester, IS". T., p. 131.
I think it is Euskin who tells us that Giotto became great and master of the great, not by any ideal principles of selection, but simply by being interested intensely in what was going on around him; by sub- stituting actions of living men for conven- tional attitudes, and portraits of living men for conventional faces, and incidents of everyday life for conventional circum- stances.— John Bartlett, Philadelphia, p. 137.
It has happened recently in my practice, that a gentleman insisted for himself and wife no retouching. His work was done as he requested. It seemed like good old times to see the bottom facts of photog- raphy accepted. When I meet that man and woman, I lift my hat with much re- spect, and am emboldened in relating this case of good sense. — J. F. Eyder, Cleve- land, 0., p. 143.
AN AMATEUR IN AUSTRALIA.
BY CHARLES D. lEWIN.
Being advised by my physician to take a long sea voyage, I left home. May 19th, for a trip to the Sandwich Islands and Aus- tralia, taking Dr. Day, of Chicago, with me that he might enjoy a dose of his own medicine. We had long since learned not to undertake any important trip without our ever ready, quick, and accurate " special artist," the camera. We both belong to that numerous and peculiar species of the genus homo known as amateur photogra- phers, but, for the sake of keeping our luggage as compact as possible we detv ied to carry but one outfit between us. I uad been working 5x8 plates, but found by ex- perience that for pleasure pure and simple, this size was almost too cumbersome and heavy. The Doctor had been using 4x5 plates, but these are almost too small to give really satisfying results from all subjects. We, therefore, struck a happy medium by selecting the usual cabinet size, 6J x 4|-. We carried eighteen dozen of Carbutt
specials, this size, and did not find our trunks unduly weighted. Our camera was a Scovill box with double-swing, two move- ments to the front, and every possible ad- justment and convenience. This was carried in a canvas-covered, leather-bound box with a Dallmeyer 6x5 rapid rectilinear and Morrison wide angle lens. The stops, drop- shutter, and such things occupied pockets in the same box, and a similar case carried six " Daisy " holders each containing two plates. We each slung one of these boxes over our shoulder by a snap-strap when on a tramp without the least effort or inconvenience, and when en route they were strapped to- gether and carried like an ordinary, moder- ate sized, hand satchel. Our extension tri- pod was strapped with our umbrellas, or coats, when not in use, and a box in the trunR contained chemicals, pans, lamp, and all necessaries for development ; for we pre- ferred to develop as we went and know that each plate was a success. It will thus be seen that our photographic proclivities really added to our impediments only the equivalent of an ordinary satchel of very moderate size ; while the pleasure derived from the pastime as we journeyed — as well as the souvenirs obtained for after enjoy- ment— havje more than repaid us for many times the trouble. We did not attempt to make any silver prints in travelling, as that would take too much time and material ; but we carried a good supply of ferro-prus- siate paper and our friends at home, while reading our letters, could study blue prints of the places described and thus enjoy our wanderings to a greater degree than usual.
Our pleasures began when we sailed from San Francisco on the unsurpassed steamer " Mariposa," which, in comfort and ele- gance, is more like a lavishly fitted private yacht than a merchant vessel. The Golden Gate had been blown wide open by the coast gale which was playing Avith the waves out- side, and we steamed boldly out without stopping to put up the bars. In three or four days we began to approach the blue sky, bluer sea, and balmy air of the tropics. The sunny, dreamy, days melted into the most entrancing nights, with glittering skies and phosphorescent seas beneath. We seemed to breathe sentiment and could
THE PHILADELPHIA PHOTOGRAPHER.
9
scarcely resist talking poetry. Had there been any young ladies in the company we should doubtless have succumbed to these overpowering influences, but, as it was, we discussed developers and drop-shutters with Mr. W. G. Arms — a most genial member of the Pacific Coast Amateur Photographer's Club, who was a fellow passenger — and so conquered.
A young and very demonstrative bridal couple, who had come to be called by the other passengers, " Birdie and Ducky," did not escape so easily. I discovered them one bewitching morning entwined in each others arms, occupying a single chair in a seques- tered nook near the stern ; " Birdie " sitting in " Ducky's " lap reading a book of poems I Such a chance could not be missed by any one with a devotion to art. I rushed below, alarmed the Doctor, hastily set up the camera, guessing at a focus, and leaped up the companion-way as if the ship's fate depended on my speed. By this time there was a large group of interested observers at a respectful distance, with their mouths stretched from ear to ear. I shouldered the camera, as if preparing to take a picture in the opposite direction, and backed up toward our victims as near as I could. The Doctor dropped the shutter and we retreated in good order, not a minute too soon. Interest in the picture was at fever-heat, and genial Captain Hay ward sent six men into the hold to dig out our trunli from among the mass of baggage and mail matter. It took them two hours, but we got our chemical box, and after turning our stateroom into a very dark, wet place — considering that we used the "dry process" — we emerged with a successful negative. The next day, gig- gling groups of girls, laughing men, and smiling matrons were seen all over the ship, deeply interested in numerous blue prints, entitled "Smooth Sailing; " but the happy originals of the picture were ignorant of its existence till after the voyage had ended.
Of course, various groups of oflScers and passengers had to be taken, and views of the ship in every aspect. The most novel one of all was a picture of the fire and boat drill. The crew are rehearsed in this every voyage, but never know at what minute it may be called. The Captain kindly informed us
beforehand and we were ready on the bridge when the alarming blasts of the whistle and clang of the bell signalled the men to their stations. They flew to their posts from every direction and swarmed up from the stokehole like bees from a hive. Almost before we knew it, streams of water were shooting from the various lines of hose on deck and the boats were swung out ready to lower. In the midst of the excitement our shutter winked , and a picture full of life and activity was the result.
We had not been in the sunny kingdom of Hawaii twenty-four hours before we had trespassed upon ground sacred to dead roy- alty, by climbing the fence and photograph- ing the mausoleum in which lie the bones of the Kamehamehas. Then we drove on, up the beautiful Nuanuu Avenue to the celebrated Pali, or mountain pass. Here we looked over a precipice, some 1200 feet high, at the level country spread out like a map between us and the sea. From this still, sunbathed land a narrow, zigzag path ascended along the face of the precipitous mountain to where we stood — sort of a Jacob's ladder from earth to sky. However, all who traversed it were not angels ; al- though many celestials were descending with their two baskets hung on each end of their shoulder-poles, looking like so many capital T's vivified. A number of native women rode up, astride of their horses, as is their custom, and we learned that King Kalakaua was also on the way. "With pro- verbial American " cheek " we set our cam- eras where the royal personage could not escape their fire, and as he rode up the steep and narrow defile, we "popped" him full in the face, obtaining an excellent equestrian portrait.
We photographed the vicinity of Hono- lulu pretty thoroughly, including many sylvan dells where the natives love to bathe in the streams and waterfalls. It is not at all uncommon to see a bevy of Hawaiian girls frolicking in such places, or diving oflf the rail of a convenient bridge like so many bronze Yenuses disporting in the water. At such times we found our quickly manip- ulated apparatus a treasure, and drop- shutters and rapid plates invaluable. Our friend, Mr. Arms, did not share our comfort
10
THE PHILADELPHIA PHOTOGRAPHBE.
in this respect. He had a " Lancaster In- stantograph" — an English contrivance which was very compact, and did excellent service, but which required a very long time to get together ready for work. After seeing the ease with which we set up, took several views, and packed again, before he was ready for one shot, he decided that " Art is long and Time is fleeting," and sold his en- tire outfit to a Honolulu artist who had plenty of time fully to appreciate it.
In going from Honolulu to the volcano of Kilauea, on another island of the group, we passed Captain Cook's monument, and, of course, photographed it. At one place we embarked thirty wild cattle. They were driven into the surf, lassoed, and tied to the boats' gunwales by their horns. In this way they were towed out to the steamer, and hoisted on board in rope slings by a donkey- engine. It was lively work, and a novel sight to us. I got one of the many natives, who had gathered about the ship to sell fruit, to take me off in his narrow, dug-out canoe, and paddle up near the shore, just outside the breakers. A rude outrigger at one side of the craft gave it some stability, but it was a ticklish place in which to manipulate a camera. However, by exer- cising great caution I obtained a number of interesting snap-shots, and got aboa''d the steamer again, without a ducking.
Eleven miles of the ascent to the volcano had to be travelled on mule-back. Our boxes went up and back on a pack-mule, with other baggage, and suffered no injury. Not even a plate was broken. We consid- ered this a severe test of our system of pack- ing, as they had a general shaking up during the twenty-two miles. We secured many valuable views on the way, but the fiery glories of the crater are beyond the reach of photography ; and even the best oil-paint- ings can do little better than recall the mar- vellous scene to one who has already wit- nessed it. Kilauea is the largest active volcano in the world. Its crater is nine miles in circumference, and if I should attempt to describe our experiences during two nights in this deep firelit abyss, with its sulphurous steam, cracked crust, and lakes of boiling lava, I fear my veracity would be questioned by all who have never been
there. It is, in truth, a veritable, tangible, redhot inferno !
In New Zealand we had a very interest- ing time; going inland nearly two hundred miles from Auckland, through a wild, un- settled country to the famous hot lake dis- trict. Most of the distance was accomplished in a Concord wagon, over the worst roads I ever saw. We found here geysers in every form, marvellous terrace formations, hot lakes occupying extinct craters, and every conceivable variety of boiling springs and volcanic phenomena. In this curious coun- try live a large part of the native New Zealanders, or Maoris. They practised cannibalism up to within about forty years ago. We had the pleasure of seeing one old, tattooed savage, who is about ninety years of age, was formerly a cannibal, and still regrets that human flesh is no longer eaten, as he considers it superior in flavor to either beef or mutton ! We photographed him outside his wretched grass hovel, gave him some tobacco, and left him happy. The women have curious tattooes in blue about their mouths, as though they had been eat- ing very juicy blueberry pie without knife, fork, or spoon. Some of the younger men are finely formed fellows and very pictu- resque with their spears, bare arms and breasts, and their skirts of gorgeous peacock feathers hanging from their waists. They entered into the photographic business with evident enjoyment, and we spent several pleasant days among this interesting people, bringing away many valuable negatives as souvenirs.
In Australia we got only commonplace landscapes and city views, but we were there in an unfavorable season and our stay was limited. We always, at least, had the ex- citement of developing the day's work. The Colonial hotels — like most European ones — have no running water in the rooms ; neither do they consider a slop-jar an essential piece of furniture. We usually disarranged all the movables in our room to provide a good place to work ; then foraged in any adjoin- ing rooms whose occupants happened to be out, for water, and often even borrowed several wash-bowls to facilitate washing the negatives, so we rarely lacked essentials. Our chief difficulty was to dispose of the
THE PHILADELPHIA PHOTOGRAPHEE.
11
waste developer, soiled water, and such commodities. However, we usually derived much pleasure from emptying them all out of the window and speculating as to where they went as we heard them splashing below in the darkness. An amatuer photographer has many joys and pleasures, as well as numerous trials that ordinary tourists know not of. But we are about to experience them all again, and, perchance " fly to others that we know not of," in a voyage around the world. If I can turn up next spring on the eastern edge of this continent with as many photographic trophies as I have gathered on our recent voyage, I shall be a happy " globe-trotter," satisfied " hypo," and have many reasons to bless the dark art. Permanent address, care of Irwin, Green & Co., 17 Board of Trade, Chicago, 111.
For any information regarding above trip, address. Dr. F. K. Day, 3228 Graves Place, Chicago, 111. Monterey, Cal.
THE HUMOR OF IT.
De Camera, who is an amateur photog- rapher:" Pieally, Miss Eveline, I should so delight to try you by the new dry-plate process." Miss Eveline, who has a healthy appetite: "Why, Mr. De Camera, it would do you no good. No, indeed, no dry plate for me, I'm always awfully hungry, you know." "But you don't comprehend. I would like to take you" — "Ask papa!" Tableaux. He had to take her, appetite and all. — Hariford Post.
A photographer in Oshkosh, after "taking" nearly every lady in the town, has gone " out of focus."
Shakespeare, it is claimed by Messrs. Moore and Long, and others, was a solar printer, because he "held the mirror up to nature."
The Air-brush Outdone. — A new pho- tographic appliance is coming into vogue, by which, with the help of electricity, hair and freckles can be removed from the face. At the late meeting of the American Der- matological Association Dr. Hardaway said.
for the purposes named he used the irido- platinum needle, which had the advantage of being bent, and was not likely to pass through the follicle wall. The moment the follicle was entered, there was an escape of serum. One case, that of a woman with a heavy black beard, had been entirely re- relieved. Electrolysis with a fine needle atforded a method of getting rid of freckles. The plan was to dot the surface covered by the freckles with the needle. Get it before it is patented.
The first time Luke Sharp, of the Detroit Free Press, went out to photograph with us, he forgot his plateholders. How many times he has done so since we taught him it was wrong, we know not ; but he has re- cently fallen in with the Eastman-Walker rollholder, and may not blunder again. Some people never do when they can travel (Walk-er otherwise) on tick.
His first trial of the " new contrivance " was at London one S-u-n-d-a-y ! He be- came so enamored that train-time came before he was aware, and he had to rush over to Paris in his slippers — that time leaving his shoes behind." If it isn't one thing its another, with this man of sharp practice.
He went to Switzerland from Paris, if any truth can be developed from what fol- lows below :
" I intended to treat my camera to a trip to Switzerland. It had never had the ad- vantages of foreign travel (it was made by the American Optical Company), and was anxious to cast its one observing eye on some mountain scenery. Now, a well-bred camera is good company, but a load of glass plates is a howling nuisance. A pocketful of paper rolls would take as many pictures as a cart load of glass — but would they work? That was the question. Experienced photographers warned me against the paper. I was doubtful about it myself, and did not hesitate to tell Mr. Walker so."
But subsequent history tells us that Mr. Luke Sharp came back safely from the land of glaciers and snow with an avalanche of exposed films, and at this time is developing some rare successes. He is interrupted oc- casionallj' by the necessity of fishing .out
12
THE PHILADELPHIA PHOTOGEAPHEK
some of his little Sharps from his plate- washing apparatus.
The Pacific Coast amateurs have some jolly good times together, and do excel- lent work. They focus from Alaska to the Sandwichers. Their field days are always enjoyable.
So numerous and varied have been the blunders committed by the members that it is said a standing reward of a hundred dol- lars is off'ered to the ingenious member who can commit any new error. The most com- mon error is the failure to change a plate after making one exposure, and consequently attempting the somewhat confusing feat of portraying two views upon the same plate. So common is this blunder that it has be- gotten a peculiar expression of its own, and is dryly referred to as " conomizing plates," an expression parallel to the hackneyed method of describing a railroad collision as the unsuccessful attempt of two trains to pass each other on the same track. Mr. Lowden has one picture which he asserts that he values above any that he has ever taken. It was his first attempt, and every- thing happened to it that could possibly happen to spoil a picture. It was over- exposed and underdeveloped, badly printed, toned until slaty, and has hypo spots all over it. As a final catastrophe, it was almost torn to pieces in washing, and it ornaments the front page of his scrapbook. It is need- less to add that it is a picture of his own house.
One of the "hired models" of the Club describes his tribulations thus :
" I have perched on a rock as a lone fisher- man, climbed mill wheels to give ideas of comparative size, been towed astern of a yacht, filled up gaps in groups, and, in fact, have been taken as often as Passavant's dog.- Between that dog and myself there is a bond of sympathy, which, not photog- raphers, but those photographed, can only appreciate." Evidently, serving as a model has " degraded " him into a lyre.
Even in the lovely land of the Pacific subjects grow scarce and "monotonous," and a good deal of ingenuity has to be exercised to secure fresh victims. One
scheme is described by an " honorary mem- ber " thus :
"Several of our members, who pride themselves on their proficiency, thought it would be a scoop on the professionals if they could take an intangible subject — not a cloud eifect, but something ethereal, evan- escent, having no body and absolutely no substance — shadow point; to photograph a thought, an idea, or a sentiment, would be a sublime triumph, beating the lightning's flash, the bicycle spokes, or the race horse's feet. They concluded they would try it on one of the most baseless of subjects — some- thing no one could see or conceive or un- derstand. I think I deserve credit for the suggestion that the thing having the least substance or basis possible to conceive, would be the point of one of Z.'s jokes (naming a well-known member). Nothing could have less tangibility or fabric. The thought was a happy one. Gibbs, Lowden, Oliver, and Tyler all tried one day at Hospital Cove, Angel Island, to see what could be done. After some persuasion Z. perched on a rock so as to give a sky background, on Tyler's principle, and prepared to deliver himself of a fine, well-preserved, and historical pun. At the critical moment he waved his hand with a gestuje of command, got oflf the joke, and a row of drop-shutters were snapped at him. Haste was made to the sweatbox on the Emerald, which does duty as a dark- room, and the plates developed. Tyler, as usual, had two pictures on the same plate. Oliver had forgotten to take the cap ofiT, and Gibbs's plate was fogged, but Lowden caught him. The result showed what we expected, as you see. The image was per- fectly spherical, a mere bubble, and even Passavant's C. I. P. plate, a Darlot lens, and McConnell's quick shutter failed to catch the point to the joke. There was no point to it. We never found any ourselves with the naked ear, but thought photog- raphy might do it. Z. was a little disap- pointed, but explained the failure by saying that he imported that particular joke from the old country, and it was not yet used to the California climate."
But if there is anything the members are precise about, it is the expression (and are not all cluhs alike ?).
TSE PHILADELPHIA PHOTOGEAPHEE.
13
The members spare no pains to secure it, thus giving accuracy to their work. One of them, upon being interrogated as to the manner in which he had secured such an excellent impression on his little boy's face, in a crying scene, promptly responded :
" Why, I made him cry. Sacrificed him to science !"
Oneof the "giant" policemen whoguarded the " Old Liberty Bell," at New Orleans, last winter, handed us an 1886 diary which he picked up in the street, recently. It did not bear the name of the owner, but from the entries in it, which are as follows, it must have been the property of an incen- diary, riotous, and resentful photographic "Cheap John:"
Jan. 1. Start trade for New Tear by a slight fire in the dark-room. Count}' papers please copy.
Jan. 2. Fix up case at door all day, and wear burned clothes.
Jan. 3. Notice on case: " Closed on Sun- day." S^^ pointing to alley-door.
Jan. 4. 8 for $1.00, for one week only.
Jan. 5. Advertise gallery down the street as a fraud.
Jan. 6. No faded fotographs fotographed here. Prices reduced.
Jan. 7. Show picture of Miss Simpkins in case, and placard it, " Eefused to pay for her pictures."
Jan. 8. Another fire. Advertise great loss ; no insurance.
Jan. 9. Apparatus all stolen. Doors closed.
Jan. 10. Found again, but printer struck for higher wages. Closed by sheriff.
Jan. 11. Open again. Prices further re- duced, previous to leaving town. Brush up old apparatus, and announce it as just ar- rived from Boston. Instantaneous process.
I I chartered for a new studio ; the proprietors I agreed to follow my dictations in the con- struction of said upper story. Having but j little experience in photographic architec- 1 ture, I went to Boston to procure the services
A MODEL STUDIO "AWAY DOWN IN MAINE."
BY W. 0. TUTTLK.
Last July my photograph gallery was burned, with contents, including several hun- dred valuable negatives. Since the above date a new brick block has been erected upon the same site ; the top, or third floor,
of an experienced man, and, by the way, I happened to look into Wilson's Photo- graphies, and therein, on page 163, Fig. 5, I saw just what I wanted. I procured the book, and left the man. 1 directed the buil- ders to read the working plan therein, every detail was followed out, and to-day the State of Maine does not contain a finer light than that under which your humble servant works. Belfast, Maine.
TRANSLATIONS FROM TJNUS.
Still may the photographic art Steal rays from beauty as they start ; Yet memory needs from artist's hands No aid that science may confer, A truer pencil love demands, The heart's the best photographer.
As when the sun beneath the wave His evening beam now stoops to lave, The floating summer tint displays The blushing sunset, bending low ; 'Tis thus in absence beauty's rays In memory's twilight softened glow.
Pickwick, LL.D. — South- Western Journ. of Education.
OiTR semi-monthly edition now supplies the craft with the "best and cheapest" magazine of photography in the world. '
14
THE PHILADELPHIA PHOTOGEAPHEE.
A PLEA FOR OVER-TIMING *
BY EUGENE ALBERT.
I WOULD rather believe with Locke that " All our knowledge is derived from experi- ence,' than to take cold comfort in the old adage, " Experience is a dear school, but fools will learn in no other." The tuition, it is true, is sometimes rather high, but I am assured that the measure of one's prog- ress is in the ratio of wisdom gained by fail- ures. My first experience with development was rather dismal. I shall not inflict upon you the story of my grief, but simply say I tried all developers, condemning each one in turn. At the conclusion of my seance, a host of wan, pale-faced plates seemed to " plead like angels, trumpet-tongued against the deep damnation of abler-taking off;" and when I left that dark chamber I saw written over its door the terrible words of Dante, " All hope abandon ye who enter here." I do not blame the developers now — I blame myself — nay, like the clown in "Twelfth Night,""! am for all waters;" soda, potash, ammonia. I get the best results by the method I employ, not the agents I use ; though I prefer the potash. One thing experience has taught me — that is, whenever it is possible to overtime a pic- ture do it, and when you come to develop you won't regret it.
Make the following solutions :
No. 1. Pyro ....
Sulphite of soda Bromide of potassium Citric acid . Water
No. 2. Carbonate of potassa Sulphate of soda Water
Take one drachm of No. 1 to one ounce of water, and add ten drops of (ten grammes to ounce) solution of bromide of potassium. Let the plate be in it for a minute, then pour off its solution, and cautiously add No. 2, be- ginning with one-quarter of a drachm to every ounce of the solution ; wait two min- utes before you get frightened at the non- appearance of the image ; be assured if you
* Intended for Mosaics, but received too late.
|
. 1 |
ounce. |
|
. 2 |
i< |
|
. 40 |
grains. |
|
. 40 |
" |
|
. 12 |
ounces |
|
. 3 |
ounces |
|
. 2 |
" |
|
• 12 |
" |
have overtimed there is plenty of what the philosophers call potential energy to work out its own salvation. After the two min- utes are up, you may add another one-quar- ter of a drachm of No. 2, and keep right on developing not too rapidly. If, in adding the first one-quarter, the image comes up in less than a half minute, lift the plate imme- diately from the solution, and lay it in a bath of bromide of potassium, one drachm to the ounce (ten grain solution), and keep it there a couple of minutes ; then, without washing, put it back in the solution, and it will work out slowly and beautifully.
Always begin with the weak developer keep a slock on hand for the purpose. An- other thing which I have learned, don't be stingy or saving weak developer ; you may have to pay for it in the loss of a negative. Over-timed negatives are beautiful and soft if managed in this way. I have used the most rapid plates, and given them ten times too much exposure, and yet by this method obtained the finished negatives I have ; but, sometimes, you cannot over-time. Well, then, this is the way I manage : I take the plate from the holder, lay it in plain water for two minutes, covering it up, of course ; I then wash it by pouring water over it, place it in solution composed of one ounce of water, one drachm of No. 1 or No. 2, and go on with the development. In nine cases out of ten it will come up like a full-timed negative. It is strange, but it is a fact, that the washing after removal from the plain water facilitates the development. If the plate should still lack details in the shadows, I lift it out and transfer it to a dish contain- ing one ounce of water to one drachm of No. 2, and let it lie a half minute, then re- turn it to the mixed developer. I prefer this to adding the accelerator directly to the developer.
Be sure to let the plate lie in the developer till it has density enough, but be careful not to get it too dense.
It is a good plan to develop one plate, and fix it, and see how far you have gone in in- tensification, then, with that experience, go back and develop the rest.
My parting advice is, use the quickest plates for all subjects, and over-time them, and you will be happy in the possession of a
THE PHILADELPHIA PHOTOGEAPHEE.
15
brood of beautiful, rich, soft negatives, and will not be haunted with a ghostly throng of pale, thin, reproachful abortions.
PHOTOGRAPHIC FACTS AND FANCIES.
Why? The conductors of the exhibition of the Boston Amateur Society have declined to admit the lovely pictures of Mr. Jno. E. Dumont " because they had prizes pre- viously awarded for them." We regret such a rule, and believe it would be better for the good gentlemen who make rules for any exhibition to look over the matter with wide-angled eyes and minds before deciding upon them. Competitors should inform themselves as to what pictures have been "prized" and then do their very best to discount the prizes. Why fear anything ?
INDIVIDUALITY IN YOUR AVORK
is what we have always preached to you, fellow photographers, and now the Nation applies the teaching, in an article on prac- tical literary work, when, commenting upon books and books (books with 1 terary merit and books with none) it says, to illustrate its meaning more clearly :
" What is the diflerence between a colored photograph of a scene, and a painting of it, if not something that the artist gives us in addition to the bare fact — something that constitutes it a work of 'art?' If any given page from the leader of French real- istic fiction differs from a perfectly non- literary and very disagreeable police report (and we would by no means affirm that they all do), is it not by virtue of what the novelist gives us of himself, plus his fact?"
But this something is not by any means necessarily the "personal element" as or- dinarily understood. It need not be in the least an egotistic intrusion of self. Shakes- peare was always realistic, never personal. Yet it was always realistic art, never mere colored photography. That which the writer contributes to us may be only his better eye- sight and his belter judgment of what to see. Just so far as Shakespeare saw more in the mad old King Lear, and the fool, and the tempest than we should have seen, just so far he imparts to us himself in addition to his
picture. Who does not prefer a fine portrait of a friend to a photograph ? Yet, one may ask, Does not the latter give the fact more ex- actly as it is? Not so; the " fact" is what our friend really is to us, and this the portrait may give with infinitely more truth than the skewed and staring photograph. His sight and insight into this is what the artist con- tributes of himself. Things in themselves we do not know, and cannot know ; least of all can a camera get at them, or a police report. Things as they seem, superficially, the extremist non-literary realism may give us ; but when we require to know things as they are — as they are to ms, in all their re- lations, ordinarily seen, or ordinarily unseen — we go to art, that is (in the case of written jiroducts) to literature, either realistic or otherwise. Compare the statistical history of a country in a Government report with the narrative of one of our best and most impersonal historians. In both cases we have the realistic facts, but the historian adds his power and habit of reading between the lines of events, of comprehending what he apprehends, of divining causes and ex- plaining results; and these, or some meas- ures of these, he gives as permanent contri- butions to our intellectual life."
Photographers, do you focus? [f not, turn over the picture, and you will get the meaning better.
AS THEY WERE.
Compare the list of prices of dry plates below, cut from an 1876 advertisement in our Magazine, with the lowest 1886 rates.
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List of F |
rices |
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Size. Price per Doz |
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3ix4i $1.50 |
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4x5 |
. 2.00 |
||
|
4ix6i |
. 2.75 |
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|
4ix7i |
. .3.00 |
||
|
5 x8 |
. 3.75 |
||
|
6ix8i |
. 5.00 |
||
|
7x9 |
. 6.00 |
||
|
8 xlO |
. 7.50 |
||
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10 xl2 |
. 10.50 |
||
|
11 X 14 |
, 12.00 |
Larger sizes made to order. A FACT AND NO FANCY
That the prices for photographs are pro- portionately reduced.
16
THE PHILADELPHIA PHOTOGEAPHEE.
DID DRY PLATES DO IT ?
No, by no means. The tendency of all things is downward. Even the millionaire must take less interest than in 1876.
Now is a good time to 7'emit for your sub- scription to our Magazine. 24 for $5.
BETTER LATE THAN NEVER.
The November Art Union begins tbe re- publication of Mr. John Burnet's essay on " The Education of the Eye." Ah 1 this is good! We did it in our volumes for 1867 and 1868, and partially in Wilson's Photo- graphies, and are glad to see the " artists " alive to the necessity of it, though at so late a day. How mutable are all things !
PHOTOGRAPHIC NOM DE PLUMES.
Mr. Vidal in the Moniteur suggests the following list of names for the different processes of reproduction born of photog- rapby since the last thirty years, and which, he says, may be conveniently divided as follows :
HELIOGRAPHY — HELXOCHIMOGRAPHY.
Direct impres.sions on paper with the salts of silver, gold, iron, and the platinum-carbon process.
HELIOPHALANOOGRAPHY.
Mechanical impressions upon plane sur- faces with fatty inks with previous aid of light : Photo-lithography, photo-zinccog- raphy, photo-gelatinography.
HELIO-ENGRAVING.
Mechanical impressions with fatty ink or gelatine upon plates, with sunken lines or in relief, with the aid of light: Line en- graving, stereotypy, and Woodburytypy. It may be remarked here that for the word photography, which does not convey what it means to indicate, we propose the word photo-gelatinography, or more shortly gelatinography ; in this last case, however, nothing indicates the intervention of light. The following is a list of the terms that have been created up to the present time. Heli- ography, photography, photolithography, lithophotography, alberttypy, heliotypy, photoglypty, phototypy, phototypography, helioengraving, photoengraving, "Wood- burytypy, colotypy, helioglypty, gelatinog- raphy, autotypy, pantotypy, panotypy,
photochromy, photozincography, printing with fatty inks, and besides, as proposed by Mr. Davanne, helioplanography and photo- planography.
If to these twenty-three terms are added all the different kinds of engraving made without the use of light, we arrive at a grand total of about sixty-six different nomenclatures, which many connoisseurs would find it difficult to define. If the names used by our early sun artists were added, the list would be more than doubled.
SOCIETY GOSSIP.
The Photographic Society or Phila- delphia.— The regular monthly meeting of this Society was held on Wednesday eve- ning, December 2, 1885, the President, Mr. Joseph W. Bates, in the chair.
The Secretary called attention to circulars which had been received from The Hull Amateur Photographic Society, announcing an Exhibition to be held in February, 1886 ; also a prospectus of the newly organized Camera Club, of London.
The death of Mr. Wm. G-. Piatt, a mem- ber of the Society, was announced, and on motion of Mr. Coates, the Secretary was directed to 'enter a minute of the same on the records.
The resignation of Mr. Wm. T. Elliot was presented and duly accepted.
The Exhibition Committee reported most favorable progress, applications for space having been received up to this time from about eighty exhibitors, and the number increasing daily. There is every indication also that the Exhibition will excel in quality as well as quantity of work shown, and it will undoubtedly be the most important affair of the kind ever held in this country.
Among the well-known photographers who expect to exhibit, many of whom have carried off prizes and medals at important exhibitions, are :
John E. Dumont, of Kochester, winner of several prizes at the late New York Exhibi- tion.
James E. Bush, of New York.
P. H. Emerson, of England, winner of important amateui- prizes.
Lieut Chas. E. Gliidstone, E. N.
THE PHILADELPHIA PHOTOGRAPHER.
17
Capt. J. Peters, E. C. A., Canada, who will probably send his celebrated " war pic- tures " taken during the recent Northwest Kebellion — many of the exposures being made during action and under fire.
J. P. Gibson, of Hexham, England, has sent twelve pictures, five of which have taken eight medals or prizes, one picture having taken three.
Messrs. G. West & Son, and
Messrs. Symonds & Co., of England, who are both celebrated for their yacht pictures, and have taken numerous medals at English exhibitions.
Col. J. Waterhouse, of Calcutta, India.
W. H. Jackson & Co., of Denver.
W. K. Burton, of London.
W. W. Winter, of Derby, England.
J. F. Kyder, of Cleveland, 0.
George Bankhart, of Leicester, England.
The Lehigh University of Bethlehem, Pa.
The names of six persons were proposed for active membership, and referred to the Committee on Membership.
Nominations for Officers and Committees for 1886 were made.
On motion of Mr. J. G. Bullock, it was resolved, that the President request the Judges at the Photographic Exhibition to select the presentation pictures for the com- ing year from the prints that may be ex- hibited by members of the Society at that time, and that any of the existing rules which conflict with this arrangement be temporarily suspended.
A question in the box asked: "What sort of paint or varnish is the best with which to coat the inside of washing-tubs for prints?" Asphaltum varnish, especially that known as " Brunswick Black,' was recom- mended, as was also paraflBne.
Mr. S. C. Nash, of Harrisburg, showed his " Acme Camera and Changing Box." This camera is most ingenious in its con- struction, being particularly adapted to the wants of artists, tourists, and others to whom saving of bulk, weight, and frequent chang- ing of plates are important considerations.
Twelve 4x5 plates are contained in the camera-box, somewhat in the same way as the pictures in a revolving stereoscope, so that they can be brought into position for exposure by turning a knob at the side.
Any plate of the lot may be exposed at will, without regard to the order in which they may be placed, an index-card at the side showing exactly which plate is in use. On this card the record of exposures is kept, it being removed when the plates are full, and kept for future reference. By a simple con- trivance, a I, J, or the whole of any plate may be used, the division being made hori- zontally or vertically as most convenient, so that on twelve plates from twelve to fortj'^-eight pictures may be taken. A double shifting front allows the lens to be placed exactly opposite any part of the plate that is to be exposed. All the parts, including the focussing cloth, are attached to or contained within the camera, so that nothing can be mislaid or left behind.
Mr. Cooper, representing the Eastman Dry-plate and Film Co., was present, and explained many of the details of working with paper negatives. He showed a number of excellent prints from instantaneous nega- tives made in New Tork harbor, also an enlargement to nearly life-size of a head taken from a card-size paper negative. The enlargement was made on Eastman's bro- mide paper, especially intended for enlarge- ments. The details were perfect, with no signs of grain, and the color a rich black, equal to a platinum print in this respect.
Mr. Cooper then requested the members who had used or experimented with the negative paper, to give him the result of their experience, and name the faults, if any, that they had found therewith. A cause for dissatisfaction seemed to be the necessity for oiling to render the negative transparent. This necessity, he explained, was not absolute, as prints could be made without oiling ; this, however, increased the time necessary for printing. He then re- peated the directions which he has before given at the meetings of other societies, emphasizing the statemeni that in the ma- jority of cases the failure to oil successfully is due to the iron used not being sufficiently hot; and pointing out the advisability of always squeezing the washed negatives face down on pieces of hard, polished, black rubber, using both sides of the rubber sheet for the purpose, thus having two negatives occupy the place of one.
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THE PHILADELPHIA PHOTOGEAPHEE.
Mr. Fassitt asked : " "Why do you recom- mend so large a proportion of pyro to the ounce in your formula for development?"
Mr. Cooper said, " my reason is to pre- vent the necessity of repeatedly renewing the developer. I find that with the large quantity of sulphite of sodium prescribed in my formula, the deposit of pyro seems to be under strong control, so that I have de- veloped very soft negatives with an experi- mental developer containing ten grains of pyro to the ounce, and without changing the formula in the least proceeded to produce negatives of every shade of quality from softness and brilliancy to absolute opacity and disagreeable harshness. Thus showing that the quality of a negative is not so much dependent on the strength of the pyro as on the judgment used in controlling the result. I found that by using a strong solution which would start the negative almost im- mediately, and seem to build rapidly all over, I could get extreme softness by removing the negative to a dish of plain water when it appeared to be about three parts developed, the action would continue while the plate was soaking, with the result mentioned. If, however, it was allowed to advance to com- plete development, it would be a strong, slow printer, continued development would give increased intensity and harshness, etc. The same developer, however," could be used repeatedly for the production of soft pictures by adopting the method described, and thus save constant mixing of new solu- tions.
It was asked if paper negatives could be used for solar enlargement.
Mr. Cooper thought they could. A doubt being expressed whether they were sutE- ciently transparent, Mr. Cooper pointed out the enlargement which he had shown on bromide paper, and suggested that that material be adopted for the purpose, as it was much more sensitive and could be readily used in the solar camera or with any other enlarging apparatus.
Mr. McCoUin referring to the pictures shown at the last meeting, taken at night by the light of a lightning flash showed two interiors taken by lamplight ; one coal oil lamp being used in one case and two in the other. In comparing these pictures
with those made by lightning, Mr. McCoUin said that all were taken with the same camera, the same lens and stop, and on the same make of plates. The lamplight nega- tive had an exposure of seven hours; the exposure for the lightning pictures was estimated as g^Q-th of a second, though it had been stated that the duration of a lightning flash was y^Vo*'^ ^^ ^ second. Assuming the exposure to be g-^oth of a second the exposure of the lamplight picture may be calculated to be 7,560,000 times as long as the other. The negatives were made by Mr. A. S. Barker, of Philadelphia, and were excellent of their kind.
Mr. Walmsley showed an English dark- room lantern known as the "Paragon." The lantern was triangular in shape, two sides being of ruby glass and one of tin. The light was supplied by a coal oil lamp, which though small was constructed so as to give an excellent light whose intensity could be regulated by a key without open- ing the lantern. A candle in a spring socket could also be used when preferred. Arrangements were made for ventilation to prevent overheating when the oil light was used.
Fifty members and six visitors present. Adjoarned.
RoBT. S. Eedfield,
Secretary.
Pacific Coast Amateur Photographic Association. — The regular monthly meet- ing was held at the Association rooms, Thurs- day, December 11, 1885, President Smith in the Chair. The minutes of the last meet- ing were read, corrected, and approved.
The Committee on the prize picture for December recommended that one month's further time be granted to competitors, be- cause of the bad weather prevailing during the past month. Granted.
The Committee on Exhibition recom- mended that the proposed exhibition be post- poned until March, the season having been so cloudy and rainy that the members had not been able to do any printing for the past two months, and that it would be im- possible to make a good showing of prints before March. After discussion, it was de- cided to postpone the exhibition until the first part of March.
THE PHILADELPHIA PHOTOGEAPHER.
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The report of the Committee on Mem- bership being favorable. Messrs. J. "W. Stanford and C. L. Goddard were elected members.
It was resolved that all officers of the navy stationed on the Pacific Coast should be eligible to membership as non-resident members, upon the paj-ment of the regular three dollar non-resident fee.
On motion several periodicals were sub- scribed for.
The Corresponding Secretary read several letters from American and foreign societies, and passed around a large number of prints sent to him for exchange. A letter was also read from Mr. Edward L. Wilson, enclos- ing a letter from Prof. C. Piazzi Smyth, the Astronomer Royal of Scotland. Mr. Wil- son had sent to Prof. Smyth a large number of views made by the members of this As- sociation, and used by Mr. Wilson as illus- trations in the Philadelphia Photogra- pher. Mr. Smyth's letter being very com- plimentary, the Corresponding Secretary volunteered to send that gentleman a set of later views, and several members promised to contribute thereto.
Four or five members expressed their in- tention of sending views to the exhibition of the Philadelphia Photographic Associa- tion. On motion, the whole matter was re- ferred to the committee heretofore appointed.
Dr. Passavant exhibited a large number of whole plate and 8x10 transparencies, made on chloride plates of his own manu- facture. These were greatly admired, and considered by all the members as being the best specimens of this class of work ever exhibited.
Mr. Brooks passed around for inspection several very remarkable specimens of en- largements. In these enlargements a half- inch figure is successfully enlarged to five or six inches, and the resulting picture is sharp and clear. One view was taken from the dark-room window with a detective camera, and is a picture of a young lady sitting at a back window of an adjoining house evidently unconscious that her picture is being taken. The head is not over a third of an inch in diameter, while in the enlarge- ment it is at least two and a half inches. The expression of the face and every fold
of the dress are perfectly portrayed. How surprised that young lady would be if she ever saw that picture.
Mr. Brooks uses a contrivance on the principle of a magic lantern, making a large positive and a negative from that by con- tact. His apparatus is simple but effective, consisting merely of the two front lenses of an opera glass, and a lamp.
Several unique and exquisite designs for Christmas cards were shown and described.
After a lengthj' and enjoyable meeting, the Association, on motion, adjourned. W. B. Tyler,
Cor. Secretary.
The Minneapolis Amateur Photo- graphic Club. — An amateur photo- graphic society, of twenty-five members, which we hope soon to increase to fifty, has been organized in Minneapolis, Minnesota, called the Minneapolis Amateur Photo- graphic Club. C. A. Hoffman.
The Minneapolis Evening Journal gives us the following concerning the new club : The Amateur Photographers' Club gave an exhibition of their work last evening, De- cember 7, at their clubroom, in the Windom Block. The pictures included views about the city buildings and other structures. A magic lantern exhibition was also given. Similar entertainments will be given every Monday evening.
We trust the organization of the Amateur Photographers' Society is not what has played such dreadful havoc with the regular, profession. If so, we hope the boys will keep right along in their work. By Christ- mas-time there will be such a slaughter of prices that the sitter will be furnished his photographs free, together with a ticket in a lottery, and a chromo as an extra induce- ment.
Take in the Girls. — We are pleased to chronicle the organization of an amateur photographic society in Minneapolis. It consists, of course, of those of our citizens distinguished for their beauty, who desire to carry each other's pictures down to an admiring posterity. They exchange their pictures with those of other clubs in other localities, so that the light of their counte- nances shall not be circumscribed. But we
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THE PHILADELPHIA PHOTOGEAPHEE.
suggest that the scope of the society should be enlarged. Minneapolis has numbers of beautiful women, worthy to keep company with the most illustrious Apollos of the new society. They should be invited to become members, too — honorary members, if noth- ing more. No galaxy of beauty is worth a rush in which the ladies do not form a con- spicuous feature.
THE OPEN CORNER
To this department of our magazine we welcome all friendly correspondence and discussion of topics which pertain to our art and its development, and trust that the " Corner " may be found a very useful one, as well as a convenience to our readers. Please "boil down " what you have to say and be intensely practical.
In a German journal, Dr. Vogel has pub- lished a photographic article bearing this title, "The Tellow Fever." It discusses the yellow color of prints, which, it is said, is becoming more and more common in Germany. The author recognizes several causes of this phenomenon, which lowers the commercial value of so many photo- graphs for sale by the dealers. In the first place he names incomplete fixing; second, insufficient washing, and third, the damp- ness of the place in which the prints are kept. This last cause has the effect to bring about a slow decomposition of the albumen, with production of sulphuretted hydrogen .(arising from the sulphur which exists in the natural state in all albumens), and the formation of sulphate of silver. On the other hand, an English correspondent, who does not give his name, declares that he has restored faded prints by exposing them for some time to the sunlight.
A dealer in London offers for sale pyro- gallic acid in the form of small compressed plates. They have about two square inches of surface divided into twenty-five small squares by indentations which allow one or several of these small squares to be detached. The entire plate weighs exactly 100 grains and consequently each small square, four grains. In this way the photographer can measure instead of weigh the quantity of pyrogallic acid to be used ; this is especially
advantageous in travelling and for outdoor work.
The Scovill Mfg. Co., of N. T., supply a much more convenient form than this in their " Pelletone Pyrogallic Acid Tablets," which are in shape like the "compressed pills " sold by druggists, and weigh exactly two grains. All such forms, of course, take longer to dissolve than ordinary pyro.
Dk. Phipsojst, in the Paris Moniieur, says : " The assay of paper commences seriously to attract attention in different countries. A rapid and sure method of determining the quality of a paper, even approximately, may prove very useful in photography. The best thing to do is to examine all the samples in the same manner, and submit them to a series of chemical and mechanical tests. First, their force of resistance is determined — that is to say, the weight that a narrow strip can support before breaking. Good paper submitted to ebullition in water does not change; whilst bad paper falls to pieces. Paper sized by means of animal ^natter yields to water an extract which, with mer- curial chloride followed by caustic soda, gives a yellow precipitate which blackens when heated in the liquid ; this does not occur when the size is composed of vegetable m,atter. The quantity of potato starch is judged by the intensity of the blue color produced by plunging the paper into a solu- tion of iodine. Acid or free alkali in the paper is easily determined by boiling the paper in distilled water, and trying the liquid with test papers. The quantity of ash left by a sample of paper is important to determine. Papers of very good quality may leave as much as 1 to IJ per cent, of ash, but not more. Such are the most simple and useful modes to which we may have re- course." We suggest all these points as useful to those who would be sure that the cardboard they use is pure and good.
The editor of the Photographic News has recently written an article on a subject of the very greatest importance, to wit, the packing of dry plates. It appears that in a great number of cases, gelatino-bromide plates that have been kept unpacked for more than six months are more or less deteri- orated either by dampness or vapors coming
THE PHILADELPHIA PHOTOGRAPHER
21
directly from the packing or passing through it. The author of the article proposes to use sheets of tin or lead. He places two sheets one over the other, care being taken not to let them slip, and then envelops them in a thin sheet of tin or lead foil. Three pairs of plates thus treated may be placed together, and the whole covered with a me- tallic sheet. These thin sheets of tin or lead are not expensive, thoroughly protect against light and dampness, and give out no gaseous emanations. By using them in the manner described above, the metallic surface comes in nowise in contact with the sensitized silvered surface. Already dealers offer metallic boxes, lighter than those made of wood, and less porous, made ex- pressly for packing plates.
Mr. W. Jerome Harrison, member of the Geological Society of London, has writ- ten a very interesting article on the value of photography applied to geology. The author remarks that whilst the public in general see only in photography a mechani- cal art for portrait-making, we know to-day that it owes its important position as much to its admirable applications to science, architecture, mechanics, astronomy, meteo- rology, anatomy, etc.; he then shows that the application of photography to geology has given results of the greatest importance. It has allowed Mr. Prestwich, Professor of Geology at Oxford, to corroborate the obser- vations made in France by M. Boucher, de Perthes, and Dr. Riviere relative to the flint instruments of prehistoric man, and to the bones about which doubts have been raised, by having them photographed on the spot at the moment of their discovery.
Photography has also enabled Dr. John- ston Davis, another learned geologist, to obtain an important series of observations on Mt. Vesuvius, where the geological photographs permit one to follow in detail the changes of level, etc., produced by the volcanic energy.
The author has limited himself to these few examples, remarking, however, that it would be possible to fill a large volume if we wished to enumerate the numerous cases in which photography comes to the aid of the geologist, either in his scientific investiga- tions or in practical applications.
Viscount Landreville, a distinguished amateur photographer, has made some ex- periments with sulphite of soda for fixing positive prints, with which he is well satis- fied. He recommends, however, to use the fixing bath but for a limited quantity of prints. If, says he, you have two hundred prints to fix, put fifty only in the dish, allow them to remain twenty minutes, and, after taking them out, throw away the sul- phite. Pour some more of the sulphite into the dish, and place fifty prints in it, and so on with the rest.
Magnificent results are thus obtained, whilst if the same bath was used, although abundant enough for the two hundred prints, the last two sets would acquire a disagreeable yellow tone.
THE DEPARTMENT OF ART.
INTRODTJCTORT.
One of the great objects we have in mul- tiplying the impressions of our magazine is to secure more romn for the dissemination of art-knowledge among our readers. As one of our correspondents, " thirsty for more knowledge " in this direction, puts it in a recent letter: "It is well enough to tell us to study the works of the old masters, but how many of us have the opportunity? Oive it to us."
We have, therefore, arranged to supply during our coming volume, not only a good deal of general information upon art as ap- plicable to photograph}-, but have arranged for three special series of papers, the objects of which shall be to make it very plain " How to see Pictures," and " How to Pro- duce Pictures according to Art Rules," by means of photography.
One series will be by Xanthus Smith, Esq., one of the famed artists of Philadel- phia; a second series by George Hanmer Croughton, Esq., and a third by the editor of this magazine.
Mr. Smith's experience as a scene painter in connection with his venerable father, Russell Smith, and his knowledge as a skilled amateur photographer, particularly adapt him for this enterprise.
Mr. Croughton grew up from photography^ to be a painter, and having a thorough,
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THE PHILADELPHIA PHOTOGEAPHEE.
complete knowledge of both arts, is most competent to teach.
Our own work will consist of a collection of "Art Notes and Hints," and all three series will be carefully and elaborately illustrated. No expense whatever will be spared to make them thoroughly practical and satisfactory to the earnest art-student.
Our hope is that they may be productive of much good.
We were prepared to argue the case even, so earnest are we in this matter, when we find the words we would say more deftly said by our noted co-worker, Mr. H. P. Robinson, in the 1886 edition of Liesegang^s Vear Book.
Hence we quote from him to give power to our introductory paper. In our middle- month issue we shall begin the series prom- ised from our more skilled coadjutors.
Mr. Robinson's letter to his German com- peers is headed "Art and Photography." He says :
" The invitation of the editor of The Pho- tograjphischen Almanac, to give my contribu- tion to its pages, I have accepted without clearly understanding just what might be of interest to my German readers. But I do not doubt it shall be my favorite theme, to wit, the application of art to photography, or rather the possibility of producing artistic pictures by aid of the camera instead of the brush — I treasure both means as aids to ar- tistic conceptions. I will not take your time with argument to prove that photography is an art. We shall for the present take this for granted, although the question has been disputed for years. It is not long since I read in an American journal, 'photography is no art, and any one who uses a camera is not an artist.'
" If this very superficial remark were true, it would be. greatly to the discredit of some of our most distinguished artists who do use the camera.
" It is an acknowledged fact that many photographers, as well as many painters, are by no means artists ; but that has nothing to do with our question. It is not granted to everyone to be an artist, but almost any one can learn the mechanical part of photog- raphy and drawing ; and such are the very first to thrust forward their immature pro-
ductions before they have acquired sufficient knowledge to perceive how very crude their effects are.
"It is strange that for forty years so few photographers have thought it of any value to have their technical and chemical knowl- edge guided by the lamp of art knowledge.
" During the last few years great progress has been made, especially amongst German photographers, and the work is generally confined to works of small size. I have not seen many large size pictures which em- body a thought — that is, say something; but time will effect this soon. At present, very few strive to be original, and hence nothing else than a lack of original work can be expected.
"This naturally leads to the question, Is art so difficult that the photographer shuns her entirely, or does he care less about art value, composition, light and shade, ex- pression, and strive after perfect sharpness and smoothness, that terrible perfection of techinque ?
"As already remarked, there is no doubt that there is growth in the direction of art going on amongst the photographers ; a feel- ing after it ; but it has not j'et borne many blossoms ;^the refreshing showers of art cul- ture are yet needed to enable it to take root. It is true that some few photographers, who I might say are rating it highly at one-quar- ter per cent., who possess a knowledge of the principles of art, and know how to make use of it ; others have endeavored to gain an ac- quaintance with art by studying the rules laid down for effect in picture-making, but the principles so acquired are so manifest in their application, and the finer feeling for beauty appears to be lost, giving the im- pression that the operator is more anxious to display his learning than to produce artistic beauty.
"The majority of the votaries of our art seem to have no further idea of the needs of photography than the exposing, developing, and fixing of the plate. The ease with which this maybe effected, by the gelatine process, has increased this class very greatly. I can only speak of my experience in England, by the number of bad operators which loom up every day before our eyes is a greater num- ber than ever.
THE PHILADELPHIA PHOTOGEAPHEK.
23
" This would not be so bad, if photography in this direction were followed only as an amusement, and distributed amongst their friends or family circle. But they are not content, and must send their productions to the Expositions, so that the very few good artistic pictures are overwhelmed in a flood of indifferent material, which brings the art into discredit.
" But there is another side to the question. I do not think that any other land possesses so many dilettanti as England, and from these we expect the highest aims in art. For the tradesman is so occupied with his business to earn a livelihood that he has sel- dom any time or desire to step out of the daily routine of portrait-taking ; but the amateur, who looks on photography as an amusement for his leisure hours, devotes himself to the study of the art principles in- volved, his general education contributing much to this end. Year by year, we find, in the pictures which are sent to our exhibi- tion, subjects which,if not perfectly original, have yet the stamp of newness of idea as re- gards selection, proving conclusively that they are not the result of blind chance, but of well thought-out endeavors in the direc- tion of art.
" In conclusion, permit me to say that, al- though the aims of photography are wide- spread, the chief endeavor is the production of pictures, and that the technical knowledge involved in the making of a photograph is only a small part of what is demanded for creating pictorial effect."
We shall not need to use further argu- ment than this for our course. Words and works shall follow to prove the justness of our cause.
aUERIES, CONUNDRUMS. AND CONCLUSIONS.
In your Mosaics for 1885 I find this, page 104, " any amount of density could be ob- tained and by the addition of a few drops of a three grain solution of hypo in water to every three ounces of developer full de- tails could be secured in an instantaneous exposure." Is that correct? Was it hypo ?
We should like some of our readers to
give us their experience, briefly, in answer to this, in time for our next issue.
Miss Lizzie Harding writes to know if our negatives of Petra, from which the en- gravings in the November Century were made, were on wet or dry plates? Miss Harding has probably never worked the wet process, or she would fully agree and under- stand that but for the dry process our nega- tives of Petra would have been an impossi- bility. They were made on Carbutt's " B " plates, and developed in Philadelphia about eight months afterwards, and after some 11,000 miles of travel in all sorts of climates and by all sorts of means.
" Alaska " asks for some Niagara pho- tographer in winter to give him his ex- perience in developing ice and snow views.
Chas. F. Henry. — Very beautiful nega- tives from oil paintings can be obtained by thoroughly washing the plate after the de- velopment with iron, with great abundance of water and without fixing at all, taking care, however, to varnish the negative when dry. Such negatives although they look weak give excellent copies. The well- washed film of iodide of silver is unaltered by the light of the sun, and by retarding the action of the light furnishes very soft and extraordinarily beautiful piints. Try it. Of course, we mean wet plates.
S. A. W. says that it troubles him a good deal to prevent his film negatives from ad- hering to the glass after they are dry. How shall it be prevented ? Mr. Eastman suggests that a flat surface of ebonite or hardened caoutchouc is preferable to glass.
Carl Soule wants to know, " which of them all is ' the best ' or ' most excellent ' pyro developer? " He will find the follow- ing A 1:
1. — Concentrated ammonia Bromide of potassium Water
2. — Pyrogallic acid . Water
For proper exposures equal parts of the two solutions are used ; for short exposures add more of No. 1 ; for overexposures increase No. 2.
|
. 7 |
c.cm |
|
. 2 |
g- |
|
. 320 |
com |
|
. 2 |
S- |
|
. 320 |
com |
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THE PHILADELPHIA PHOTOGRAPHEE.
Sybil S. wants " a solution for reducing negatives that are too intense." Please try the followinsr :
|
Alum .... |
1 ounce. |
|
Citric acid . |
. 1 " |
|
Ferrous sulphate |
3 ounces. |
|
Water |
. 20 " |
As the salts of iron oxidize, the solution becomes more active. And, hereafter, do not hurry the development of your plates so much.
Julia, of St. Paul, writes : " I am, thanks to Wilson's Photographies, getting on very well with photography until I come to that nasty, sticky varnishing, and that I hate; please give me some hints." Well, Miss Julia, St. Paul taught patience. Try it, then.
The film, after fixing and aluming should be perfectly dry before applying the varnish, and this is what requires the most care. The plates must be washed a great number of times in order to eliminate all the soluble salts, then thoroughly dried where there is no dust. The varnish should be filtered and also kept away from all dust. Finally, it should be poured on the middle of the plate and in such a manner as to coat it uniformly. Varnishing the nega- tives is doubtless a great protection, and if it has been well done adds to their lives and ncreases their value.
OUR PICTURE.
We have chosen the lovely child-picture which graces our present impression from a number of others in preparation, because of its peculiar appropriateness as a new year picture.
What could be more pleasing for the open- ing of a new volume and a new year than the picture of a child ?
Thanks, then, to Mr. James Landy, the renowned Cincinnati child-portraitist, for his kindness in supplying us with the nega- tives from which to print "our picture." We consider it one of the best productions of his studio.
Always a lover of children, and most successful in securing their pictures simjJy because he understands his subjects, Mr.
Landy is constantly studying up methods for making their portraits more picturesque. An entirely new element is introduced in the present instance by means of the back- ground, by which a soft, atmospheric effect is obtained, which is very lovely.
Owing to the bad weather of November, since which the pictures were printed, Mr. Landy was unable to send us some special negatives which he proposed to make for us, and rather apologetically says: " I was obliged to take what I send from my regular work I"
No apology is needed. The pictures be- fore us are delightful, and will be found well worthy of study, until Mr. Landy betters them.
Just as in the present instance, so during the year, we shall endeavor to procure such embellishments for our numbers as shall be useful to our readers as studies. We feel that we have some happy surprises in store.
"One picture cannot teach much," we have been told, but that is not true. One picture has been known to turn the course of many a photographer, and led him to become an artist. We are told by Trench that " there are cases in which more knowl- edge of more value can be conveyed by the history of arword than by the history of a campaign." And so, often more can be conveyed, of aesthetic value, by one picture than can be learned from a whole exhibi- tion.
Kemember the work of our Berlin friends and of Salomon a few years ago. How they changed the whole phase of photography the world over.
Emerson has characterized language as " fossil poetry." So, then, may our monthly pictures become, if you will, "fossil" art for you.
Just as in some fossil, curious and beau- tiful shapes of vegetable or animal life, the graceful fern or the finely vertebrated lizard, such as now, it may be, have been extinct for thousands of years, are permanently bound up with the stone, rescued from that perishing which would have otherwise been theirs, so, in our pictures you may, if you get into their meaning, find suggestions and aids that will help you to grow in art, and to become more and more famous in your
THE PHILADELPHIA PHOTOGEAPHEE.
25
work ; more and more joyous in follow- ing it. Such is our hope.
And now we commend all this to your careful thought, with the desire that the pursuit and knowledge of art may always keep you as fresh and joyous as the darling little face given us to study.
Mr. Landy desires us to say that the negatives were made on Cramer's plates; and that we may avoid a hurdensome ques- tioning, permit us to say that our prints were made upon the well-known N. P. A. brand of paper supplied by Messrs. E. and H. T. Anthony & Co., New York.
CORRESPONDENCE.
Dear Sir: Tours of the 9th inst. has just come to hand inclosing letter from Prof. C. Piazzi Smyth, of Edinburgh. I am very glad that the photographs were put to such good use, and I know that all the members of the Society will feel the same way. You may be sure that I shall make the most of the letter at our next meeting.
It has always been my opinion that one can do the greatest good in photography by interesting scientific men in the art, and I have always carried out that theory. There is so much work that photography can ac- complish in the hands of educated men, when under the guidance of science, that every amateur at least should feel it his bounden duty to seek the acquaintance and correspondence of such men as Herschel and Smyth, and it will soon be discovered that each can be a help to the other.
I shall write to Prof. Smyth, and send him another batch of views, and shall also beg him to correspond with us, and give us the advantage of his ripe experience.
Everything is rather quiet in California just now. The rainy season is upon us, and it is getting late in the year for instantane- ous work.
"We are quite busj'' getting ready for our exhibition, which, I think, will be a suc- cess.
If I can ever get the time, I have several articles which I think will be of interest to your readers. The article on instantaneous work is at a standstill, as it is impossible to get prints from any of the members till after
the exhibition. W.hen that is done with I shall have no diflSculty in procuring the views I require. I also intend to describe my instantaneous detective box, but will wait awhile, as I expect to make many im- provements ; and besides this, three of our most ingenious members are at work on a new detective box which, I think, will be a great improvement on mine.
I wish to thank you for the pleasure ex- perienced in reading your article in the November Century. I have read it through half a dozen times, and it is still on my table. What a glorious experience ; what diflSculties, and how well you overcame them. I certainly congratulate you.
Will always try and keep you posted on things photographic that come to my notice. Very truly,
W. B. Tyler.
San Francisco.
GERMAN CORRESPONDENCE.
New Stained Albumen Paper — Obernetter's Emulsion Paper — Neio Application of Aza- line Plates — Printing with Developm,e7it — The great Assembly of Scientists in 1886 — Exhibition of Scientific Photographs in Berlin.
For a long time all photographs have been copied on rose-tinted paper ; only moonlit landscapes, which are sold in Ven- ice, are copied on blue ground. Recently, Mr. Beyerlech has shown a number of land- scapes copied upon colored albumen paper. This paper, from a factory in Dresden, has, in some pictures, a violet tint; in others, a bluish-green ground, which, by evening light, has the appearance of sky-blue. It is thought that the paper affords a pleasing tone, although it is acknowledged that here and there the color is somewhat displeasing. Pictures upon entirely white ground are somewhat cold, hence the desire to relieve the harshness by a neutral tint. At first a pale rose, or, what is called pens^, was selected, because it gave in portraits a re- semblance to flesh tints. Now this was all well enough, but, by-and-by, its use began to be extended to landscape subjects ; so that at present it is used for almost every subject. It is true, artists draw their
26
THE PHILADELPHIA PHOTOGEAPHEE.
sketches on all sorts of colored paper, but they never make use of pink or rose.
Another novelty in photographic process, attracting much attention, is Obernetter's gelatine emulsion paper, which is not a de- velopment paper, but prepared with chlo- ride of silver emulsion, which blackens in- tensely in light; so that the process of copying is like that of silver albumen paper, the degree of sensitiveness, however, being threefold greater. This sensitiveness makes the paper very valuable, especially about Christmas-time ; of course, it cannot com- pare with the development paper for sensi- tiveness ; yet in practice it has a great ad- vantage, inasmuch as it does not necessitate especial skill on the part of the operator beyond what is necessary in albumen print- ing. Herr Schulz-Hencke, who has been experimenting with this paper, remarks that an increase of gold in toning materially accelerates the process. The modus operandi is as follows : Copy as with albumen paper strongly ; before toning wash the copies for one or two minutes in water. The following gold-bath gives beautiful tones :
Solution 1.
Water
Rhod ammonium
Hyposulphite of soda
1000 grammes. 20 " 1 gramme.
Solution 2.
Water . . . 100 grammes.
Chloride of gold . . 1 gramme. TOO parts of Solution ISTo. 1, 5 parts of So- lution No. 2, afford the best mixture for toning-bath.
The prints turn first yellowish-brown, then purple-violet (2-3 minutes). Do not let them get too blue, because the copies, in drying, approach the blue color. From the gold-bath the copies are placed directly into the fixing bath for five minues, which is composed of
Water ' . . . 1000 grammes.
Hypo ... 50 "
If the water is changed frequently, one hour's washing is sufficient. In order to harden the film, the copies are laid in an alum-bath, composed of
Water . . . 1000 grammes.
Alum .... 50 "
(for fifteen minutes), after which they are thoroughly washed for half an hour, and dried.
Herr Himley has lately made a new appli- cation of azaline plates to crayon reproduc- tions. He took a crayon drawing with ordi- nary gelatine plate, and one with azaline plate ; the ordinary gelatine plate gave a very unsatisfactory result. As Himly ob- served, the drawing appeared much stronger when a yellow disk was employed, and an azaline plate used for copying. As the drawing was of a blue tint, and the ground of the paper yellow, the result with an ordinary plate was, of course, flat and tame. By using the yellow disk and the azaline plate the blue strokes were repressed, whilst the yellow sensitiveness of the azaline plate made the ground appear white.
There has lately appeared a work, by Dr. Just, of Vienna, on Copying with Chloride of Silver Gelatine Paper, with Development. The book makes its appearance at the right time. From all quarters we hear com- plaints of the bad weather, of the impossi- bility of furnishing sufficient copies in a given time. Here is a quicli process which promises relief. The difficulty of obtain- ing uniform tones with the rapid paper has somewhat cooled the enthusiasm over the process. Workers with this paper agree that a wealth of tones are obtained, but they are not always agreeable. The author has now established the condition by which the different tones may be obtained, and has shown how, partly with gold and partly without, tones from brown to black may be obtained ; but the purple-violet, the favorite color, has not been reached. The process, however, deserves the closest attention of practical workers. Of great interest to us is the first chapter of the book, where a mathe- matical treatment of the subject is under- taken by the author ; this would, of course, not be of much interest to practical men. Mr. Just has made his paper in a continuous roll, which is exposed under negatives by gaslight. At two yards from source of light of about the strength of forty candles, with exposure of ^-3 minutes, the paper gives the best results. The disagreeable tones. Dr. Just has found, are occasioned by the use of the oxalate developer ; and, therefore, he pre-
THE PHILADELPHIA PHOTOGEAPHBE.
27
fers other development, which does not ex- hibit these defects. He has employed acetate of iron, citrate of iron, and tartrate of iron ; by which diflterent tones are produced. He employs and recommends, for exposing, an ingenious piece of apparatus, which is called the automatic exposer, patented by Schlol- lerhouse. By its use, in a clear light, a hundred copies can be made in a minute. Perhaps, by use of this arrangement, a pa- tron may, as in olden times, in the days of the daguerrotype, by waiting a few min- utes, take his finished picture with him.
Next September there will be a great re- union of German doctors and scientific men, presided over by A. W. Hoffman and Vir- chow, who will make the best possible arrangement. This exposition will com- prise only scientific objects, and hence pho- tography, in its scientific aspect, will only be represented. The Society for Advance- ment of Photography has taken in hand the arrangement, and the call is made upon all to represent. Views of scientific and natural subjects will be welcomed. Spectrum anal- yses, botanical, zoological, geological pho- tography, and all subjects of a scientific na- ture. Entries will be made up to the first of March next. Yours truly,
H. W. VOGEL. Berlin.
THE WORLD'S PHOTOGRAPHY FOCUSSED.
The Poitevin Memorial. — The ceremony of unveiling the Poitevin monument took place on September 7th, atSt. Calais, Sarthe, in the presence of all the notables of the de- partment as well as the town, including the Deputies, the Prefect, and members of the General Council. The Government sent a delegate in the person of M. Ptoger Ballu, Inspector of Pine Arts. M. Hedin repre- sented the Association of the Scholars of the Central School and the members of the com- mittee of the subscription fund. MM. Da- vanne, Leon Vidal, De Villechole, Thour- onde, Guilleminot, and Audouin were also present. Pive speeches were made durino- the ceremony : by M. Davanne, in handing over the monument to the town of St. Calais; by the Mayor, accepting it; M.
Roger Ballu spoke on behalf of the Govern- ment ; M. Leon Vidal, in the name of the Chambre Syndicale of Photography ; and M. Hedin, for the Association with which Alphonse Poitevin was connected. The inauguration was followed by a banquet to a hundred and fifty guests at the invitation of the municipality of St. Calais. Toasts were proposed by the Prefect of the De- partment, the President of the General Council, M. Cavagnac, Under-Secretary of State for War, etc. The proceedings ter- minated with a general illumination and fireworks display. Three monuments have been raised in Prance, in a short space of time, to the three men who have done most in the invention and improvement of pho- tography— ISTic^phore Niepce, Daguerre, and Alphonse Poitevin. There remains but the memory of Talbot to be honored in a like manner, but that should be on English soil.
In commenting upon the late exhibition of the Photographic Society of London, a local daily makes some remarks which may well apply to the work of our own Ameri- can Societies :
" The very great improvements made during the past year or two in photographic appliances have not produced any corre- sponding advance in the results obtained. Such, however, is the fact. Looking at the exhibition as a whole, it is idle to pretend that the best work in it was not equalled last year, or the year before, or the year before that. The exhibition contains in- stances of the finest results photography is capable of producing, but then it always does so. It is up to its usual high standard, but the standard has not been raised. Per- haps there is no real reason to expect that it should be. Artists are no more plentiful than of yore, and a thoroughly successful photographer must be an artist, though he works under diS'erent conditions from his brother of the brush — conditions really more difficult because so much more limited. Of course, the mechanical part of photog- raphy is far easier now even than it was but a little while ago. The commercial demand for ' dry plates ' has insured the supply of a good article, and in this respect the past two years have seen great improvements.
28
THE PHILADELPHIA PHOTOGRAPHER.
Consequently we may expect to find, as we actually do, a considerable levelling up. There is very little bad work this year at Pall-mall — there never was very much, indeed ; but this year there seems less than ever. The best men are still well ahead, but the average workers are nearer them than of old."
In his last thought he hit the nail on the head. The "best men" long ago did as well technically as can be done. The "im- provements " must be looked for in the direction of artistic excellence and the '^growth" must come from the "average workers." As an example of this, in look- ing over our second volume (1865) a few days ago, we were much struck by the ex- cellence of one of the views which embellish it. If he who made it still lived, we doubt if he could improve upon it even now, twenty years later, except that he would perhaps " combine " a little more carefully, and perhaps choose a somewhat different light- ing.
But when he took his picture not a dozen in our country could equal it. But, to-day I oh ! dear Sol ! — a thousand could equal an artist of old every time.
Our London exchange further comments : " As usual the great majority of the pictures are landscapes, and the judges have awarded to this class eight out of a total of twenty- one medals. All these prize-takers are ama- teurs (four of them belong to the small 'Amateur Field Club,' which has so many medallists among its twenty-five members), and indeed, there is a conspicuous absence of those professional landscape photographers who, in former years, carried away the prizes in this class. There seems to be no special cause to account for this, but so it is, and at all events it is quite certain that there is no reason for the amateur photog- rapher to fear the competition of the pro- fessional, except, of course, in portraiture, which requires special facilities not likely to be at the disposal of an amateur ; besides, it must be remembered that a modern pho- tographic portrait is only partly produced by photography, and that the process euphem- istically termed ' retouching ' does the most important share of the work. After tiring
out a few intimate friends by producing what those friends are scarcely prepared to admit as 'likenesses,' most amateurs are content to confess to failure, and to content themselves with the reproduction of subjects unable to retaliate by criticism."
This does not look as if the amateurs were taking very much away from the adepts — does it?
A photograph of a section of the sky has been taken at the Paris Observatory some five degrees square which shows three thou- sand stars on a ten-inch square plate. This would indicate that there are twenty' million stars up to the fourteenth magnitude, in- clusive.
Great heavens ! The 40 x 36 films of the Eastman D. P. & P. Co. would take in por- tions of other worlds, and— will photog- raphy's ambition rise higher than that?
A DETECTIVE Camera, not a mile from our office window, has scared away a group of lady-gazers from their corner du loaf.
In a lawsuit in England a dealer in " celebrities " admitted that the profit on a four-shilling photograph was 3s. 7W. What a fool of a photographer !
The editor of the Amateur Photographer is a punster on the very sly. America comes in for a good share of his pun-ishment. We imagine that if he was shut up in his dark closet with the threat that he should not be let out until he made a pun, he would cry out "0-pun the-doorl"
Anyway, the Amateur Photographer seems to grow and flourish, even though its vet- eran contemporaries and advertisers tried to boycott it. It is bright enough for them.
And now they are trying to patent post- age-stamp photographs in England.
Photographs on porcelain glass were very popular as " Christmas Cards " last month.
Life insurance agents at a distance from the parent office are required to send photo- graphs of the would-be " risks " to the board of directors, who pass opinion upon them before they are accepted or rejected.
Photography is now used by the bank of France, instead of chemical tests, for the detection of forgery.
THE PHILADELPHIA PHOTOGEAPHER.
29
From some experiments recently made by Mr. W. R. Burton (the well-known amateur photographer, to whom we owe the gelatine bromide process), it appears that positive emulsion paper is about a thousand times more sensitive than the ordinary al- bumenized paper.
PoRMtTLA forPhoto-miniattjre. — Take an unsized photograph and plunge it in rectified turpentine for two hours ; heat the convex glass with the following composition previously melted:
Gum damar .... 20 parts. White wax . . . . 20 "
Canada balsam . . . . 15 " Spermaceti .... 5 "
When the photograph is very transparent, remove the excess and wash with a fine cloth, soaked in benzine. — La Nature.
At the meeting of the Photographic So- ciety of Birkenhead, Mr. A. W. Cornish developed, with great success, chloride of silver transparent prints with the following developer:
No. 1.
Carbonate of ammonia
Citric acid ....
Water ....
No.' 2.
Sulphate of iron
Water ....
One part of No. 2 for three parts of No. 1.
The plates had been exposed for five min- utes in difi"used daylight, and a dozen prints were developed without changing the solu- tion.— Paris Moniteur.
Mr. Theodore Haack, Arensburg, Eussia, announces himself the agent for the new dry-plate changing apparatus invented by Mr. G. Woistlcik.
48 parts.
144
48 166
STUDIO STUDIES.
(Continued from page 391.)
His nose was long enough for a lantern slide camera but it had both lenses at one end. The (red) light was at the other end and his pocket was empty.
He thought " life is but a fleeting show " and yet he wanted to live, so he allowed the
aesthetic photographer to " employ " him as a model. The badge of his profession he wears in his cap, and, being an editor he lighted his work by his own nasal argand.
His professional pistol had been pawned and his portrait had been declined by Mr. J. F. Ryder as " no ornament to his collec- tion." He is not an advocate of the "dry " process, though he suffers from it.
The picture isaLevytype. The negative
was made on a plate by a lens in
seconds and printed — not positive as to
paper.
$f$ iillt
Roberts & Fellows is the name and style of the firm to whom we have sold our lantern slide manufactory and photograph business in Phila- delphia. Their circular will be found further on. They are both gentlemen well skilled in pho- tography, and amply able to keep up with all the requirements of the trade and times. Mr.
Charles T. Fellows began photography with Mr. H. C. Phillips, of this city, fourteen years ago, and at one time was with Mr. George H. Fennemore. He served with the Centennial Photographic Co. in 1876, and then became printer-in-chief at the large portrait and celeb- rity establishment of Gilbert & Bacon, Philft-
30
THE PHILADELPHIA PHOTOGEAPHBR.
delphia, where he remained over eight years. At the New Orleans Exhibition he was superin- tendent of the department of printing, and has since then been in our employ. Mr. H. L. Roberts was also with Mr. H. C. Phillips at one time, and afterward with Mr. F. Gutekunst, Philadelphia. He was the first President of the Amateur Photographic Club of Philadelphia, and few men in the club have more personal popularity. He has made numerous negative tours in the sunny South and elsewhere. He has lately been in our employ, and, as we shall soon prove by " Our Picture," has the true artistic sense and feeling. Both the gentlemen named are men of strict integrity, skilled in our art, and will prove worthy successors to a busi- ness which we have taken much personal pride in building up. They pay special attention to the manufacture of slides for amateurs, and sell our Oriental views. Their catalogue, they an- nounce, will be ready soon after this reaches our readers.
Japanese Homes and their Surroundings is the title of a magnificently illustrated work by Mr. Edward S. Morse, published by Ticknor & Co., Boston. The advance sheets sent us give pro- mise of an unusually elaborate, beautiful work. The illustrations are from pictures made by the author while Professor of Zoology in the Uni- versity of Tokio, Japan, and are, therefore, true to nature. Houses, ancient as well as modern, scenery, gardens, types, flowers, adornments, and what not, are profusely pictured. As an ex- ample of superb book-making, the work can scarcely be surpassed.
Composite Photographs. — Mr. W. J. Baker, Buffalo, N. Y., whose head is usually clear, and clearly not a composite, says, concerning our article under this head last month : " I have no confidence in such pictures as giving types; neither do I think, with you, that ih^ first im- pression would dominate. If all had the same time, the whitest and most marked (intense) face would dominate, and an old, yellow face not get his (or her) share. I intend to try some experi- ments in this direction — twenty schoolgirls.'' Oh ! then we shall soon see the typical American girl. We have never been able to discover her, yet.
" Honor to whom honor is dub." — We have received a copy of La Dora Baltea, published at Ivrea, Italy, through which we learn of a very pleasant "Dimostrazione di strina di simpatia" which took place recently in honor of our es-
teemed confrere Colonel Ottatio Barrati, for- merly Editor of ia Camera Oscura. Sixty persons sat down t) the collation, and our friend was given the King's decoration, '■ tJfiBciale Mauriziano," for his eminent services in the army. A concert and speeches were the accessories, added to a colossal Turin cake, of which all partook with white wine. An ode was sung in which the praise of the gallant colonel was sounded, and an address made in which the Count alluded to the work of Colonel Barrati in completing a railway between Ivrea and Santhia. The occa- sion was a happy one.
A Remarkable Growth. — We doubt if pho- tographic history can record any more phenom- enal growth than that of the dry-plate business of Mr. G. Cramer, of St. Louis. Goods of uniformly excellent quality, energetic push, liberal and fair dealing, together with personal popularity, have all combined, and placed Mr. Cramer at the very head of his class. One can almost read this between the letters of his char- acteristic signature, which will grace our cover during 1886. We wish him a continuance of the success which he has honestly earned, and the wish will be reechoed by the thousands who profit by his energy.
Our middle-January issue will be embellished by a magnificent photogravure picture (from life), representing the witching character of " Mother Shipton.''
The St. Louis Dry-plate Co. have met such a demand for their excellent plates that an en- largement of their works has become a necessity. Not only this, the important improvements adopted for the production of their plates enables the Company to secure results absolutely uniform, and of a quality not surpassed.
We all rejoice over the maintenance of quality in these "cheap'' days.
Mr. Wm. Bell, the well-known Philadelphia photographer, is now Professor of Photography in the Lehigh University, Bethlehem, Pa. He has a large and interested class, and is compe- tent to teach.
Mr. S. C. Nash, Harrisburg, Pa., has invented a novel camera and changing box.
Mr. R. D. Gray, 102 Fulton Street, New York, announces a "vest camera." It can be worn next to the heart.
THE PHILADELPHIA PHOTOGEAPHBE.
31
Choson, the Land of the Morning Calm, is another elaborately illustrated work, announced by Messrs. Ticknob <fe Co., publishers, Boston.
The author is Mr. Percival Lowell, who illustrates this fine " sketch of Korea " by mag- nificent engravings from his own photographs.
Thirty-seven chapters are included, which start the reader " where the day begins " and hold him fascinated until the work ends, and at night he needs " The Beacons of Pusan '' to light him.
The royal octavo size, bold, clear type, and the photographically natural pictures, make up a work which all Eesthetic photographers will be sure to own.
We shall refer to it, with some of the author's experiences, soon again.
The first dry plates ever exposed in Korea were used there by the author.
Scovill's Detective Camera is a quick worker. A beautiful card describing it can be had free.
Mr. Geo. Hanmer Croughton, a gentleman whose versatile talent enables him to do any- thing and everything in our art, advertises in Specialties for an opportunity to make himself useful with and for somebody. Our personal connection with him for over a year, and our acquaintance with him for many more, enable us to say that here is an excellent opportunity for someone to connect with one of the livest and best men in our art. We can endorse him in every way.
A Splendid Chance. — The attention of our younger readers is directed to the specialties advertisement of Messrs. W. H. Neil & Co., Sydney, New South Wales, who wish an operator of the first class.
We are empowered by them to engage and contract with such a one. While it is a delicate matter to bring parties thus together, if they are mutually pleased it will be a satisfactory thing to do. As their instructions to us prevent us from considering anyone who has not been con- nected with a first-class establishment, it will be useless for others to apply. We have a month to make the arrangement.
vast amount of life flows on, besides many other things, which we think we can make interesting to you.
Our first efiFort will be some notes on the dis- plays seen at some of the doors of the neighbor- ing photographic studios, and bits of life caught not far away.
" Cheap" Prices. — A carefully written paper on this topic, by Mr. T. H. Blair, will appear in our next issue.
The series of notes, " From Our OflSce Win- dow," will begin with our next issue — as soon as we are comfortably located in our new quarters, 853 Broadway, New York. We shall overlook Union Square, the great art and literary oasis of New York, about and near to which are many photographic studios, too, and where a
Our Prospectus for 1886 supplies a declara- tion of what we propose to set before our readers during 1886.
The dish is to bo double what it has been heretofore, with constant personal attention.
As we devote our life to this work, it will be seen that we must get our living by it. This fact constitutes one difference more between our own and other magazines. We cannot afford to give the same kind of inducements, but we give our best efforts, and they ought to be worth something after twenty-two years' of practical drill.
Please consider this when you decide to sub- scribe for a magazine. A little over twenty cents per copy is all the Philadelphia Photog- rapher costs the subscriber for 1886.
The Exhibition of the Photographic Society of Philadelphia opens .January 11th and closes January 16th, at the Academy of Fine Arts. It promises to be a great success, since, three weeks before the opening, the secretary was afraid there would not be room enough for all the pictures coming. We hope to give a careful review of it in good time.
Another Catalogue. — Messrs. Blair & Prince, 148 West Fourth Street, Cincinnati, Ohio, have favored us with a copy of their new catalogue, which is a model of neatness and careful compilation. Under an aesthetic cover of original design, they supply 130 pages, quarto size, elaborately illustrated, which will be found of much service in the selection of a photographic outfit.
Curious Photographs. — Our readers will be charmed with the interesting letter of our ama- teur friend, Mr. Irwin. Some jf his pictures have been sent us, and they are exceedingly at- tractive. The one of King Kalakaua in the deep gorge of Pali would make a good illustra- tion for one of Scott's novels. The groups of natives are curious, and " Birdie and Duckie""
32
THE PHILADELPHIA PHOTOGKAPHEK.
are very toucliing. Mr. Irwin will doubtless gather many gems as he goes on with his tour.
Returned. — Mr. J, W. Morrison, of Pittsburg, Pa., the well-known ex-stockdealer, has returned to bis former vocation, and, having purchased the business of Mr. Jno. I. Shaw, is located at his old quarters. We wish him much success.
The report of Secretary McMichael is received, and will appear in our next issue of P. A. of A. matters of interest.
A Useful Wa.shing Contrivance, suggested by Mr. Chas. W. Hill, 111 Broadway, New York, will be found described on another page. We trust many of our amateur readers will follow his generous example, and reveal to us what they find good in their practice. We all owe much to the amateurs.
Messrs. E. & H. T. Anthony & Co., 591 Broadway, New York, have issued a very neat illustrated catalogue of " Amateur Photographic Equipments and Materials," which will be found a great convenience. It contains a great deal of valuable information.
The large, regular catalogue of this house we have called attention to previously. It contains 144 pages, and is a fine specimen of catalogue- making. The cuts are good and well printed. Among these, the one on page 29, of the "Benster" plate-holder, reminds us to correct the general impression that, because this useful device is supplied with silver-wire rests and a silver-saving bottle, it is only for wet plates. It is equally well adapted for dry plates. The greatest advantage of this holder is, that by means of its adjustable parts, racks, bolts, and catches, any size plate, from the largest down, can be used in it, and of any shape. The plate is caught by the parts thrown in focus, and there automatically held in proper place for ex- posure. No kits needed. It is supplied with the cameras made by E. & H. T. Anthony & Co.
Accident to Dr. A. H. Elliott. — We regret to hear of a painful accident occurring recently to Dr. A. H. Elliott, the genial editor of An- thony's Bulletin. He was experimenting with a solution of phosphorus, which, becoming over- turned, spilled upon his left hand, burning it terribly. The small particles sinking into the flesh continued to burn for some time after the accident, making it all the more severe. We trust it won't be long before that good hand is all right again.
The Queen's Empire, or India and her Pearl, is the title of another elaborately illus- trated work, by Jos. Moore, Jr., F.R.G.S., illus- trated by fifty phototypes selected by Geo. Herbert Watson, Esq., and printed by Mr. E. GuTEKUNST. J. B. Lippincott & Co., pub- lishers, Philadelphia. Price, $3.00.
Certainly this is a work which should attract all photographers. The views are from well- chosen negatives; the book is splendidly printed ; the author's descriptions are fascinating and true to nature, and it is hard to put aside his splendid work without finishing it at one sitting. Thrill- ing adventures, the splendid charms of nature, and the incidents of travel, are all deseribed with the care of a keen observer and poetic writer.
The Camera Club was recently organized in London (21 Bedford St., W. C), and is a great success. Full details are given by the Amateur Photographer, but, strange to say, the Neios and the British Journal seem to have overlooked the grand occasion entirely. The Honorary Secre- tary, Mr. A. H. Dresser, may be addressed at Spriligfield, Besley Heath, Kent, England. We wish continued success to all enterprises having photographic push at heart.
" Piles of Times, and only part of the weekly edition," said Mr. W. Irving Adams, agent of ScoviLL Manufacturing Co., a few days ago, when we stood at the elevator with him and saw the great weight come up for mailing.
A large burden of the literary work upon the Photograjihic Times is performed by Mr. W. Lincoln Adams, the young and talented son of Mr. W. Irving Adams, and splendidly done, as we can all testify. Mr. W. L. A. has long been classed among our amateurs, and has produced some admirable studies, especially in New Hampshire and on Long Island Sound.
The Photogravure Co. request orders sent direct to the works. Third Avenue and Tenth Street, Brooklyn, N. Y. Exhibition Rooms, 853 Broadway, New York.
853 Broadway, New York, will be the office of this magazine after January 1, 1886.
Letters addressed, in mistake, to Philadelphia, will reach us, but will be one day delayed.
In the metropolis we shall have wider oppor- tunities for securing the very best material for our readers, and, relieved of other business, shall be enabled to devote our whole time to our readers. See prospectus.
ADVERTISING RATES FOR SPECIALTIES.
25 cents for each line, seven words to a line— in advance. Operators desiring situations, no charge. Mattel must be received by the 23d to secure insertion. Advertisers will please not ask us for recommendations. *@=-We cannot undertake to mail answers to parties who advertise. Please always add your address to the advertisement. Postage-stamps taken.
MAKE OUT YOUR OWN BILL, and remit cash with your advertisements, or they will not be inserted.
SEAA'EY'S NEW YORK NOVELTIES
Seavey's Sno-w-covered Land- scapes, Ice Effects, and Cosy Interiors.
Lafayette W. Seayey, Studio, 216 E. 9th St., New York.
Ajiong all the photographic lenses of various makes and styles which have been introduced during the past ten years, the euryscopes, of which Voightlander k Son are the sole manu- facturers, loom up conspicuously. The success of these lenses has been unparalelled, and the demand is as lively as ever. They can be found in nearly every gallery in the land, and the amount of satisfaction and profit they produce is difiBcult to calculate. Most convincing proofs of their superiority over other lenses is the ex- quisite work done with them, and the fact that it is simply impossible to get along without them.
Dear Sir : For the sake of convenience in the transaction of our rapidly increasing busi- ness we have recently removed our books and bookkeeper to our works, corner of Third Avenue and Tenth Street, Brooklyn, to which address please send, hereafter, all bills and corre- spondence.
Our office at 853 Broadway is still maintained, where we shall be pleased to meet our customers, give price.^, estimates, and any other informa- tion desired in connection with our various processes, Respectfully,
The Photogravdre Co.
■ ROCKIOOD SOLAR PRINTIN& CO,
17 Union Square, New York.
I TIME. — It is our intention that every order received in the morning's mail (when not to be put on stretchers) shall leave this establishment the same day or the following morning. If too late for the morning work, it is sent on the sec- ond day. Having our own engine and electric light, we are not at all dependent on the weather. GEORGE H. EOCKWOOD, Business Manager.
W. F. ASHE
ARTISTIC BACKGROUNDS
AND
ACCESSORIES,
KEMOVED TO 68 WEST FOUKTH ST., 4 Blocks West of Broadway, N. Y.
My new studio is fitted up with all the mod- ern improvements, and the most refined demands from a critical public can be satisfied. A visit to my establishment, which has the largest showroom, containing the greatest amount of stock of any place in the world, will be grate- fully appreciated.
I have again added numerous new designs to my great variety of patterns for backgrounds and accessories, and keep also in stock a large quantity of goods for parties to select from, saving time and delay on orders.
THE PHILADELPHIA PHOTOGEAPHEE.
"WltSON'S PHOTOGRAPHIOS. $4.00 $4.00
The Best.
liook Into it for anything you -want ; you are pretty sure to find it. The Pho- tographers' £ncycIopedla.
Backgrounds! Backgrounds! Backgrounds! — I undertake to paint them for photographers. Send for particulars.
M. H, Albee, Marlboro, Mass.
PORTRAITS IN CRAYON. The new book by E. Long, on the art of making portraits in crayon on solar fenlarge- ments, covers the entire ground, and is sold for the low price of fifty cents. For sale by
Edward L. Wilson,
Philadelphia.
METAL GUIDES
FOE
A. M. COLLINS, SON & CO.'S No. 26 Gilt Bevellbd-edge Cards. The fancy-shaped mounts now so fashionable among photographers, require metal guides with which to cut the photographs. They are now kept on hand, and can be supplied in the follow- ing shapes, and at the prices mentioned :
Each.
Cross $1 05
Star 1 00
Palette 90
Leaf 90
Bell 90
Crescent 80
Egg , SO
Triangle i)0
For sale by Edward L. Wilson,
1126 Chestnut Street, Philadelphia, Pa.
CAMERA, FIELD, AND BOOK.
A Magazine Devoted to Out-and In- door Literature and the Camera.
No amateur can afford to do without it. Specimen copy free. One year, $1.00 ; 6 months, 50 cents; three months, 25 cents. Send silver ur currency by registered letter at our expense. Address Camera, Field, and Book,
Bristolville, Ohio.
P. S. — We will send the photo numbers of Camera, Field and Book, for one year to anyone who will contribute an original item that shall be of value to amateur photographers. Or we will send the same to professional or amateur photographers, for one year, who will send us choice specimens of their work. Send such cor- respondence and specimens by registered mail.
M. WEENEK,
PORTRAIT ARTIST,
No, 102 N. Tenth Street, Philadelphia.
Photographs finished in crayon, India ink, water colors, and pastel, in all sizes, in the very best styles, and at moderate prices.
Solar Flints and Enlaigements Fninished.
Every photographer in want of excellent lenses, for any purpose, will best serve his interest by consulting the new illustrated price-list of Messrs. Benjamin French & Co. before pur- chasing.
For Sale. — On account of the owner's failing health, a prosperous gallery of the most favora- ble reputation. Complete outfit for doing all branches of work ; good light and location and low ground-rent. For particulars address Theo. Peiser, Box 864, cor. 2d &, Marion Sts,,
Seattle, Washington Ty.
Wanted. — A strictly first-class retoucher, also silver, immediately. Must be first-class. Address Deanb,
cor. Market &, Centre Sts.,
Galveston, Texas.
Address T. W. Power, N. Y., Secretary of Association of Operative Photographers of New York City, for operators, printers, and re- touchers 392 Bowery, or 487 Eighth Avenue.
THE PHILADELPHIA PHOTOGRAPHER.
XIX
S & M.
Caution. — The genuine and original SAM Extra Brilliant Paper always has the water mark S ifc M in every sheet.
A good deal of paper is sold with merely the stamp in the corner. This may be good, and it may not, according to what paper is used by the parties who want to work it off b^ putting on a stamp that has a reputation.
Look through the paper for the water mark. E. & H. T. Anthony & Co.
AUSTRALIA.
Operator. — Wanted undoubted first-class op- erator, capable of producing high-class work and throwing art into a negative, for a leading gallery in Sydney, New South Wales. Appli- cants must be well up in wet and dry plates and the work of the dark-room, and must have been engaged in a leading New York or other good gallery in the States, Leaning towards man capable of retouching. Outward passage paid from San Francisco. Good salary to a competent man ; applicants to state age, and give full particulars as to qualifications, and where experience gained. Applications, together with specimens of unmounted prints of all classes of the applicant's own work, along with photograph of self, to be sent under cover to "Australia," care of E. L. Wilson, Esq., 1125 Chestnut Street, Philadelphia, from whom fur- ther particulars may be obtained. Only men whose character will stand the test of inquiry will be dealt with ; waste of time for second- rate men to apply.
Manufacturers and furnishers of engines, tools, and materials for the production and in- dustrial use of paper, who would like their articles to be known in Russia, are informed that, from the beginning of 1886, there will be issued an especial Russian newspaper. Paper and its Use, devoted to the paper business. Advertising rates, one rouble, or two shillings, for five lines nonpareil, type measure, or the same amount of space with a suitable abatement if repeated. Advertisements are translated gratis. A very large quantity of the first number of the paper will be sent to paper manufacturers, stationers, printers, lithographers, booksellers, photogra- phers, binders, manufacturers of paper hang- ings, and other industrials, using paper in Russia. Advertisements must be addressed to Aug. Naumann, 42 Kasauskaja, St. Petersburg, Russia.
Watertown, July 13, 1885. Messrs. E. & H. T. Anthony & Co.
I had always used the plates, but
when his factory stopped was obliged to try Stanley's.
I am much pleased with the result. They are the best quick plates for giving fine chemi- cal effect with good density that I have ever used, and the latitude of exposure is so great that I have not had an overexposed plate since I used them; on the other hand, not a single plate was underexposed.
The 8x10 Novel Camera and the 8 x 10 Dall- meyer Rapid Rectilinear Lens I recently got from you, give the best of satisfaction.
Yours truly,
C. S. Hart.
Send on the plates at once, as I am nearly out of Stanleys.
Alexandria Bay, Oct. 21, 1885. Mr. E. Anthony.
Dear Sir: I took your advice and started with Stanley plates, and from that time to this I have not used any other, and shall continue to use them until I can find something better.
I could show you a number of letters order- ing duplicates, and giving great praise to the brilliancy of the views sent. I shall send you a view of the steamer Maud running full head- way, while I was on the steamer St. Lawrence going the opposite way, and also one of the steamer St. Lawrence I made from the land while she was going seventeen miles an hour. I made them with the Prosch Shutter attached to the Platyscope lens.
I must say that Stanley plates have helped me out of many a difiSculty this summer.
I might add that the only paper I use for all my work is the new N. P. A. Pens6.
Respectfully,
A. C. McIntyrb.
THE PLATINOTTPE (Patented).
Send ten cents for instructions and sample, portrait or landscape.
WILLIS & CLEMENTS,
25 North Seventh St., Philadelphia, Pa.
BUCHANAN, SMEDLEY & BROMLEY,
General Agents for the sale of materials.
For Sale Cheap. — The best photo wagon in the country. Address
W. W. Silver, 102 Fulton St., New York.
XX
THE PHILADELPHIA PHOTOGKAPHER.
CARD TO THE PUBLIC
The undersigned, referring to the circular from Mr. Edward L, Wilson, published herewith, ask your attention to the fact that they have this day purchased his manufactory and studio, and will continue the business of general photogra- phy and lantern-slide production at the above address,
With the most extensive and costly apparatus ever employed in such work, a splendidly accou- tred studio, and with an unrivalled variety of artistic negatives, together with the experience had under our old employer, we are free to say that we can offer a quality of work and such promptness in filling orders, as cannot be rivalled. A needed slide can be made and shipped the day it is ordered.
Lantern slides are our specialty. To their manufacture we add commercial photography of all classes, outdoor work, railroad photography, live-stock pictures and copying.
For amateurs we instruct in the art, develop plates, print, and finish.
For dealers in slides and photo goods, we manufacture from all the famous negatives gathered by Mr. Wilson during many years, and named below, and from special subjects sent to us. Mats, binding paper, and thin slide glass for sale.
For lecturers and exhibitors we make special slides, plain and colored, to order, /rom anything that can he 2ihotographed. All such confidential and reserved for the owner's use only.
For artists, glass and paper reproductions of all kinds. We shall also add continually to our catalogue new and attractive foreign and American views.
Our catalogue will be sent free on application. Present list of slides made and continually in stock. Wilson's personally made views of Egypt, Palestine, Arabia, Petra, Italy, France, and England. Wilson's beautiful objects from Bel- gium, Norway, Switzerland, Sweden, Russia, Spain, Portugal, Austria, Germany, Turkey, China, Japan, Egypt, England, France and Italy, Switzerland of America, Colorado and New Mexico. Statuary — a fine variety : Thor- waldsen's Statuary, Piton's Foreign Comiques, Philadelphia Zoological Garden, Clouds, Snow, Ice, Wilson's original and wonderful dissolving sets, including statuary and views from nature, such as the " Flight of Mercury," etc., Mr. Roberts's personally made views of Florida, Georgia, North Carolina, Washington, Virginia, and other Southern States.
The Centennial Exhibition, 1876, the New
Orleans Exposition, 1884-85, a fine and new series of " The Sunny South," and a large mis- cellaneous collection of comics, portraits and views.
Foreign and American slides supplied for Mr. Wilson's celebrated Lantern Joxirneys, described in volumes 1, 2, and 3.
Agents for Wilson's Lantern Journeys, and other publications.
Stereoscopic and Imperial (8x10) views of the above-named subjects promptly supplied.
Soliciting your patronage, and believing we can maintain the world-wide reputation of our predecessor, we are Truly yours,
Roberts &, Fellows, 1125 Chestnut Street.
Philadelphia, Jan. 1, 1886.
TO MY PATRONS.
I BEG to announce that I have this day sold my manufactory and studio at 1126 Chestnut St., to Messrs. Charles T. Fellows and H. L. Roberts, who will continue the business as announced in the preceding card. Knowing their ability, as my former employes, to produce the best of results, I commend them most cheerfully, and ask your continued patronage for them.
A burden of literary work compels me to sever a connection which has been so pleasant for so many years, very reluctantly, but it is made easier by the knowledge that I leave the matter in excellent hands.
My personal address from this time will be at No. 85.S Broadway, New York, where I shall continue the publication of the Philadelphia Photographer (semi-monthly) and photo- graphic books. Very truly yours,
Edward L. Wilson.
Philadelphia, Jan. 1, 1886.
For Sale. — A well-appointed gallery in one of the principal retail streets of Philadelphia. Price, $1200. For particulars, address Thomas H. McCollin,
635 Arch Street,
Philadelphia.
SITUATIONS WANTED.
No charge for advertisements under this head; limited, to four lines. Inserted once only, unless by request.
As printer and toner. Can make himself gen- erally useful. Best of reference. Address C. A, Mclnturff, 106 S. Maine Street, Dayton, 0.
THE PHILADELPHIA PHOTOG EAPHEK.
XXI
As printer and retoucher. Has had two years' experience in one of the best galleries in western New York. Address W. C. Marshall, Palmyra, New York,
As poser or operator in a first-class studio. Conversant with other parts of legitimate pho- tography. Best of references. Address Operator, 514 Congress Street, Portland, Maine.
At fair wages, as operator, printer, or re- toucher. Address Photographer, care L. Blyn, 120 E. Eighth Street, New York.
Afrer January 1st, by George H. Croughton, an artist and photographer of reputation in England (pupil of an English R. A., and holder of two first-class prize medals for painting and crayon work), as manager or artist, or would run a photographic business upon salary and commission with option of purchase, or any other position where his talents as an artist and photographer would be appreciated. He was artist for Messrs. Southwell Bros., Photographers Royal, Baker Street, London, and has worked for most of the best London houses ; he was Superintendent of the Centennial Photograph Co., for Mr. E. L. Wilson, at the New Orleans Exposition last winter. Would rent a gallery where there is need of a man who can do high- class work. Address G. H. Croughton, 1125 Chestnut Street, Philadelphia.
As printer, toner, or assistant in first-class gallery. Address H. A. Wallace, 131 E. Fifth Street, Cincinnati, 0,
In a large gallery to do general work, dress F. W. Gordon, Monmouth, Maine.
Ad-
As operator, retoucher, or printer in the South or West. Address Carl Klint, Box 20, Hyde Park, Cook Co., 111.
By a young American, who can also speak German, as assistant operator. Understands all branches, especially retouching. Address Wi- nand Bois, Wormersdorf, by Rheinbaoh, reg. bez. Coin am Rhein, Germany.
By a young man of six years' experience in a photo-mechanical process. Dry and wet-plate worker; not accustomed to portraiture or silver printing. Address Morris L. Deutsch, 423 E, Sixty-third Street, New York City,
As first-class operator after December 12, 1885. Fully understands all branches of pho- tography. Can take full charge of studio if required. Has worked wet and dry plates over six years. Can be relied on as steady and gen- tlemanly. Will go to any part of the United States ; Washington, D. C, or New York pre- ferred. Address Photographer, care G. Gen- nert, 54 E. Tenth Street, New York.
EMPLOYMENT FOR DULL HOURS.
Flow your own Plates, use up your Old Glass, and Save Over 50 Per Cent., by using
BURRELL'S PREPARED EMULSION.
I find that most any Photographer can, with little expense, flow his own plates. Send for circular which will give directions for flowing plates, making drying closets, etc., etc.
D. T. BURRELL, 43 Uaple Avenue, Brockton, Mass.
P. DRESOHER & OO/S
Improved Gelatine for Emulsion.
(HARD A.NT> SOFT QUALITY.)
We beg to request our friends to give us their orders for supply during the winter. The steadily increasing demand for this celebrated make is a proof of its superiority over all other products. // Aas no rival, and is specially known for its purity a7id fine body.
Write for samples for trial. Obtainable of the SCO VILL MFG. CO., N^W York,