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FIFTEENTH YEAR.
Number 169.
50 Cents.
THE
PHILADELPHIA
fattmititiiiit.
AN ILLUSTRATED MONTHLY JOURNAL, DEVOTED TO PHOTOGRAPHY.
Edited by Edward L. Wilson.
THE OPHOIAL ORGAN OP THE NATIONAL PHOTOGRAPHIC ASSOCIATION OF THE UNITED STATES.
J a 11 u a r y, X 8 7 8.
PHILADELPHIA:
EDWARD L. WILSON,
PUBLISHER AND PROPRIETOR, 116 North Seventh St.
Subscriptions received by all News and Stock- Dealers.
FIVE HOLLARS PER ANNUM, IN ADVANCE.
SUMMARY OF CONTENTS.
PAGE
Our Fifteenth Year, 1
Our Gold Medal Prize Offer, 1
Outlines of Chemistry. By Henry M.M'Intire, 2
A Time to Read, 4
Gihon's Photographic Scraps. By John L.
Gihon, . 6
What is Art ? 12
My Success with Emulsion Work. By A Filter, 12
Ordinary Dry Collodion. By E. Boivin, . . 14
French Items, 16
German Correspondence. By Dr. II. Vogel, . 18
Society Gossip, 20
One Turn Better, 21
Obituary, 22
Printing with Fatty Inks. By Dr. E. Liese-
gang, 24
Our Picture, 25
Our Advertisers, 26
Photographic News, 2S
Editor's Table, 31
Embellishment. — A Christmas Party in ye Olden Time. Negatives and Prints by Edward L. Wilson, Philadelphia.
ADVERTISEMENTS.
ARTISTIC PHOTOGRAPHY, BIGELOW'S.
BULLOCK & CRENSHAW. Photo. Chemicals.
CAMEO PRESS, THE UNIVERSAL.
CENTENNIAL PHOTOGRAPHIC CO. Lenses, and Boxes, etc.
CHUTE, ROBERT J. Centennial Photographic Diary.
COLLINS, SON & CO., A. M. Photograph Cards.
COOPER, CHARLES k CO. Dresden Albumen Paper, etc.
DEALERS' DIRECTORY.
FASER, C. Frames, Mats, etc.
FERROTYPER'S GUIDE, THE.
FRENCH, BENJ. & CO. The Euryscope.
FRENCH & CO., BENJ. Tubes and Lenses, etc.
GENNERT, G. S. & M. Dresden Albumen Pa- pers, etc.
GIHON, JOHN L. Opaque and Cut-Outs.
HALL & CO. Transparent Crystal Varnish.
HANCE'S PHOTO. SPECIALTIES.
HEARN, C. W. " Studies in Artistic Printing."
HOWSON'S PATENT OFFICES.
IMPROVED PHOTOGRAPH COVERS.
MAGEE, JAS. F. & CO. Photographic Chemicals. MAGIC LANTERNS AND SLIDES. MOSAICS FOR 1878. PHOTOGRAPHIC PUBLICATIONS. PHOTOGRAPHER TO HIS PATRONS. ROBINSON'S METALLIC GUIDES. ROBINSON'S PHOTOGRAPH TRIMMER. ROBINSON'S STRAIGHT CUT PHOTOGRAPH
TRIMMER. SAUTER, G. Passepartouts. SCOVILL MANUFACTURING CO. All Articles
Photographic. SOMERVILLE, J. C. Outfits a Specialty. STEVENS, CHAS. W. Photographic Warehouse. WAYMOUTH'S VIGNETTING PAPERS. WILSON, EDWARD L. Magic Lanterns and
Lantern Slides. WILSON'S LANTERN JOURNEYS. WILSON, HOOD & CO. Ross and Steinheil
Lenses. WOODWARD, D. A. Improved Solar Cameras. ZENTMAYER, JOSEPH. Lenses.
119 South Fourth St.
PHILADELPHIA.
Branch Office, 60S Seventh Street,
WASHINGTON, D. C.
H. HOWSOK,
Engineer and Solicitor of Patents.
c. howsojt,
Attorney at Law, or.r7 Counsel in Patent Cases.
THE
PHILADELPHIA
.PHOTOGRAPHER.
EDITED BY EDWARD L. WILSON.
VOLUME XV.
PHILADELPHIA:
EDWARD L. WILSON, PUBLISHER.
116 NORTH SEVENTH STREET.
187-8.
(
/^
Entered according to Act of Congress, in the year 1878,
By Edward L. Wilson,
In the Office of the Librarian of Congress, at Washington, D. C.
PHOTOGRAPHIC EMBELLISHMENTS.
January. — A Christmas Party "in ye Olden Time." Negatives and prints by Edward L. Wilson, Philadelphia.
February. — Portrait of Hon. John Welsh. Nega- tives by Edward L. Wilson, Philadelphia.
March'. — Prize Portrait. Negatives by J. Landy, Cincinnati, Ohio.
April. — Gold Medal Prize Portrait. Negatives by G. M. Elton, Palmyra, N. Y.
May. — Landscape Study. Negatives by S. R. Stoddard, Glens Falls, N. Y.
June. — Prize Portrait. Negatives by D. II. An- derson, Richmond, Ya.
July. — Prize Promenade. Negatives by John A.
Todd, Sacramento, Cal. August. — Prize Cabinet. Negatives by Bradley
& Rulopson, San Francisco, Cal. September. — " The Hunter's Dream." Negatives
by Daniel Price, Napa, Cal.
October. — "Evening at Home." Negatives by Leon Van Loo, Cincinnati, Ohio.
November. — " The Faggot Gatherer." Negatives by Cook Ely, Oshkosh, Wis.
December. — " Over the Hills to the Poor-House. " Negatives by Edward L. Wilson.
ENGRAVINGS ON WOOD.
PAGE
Albumen vs. Toning 39
Photo-lithographic Process, by Mons. Go-
BERT 55
Photographic Chair 77
Trimming and Mounting 78
Landy's Skylight 86, 87
A Cheap Multiplier 112
Apparatus for Distilling Water, etc 110
Elton's Skylight 123
Rudimentary Perspective 130
Modelling 133
Construction of Roof of Glass House 143
Contrast 174, 170
page
Lightning 192
Light for the Studio 204
Stereoscope and its Uses 205, 200
French's Skylight Plan 228
A Useful Reflector 229
The Trocadero and Gardens, Paris Ex'n... 273
Way mouth's Vignette Papers 289
Albumen Process for making Transparen- cies 342, 343
Parsons' Fuming-box 359, 300
A Frame for Backgrounds 300, 301
Piatt's Universal Filter 360
Gihon's Photographic Scraps 381
CONTENTS.
PAGE
A Time to Read 4
Art Photography 10
Art, What is 12
After Exposure. Dr. H. Yogel 18
Albumen rs. Toning. M. L. Daggett 39
Attention! R. J. Chute 68
Albumenized Paper for Pencil Coloration
of Proofs. E. Stebbing 82
A New System to Obtain Line Engravings in Black upon White Paper. E. Steb- bing 82
Artistic Lighting 93
A Big Map of the Moon. Dr. Vogel 114
A Hard Blow 148
A Chat About an Old Dry Plate. J. 0.
Merrill 167
A Seasonable Dodge. F. Robbins 213
Ammonium. H. M. McIntire 269
Anilin Process in Germany! Dr. H. Vo- gel 276
Aluminium. H. M. McIntire, M.E 293
Albumen Porcelain Process. G. W. Schell 296
Art and Photography. Dr. H. Yogel 301
Another Triumph 313
Arsenic. H. M. McIntire, M.E 332
Antimony. H. M. McIntire, M.E 333
A Few Ideas. J. 0. Merrill 335
Albumen Process for Transparencies 342
Artotype, The 344
A Tribute to W. H. Rulofson 353
A Frame for Backgrounds. M. S. Sutter 360
Are Our Portraits Artistic ? C. W. Hears 361
Burnishing Photographs. J. H. Scotforh 41
Bath, The Sensitizing 70
Bibliographic 129, 234
Blistering of Prints.. 159, 184, 211
Bath Solution 169
Bromine. H. M. McIntire, M.E "197
Boron. H. M. McIntire, M.E 243
Bronzing Fluid, Anilin 251
Bromine Production of the United States... 252
Blisters 257
PAGE
Burnishing, Scratches in. Irving Saun- ders 257
Beer Process 326
Carbon Printing Process. Dr. H. Yogel.. 299
Carbon Printing 305
Chemistry, Outlines of. H. M. McIntire, M.E. ...2, 42, 78, 104, 136, 162, 195,241,
267, 293, 330, 355 Chemistry, Theoretical. H. M. McIntire,
M.E 2
Collodion, Ordinary Dry. E. Boivin 14
Carbon Prints, The Permanence of. 16
Collodion Filter Papers. Dr. II. Vogel... 53
Collodions 71, 171
Chrysoidin. Dr. H. Vogel 114
Carbon Patents in the United States, Status
of Swan's 134, 179
Coating for Walls 155
Carbon. H. M. McIntire, M.E 165
Contrast between Light and Dark 174
Cloud Making 185
Chlorine. H. M. McIntire, M.E 195
Chemical Department. S. M. Robinson.... 216
Collodion, My. F.M.Spencer 218
Charmer, A. J. E. Shall 222
Cleaning Old Engravings 231
Calcium. H. M. McIntire, M.E 270
Collodion, Utilization of Old. Dr. H. Yo- gel 277
Cadmium. H. M. McIntire, M.E 294
Cobalt. II. M. McIntire, M.E 295
Coffee Process, The 324
Collodio-albumen Process, The 325
Collodio-bromide Process, The 326
Chromium. H. M. McIntire, M.E 331
Carboniferous Correspondence. S. H. Pai;-
sons 336
Carbon in France, 1S78. W. D. Gatchkl. 348
Correction 373
Development. E. Boivin 15
Dusting Plates. John M. Ulakh 50
CONTENTS.
Developer, Action of Warnerke's. Dr. H.
Vogel 53
Development and Intensification. E. Stub- bing 54
Developers 73
Developer, Compound 74 ]
Dollars and Cents. J. P. Spooner 75
Dodges, A Chapter of. 76
Developers, Weak vs. Strong 126
Development 173
Death of Mr. Voigtlander. Dr. H. Vogel.. 177
Durability of Pigment Prints. Dr. H. Vogel 177
Direct Copies from Prints 187
Developer, My 219
Developer. A.W.Kimball 220
Defective Negatives, How to be Remedied 230
Emulsion Work, My Success with. A. Fil- ter 12
Exposure. E. Boivin 14
Emulsion and Apparatus, Warnerke's. Dr.
H. Vogel 20
Editor's Table 31, 61, 95, 127, 159, 191,
223, 255, 286, 318, 350, 382 Emulsions, A Report on. E. Stebbing — 54
Emulsion for Dry Plates 73
Engraving with Electricity 94 |
Electrical Light. Dr. H. Vogel 113
Emulsion Cotton. Dr. H. Vogel 145
Emulsion, Levy's French Photographic.
148, 247
Exposure, Prolonged 157
Enlargements on Opal Glass 158
Enamelled Passepartouts, How to Make.... 185 Excursion of Photographic Society of Phil- adelphia. J.C.Browne 193
Emulsion. Dr. H. Vogel 210
Electric Light as Applied to Photography.
Dr. H. Vogel 244
Electric Feat — The California Horse 247
Enamel Process. E. Stebbing 303
Electrical Photography. E. Stebbing 303
IJnthusiasm. E. K. Hough 354
French Items 16, 48, 87, 249, 304,380
Fog, A Dense. C.W.White 46
Focussing in Photographic Operations 49
French Correspondence. E. Stebbing... 54,
81, 115, 146, 279, 301, 341, 377
Fog, A Dense. E. A. Ktisel 84
Filtration, Rapid 120
Fading of Transparent Positives 126
Framing of Photographs 183
Fluorine. H. M. McIntire, M.E 198;
Funny Things, A Few. G. M. Bretz 303
Fusing, Care in. J. II. Henning 217 j
PAGE
Formulas, My. C. F. Richardson 222
Formula for a B,apid Negative Bath 281
Fading in Carbon Prints, Hitherto Unsus- pected Cause of. J. Nicol, Ph.D 291
Franco-German Correspondence. Dr. H.
Vogel 337
First Premium will be Awarded. C. D.
Mosher 359
Gold Medal Prize Offer, Our 1, 369
German Correspondence. Dr. H. Vogel.
18, 52, 113, 144, 177, 210, 244, 276, 299, 374 Gihon's Photographic Scraps. John L. Gt-
hon 6, 34, 70, 107, 140, 169, 200,
236, 260, 306, 323, 381
Gold Medal Prize, Award of the 57
Gold Medal for Home and Foreign Compe- tition, Another 284
Glass Printing Process. Dr. H. Vogel.... 19
Glass House, The 141
Glass, New Kind of. 187
Glace Pictures, How to Prepare Durable
Paper for 190
Glace Photographs 262
Gihon, John Lawrence 321
Gum Gallic Process, The 323
Gihon, John L. A. Hesler 335
Heliochromic Proofs. E. Stebbing 81
Hydrogen. H. M. McIntire, M.E 163
How to Do. J. E. Beebe 213
Hint, A. G. Donaldson 215
How I Work. Frank Jewell 221
How to Mount in Albums without Cockling. 231
Helio Engraving Process, Michaud's 234
Hardened Glass, More About. Dr. H. Vo- gel. 244
Handbook of Photography, Dr. Vogel's... 281
Henderson's Quick Process. E. Stebbing 302
Hot-water Process 326
Henderson's Formula. A. Hesler 335
Hearn's Practical Printer, Second Edition 369
Intensifiers 74
Intensification, Simple. J. H. Henning... 151
Iodine, Colorless Tincture of. 251
Iodine. H. M. McIntire, M.E 197
Iron Solution. E. S. Wertz 215
Industrial Exhibition of Chicago 225
Invisible Ink for Postal Cards 250
Instantaneous Photography 254
Iron. II. M. McIntire, M.E 330
Kindly Words to Correspondents. G. W.
Babb 69
Kent, Mr., and His Hand-screen, E. K.
Hough 328
CONTENTS.
PAGE
Laws Against Photographic Cotton. Dr.
H. Vogel 113
Lens Containing a Prism for Reversing Negatives for Carbon Work. E. Steb-
bing 115
Lightning. I. B. Webster 161, 181
Lightning 181
Light and Shade in Portraiture 1S4
Light for the Studio 203
Lambert's Lightning Process 209, 271
Lightning Process in Europe. Dr. H. Vo- gel 245
Lightning "Licensee," From A. S. V. Al- len 246
Lamp Shade 252
Lithium. H. M. McIntire, M.E , 269
Lichtdruck. Dr. H. Vogel 299
Lightning Process, Richard's. Dr. Vogel 300
Landy's " Seven Ages" 341
Lightningelists, The 345
Lightning Process, A Homespun. Isa
Black 346
Mezzotint Effects. Dr. H. Vogel 19
Mounting of Large Pictures. Dr. H. Vogel 19
Mounting Photographs on Thin Mounts... 28
Mucilage, Dextrin 60, 119
Mounting and Trimming 77
Metric Equivalents 88
Multiplier, A Cheap. H. W. Brows 112
Metalloids, or Non-metals. H. M. McIn-
tire, M.E 163
Mounting of Photographs 183
My Plan. G. M. Bretz 214
My "Views." S.R.Stoddard 216
My Idea. Frank G. Abeli 227
Mora. E. K. Hough 248
Mounting on Thin Cards 258
Mounting Photographs 260
Metals. H. M. McIntire, M.E 267
Magnesium. H. M. McIntire, M.E 294
Manganese. H. M. McIntire, M.E 331
New Observations on Visual Purple. Dr.
H. Vogel 19
Nitrate of Silver 34
New Year. Dr. H. Vogel 52
New Photographic Journals in Germany.
Dr. H. Vogel 53
Negative Retouching, Means to Protect the.
Dr. H. Vogel 53
Nocturnal Photography 60
Negative Retouching Made Easy. H. C.
Norman 84
News of the Day 154
Nitrogen. H. M. McIntire, M.E 164
PAGE
Nitric Acid. H. M. McIntire, M.E 165
Nitrate of Silver, Solubility of. Dr. Vogel 210
News of the Month 252
Nickel. H. M. McIntire, M.E ,295
Native Process-mongers 297
Next Year 353
Our Fifteenth Year 1
One Turn Better 21
Obituary 22, 50, 370
Our Picture. ..25, 33, 86, 122, 153, 182, 212,
249, 258, 313, 347, 379
Our Advertisers 26
Outlines of Chemistry. H. M. McIntire,
M.E... 2, 42, 78, 104, 136, 162, 195, 241,
267, 293, 330, 355 Obernetter's Reversed Collodion Method.
Dr. H. Vogel 113, 144
Oxygen. H. M. McIntire, M.E 163
Old Glasses, How to Clean 184
Our Printing 360
Parsons' Fuming-box 359
Photographic Scraps, Gihon's. John L. Gihon...6, 34, 70, 107, 140, 169, 200,
236, 260, 306, 323, 381 Photography Three Hundred Years Ago... 6 Photographic Images, On Latent and Ap- parent 7
Photography, The Theory of 7
Printing with Fatty Inks Directly from Photographic Negatives. Dr. Liese-
GANG 24
Photographic News. ..28, 60, 91, 124, 185,
284, 315, 349, 367
Pyroxylin, or Soluble Cotton 36
Photographic Chemicals 35-38
Photographer to His Patrons, The 40
Photographic Gibberish 44
Printers' Rollers, Manufacture of 48
Prize Pictures, Criticisms on the, by the
Competitors 97
Past Year. Dr. H. Vogel 52
Photography and the Police. Dr. H. Vogel 53
Progress in Photography. E. Stebbing... 54 Photo-lithographic Process by Mons. Go-
bert. E. Stebbing 55
Prize-print Hints 65
Photo-chromic Proofs. E. Stebbing 82
Photographic Residues, An Easy Method
of Treating. E. Stebbing 83
Photographic Service of the Portuguese
Government. J. Rodrigues 85
Prize-print Hints. J. A. Todd 100
Photography in Natural Colors. Oscar
von Kramer 135
CONTENTS.
PAGE
Printing Solutions, Printers', and Retouch- ing. J. A. Tom> 139
Portraiture, The Art of 140
Pictures on Black Backgrounds. Dr. II.
Vogel 146
Photography as an Art Teacher 151
Photo-chemistry of Chromates. Dr. Vogel 178
Paste, A Pot of 184
Positive Carbon Prints on Glass, Imitating
Enamel 186
Photography Foreshadowed 187
Posing 200
Patents and the Useful Arts 206
Picture of the Sun. Dr. H. Vogel 211
Preservation. W. G. C. Kimball 215
Practical Hints. E. K. Hough 219
Paper, On. Julius Hall 221
Permanent Black. F. Clark 223
Printing at Rocher's Studio. C. W. Hearn 229
Permanent Pigment Printing 239
Phosphorus. H. M. McIntire, M.E 241
Peroxide of Iron, and its use in Photo- chemistry. Dr. H. Vogel •. 245
Persulphuric Acid 251
Photographic Reproductions of Oil Paint- ings 252
Photography in Venezuela 266
Potassium. H. M. McLsttire, M.E 26S
Paris Show, At the. Dan 272
Photographic Optical Patent. Dr. Vogel 277 Photogravure, Capt. Waterhouse's Process
of. Dr. H. Vogel 301
Process for Printing Music 304
Photographic Mosaics, 1879 369
Piatt's Universal Filter 366
Redevelopment, Salicilic Acid for. Dr. H.
Vogel 19
Reversed Negatives. I. B. Webster 101
Reduction of Drawings, Plans, etc 167
Robe as Photographed, The. J. P. Spooler 168
Reversed Negatives. F. N. Blake 176
Reflector, A Useful 228
Removing Mildew Stains 231
Reversed Negatives, Method for Making.,. 250
Retouching Negatives 307
Scottellari's Formula;. Dr. H. Vogel 18
Salicilic Acid for Redevelopment. Dr. H.
Vogel 19
Society Gossip 20, 56, 84, 120, 152, 180, 212,
282, 374
Simple Expedient for Securing Diaphragms 29
Sphynx 40, 150, 283, 373
Scattered Thoughts. F. M. Spencer 46, 102, 310
Sizing of Paper 49
PAGE
Studio, The 91
Still for Saving Ether and Alcohol in Pre- cipitating Collodion or Emulsions. E.
Stebbing 116'
Sulphuric Acid, Solid Commercial 118
Sensitizing Carbon Paper 188
Sulphur. H. M. McIntire, M.E 198
Stereoscope and Its Uses 205
Solar Printing. C. A. Zimmerman 216
Spare Moments. J. P. Spooner 227
Skylight Plan, French's. C. M. French... 228
Stereoscopic Printing. E. P. Libby 228
Solar Printing by Development, Hesler's
Process for 229
Science for the Studio 231, 250, 264
Stains, Removing of 232
Silvering Solution 233
Silver Printing 236
Silicon. H. M. McIntire, M.E 242
Sodium. H. M. McIntire. M.E 268
Strontium. H. M. McIntire, M.E 270
Spirit Photography. E. Stubbing 302
Spotting Out Prints. S. M. Robinson 335
Shall we Sleep or Awake? 365
Table of Iodides and Bromides 35
Toning, Brown and Black 49
The January Meeting of the Photographic
Society of France. E. Stebbing 54
Trimming and Mounting 77
Tchaonia 87
Thoughts from the Almanacs... 126, 158, 183, 230
Toning Bath for Albumenized Paper Prints 188
Tracing-cloth, The Use of. A. IIesler... 257
Tannin Process 326
Tin. H. M. McIntire, M.E 331
Useful Things Worth Knowing 118
Uranium. H. M. McIntire, M.E 295
Varnish, New. Dr. H. Vogel 53
Varnish, A Good 251
Voices from the Craft
335, 372
What Is It? Frank Robbins Ill
Without Acknowledgment 112
What It Is 147
Weak Negatives, How to Remedy 183
Wise Words from the Workers 213, 226, 257
Waymouth's Vignette Papers. C. W.
Hear.n 289
Webster, Mr., Strikes Again 329
AVhat I Know About Photography. E. H.
Train 333
Zinc. H. M. McIntire, M.E 294
THE
kiMetpkia §?k0t0papkr.
Vol. XV.
JANUARY, 1878.
No. 169.
Entered according to Act of Congress, in the year 1878,
By EDWARD L. WILSON,
In the office of the Librarian of Congress, at Washington, D. C.
OUR FIFTEENTH YEAR.
WE enter it with this issue, but notwith- standing our age we have endeavored to keep up a youthful appearance, and appeal to the pages which follow as proof of our success in that effort.
We have arranged some choice dishes for our patrons of the new year, among which are notably a series of papers on " The Out- lines of Chemistry," by Professor Mcln- tire, of Lafayette College, and Mr. G-ihon's "Scraps," all of which we trust will prove very helpful. Added are words always fresh from our unrivalled staff of old corre- spondents and contributors, together with such humble soundings as from time to time we feel called upon to give from our own voice.
"We shall go on striving to keep up a good stock of reading matter and news from all the world for you, and hope to show no signs of age or deterioration. We never felt more youthful, or vigorous, or hopeful, and trust to be able to impart more and more of hope- fulness and cheerfulness to our patrons.
Do not forget as you look through our pages to carefully read the advertising pages also. They are always full of useful infor- mation, and this month there are several new and fresh ones.
We believe the dull times are now broken- backed, and, though it may seem cowardly,
we should get on top of them, or push them overboard, and go ahead!
We wish you all a very Happy New Year.
OUR GOLD MEDAL PRIZE OFFER.
PLEASE to remember that January 20th is the limit of time when we can receive the negatives sent for competition for our gold medal prize offer. We again call the attention of our readers to that offer made on page 307 of our last volume, and trust that those who are ready will send their negatives at once, and that none will be late. It will be for the jury to decide whether or not the usual three days' grace will be given, but we trust that no party will ask for it, or expect it. We have given abundance of time, and hope for a large and fierce com- petition. Of course there can be only one successful party, and there may be several disappointed. But we shall at least select some of the best pictures for our use as embel- lishments for our magazine, and will give all who wish it opportunity to see some prints from the whole series ; of this more anon. Our only purpose now in mentioning the matter is, to urge you not to be behind- hand. Full information concerning the com- petition will be given in our next number.
A correspondent suggests that we offer a choice of $50 cash or a medal. We gladly do it.
1
THE PHILADELPHIA PHOTOGEAPHEE.
OUTLINES OF CHEMISTRY.
BY HENRY M. Jl'lNTIRE, M.E.
ALL human knowledge may conveniently be divided into logic or mental philoso- phy, ethics or moral philosophy, and physics or natural philosophy. Physics or natural philosophy may itself be divided into natu- ral history and chemistry.
Chemistry, in a feeble way, existed as far back certainly as the early Egyptian nation, perhaps even in the earlier Babylonian em- pire. The cupidity of the middle ages trans- formed it into alchemy, from which hardly earlier than the nineteenth century it burst its bonds, and became the modern chemis- try, so that as now known it is quite recent ; indeed, the last fifteen or twenty years have witnessed a great revolution in its land- marks, a revolution so extremely modern that there are many books recently pub- lished, and still in every-day use, that do not make use of it, the change from the "old system " to the " new system " involving a new nomenclature.
The entire field of chemistry may be di- vided into general and analytical chemistry, whilst general chemistry may be further divided into theoretical and practical chem- istry ; the possibility of understanding the latter division resting mainly upon the for- mer, it may be of some consequence to take with the theory some care.
I. Theoretical Chemistry.
An element is a substance that can by no means, mechanical or physical, be divided into other substances ; it is composed en- tirely of one thing. Chemistry has up to the present time recognized sixty-four such substances, while there are rumors of new discoveries. These elements, besides being alone in a free state, may occur in the pres- ence of each other in two ways, mechani- cally and chemically, so that we may have mechanical mixtures or chemical compounds. In mechanical mixtures the constituents may, perhaps, be recognized, if not with the naked eye, by means of a microscope. They may be separated by mechanical means, while the mixture resembles each of them to a greater or less extent ; but in a chemi- cal compound the distinctive features of the
constituents are lost, while in their place the compound has distinctive features of its own. The constituents can only be separated by physical means (light, heat, electricity, etc.). For example, if sulphur and iron-filings be mixed together, each may be recognized in the mixture and easily separated ; but if heat be applied, an action takes place, a new sub- stance is formed, neither sulphur nor iron can be seen nor mechanically separated. In mechanical mixtures it is evident that the constituents can be mixed in any proportions whatever. But with chemical compounds the case is different. Take, for instance, the compound called olefian gas. An analysis would give 85.7 per cent, of carbon and 14.3 per cent, of hydrogen; that is, 85.7 being to 14.3 as 6 to 1, 6 parts of carbon and 1 part of hydrogen. Take, also, marsh gas. We would find 75 per cent, of carbon and 25 per cent, of hydrogen, or 3 parts of carbon and 1 part of hydrogen. Again, for carbon monoxide (the poisonous gas given off by burning charcoal fires), we would have 6 parts of carbon and 8 of oxygen ; and for carbon dioxide (carbonic acid gas), 6 parts of carbon and 16 parts of oxygen. Finally, take water, and it would give 1 part of hy- drogen and 8 of oxygen, arranging all these in a tabular form :
Carbon. Hydrogen. Oxygen. Olefian Gas, . . 6 1
Marsh Gas, . 3 1
Carbon Monoxide, . 6 8
Carbon Dioxide, .6 16
Water, ... 1 8
Here is something noticeable : in the col- umn headed carbon, there is a three and three sixes ; in the hydrogen column, all ones ; and in the oxygen column, two eights and a sixteen. There is evidently some cause for this. Further analyses of other substances would give similar results, so that the fact expressed as a law (and called the law of multiple proportions) would be : If two elements combine to form different chemical compounds, and we consider the same amount of one element, the amounts of the other element in the various compounds will always be one number, or multiples of that number.
After deciding upon this, the next ques- tion according to human nature would be,
THE PHILADELPHIA PHOTOGEAPHEE.
3
" Why is this so ? " To answer this question, the atomic theory was made use of. An atom is the smallest amount of an element that could be reached by division. Each of these particles, these atoms, has a definite weight, always the same for the same substance. By the law of multiple proportions it was shown that a certain number could be selected for each element, so that when ele- ments combined, their weights would always be in proportion to these numbers or multi- ples of them. The reason was supposed to be that chemical action takes place between atoms. For instance, it was supposed that when two elements combined, one atom of the one united with one, two, or more atoms of the other, as the case might be. This being the case, the relative weights of the atoms could be found ; for, if two elements united atom for atom, and by analysis it was found that the weight of one was to the weight of the other, say as one to eight, then the latter was eight times heavier than the former. In this way the weight of an atom of one element could be found with respect to the weight of an atom of another, how many times heavier or lighter the atoms of one element is than another. It would be evident that one and the same ele- ment should be used as the standard to refer the weights of the others to.
Hydrogen was selected as the base, and its atomic weight made one. It was selected because it was lighter than any other ele- ment. Any one of the rest would have answered, although not as well. But, having decided on all this, difficulties would at the very first step occur. If one should try to determine the atomic weight of oxygen, he would take the substances composed of hy- drogen and oxygen ; he would find two of these. In one the hydrogen would be to the oxygen as one to eight, in the other as one to sixteen. He might say that in the one, water, where the proportion is as one to eight, that each atom of hydrogen was united to an atom of oxygen ; the atomic weight of oxygen would then be eight, and in the compound, when there was one part of hydrogen to sixteen of oxygen, each atom of hydrogen was united with two of oxygen ; or he could say, with as much right, that in the latter one atom of hydrogen was united
with one of oxygen, which would make the atomic weight of oxygen sixteen, while in water, when the proportion is as one to eight, there would be two of hydrogen united to one of oxygen, and he would have two numbers, eight and sixteen, one of which would be the atomic weight of oxy- gen, but which one he would be unable to judge with certainty. Then there was a new law demonstrated (by what experiments and reasoning it is unnecessary to state here), that all gases contained in the same space, or volume, the same number of mole- cules. By molecule is meant the smallest part of a substance that can exist, and still contain the characteristics of the substance. If water would be divided as far as it could be, and still be water, that would be a mole- cule of water ; this molecule, however, could be divided into hydrogen and oxygen, but then it would be no longer a molecule. The number of hydrogen atoms, either one or two, uniting with one atom of oxygen, would form one molecule of water. It is also sup- posed that an atom of an element could remain uncombined only for a short space of time ; if there is nothing else present that it can unite with, it will unite with other atoms of itself, and thus form a molecule of that element. So when there is free hydro- gen, the atoms are united among themselves to form molecules of hydrogen in the same way with oxygen ; but when these two gases are brought together in the right proportions, and an electric spark passed through them, the molecules of hydrogen will be broken up into atoms of hydrogen ; the molecules of oxygen will be broken up into atoms of oxygen ; the atoms of hydrogen will unite with the atoms of oxygen to form molecules of water. But, to return to the subject, it has been proved then that in the same vol- ume of every gas, element or not, there are the same number of molecules ; this being the case, every substance that can be made into a gas, its molecular weight may easily be determined, for if the same number of molecules are in the same volume of every gas, the weight of the molecules of two gases must be in proportion to the weights of equal volumes. Take oxygen for an exam- ple. As has been before shown, the atomic weight of oxygen must either be eight or
THE PHILADELPHIA PHOTOGKAPHEK.
sixteen ; and we find, by experiment, that a certain volume of hydrogen weighs 5.59 grains, and the same volume of oxygen weighs 89.25 grains, or is 15.97 heavier, which is so near 16 that it conclusively proves 16 to be the atomic weight of oxygen. (If instru- ments for weighing could be made perfectly accurate, and man could work perfectly accu- rate, there would be no difference between the two weights.) So we see where a substance can be obtained in a gaseous form, the de- termination of its atomic and molecular weights is comparatively easy ; but when the substance cannot be obtained in a gase- ous form, the determination is more diffi- cult, and other means must be made use of. It is not necessary to go into them here ; .enough has been said to explain the mean- ing and force of atomic and molecular weights. These weights have been deter- mined for all of the elements, to which also, for the sake of expedition and brevity, sym- bols have been given, consisting of the first letter, or of two letters, of the Latin name of the element.
LIST OF ELEMENTS, WITH THEIR ATOMIC WEIGHTS AND SYMBOLS.
Atomic Wt. . . 27.4
. 122. . 75. . 137. . 210. . 11. . 80. . 112. . 133. . 40. . 12. . 92. . 35.5 . 52.4 . 59. . 94. . 63.4
113.7 19.
|
Element. |
Symbol |
|||
|
Aluminum, Al. |
||||
|
Antimony (Latin, Stibium), Sb. |
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Arsenic, As. |
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|
Barium, Ba. |
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|
Bismuth, . |
Bi. |
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|
Boron, .... |
B. |
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|
Bromine, . |
Br. |
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|
Cadmium, . . |
Cd. |
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|
Caesium, . |
Cs. |
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|
Calcium, . |
Ca. |
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|
Carbon, . . |
C. |
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|
Cerium, |
Ce. |
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|
Chlorine, . . |
01. |
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|
Chromium, |
Or. |
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|
Cobalt, . . . |
Co. |
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|
Columbium , . |
Cb. |
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|
Copper (Cuprum |
), |
Cu. |
||
|
Davium, . . |
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|
Didymium, |
D. |
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|
Erbium, |
E. |
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|
Fluorine, . |
. E. |
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|
Gallium, . . |
Ga. |
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Glucium, . |
Gl. |
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Gold (Aurum), |
Au. |
. 9.4 . 197.
Element. Hydrogen, Indium, . . . Iodine, .... Iridium, . . . Iron (Eerrum), . Lanthanum, . . Lead (Plumbum), Lithium, . Magnesium, . Manganese, . . Mercury (Hydrargy Molybdenum, Nickel, .... Nitrogen, . . Osmium, . Oxygen, . . . Palladium, . , Phosphorus, . . Platinum, . Potassium (Kalium Bhodium, . . . Rubidium, . . . Ruthenium, . Selenium, ... Silicon, .... Silver (Argentum), Sodium (Natrium), Strontium, . . Sulphur, . . . Tantalum, . . . Tellurium, . . Thallium, . . . Thorium, . . . Tin (Stannum), . Titanium, . . . Tungsten (Wolfram), Uranium, . . . Vanadium, . . Yttrium, . . Zinc, .... Zirconium, . .
Symbol. Atomic Wt.
H.
In.
I.
Ir. Ee. La. Pb.
Li.
• Mg.
. Mn.
0, Hg-
. Mo.
. Ni.
N.
Os.
O.
Pd.
P. Pt.
K. Ro. Rb.
Ru.
Se. Si.
Ag.
Na.
Sr.
S.
Ta. Te. Tl. Th. Sn. Ti. W.
u.
V. Y.
Zn. Zr.
1. 113.7 127. 198.
56.
92.5 207. 7.
24.
55. 200.
95.8
59.
14. 199.2
16. 106.6
31. 197.4
39.1 104.4
85.4 104.4
79.4
28. 108.
23.
87.5
32. 182. 128. 204. 231. 118.
50. 184. 240.
51.3
61.7
65.
89.6
(To be continued.)
A TIME TO READ.
SINCE we have chosen for ourselves the work of supplying photographers with literature, and everybody knows it, we can hardly be accused of a breach of good taste in urging upon our readers the importance of giving more attention to the cultivation of information pertaining to the practice of
THE PHILADELPHIA PHOTOGRAPHER.
their art. We do feel that there is a great deficiency in this direction, and we are prompted to call it to mind again hy a letter received from one of our subscribers and patrons, bringing very forcibly to our minds the advantages of reading. This letter comes to us from one of the oldest and best-known stockdealers in our profession, Mr. Benja- min French, of Boston, who says : "I have always recommended your journal, and shall continue to do so. I have obtained a good many subscribers for you, and I advise those who can afford it to take all of the journals, as it will not harm them. I take pleasure in reading them all myself, and enjoy the knowledge that artists take them, as they are a good thing for all ; and if they were only read half as much by photographers as I read them, they would be largely bene- fited. I often give copies of your magazine away, when I find a photographer who does not receive it, hoping thus to induce sub- scriptions." Here is a testimonial that is of value, since it comes from one old and experienced in the business, and who has learned to look at things with a practical eye. Another evidence of the advantages of study comes to us from a working photog- rapher, whose letter follows.
Dear Sir: With the thermometer at sixty degrees, and a continued drizzling rain accompanied with dull leaden sky, our thoughts, for the time being, naturally drift to our books. This becomes the case more especially at a time of the year when the change of season brings with it also that most disagreeable uncertainty, in regard to how the weather at 10 a.m., 12 m. or 2 p.m., may appear. Notwithstanding the bold and almost military appearance of the little woman on the barometer in the show- window of our neighboring book and sta- tionery store, positively indicating that a clear sky and fine weather must be the result, the weather, alas, continues as disagreeable, photographically speaking, as one could desire. Day-book, register, and ledger con- sulted, give no glowing accounts in our favor and therefore we turn to another class, i.e., those of whom we have learned to speak with reverence, such as Dr. Vogel's Hand-Book, Bigelow's Album, Philadelphia
Photographer , Anderson's Skylight and Dark-room, etc.
ISTow I am quite certain that if I were one of the distinguished authors of these works, I should feel myself highly flattered, if an occasional acknowledgment of the benefits derived therefrom were given by those so benefited. It is rather astonishing, how- ever, that we are obliged to listen to remarks of dissatisfaction against this or that work so frequently; in fact not seldom hearing the same pronounced as " impositions on the fraternity." These expressions naturally make one feel pigmy-like, in comparing ourselves with those who thus loudly speak, when we consider that we had termed this and that, and many other little suggestions, formula?, glowing descriptions of travel and art, a general advancement of our art, and, in fact, have already adopted many of the ideas thus obtained. Having, therefore, a desire indeed within us, to see the results of those who can thus lightly speak of those whom we hold in high esteem, we avail ourselves of the first few spare moments and stroll up or down the streets and avenues of our town ; and before going to the rooms, we stop for a moment in front of the display cases of our friends (denunciators of -all advancement in our art), and it is then that a smile of satisfaction may be seen to steal over our countenance, as we suddenly wheel about with the resolve that we will continue to plunge deeper and deeper into all acces- sible reading-matter pertaining to our pro- fession.
I do not at all feel inclined to assert that the mere act of hastily reading all the long articles, will result in the production of a thorough-fledged photographic artist. But for myself I am prepared to say that with the necessary application of the mind to the careful study of the many valuable works of instruction, and the proper practical appli- cation of them, ultimate satisfaction and favorable acknowledgment of the beneficial influence will be the result. Again it is not necessary for one to tamper with all formulae and suggestions offered, but only to once lay out for himself a definite route, to be trav- ersed by this or that sort of conveyance, and then to modify, as time and necessity sug- gest, in the several branches.
6
THE PHILADELPHIA PHOTOGEAPHEE.
Now to give a plain illustration of the remarks above, I to-day send to your address, per mail, several views made on 11 x 14 and 8x10 plates ; and it may not a little surprise you that all of them were made with a No. 8 Ross lens, 10 inch focus and smallest stop, the exposures varying from: No. 1, 2 minutes — No. 2, 1 minute — No. 3, 6 min- utes— No. 4, 10 minutes, and No. 5, 12 minutes. And although the exposures were so varied, there was not the least change in formulae from albumenizing of the plates to varnishing the same. Furthermore, after this tour in a locality most difficult of access, with a 11x14 heavy camera, collodion, bath and developer were filtered, the regu- lar portrait work of my rooms resumed, and the first negative of a child at ten-seconds exposure resulted as per print also sent you to-day, which the printer refused on account of the abrupt vignetting, but it will suffice to illustrate the nature of the negative pro- duced.
Anxiously looking forward for the next number of the journal, I remain, Yours respectfully,
John H. Henning,
Johnstown, Pa.
P. S. I would state that this was my first attempt at viewing, and that it is quite a source of gratification that my efforts are being appreciated, and many orders from the more intelligent are received. The stream along which the scenery lies is called Paint Creek, and its course is through the southeasterly portions of our county and the village of Scalplevel, about sixteen miles from our town, being frequented during the summer by residents of smoky Pittsburg, of whom a number are contributed by the School of Design of that city.
J. H. H.
Here is a young photographer who enters the practice of our art with all the glow and enthusiasm of an earnest worker; he adopts the right plan of informing himself, and is frank enough to acknowledge the benefit he has derived from books. Not doubting but what he tells us is true, for he had no idea of our publishing his letter, we have to say that he has made wonderful reaches in photography already ; the views which he sends us are of scenery in the
mountain regions near his home, and are certainly as fine examples of outdoor pho- tography as it has been our pleasure to see for a good while. They are admirable, and prove Mr. Henning able to make good photographic work, to select artistic subjects, and to select subjects which are arbitrary to the most advantage.
Now is the time of year for photographers to take advantage of the spare hours, and improve them for their own good. It is just like precipitating so much clear, solid metal for future use and advantage, and should not be neglected. We have tried to meet the wants of photographers by offering in our circular of November 25th special ad- vantages, which we believe will be largely enjoyed. If our means would allow, we should be very glad to place a series of our publications in the house of every photog- rapher who needs information ; we can only do the next best thing, which is to make the prices as moderate as possible. We leave the subject with you for your best consider- ation. Send for and read our circular.
GIHON'S PHOTOGRAPHIC SCRAPS.
BY JOHN L. GIHOS.
Series No. 1.
The Philosophy of the Formation of " Sun-Pictures," as explained by different authors.
PHOTOGRAPHY Three Hundred Years Ago. — " It is claimed that there has re- cently been discovered a translation from the German, three hundred years old, which gives a clear explanation of the principles of pho- tography. The ancient alchemists under- stood one of the properties of what we call chloride of silver. They knew that if images were produced by a lens on a coating of this chemical substance, the light parts became fixed in black, and the half tints in gray, while those parts which were not struck by the light were left white. Fabricius verified this in 1566 in his De Rebus Metallicus. In 1760 Tiphaigne de la Roche, in a very sin- gular book, entitled Giphantie a Babylone,
* In the beginning, I beg to acknowledge my indebtedness to all known sources of photo- graphic information for what I gather from them, without further credit. — J. L. G.
THE PHILADELPHIA PHOTOGEAPHEE.
supposed himself transported to the palace of the genii of the element, the chief of whom thus addressed him : ' You know that the rays of light reflecting various hodies paint them on the retina of the eye, on the surfaces of the water, and on mirrors. The spirits have sought to fix these passing images ; they have composed a very subtle adhesive material, which hardens very quickly, by means of which a picture is made in the twinkling of an eye. They spread this sub- stance on a piece of cloth, and expose it to the objects they wish to depict. The first effect of this prepared cloth is that of a mir- ror, near and distant objects being shown upon it ; but that which a glass cannot effect this cloth with its viscous covering does, namely, it retains the image faithfully, a process which is the work of the first instant this is received on the cloth. It is taken away directly to a dark place, and an hour afterwards the glazing is dry, and you have a picture far more precious, truthful, and lasting than any that art can produce. ' The spirit then entered into a physical disquisi- tion ; first, on the nature of the glutinous body, which intercepts and keeps the rays ; second, on the difficulties of preparing and employing it ; thirdly, on the mutual action of the light and the glutinous body. ' Three problems,' adds Tiphaigne, on waking from his trance, ' which I propose to the philoso- phers of our days.' Thus, if for the ' viscous cloth ' of the dreams of Tiphaigne we substi- tute iodized plates, paper, or collodion, we have the realities of Daguerre, Niepce, and Fox Talbot,"
On Latent and Apparent Photographic Images. — "The earliest photographic fact on record is the blackening of chloride of silver (the alchemist's luna eornua) by the agency of light. Though Scheele and Count Kum- ford experimented on this substance, Wedge- wood and Sir Humphrey Davy were the first to use it for pictorial purposes. They aban- doned their pursuits, however, from their inability to fix their pictures. In making their experiments these philosophers were enabled to j udge of their effect by their im- ages being apparent and formed under their eyes ; but subsequent discoverers, Niepce, Rev. J. B. Eeade, Fox Talbot, Daguerre,
and Archer, disclosed a more subtle action of light when they established that latent images, equally perfect, were produced in a much briefer period of time, needing only the proper chemical reagents to make them evident. Into these two classes, latent and apparent, all photographic images may be primarily divided.
" Chloride of silver is the substance gener- ally used for producing apparent images, as in sun-printing, and it is a curious fact that it was the first material used for the purpose, and is retained to this hour for the same use. For latent images iodide of silver is always employed, and whether it be daguerreotype, calotype, albumen, wax-paper, collodion, or any other modification, iodide of silver is always the base to act upon."
The Theory of Photography. — " Observa- tion has shown that certain salts of silver undergo change in the presence of certain kinds of light. The change may be Adsible to the eye, as in the case of the darkening of chloride of silver, or may be ascertained by the behavior of the salt when certain chemical agents are brought in contact with it, as in the case of iodide of silver in the wet collodion process. It is none the less true that the latter change is as real as the former, though it be invisible to our senses. It is found that lights of certain colors affect the silver salts as well as pure white light, and that those of certain other colors refuse to cause that change. Those colored rays of light which will effect a change (visible or invisible) are termed actinic or chemical rays, all others non-actinic. "When light is decomposed by a prism we have all the colors of the rainbow shown, and although they pass imperceptibly from one to the other, yet, for the sake of perspicuity, they have been divided into seven colors, which are called primary colors. They are red, orange, yellow, green, blue, indigo, and violet. Ex- periment has shown that lights of those colors which are included between the green and the violet are actinic, and that of these, those which produce the most rapid change in a silver salt are situated about half-way between the two. "With different salts of silver the range of actinic power varies slightly, inclining more or less to the red
THE PHILADELPHIA PHOTOGEAPHEE.
end of the spectrum. In some future day we may hope that some salt may be found to which red rays may be actinic, thus giv- ing a more truthful complexion to nature as represented in a photograph. It should be remembered then, that white light only causes a chemical change in the silver salt, because of its components some are actinic. It is because the red and yellow rays are non-actinic that colored glass of these hues is used in our developing-rooms, the light admitted through such glass, if it be of good quality, being incapable of producing any primary change on the collodion film, which contains a silver salt. It must also be noted that when a ray of light is decomposed by a prism into its primary colors, and these be allowed to fall upon a film containing a sen- sitive salt, a change in the sensitive salt is produced beyond the place where the ex- treme violet ray is seen. These rays are called dark rays of the spectrum, and are usually denoted as ultra-violet. As these produce a change in the salt they are like- wise actinic rays.
"Such is a short summary of the light which is valuable to photographers, and we shall now discuss the means by which the in- visible changes that have taken place in the sensitive salts are made apparent and util- ized.
"The sensitive salts of silver which are usually employed in photography are, the iodide, the bromide, and the chloride of sil- ver. In order to illustrate the theory of the formation of a photographic image, the iodide will be taken as a type, the action of light on the other salts being similar.
" Iodide of silver can be formed in two or more ways : by the action of a soluble iodide, or of iodine vapor upon metallic sil- ver ; or by the humid method. This last method is that employed for its formation in ordinary photography : the soluble iodide of a metal, or a metalloid, such as cadmi- um, ammonium, etc., is brought in contact with a solution of nitrate of silver ; the iodine, having a strong affinity for the sil- ver, forms iodide of silver, setting the nitric acid free, Avhich in its turn combines with the metal originally in combination with the iodide.
" Plain collodion may be considered, for the purpose of illustrating the theory of photography, as an inactive body, exerting no influence whatever on the chemical reac- tions that take place, but merely as a ve- hicle used to retain certain chemical com- pounds in situ.
" There are certain salts which contain bro- mine and iodine that are dissolved in collo- dion, and this collodion is flowed over a glass plate, and allowed to set. After set- ting, the film is immersed in a solution of nitrate of silver. This film containing the salts is, whilst still moist, taken out of the bath, and exposed to the action of light ; if the rays are directed by a lens they form an image, if uncontrolled the chemical change takes place over the whole plate.
" The chemical change that takes place in the iodide of silver by the light, we have very good reason to believe to be the forma- tion of a subiodide of silver.
" If no body which will absorb iodine be present this change will not take place, for if we thoroughly wash a plate on taking it out of the bath, and attempt to develop it, after exposure to light no alteration in its aspect will be manifest. It is therefore evi- dent that in wet photography the nitrate of silver plays an important part.
" In dry-plate photography the action of light is precisely the same, but the free ni- trate of silver solution is replaced in this case by some body which will combine with iodine.
"As we have said before, the change to the state of subiodide is invisible or latent, and we needs must find some agent which will bring the chemical action to the cog- nizance of our senses. Pyrogallic acid is a chemical which is well known for its affinity for oxygen, as are the ferrous or proto-salts of iron, the latter tending to form the ferric or per-salts that are to combine with more oxygen. We will take the example of the latter when applied to the latent image. It is based on the assumption that the sub- iodide of silver has an affinity for metallic silver, and, consequently, causes the silver from the free nitrate solution to be deposited by the developer upon those parts acted upon by light.
THE PHILADELPHIA PHOTOGRAPHER
9
"A little consideration will show that if this action take place the image must he on the surface of the film, and not in it. Expe- rience shows that such is the case.
" The theory of the reduction of hromide of silver hy an alkali, as applied to dry-plate photography, proves that in that case the image is in the film, and not on it.
" In the practical formula for developers it will he noticed that the addition of (acetic) acid is invariably included. If to a solution of protosulphate of iron (or pyrogallic acid) a solution of nitrate of silver he added, it will be found that there is an almost instan- taneous deposit of metallic silver. In fact, this is one method of reducing silver from an old bath solution. Suppose a developer such as this were flowed over a plate which had free nitrate of silver on it ; it would be found that an immediate precipitation of silver took place all over the film. The at- traction of the subiodide of silver (adopting our theory of development) would be ren- dered void, owing to the rapidity of deposit.
" If either of the solutions be acidified, the deposition would take place with greater regularity and less rapidity.
" If it were sufficiently slow, the subiodide would be able to attract all the particles of metallic silver as they were formed, and thus build up a metallic image. In practice the acid added is just sufficient to cause this gradual reduction of the silver. Heat in- creasing the rapidity of the chemical action, it follows that in decidedly hot weather a larger quantity of acetic acid should be used than in cold.
" The stronger the iron solution the greater chemical power it will have, and the more rapidly it will decompose the silver solution. As a consequence, with a strong solution, all parts of the picture acted upon by light will immediately become nuclei for the de- position of silver, and the deposit will be of more even density than if a weaker solution had been employed ; for with the latter those parts most acted upon by the light — i. e., which had been most thoroughly converted into subiodide — having the most attractive force, would draw the deposit of silver to them, and the image would be much more intense at those parts than where the light
had less strongly acted. This, which is true in theory, has been verified by practice.
"Any method of increasing the opacity of the developed image, either by changing its color or rendering the deposit thicker, is called ' intensifying a negative.' The agents used are called 'intensifiers.'
" Either pyrogallic acid or protosulphate of iron may be employed with nitrate of silver, to cause an increase of density by thickening the deposit of the metallic silver. The reactions here are analogous to those of development, excepting that the metallic silver is the attractive matter instead of the subiodide. Both these have the property of assisting the decomposition of the solu- tion of the silver salt, as before stated. The silver must be reduced gradually to the me- tallic state, when it will be deposited on those parts on which silver has already been reduced by the action of the developer, in the ratio of their densities.
""When we dip a piece of bright copper wire into a solution of nitrate of silver, on withdrawal we find it coated with a deposit of silver. If, instead of these two metals, we have silver and a solution of chloride of gold, we will find that the gold displaces the silver and produces a change in color.
"Any one acquainted with even the ele- ments of chemistry will be aware that a solution of a silver salt added to other chemi- cal bodies, such as bichromate of potash, permanganate of potash, etc., produces a precipitate of a varying color ; in the first case a reddish one resulting.
" It is found that by flooding a developed and fixed film with certain of these chemi- cals, a corresponding change in color takes place. In most cases a preliminary conver- sion of the metallic silver to the form of iodide facilitates this change. This is ac- complished by flowing over the plate a solution of a soluble iodide and iodine.
"To take another example of intensifi- cation by change of color : If, after the conversion of a small layer of the fixed image into iodide, we flow over it or im- merse it in permanganate of potash, we get binoxide of manganese deposited on the silver.
"After the development of the latent im- age or picture formed upon the sensitive
10
THE PHILADELPHIA PHOTOGEAPHEE.
collodion film, the iodide and bromide of silver are left unaltered, and probably the subiodides and bromides.
" Looking at the reverse side of the plate (that which does not bear the film), the green color of the iodide and bromide of silver will be apparent.
"Were this unaltered iodide and bromide of silver left in the film, a print taken from it on paper in the ordinary manner would be found to be nearly a blank, the iodide and bromide possessing almost as much power of preventing the passage of light as the reduced silver itself. Certain chemical solutions, however, are found to be capable of dissolving the iodide and bromide, leav- ing the metallic silver unchanged.
"These chemical solutions are termed '■fixing solutions,' or ' agents,' and the opera- tion of dissolving out the iodide and bromide of silver is termed ' fixing the image. ' These terms apply equally to those agents and operations in printing which render the image permanent. Here, however, chlo- ride of silver is acted upon. Dismissing the chlorides of the alkalies and iodide of potassium (owing to their imperfections as fixing agents), the first solvent of iodide, bromide, or chloride of silver that is to be noticed is hyposulphite of soda.
' ' The chemical reaction of this salt upon the bromide is similar to that upon the iodide. The double salt is soluble in a solu- tion of hyposulphite of soda ; consequently the darkest shadows of the image will be rendered transparent through the removal of the iodide (and bromide) by the applica- tion of the latter in excess.
"The only other fixing agent that is in general use is cyanide of potassium. Its chemieal reaction on the iodide and bromide of silver is similar to that of the hyposul- phite of soda, a double cyanide of silver and potassium being formed, which is soluble in a solution of cyanide of potassium.
" The cyanide of potassium has also a. slightly solvent power on finely-deposited metallic silver. If a test-tube be coated with a fine layer of metallic silver, it will be found that a strong solution of cyanide of potassium will dissolve it completely after a short interval of time. Hence is apparent the need of using a weak solution
of this fixing agent, and allowing it to re- main on the plate as short a time as possible.
" The cyanide of potassium is a deadly poison, and great caution should be exer- cised in working with it. Its fumes are deleterious to the system, and if the solution come in contact with a cut or sore place in the skin, festering is liable to occur. Should, by any accident, any of the solution be taken internally, a draught of iron devel- oper taken immediately will render it in- nocuous. Similarly, the iron solution, applied to the cut or sore which has been in contact with the poison, will prevent bad results. If festers do occur through its use, an ointment made of lard and finely-pow- dered protosulphate of iron will prevent a furtber spread of the mischief.
" Most photographers recommend the hyposulphite, in preference to the cyanide, as a fixing agent, owing to the latter 's poi- sonous character and liability to eat into the half-tones. The color of the negative given by the latter, by reflected light, is whiter, but by transmitted light, browner, and consequently more non-actinic than if the former be used. For this reason, and also on account of the much diminished washing that is required to free the film from the traces of the fixing solution, the cyanide is here recommended as the agent to be generally used.
" If ordinary precautions are taken, it need not prove hurtful to the operator through inhalation or otherwise ; and if the film be washed immediately after the iodide of silver is dissolved out, there need be no fear of an attack on the half-tones. Hypo- sulphite of soda is to be avoided, on account of the mischief which even one drop of its solution causes to the bath.
" Great care should be taken that no acid come in contact with the cyanide solution, as it is decomposed, and hydrocyanic acid vapor (prussic acid) is given off. The vapor is almost more dangerous than the liquid solution."
uArt Photography will embrace all pic- tures where the artist, not contented with taking things as they may naturally occur, determines to infuse his mind into them, by arranging, modifying, or otherwise dis-
THE PHILADELPHIA PHOTOGKAPHEK.
11
posing them, so that they may appear in a more appropriate or beautiful manner than they would have been without such inter- ference. This class may easily embrace almost all subjects. In landscapes, the artist may select the period of the year, the condition of the weather, time of the day, point of sight, length of exposure, etc., as material agencies in modifying his picture. The same in portraiture, by arrangement of light, pose, expression, presence or absence of accessories, etc. ; also in the composition of pictures, by the due attention to all the necessary parts, so as to form one harmo- nious whole.
" I feel that photography is capable of being made to minister to higher purposes than any to which it has yet aspired, and that it will as certainly take its place as a fine art as sculpture or painting. How early, depends on the earnestness, truthful- ness, and intelligence of its votaries.
"The tendency just now is to produce art photographs by fragmentary portions, rather than direct and all at once.
" Strictly speaking, this consideration does not lie in our province. A photogra- pher, like an artist, is at liberty to employ what means he thinks necessary to carry out his ideas. If a picture cannot be pro- duced by one negative, let him have two or ten ; but let it be clearly understood that these are only means to the end, and that the picture when finished must stand or fall entirely by effects produced, and not by the means employed. When judging of a painting, we do not ask the artist how many sittings he took from his models, or how often he arranged his lay figure ; these are the mechanical appliances of the arts, the mysteries of the printing and painting- rooms.
" I lay stress on these points, because I find persons dwelling too much on the beau- ties of an art photograph, and praising the artist because he composed it from so many negatives, thus exalting too highly the me- chanical instead of the artistic skill.
"We have abundance of mechanical ability ; it is the artistic we want to culti- vate. For my part, I am sorry to see that an artist-photographer is obliged to have recourse to more than one negative, and
can fancy how he must be annoyed and crippled by working in this fragmentary way.
"Of two given pictures, equal in merit and design, that one is the best which is se- cured by the fewest negatives ; for he is the higher artist who produces the greatest re- sults with the smallest means.
" I consider it, then, rather a demerit, that a given picture should require so many negatives to produce it ; it indicates a pov- erty of means or design, and is so far a reflection on the art, or the artist, or both ; for, after all, the ultimate picture must ap- pear as if produced from one negative. Not only are the manipulatory difficulties in- creased, but the risks run are very great of altogether destroying that natural harmony and chiaroscuro always present in a picture taken from one negative.
" Finally, I do not think the advocacy of composition printing tends to advance art photography. It starts with putting clogs and fetters upon it. As mind is higher than matter, so is art loftier than mechanics. The artistic mind is not mechanically in- clined. It is better — clearing all obstacles from his path— to allow the art photogra- pher free scope to his fancy, and tramelled with few mechanical details, to give him freedom in the use of the camera and print- ing frame, as the legitimate ventricles of expressing his conceptions of beauty.
"In this way only, loving our art, can we hope to elevate it.
" As mechanical photography deals with material beauty, so let art photography treat with intellectual beauty ; and when deep and earnest minds, seeking to express their ideas of moral and religious beauty, employ high-art photography, then may we be proud of our glorious art, and of having aided in its elevation."
(To be continued.)
Mr. Walter B. Woodbury, of London, has brought out the sciopticon in Europe, and it is now the leading lantern of England and Germany. We may say, too, that it is the leading lantern of America, because nothing else is so compact, or has so many advantages, either for oil or gas.
12
THE PHILADELPHIA PHOTOGKAPHEK.
WHAT IS ART?
THIS is a query which we have for ten years heen striving to constrain our readers to consider, in order that when once settled in their minds, they may adopt and practice its principles in their business.
We have from time to time given them series of articles on art principles, appli- cable to photography, and we feel sure that we have noticed as one of the results great improvements in the works of the photo- graphers in the United States. But there is yet much more room for improvement and progress in this direction, and we shall, during the new year now at hand, endea- vor to keep at it, and if possible to excite still more interest in the matter.
Artists are loath to permit photographers to make any claim to artistic merit ; we are crowded out of exhibitions and collec- tions, because our work is not considered as the production of art. Those who paint, those who cut and carve, however, are becoming more reconciled to the thought of allowing photography to walk alongside, and are becoming more lenient than they were, simply, we suppose, because they begin to feel that our art is a necessity to theirs. Of course, feeling our youth, we should be modest and patient, but persistent withal, and the day will come soon when we shall receive our just due. "We of course have our own opinion as to the merits of pho- tography, and not only claim that it is an art, but an incomparably expeditious one. Where is the painter or sculptor who would not quail at the thought of reproducing such lively representations of nature as are pro- duced by our blessed art, in the same time ? The subject is presented to the photographer, grumbling and growling and complaining and fretting because of the unpleasantness of sitting for a photograph, and our artist is expected in the few moments at his com- mand to produce the most lifelike counter- feit that the exactions of an impatient nature can claim ; while the painter or the sculptor is permitted to have ten times as many sittings, each ten times as long, with no complaint and no rebellion. Who then is the greatest artist but he who in the least time produces the most natural result ? We leave
it to the "echo " of the St. Louis Society for the Prevention of Photographic Progress to answer. But we are straying from our sub- ject. Our query is, What is art?
We find it admirably answered in a beau- tiful poem by Mr. Longfellow, in the December number of Harper's Magazine, entitled "Keramos," which is none other than the history of the ceramic art, and which beautifully closes as follows :
"Art is the child of Nature; yes, Her darling child, in whom we trace The features of the mother's face, Her aspect and her attitude, All her majestic loveliness Chastened and softened and subdued Into a more attractive grace, And with the human sense imbued. He is the greatest artist, then, Whether of pencil or of pen, Who follows Nature. Never man As artist or as artisan, Pursuing his own fantasies Can touch the human heart, or please, Or satisfy our nobler needs As he who sets his willing feet In Nature's footprints, light and fleet, And follows fearless where she leads."
MY SUCCESS WITH EMULSION WORK.
BY A FILTER.
I MAKE bold to give you my experience, as an amateur, with the emulsion pro- cess, as it may help some brother amateur at least to find his way.
I began my experiments with emulsion partly because it requires less investment, and partly because it was something new, and I have yet no desire to undertake bath work. I believe that with an emulsion well made, a proper developer, and careful atten- tion to details, success is more certain than with the bath. The emulsions which I find to be the most satisfactory are from two for- mulae, one of which is taken from Professor Towler's Dry-plate Photography; the other was taken from one of the photographic magazines, which one is forgotten. The details and some of the formulae have been altered, or such others substituted as were more simple, or gave better results.
THE PHILADELPHIA PHOTOGKAPHEK.
13
I have found no difficulty in making my own emulsions, and by making them myself I can use them more intelligently, knowing their composition, etc.
In making an emulsion, I dissolve the bromides in the least alcohol possible, and when all is dissolved add the ether and cot- ton ; in No. 2 the hydrochloric acid is added to the bromide solution before the cotton. The silver is always to be dissolved with heat, in as much alcohol as can be reserved from the formula ; and when dissolved, it is neces- sary to add it to the bromized collodion im- mediately, to avoid recrystallization ; the emulsion is then shaken hard and kept in the dark.
I use 5x8 glass with corners and edges ground, and clean the plates by putting in lye, then rinsing and coating with prepared chalk and water ; when dry, rub off with a clean cloth and coat with dilute albumen, and stand them away to dry. The best sub- stratum for all purposes is albumen and water, with a few drops of ammonia to keep it. The preservative given does not require anything to keep it ; it keeps well even in hot weather.
After being coated with emulsion, the plate is placed in clean water until all gr easi- ness disappears, then it is rinsed, and if re- quired to keep for more than half an hour, it is flowed with the preservative, drained, and placed in the changing box.
If required for immediate use as a wet plate, the preservative is omitted, and the plate will work nearly as quick as a bath plate.
The film being always moist, will not bear rough usage, but is more sensitive.
The length of exposure depending on the age of the plate, the light and the lens, will be from thirty seconds to fifteen minutes. By the addition of three to six drops of strong solution of iron bromide to the ounce of emulsion, I have been able to get a good negative out of doors in two seconds, with good light. The emulsion so prepared will not retain its extra sensitiveness longer than a few hours.
Upon the developer depends the success of emulsions, which naturally lack intensity, as all do, more or less. The one given is the best of the many which I have tried ; it gives strength, and is regular in its action.
Instead of trying to use pyro in solution, it is better to have it weighed out in " pow- ders " of one or two grains each, which is suf- ficient for a 5 x 8 plate.
The soda carbonate should be fresh, not the effloresced article usually offered, and the silver and pyro should not be discolored ; the purity of the chemicals is an important part.
To develop a plate, it is placed in clean water until the film is evenly wet, then rinsed and flowed with the developer, which is poured off when the image begins to appear ; the plate is kept moving, and when fully de- veloped, is washed and fixed ; or, if irregu- lar action should begin, it is to be washed with acetic acid and water, then fixed and thoroughly washed and let dry.
When a plate has become dry it should be flowed with alcohol before rewetting, to avoid blisters ; then, after washing, it may be intensified with acetic acid, pyro and sil- ver used rather weak, and quickly flowed. Beware of keeping it on too long ; if once is not enough, make a new mix and apply again, etc.
The use of alcohol or sugar in the developer causes the film to look pink, reddish, or pur- ple, by transmitted light, and is of no par- ticular advantage.
The bromide of iron spoken of was formed by adding five grains of iron sulphate to seven to nine grains of potass, bromide in solution ; this may not form iron bromide proper, but it is mixed in the proper propor- tions, and does what is required of it.
The following are formula? which have given me the best satisfaction, with the most certainty and least trouble.
Emulsions. No. 1.
|
Ether, Alcohol, |
2 ounces. 2 " |
|
|
Cotton, |
24 grains. |
|
|
Ammonium Bromide, |
3 |
|
|
Cadmium Bromide, . |
24 " |
|
|
Ag.N05 |
(Nit. of Silver), No. 2. |
48 " |
|
Ether, Alcohol, |
2\ ounces 3 " |
|
|
Cotton, |
20 grains. |
|
|
Cadmium Bromide, . |
40 « |
|
|
Hydrochloric Acid, . |
8 drops. |
|
|
Ag.N05 |
(Nit. of Silver). |
80 grains. |
14
THE PHILADELPHIA PHOTOGEAPHER
|
4 |
ounces |
|
i |
ounce. |
|
10 |
grains. |
|
1 |
ounce. |
|
40 |
grains. |
No. 1 gives intensity ; No. 2 detail; they may be mixed to obtain the happy medium. No. 1 is improved by more ether.
Developer. Stock Solution No. 1. Water,
Soda Carbonate, Ammonium Bromide,
No. 2. Water, Pyrogallic Acid,
Accelerator No. 3. Water, \ ounce.
Ammonia, Concentrated, . \ " Ammonium Bromide, . 20 grains. The accelerator is added to No. 1 (six or eight drops), before No. 2, when ready to use, but is not often required.
Preservative (Stock Solution).
Water, .... 3 ounces. Albumen, i ounce.
Glycerin, . . . 1 "
The developer is Newton's alkaline, and to it I give most of the credit of my success with emulsion.
In conclusion, I would say that nothing new has been told, it having been my object to give a sort of compilation which forms a simple and reasonably certain method of working emulsion, dry or wet.
[Translated for the Philadelphia Photographer '.]
ORDINARY DRY COLLODION.
BY E. BOIVIN.
VEKY much simplified ; certain in its re- sults ; of long preservation ; with a sensitiveness equal to that of wet collodion, with or without the use of a preserver.
Preparation of the Plates. I collodionize upon plates cleaned and covered with a preliminary coating of albu- men, as indicated in my preceding articles, and then sensitize in the ordinary silver bath, or preferably in the following : Water, . . .100 c.c. (3J fl. oz.) Nitrate of Silver, . 8 grammes (123 grs.) Acetate of Lead, . 1 gramme (15 " ) Acetic Acid, . a few drops.
At the end of three minutes I withdraw the
plate, and, without washing, plunge it into a solution of one gramme (fifteen grains) of chloride of sodium with one thousand (thirty- four fluid ounces) of water, in which I have dissolved one decigramme (one and a half grains) of gallic acid. This solution is re- newed for each plate, and the dish should only contain the necessary quantity for the immersion. At the end of one or two min- utes it is only required to wash the plate in pure water and place it on the drainer to dry.
The object of this operation is to neutral- ize the corrosive action of the nitrate of sil- ver, which later would produce failures, and form in the body of the coating itself chlo- ride of silver, which acts as a preserver, and also mechanically in preventing the mo- lecular displacement of the collodion in the drying. The slight traces of gallate of sil- ver formed by the gallic acid act as a sen- sitizer.
To obtain great rapidity, and at the same time to assure the very long preservation of the plates, I find it very advantageous to cover the coating after washing with a lead- gallo-salicin preserver, before allowing it to dry, as follows :
No. 1.
Alcohol, . . 25 c.c. (6| fl. drachms). Gallic Acid, . . 2.50 gr. (46 grains). Salicin, . . 1 gr. (15 grains).
No. 2. Acetic Acid, . . 25 c.c. (6| fl. drachms). Acetate of Lead, . 1 gr. (15 grains).
Preserver.
Water, . . .100 c.c. (3J fl. ounces). No. 1, . . .5 c.c. (li fl. drachm). No. 2, . . .5 c.c. (1£ "
To be applied several times to the sensi- tized coating, which is washed and dried. Immerse in water before development.
The plates when completely dry are placed either in a grooved box or in the frames, to be used when wanted. They may be kept indefinitely without losing any of their sen- sibility, when all the manipulations have been made with proper care.
Exposure. The necessary time of exposure is sensibly the same as that required by the same collo-
THE PHILADELPHIA PHOTOGKAPHER
15
dion used wet. It varies with the kind of objective used, the size of the stop, and the composition of the subject. As a general rule to he adopted for all dry processes, it is always preferable to prolong the time of ex- posure. This process, moreover, readily adapts itself to this, as the plates have not a great tendency to solarization.
Development.
Washing the sensitized impressioned coat- ing is not indispensable before development, but it is always preferable to soften it by immersing the plate in water before submit- ting it to the action of the developer. In all processes it is a delicate operation, and requires all the care of the operator to cause the latent image to appear. I proceed in the following manner to obtain this end without difficulty : I pour into a dish the required quantity to cover the plate, of a solution of gallic acid with three or four grammes (forty- six to sixty-two grains), for one thousand of water (thirty-four fluid ounces). I add a few drops of acetic acid, containing from twenty to thirty grammes (309 to 463 grains) of ace- tate of lead for one hundred (three and one- third fluid ounces) of acid. Then one or two drops of nitrate of silver at three per cent. ; I shake well, and without waiting plunge the plate to be developed. If the ex- posure has been suitable, all the details show themselves successively and rapidly as the dish is moved ; I withdraw the plate, and again add some drops of nitrate of silver ; I replace the plate, and in a short time the development is complete. I wash the plate, and after examination of the image, I strengthen it, if necessary, by the known methods. I then fix with the hyposulphite of soda.
The acetic acid, containing acetate of lead, serves both as an accelerator and moderator in the development of the image ; it should be added in a larger proportion when the subject presents contrasts than when it is of uniform composition ; it is with it that soft- ness and harmony are obtained. Develop- ment may also be made with ordinary pyro- gallic acid or sulphate of iron ; but I much prefer that with gallic acid in the manner just indicated ; it is so easy to work that it
has caused me to adopt it in preference for the development of the plates.
The operations of this process may be thus resumed ; collodionizing on a plate having a preliminary albumen coating.
Sensitizijig . — Immersion in a solution of chloride of gallic sodium.
Washing. — Use of preserver or not, and drying ; exposure, development, and fixing.
It is hardly possible to render more simple the manipulations of the actual iodo-bromide process ; it is only the new processes with washed emulsion and bromized collodion which offer the advantage of reducing them ; but as the processes are as yet uncertain, it is necessary to await the results of the ex- periments now undertaken by all, and which certainly will soon cause their exclusive adoption.
Of all the ordinary dry collodion processes, the most rapid and certain in its results is, without doubt, the one that I have just de- scribed. In my personal practice I much prefer it to the new bromide processes which require so much care in their use, and be- sides, because the exposure is much shorter. Every one can easily convince himself of the excellence of these results by making a few experiments, and will remark, as I have done, that the darkest portions as well as the greens are admirably reproduced, and that the foreground and background appear with extraordinary delicacy.
For beauty of execution, the negatives obtained with the collodion just indicated rival those obtained with emulsion and bro- mized collodion ; it has the immense advan- tage of being more easily used, of not offer- ing the same difficulties in the preparation, of being much less expensive, and of not re- quiring in the laboratory a light so antipho- togenic, which with the pure bromide pro- cesses infallibly gives veiled prints.
This process I am now using as a basis to compose an iodo-bromized emulsion, which being poured on the plate will give a sensi- tive preparation ; the rapidity will be greater than that of the pure bromide emulsion, and the development of the image may be made without difficulty with gallic acid and lead, which is so easy to conduct, and which does not always happen with the alkaline devel-
16
THE PHILADELPHIA PHOTOGEAPHEE,
opment, which is often very variable and uncertain.
When my experiments on this subject shall have ended, I will hasten to communi- cate the results to my readers. — Moniteur.
[Translated for the Philadelphia Photographer .]
FRENCH ITEMS.
ME. TEEPEEEAU, of Bordeaux, who is now experimenting with emulsions, uses a very simple kind of screen to inter- cept light in the laboratory. It consists simply of glazed muslin which he frames in thick pasteboard, and places on the lighting sash. To be certain there is no veil, he commences by using an experimental screen composed of several sheets of glazed muslin pasted one over the other and forming a scale, as do the yellow glass plates used in photometers. By exposing underneath a plate or sensitized paper, he can easily de- termine the suitable thickness, and conse- quently the number of sheets that it is necessary to superpose. This method is practical, inexpensive, and gives screens that cannot be broken. — Moniteur.
The following translations we make from Dr. Phipson's correspondence in the Moni- teur :
The permanence of carbon prints has given rise, as we all know, to animated dis- cussion, and it is a question not easily solved. We see that at Brussels a well- known photographer, Mr. Geruzet, has recently shown to his colleagues a carbon print which had been exposed to daylight two years and a half, and which had lost none of its original merits. The general tone of this print had uniformly weakened, but the half-tones had not been affected, "which would have happened," it is said, " with a silver print under the same circum- stances."
We have recently spoken of the phenom- ena of reticulation in carbon prints ; it appears that at the same time small blisters have been discovered. This subject still occupies the attention of our experimental- ists, and two of them have independently fallen upon the same remedy. Mr. D. T. Burrelle, who had tried a number of things,
and who was beginning to despair, finally put an end to the cause of the trouble by using a weaker bath, which he gives as fol- lows: " One ounce of bichromate in ninety ounces of water ; five drops of ammonia, and three ounces of alcohol ; the result was that the reticulation and blisters entirely disap- peared ; positive and transparent prints are all that can be desired." Mr. English reaches the same solution of this difficulty. "Instead," he says, "of using a sensitizing solution at two and one-half per cent., as has been indicated, use only a bath at one and one-half per cent., and float the tissue over it until it is quite flat, the temperature not being over 15° C. (59° Fahr.)" Desic- cation should be prompt. If the weather is rainy and desiccation requires a long time, the print will be very hard to develop.
To-day, when many artists are using photography on canvas, it is well to recol- lect that it is a dangerous process to obtain the image directly on the canvas, as it cannot be well enough washed to entirely remove the hyposulphite, however soluble may be this salt. It is better not to risk the contact of the hyposulphite with the oil colors, and to use some transfer process. The Autotype Company at Eondon is ac- customed to transfer carbon prints to canvas, and has described the process in its little manual.
Mr. Simpson has used for a long time a very simple process. Eirst, he washes the surface of the canvas with soap and hot water, using a piece of flannel ; then he rinses with alcohol. In this way is com- pletely removed the grease that adheres to it. Then the surface is treated with a very weak solution of gelatin, to which has been added a little alcohol. The developed print is applied to the surface thus prepared, and whilst yet a little wet the two surfaces are well pressed together; when the whole is dry the canvas is raised, which carries with it the carbon print.
A reagent of very great sensitiveness has just been discovered, by means of which the least trace of the hyposulphites may be detected. It consists of a solution of per- maganate of potash in caustic soda, and diluted with water. One decigramme (1J
THE PHILADELPHIA PHOTOGKAPHEK.
17
grains) of very pure permanganate, and one gramme (15J grains) of perfectly pure caus- tic soda, are dissolved in a half litre (17 fl. ounces) of water, which gives a liquid of a beautiful crimson red. This liquid suddenly changes color by the addition of a trace of hyposulphite, and becomes green, owing to the formation of manganate of potash. What is curious is that this reagent shows, it is said, not only the presence of traces of hyposulphites in the sulphates and other completely oxidized salts, but also in the hyposulphates and sulphites.
A proposition has been made to the English government to establish a perma- nent photographic gallery, to be attached to the National Gallery, at London, and hav- ing for its object the reproduction of every- thing that exists in the fine arts, painting, and sculpture in different countries.
It is asserted that positives on the flexible tissue of Mr. Warnerke, of London, make excellent transparent prints for the lantern, etc.
Mr. Ferton, of Manchester, has just patented a process to render paper imper- vious. This process seems to be based upon the treatment of the pulp by soluble and insoluble salts of zinc in combination with salts of ammonia ; or a solution of the double salts of ammonia and zinc, is applied to the paper or cloth, which passes through the se- lution by means of cylinders.
In Germany, according to our papers, Mr. Hankel has investigated the action of light upon the electric state of metals plunged in saline solutions. To give an idea of these experiments, which may one day be of great value, we will cite the following : Two pol- ished copper plates are immersed in pure water, contained in a black box ; the plate on which falls the solar light becomes elec- tro-negative as regards the other.
Mr. J. Parry has completely succeeded in obtaining a series of photographs of the spectrums given by the different metals ; his process is extremely simple, and will be well received in the scientific world. He uses an induction coil, giving sparks six inches in length ; the spectrum of this spark can be reproduced without difficulty, and if the pla- tinum poles are wet with the metallic solu-
tions of which the spectrums are to be ob- tained, the spectrums of these metals are reproduced. In this way Mr. Parry obtained the photographic spectrums of Bessemer steel and ordinary iron in a space of time not exceeding thirty minutes. In these in- vestigations the author has abandoned the use of wet collodion, and uses instead dry uranium plates ; the advantage of these is that they may be allowed to remain in the camera as long as may be wished, so as to obtain several spectrums on the same plate, which afterwards are developed in a single operation. The induction coil is furnished with six of Grave's elements.
Salts of iridium and rhodium may be used for toning in the same manner as the salts of gold, of platinum and palladium. But of all these compounds, it appears from recent observations that the salts of palla- dium present the most advantages. The chloride of palladium and of sodium, cor- responding to the salt of gold, can be sold here cheaper than the compound of gold and sodium, and seems to possess all its qualities. When an entirely neutral black tone is desired, it is better to tone with salt of palladium. For transparent prints, such as those used for lantern slides, this black and opaque tone is very advantageous. These different metals, belonging to the gold and platinum group, have been examined for their phosphoric qualities by Captain Sellon and Mr. Wharton Simpson some time ago ; but at that time palladium was dearer than gold. For toning transparent prints, Mr. Sellon uses with great success a bath contain- ing one-quarter per cent, of chloride of pal- ladium ; and for ordinary toning a neutral solution of the same strength made with chloride of palladium and sodium.
Experiments have been made for the purpose of recovering and utilizing the chromic acid which disappears in the wash- ing during the operations of the carbon pro- cess (Lichtdruck, Woodbury type, etc.). Dr. Schnauss has made several efforts in this direction, but he encountered many diffi- culties on account of the large quantity of or- ganic matter contained in the water. Never- theless, it is possible to utilize the chromic acid of the first washing, to which is added
3
18
THE PHILADELPHIA PHOTOGRAPHER.
a little acetic acid to decompose the carbo- nates, then all the chromic acid is precipi- tated, in the state of chr ornate of lead, by the addition of acetate of lead. The price of chromate of lead is five times higher than that of the acetate.
"About fifteen years ago I made some ex- periments for the purpose of discovering a substance which could take the place of albu- men in its photographic functions. It is easy to conceive the importance of restoring to alimentation the enormous quantity of eggs which are now used in the practice of photography. One of the principal advan- tages of albumen is, as is well known, to re- tain the image on the surface of the paper and to render this surface smooth. I discovered a substance that can fill these conditions, and which is free from the defect that albumen has of retaining a certain quantity of silver under the form of albuminate, which can- not be fixed. But the experiments in ques- tion were interrupted by laboratory work of a more pressing nature. To-day I find among my papers a few notes, which allow me to give to your readers an idea of this discovery. The paper used should be thick and of good quality ; but I think that an ordinary strong paper would answer just as well. The sub- stance that I used as a substitute for the albu- men is the silicate of aluminum. This sub- stance I formed on the paper itself by using two baths, one containing a concentrated solution of alum, the other an aqueous solu- tion containing an equivalent quantity (to the alum) of silicate of potash. The paper is first floated on this latter bath, as in ordi- nary sensitizing, is well drained and placed in the alum bath, in which it remains one or two minutes at the most. It is then al- lowed to drain for a few minutes, and whilst the sheet is yet damp, it is passed through very smooth cylinders and allowed to dry. It is sensitized in the nitrate bath, etc., as for ordinary albumenized paper. A few small positive prints that I formerly obtained with this new paper, precisely resemble the prints made with ordinary albumenized paper. "Without doubt this simple process will require some improvements. I can only hope to be on the track of replacing albumen by a substance much less costly, and which does not serve as food."
GERMAN CORRESPONDENCE.
After-exposure and Scotellari' 's Formula, — New Observations on Visual Purple — Mez- zotint Effects — Salicilic Acid for Redevel- opment— Mounting Large Pictures — Glass- printing Process — Warner he's Emulsion and Apparatus.
THERE are certain things in photography which repeat occasionally, and engage, as pretended news, for a short time the at- tention and the purse of the photographer. In this line also belongs after-exposure. The same has been preached six years ago as a new gospel by Gage, of Vermont. It has caused many discussions, and was finally forgotten. We have now the same history in Europe. I communicated to you already that the disciple of the violet light, Scotel- lari, had been in Berlin last summer with the intention to introduce a new kind of after-exposure by means of the violet light. Besides, he offered his new formula?, and tried to sell his secrets, although without success. He seems to have had more luck in England. I lately saw formula? for which he asked forty shillings, among which the collodion merits first attention. It contains two ingredients which seem to be new, namely, iodide of magnesium and anilin violet. Of the iodide of magnesium is known that it is easily to be decomposed by nitrate of silver. The arising iodide of silver is not in the least different from that which is formed by the usual iodizing salt, and there- fore the presence of iodide of magnesium has not the slightest advantage. More curious still is the addition of anilin violet. This color seems to be for Scotellari the photo- graphic philosopher's stone ; we wonder that he does not paint the glass of his skylight with it. It is known that the violet light offers no advantage ; nevertheless he uses it to tint his transparent papers with, through which he performs his after-exposure ; finally he adds it to his collodion. He seems to think that the collodion should be effective for the same color which it contains. This is an error which is unfortunately extended too far. I have made many experiments with anilin violet two years ago, and found by no means that it renders the collodion effective for violet light, but for the orange
THE PHILADELPHIA PHOTOGKAPHEK.
19
light, therefore the addition of violet offers not only no advantage, hut it reacts injuri- ously on the silver-hath, which it decom- poses, and I think that for this reason Sco- tellari's chemicals gave much worse results in Berlin than our usual ones. His formula for the silver-hath is as follows :
|
Water, . |
. 1000 c.c. |
|
Nitrate of Silver, . |
70 grammes |
|
Iodine, . |
4 " |
It is astonishing how much iodine he uses. The result will be a supersatr.ration of the silver-bath with iodide of silver, and consequently pinholes. At the same time iodate of silver is formed, which conse- quently overfills the silver-bath with nitric acid, which is certainly of no advantage to the bath.
In his developer the only addition of sul- phate of magnesia is remarkable. I think it is useless to prove to a chemist that this salt has not the slightest reaction on the plate. It seems as if the inventor had tried everything to increase his usual formulae by some salts which, if they do not injure the compositions, have no further advantage, and besides appear to be something new. After-exposure has been often tried in Ber- lin since Mr. Scotellari has gone away, although always with a very doubtful suc- cess. It is strange that it has proved false in bad weather. The good results which were obtained in some cases during the summer were never regained. Mr. Trull, of Berlin, makes use of after-exposure in cases where he is convinced that the negative is under- exposed— in taking photographs of children, for instance. He keeps the lens-cover, decked with black velvet, in ay. inclined position before the lens, and reflects thus for a few seconds a weak light on the plate.
I communicated to you last year about the new discovery of visual purple, a sensitive substance on the retina, which is bleached by light, so that a posi.ive picture is formed on the retina by the act of viewing a sub- ject. This guided the preconception to re- gard the distinction of subjects by sight as a photographic process.
This opinion, however, has to sustain a great limitation, as according to Prof. Kuehne's recent discoveries, the phenomena
can also take place in the absence of this purple. This may be proved by viewing a subject in a manner that the axis of the eye is directed straight to it, in which case the picture will be situated just on the yellow spot in the centre of the retina, which con- tains no purple. Kuehne made his experi- ments with frogs. He exposed the same a short time to sunlight, in order to destroy the purple, which is only reformed after a space of thirty minutes. During all this time the frogs could not only see, but they even distinguished colors. Kuehne proved it first by stating that frogs like the green color. They always moved to the green window-glass of a box, with different colored window-glasses, in which the frogs were kept. They continued doing so after the pur- ple in their eyes had been destroyed by sun- light. This proves that the visual purple has but very little to do with the action of seeing.
A photographer lately told me of a very simple method of producing pictures with mezzotint effect. He exposes about half, moves then between subject and lens a glass plate to and fro, which produces a slight unsharpness which takes the hardness from the picture.
Lately salicilic acid is recommended for strengthening. Mr. Bichter gives us the following formula:
Iron Developer, . . . .1 part. Nitrate of Silver Solution, 2 per ct., 1 " Saturated Solution of Salicilic Acid, 1 "
The latter has reducing power, and keeps the plates clean. Bichter pretends even that the use of salicilic acid will give more details.
The mounting of large pictures is difficult, and I should think that a simple manner of mounting the same would be well known. Instead of laying the bristol-board on a table, it is fastened on the wall or on the door. It is now exceedingly easy to get the picture in the right position on the board without any wrinkles.
In my last letter I wrote you about the excellent glass-prints of the Boyal State Printing House, of Berlin. The method of manufacturing them is now published. Mr. Brem, director of the said institute, resumes
20
THE PHILADELPHIA PHOTOGEAPHEE.
as follows: "An albumenized glass plate is collodionized with a collodion which pro- duces a hard picture. After exposing, strengthening, and fixing of the same, it will be coated with a thin coat of a solution of gelatin and bichromate of potassium, dried and exposed again from the rear until the drawing appears dark blue. The re- maining soluble chromate is then to be washed out with cold water, and the plate inked in with a thin lithographic printing ink. In order to get rid of the still remain- ing half-tones, the plate must now be etched with a solution of gum, with an addition of gall. The plate is at once ready for print- ing, and needs to be treated like a litho- graphic stone. It will not stand many- impressions. One impression, however, on a stone will give thousands of duplicates afterwards.
Mr. Reiding, of Berlin, performs an im- pression on zinc, which he takes afterwards and produces thus a printing-block for the block-printing press. This method is un- doubtedly one of the easiest heliographic methods ever known. It does not repro- duce thin half-tones, and for this reason it • can only be used for the reproduction of drawings in lines.
Mr.Warnerke, of London, was recently in Berlin. This gentleman has acquired a great merit in emulsion processes. He showed me some of his own emulsion, which was astonishingly sensitive. He made some views in my studio just as quick with emul- sion as with the wet-plate process. Of course, his plates had not quite the same harmony in shading, in which the wet plates will always be the victor. His results were good enough for all cases in which the high- est effort of art is not required. Mr. War- nerke showed me also his emulsion-papers and camera, which indeed represents the possibly simplest and most agreeable instru- ment for travelling photographers. In- stead of taking heavy glass plates, one has a roll of emulsion-paper in the plate-holder, in which it can be unrolled so that one hundred pictures can be taken on one piece of paper. I described to you this apparatus two years ago, so that I dare suppose it is known. Mr. Warnerke is on his way to Russia, hoping to introduce his invention in
St. Petersburg for use in the army during the present war. He thinks to make it pos- sible to take instantaneous views of the whole battle-field by means of a balloon, in which the camera is to be raised up to a certain height, from which, by means of electricity, the lens will be uncovered for a moment. We shall learn, perhaps, by his camera, if the soldiers in Plevna have still provisions or not.
With the best wishes for a Happy New Year to all your readers,
Tours truly,
H. Vogel. Berlin, November, 1877.
SOCIETY GOSSIP.
BOSTON SOCIETY.— Regular monthly meeting ; President Rowell in the chair.
Records of the previous meeting read and approved.
By special invitation of the Society, mem- bers and the fraternity generally were in- vited to bring ladies with them, as Mr. Wilfred A. French, recently returned from abroad, would exhibit a choice variety of lantern slides, illustrating the history and fine arts of Europe.
A company of about eighty ladies and gentlemen were present, and the President made a few brief remarks, stating that the regular business of the evening had better be deferred till the next regular meeting, as it would be more interesting to those pres- ent to listen to the lecture prepared by Mr. French.
The exhibition included some of the finest specimens in existence of architecture in its various styles, the gothic and renaissance predominating ; also faithful representa- tions of the gems of the Louvre, Vatican, and other celebrated sculpture galleries. During the evening the audience became thoroughly acquainted with the chefs d'ceuvre of Giotto, Arnolfo, Brunelleschi, Michael Angelo, Canova, Thorwaldsen, etc., and were greatly assisted in discovering the merits of these maestri by Mr. French's lucid descriptions, which were replete with valuable bits of history and original ideas. Mr. French spoke without notes, and his clear, off-hand remarks and wonderful mas-
THE PHILADELPHIA PHOTOGEAPHEE.
21
tery of names, dates, and places, were freely applauded.
At the conclusion, a vote of thanks was tendered Mr. French for his very interest- ing exhibition.
Meeting adjourned at ten o'clock.
E. F. Kitz,
Secretary.
w
ONE TURN BETTER.
E clip the following item from a local paper :
"A 'Great National Baby Show' is to be held in Philadelphia, beginning on Monday next. In an advertisement for babies to be exhibited, the management say :
"Wanted — Triplets, twins, phenomena, hand- some babies, crying babies, irascible babies, noisy babies, fat babies, supercilious babies, pugnacious babies, homely babies, laughing ba- bies, contented babies, quiet babies, lean babies, unassuming babies, angelic babies."
The expense of this advertisement could have been saved the projectors of the great baby show, if they had applied to any first- class photographic gallery. Any photog- rapher could have given the addresses of an unlimited quantity of babies of all the classes named, and some possessing qualities which are not named. Of course every photogra- pher within reasonable distance visited this baby show (we did), not only for the purpose of studying the different kinds of babies, to see if he could find any new variety (for every one from James Landy down has a passion for babies), but also to study the different kinds of mothers ; to say nothing of the ancestors and mothers' sisters, which are the aunts of the babies.
We need not mention all of the varieties of baby that are met with in the photo- graphic gallery. We all know that the above list does not cover them, and some time we may perhaps offer a premium for a new kind of baby.
Last month St. Louis took the premium. We found the St. Louis Society for the Promotion of the Lambert Process and the Prevention of Photographic Progress and the Production of Peculiar Babies, busy last month over a four-handed child, and in our last number pictured the dreadful doom which seems to hang over us. We make haste now to ask a suspension of public opinion against the
aforesaid society ; and with the earnest de- sire to give its able members and its persistent organ their full due, we take pleasure in giv- ing space to the notice of another discovery by the aforesaid society, which brings with it a little more cheerfulness than did the last. It comes so quickly upon us that we can hardly flatter ourselves with the thought that it was induced by the dreadful howling we made over the production of the four- handed baby, and yet it may be that this society, which is known for its rapidity of action and persistency, may have done even this much.
The baby is of the girl persuasion, and the savants of this distinguished society are again indebted to a photographer for bring- ing such a distinguished example before them. It is a baby which has been found so wondrously tough as to be capable of resisting the influence of the strongest head-rest, both of the Wilson and Spencer patterns. The photographer in question, whose name we are asked not to men- tion because of his modesty, recently tried an experiment with this novel baby, which seems to have established its remarkable toughness beyond all doubt. Not being able to control it with any ordinary head-rest, patented or unpatented, and being utterly unable to quiet it, he tried the experiment of dropping it from his studio stair. Of course he expected to find a short way thus of getting rid of the baby, but what was his horror to see the little one display the most enthusiastic signs of life, until some philan- thropic man came along, and hastening to the spot with a basket and a stray coroner who had been hunting for corpses for some time, gave a diabolical whoop and impanelled a jury on the spot. The photographer, with- out speaking to the mother or her sisters and ancestors, hastened to the ground floor to serve upon the jury, but was utterly dis- gusted to find the baby still able to dispute his gentle coaxings, and ready to have another sitting. " A most thorough inspec- tion," says a local paper, "failed to find a bruise or break on the surface or in the inte- rior of the infant. Its toughness was dem- onstrated, and it is hardly necessary to say, that both the public and the local press re- gard the baby's fall not as an accident, there
22
THE PHILADELPHIA PHOTOGEAPHER
can be but little doubt, since tbe inventive photographer confessed that it was dropped as an experiment." He merely wished to see whether or not the baby could be really suppressed sufficiently long to enable him to make a picture of it.
Now if the able society to which we have alluded is equal to the occasion, it will inves- tigate the matter until it finds out what mys- terious potion was given to this baby by the enthusiastic photographer, to enable him thus to suppress infants without breaking them or injuring them. If they can do this they will then confer a benefit upon photography, which will do much towards counteracting some of the evil which they have been guilty of, and perhaps place them on a proper foot- ing with other scientific societies.
Of course we are accustomed to looking at everything from a practical standpoint, and we do not of course consider what advan- tages also such a discovery would be to all mothers, and what a comfort it will be to them to know that they need have no further apprehension in regard to windows and stairs and photographic head-rests. Confidence between the photographer and his patrons will at least be increased vastly, if not wholly restored, and it will be unnecessary for mothers to bring a half-dozen or more rela- tives with them, each making the baby sub- ject to noise and humor, for by this potent fluid one photographer and one mother can manage any extraordinary baby without fear of breaking it or causing its death, and thus will photography take one more step in science, and add one more degree to the comfort and happiness of human kind.
We have only one other suggestion which may be included in this discovery, namely, that an effort be made to combine in the in- vention that quality of baby nature which will enable it to expand or contract at will, and thus render it possible for the photogra- pher to make a negative from which a large or small picture can be printed with but one sitting. This being done, we will send to the St. Louis Society our magazine for the new year, free of all charge, as a premium, with the understanding, however, that none of these expansive or tough babies are to be allowed to edit anymore photographic maga- zines.
OBITUARY.
WL. GERMON.— On the 1st of Decem- . ber, at the age of fifty-five years, Washington Lafayette Germon died in this city, after a lingering illness. He was known to a great number of our readers, since he was a member of the National Photographic As- sociation, and an officer as well, and a regu- lar attendant upon its conventions. Those who did know him remember how genial and how kindly he was, and will regret to hear that he has been snatched away so soon. We have long had his personal acquaint- ance, and when going to distant cities for attendance upon our conventions, he was generally in the same company, and did much to enliven and relieve the tedium of a long journey by his wonderful power to en- tertain and please.
He was, as will be seen by what follows, one of the fathers of American photogra- phy, and at one time one of the most promi- nent members of the fraternity in the United States.
His last studio, which was located in Arch Street above Ninth in this city, was one of the most tastefully arranged and accoutred of any studio in the city, being, as it was, furnished with a museum of curiosities and bric-a-brac calculated to relieve the waiting of one's turn.
Mr. Germon's health in later years, though never at any time too sturdy, prevented him from pushing his business with as much energy as he would have liked. His earlier career can be better described by his old partner, Mr. J. E. McClees, from whom we have received the following concerning the deceased.
Washington Lafayette Germon served an apprenticeship to the business of steel en- graving with the firm of Toppen & Carpen- ter, bank-note engravers. He became a very good letterer, but I do not think ever es- sayed figures or ornamental engraving. At the end of his apprenticeship he started the business of card engraving at 80J Walnut Street, and occupied an office in common with William H. Gihon, a very warm friend of his, afterwards of the firm of Gilbert & Gihon, Sixth and Chestnut Streets.
Germon was always troubled with weak
THE PHILADELPHIA PHOTOGKAPHEB,
23
lungs, and becoming impressed with the idea that his sedentary business was shorten- ing his days, he cast about for some more healthful occupation. In the same building (on the site of the old Quaker almshouse) was an elderly man, a lithographer, named Watson. Watson had gained somehow a slight theoretical knowledge of daguerreo- typing, then quite a new business. He per- suaded Germon to purchase a daguerreotype apparatus, and the two commenced to prac- tice the art, then an almost purely experi- mental one, but with ill success. Germon 's amiable qualities, his social and genial nature, had made him hosts of friends ; he obtained plenty of patrons, but, alas ! the inexperience of Watson and himself defeated all their efforts — they had the customers, but could not make the portraits. Germon 's little means were dwindling away, and at the time that I first met him he was in de- spair. I was at that time engaged as ope- rator for M. P. Simmons, in Chestnut Street below Fourth. At the earnest prayer of Germon I took a day from my business, having previously put his traps in some kind of working order of evenings, and made a few of the most pressing orders.
With the things in working order Wat- son essayed again, but with no better success. Germon was in despair. About this time I left the employ of Simmons to engage with T. P. Collins, on Chestnut Street a few doors above Third (the former partner of Sim- mons). But before entering on tbe engage- ment, I went again to spend a few days with Germon to get him out of his troubles and fairly started. The result was that I re- mained with him for over seven years, and a partnership was formed of a rather un- usual character, as there nc\ er was a scratch of a pen or even a verbal agreement — a mere tacit understanding. We remained about a year at the rooms on the old almshouse prop- erty, and then removed to the old building at the southeast corner of Eighth and Chest- nut Streets, where we succeeded a party named Moulson, and where we remained until the building was demolished. During the time the new building was in course of erection we passed the summer (1848) at Cape May, and had a temporary gallery in one wing of the old Congress Hall.
It was during this time that Germon distin- guished himself by saving the life of a young man, a stranger, who had gone out to bathe beyond his depth, and was about to perish. The prowess and brave generosity of this act added to the host of friends with which h.s frank, open nature always surrounded him.
In the early autumn we reopened in the former location, but finding that the build- ing was not well adapted to the business, and feeling that the owner had not done us justice, we removed to the building opposite the old Masonic Hall, Chestnut Street below Eighth, now occupied by Benkert, the boot- maker. Here we remained three years, when we removed to more commodious quar- ters in Fisher's building, Chestnut Street below Seventh, where we remained until we were burned out on the night of March 15th, 1855.
We then gathered some traps together, and occupied the rooms at the southwest corner of Seventh and Chestnut, pending the time ihe building was being repaired. During all the eight years we had been together, we had had no settlement, and it is not surprising that when we came to make one we should conclude to part, especially as Germon seemed anxious to go into some other business.
From that time to the present there are many who know more of Germon than my- self, among whom I would mention Mr. William Bell or Mr. John McCaffrey. I should have mentioned the fact that with the exception of the Messrs. Langenheim, we were the first to make paper photographs in this city. The Langenheims had some time before made photographs by the pro- cess of John Fox Talbot — paper negatives under the name of Talbotypes — but had abandoned it before we purchased the patent of Whipple of Boston for negatives on albu- menized glass, with the dubious name of "crystalotypes." This was in 1853.
These hastily- written notes will, I trust, give you sufficient data for the intended obituary. To me it is a satisfaction to be able to testify to the uniform temper and chivalrous, childlike disposition of the de- ceased, whose errors were few, and those few always of the head, never of the heart ; and
24
THE PHILADELPHIA PHOTOGRAPHER.
although our intimacy did not last until the end of his days, I shall aways think with tenderness and affection of my old friend and partner. Truly yours,
J. E. McClees.
We add our testimony to the vary pleasant and generous nature of our late friend, and wish that photography may he continually graced hy natures so unselfish and noble as his was. We know many things of his pri- vate life, which would not be proper to re- cord here, which made us admire and esteem him greatly, and as Mr. McClees truly says, " if he had faults, they were of the head and not of the heart."
F. G. WELLER.— " Frank Weller died on Saturday evening, December 8th, aged 45 years." Thus says a l?tter from a friend in Littleton, New Hampshire, the home of Mr. Weller. His disease, like that of Mr. Ger- mon, was consumption, and his death was one which had for some time been expected, and was peaceful, with consciousness to the last.
Mr. Weller was one of those quiet, unob- trusive men who may be classed with those who are said to be "pleasant in their lives." We have enjoyed his acquaintance for a good many years, but all since he entered photography, in 1868. We believe his earlier years were devoted to carriage painting, but he was seized with the photographic fever, and took up the art as a partial means of livelihood — first to make studies for his paintings, and afterwards as a regular busi- ness. His life studies, or groups, are familiar to most of our readers, as many have seen them, and in that direction he seemed to ex- cel very nicely. He painted his own back- grounds, and manufactured his own acces- sories, and made numerous very successful hits in his compositions, some of them having become very popular, and have reached a large sale.
His studio and works were in Littleton, N. H., and his business has steadily grown for a number of years, until it yielded him quite a handsome income per annum. He was a lover of his adopted vocation, and an enthusiast, which mainly accounted for his success. He leaves a wife and one child
to mourn his loss, together with a host of warm friends. We regret to see such valuable members of our profession taken away so early in life, and especially so as they have during their lives striven to advance rather than to degrade the art.
Scarcely was our little annual, Mosaics, closed for the new year with the record that death had thinned our ranks but little, when these two death notices came to our hands.
PRINTING WITH FATTY INKS
Directly from the Photographic Negative.
BY DR. E. LIESBGANG.
FOE some time past much has been said concerning certain processes for print- ing with fatty inks directly from the neg- ative, and the fact is patent that these processes are actually in use, and that they present important advantages for the repro- duction of engravings, pen drawings, maps, plans, etc.
It is well known that to transfer a drawing to a lithographic stone or to a zinc plate, in order to transfer it into a typographic plate, the following process is employed :
First, a negative on glass is taken, from which a print is made on paper coated with bichromatized gelatin ; the brownish image is covered with a uniform coating of fatty ink (lithographic transfer ink) ; by washing in water the ink is removed that covers the parts which are to remain white, the black lines remain, and a print in fatty ink is obtained which can be transferred to stone or metal.
Although this process has been improved by the use of a second coating of albumen, which gives greater delicacy, and although the results obtained by this and other analo- gous processes are already excellent, there can be no doubt that a more certain result in the reproduction of the drawing would be reached if it were possible to ink the negative itself, as all the inequalities of the surface of the paper, as well as those caused by the want of contact between the negative and the paper in the positive frame, would be avoided.
The Aubel process, worked on a large
THE PHILADELPHIA PHOTOGEAPHEE.
25
scale in Cologne, is one of those to which I allude. Many experiments have been made to obtain results of this kind by acting upon the negative with the vapors of hydrofluoric acid, and by other means, but without dis- covering the secret that the owners of the process are unwilling to reveal.
Now the news reaches us that in the royal printing establishment at Berlin, negatives have been made that can be used for print- ing with fatty ink. Thanks to the director of this institution we are now made ac- quainted with the mode of operation.
A collodion negative is made upon an albumenized plate ; whilst wet this negative is coated with a diluted solution of gelatin, to which has been added bichromate of ammonia. This coating is dried in a dark room. The negative is then exposed so that the light reaches the coating of gelatin only through the negative plate, and until the print of a brown color is seen on the coating of bichromatized gelatin. The plate is washed in cold water until the film no longer contains a trace of the bichromate, and is inked with a roller coated with lithographic transfer ink. By means of a sponge the inked film is washed with a solution of gum arabic containing a small quantity of gall.
Such are the necessary operations for transferring a photographic negative into a plate which can be used as a lithographic stone. It is undeniable that this process is of very great importance for photographic and engraving work, when the reproduction of line drawings is desired.
May we hope one day to see the repro- duction of half-tones? The reply perhaps will soon be given.
OUR PICTURE.
WE have chosen for the embellishment to begin our fifteenth year, a picture that seemed to us quite seasonable and appropri- ate. It is intended to represent one of those old-time scenes, when after the heaped up harvest has been gathered in, and the husking is ended, and the frost has come, and the once busy harvesters, looking for something to employ their long evenings and weary days, are wont to gather in such groups as this, especially during the holiday season.
There are many of us who are none too old to remember such parties as this, where old and young were on common footing, and where the married and the single sang their songs together. Strange contrasts were here to be found, and our artist has striven to embody them in his picture, or some of them at least, certainly. We find here Whittier's young girl who as
"She sings by her wheel at that low cottage
door, Which the long evening shadow is stretching
before, With a music as sweet as the music which
seems To breathe softly and faint in the ear of our
dreams.
"How brilliant and mirthful the light of her
eye, Like a star glancing out from the blue of the
sky; And lightly and freely her dark tresses play, O'er a brow and a bosom as lovely as they."
And while she with her admirers occupy the time before and after the feast with mo- lasses candy pulling, and apple catching, and all those good old games, in sharp con- trast near her sits the older member of the female persuasion, singing her prayer to Diana, as Mrs. Tiglee makes her say :
" Since thou and the stars my dear goddess de- cree, That old maid as I am, and old maid I must be, Oh ! hear the petition I render to thee, For to bear must be my endeavor, From the grief of my friendship all drojiping
around, Till not one that I loved in my youth can be
found. From the legacy hunters which near us
abound ; Diana, thy servant deliver."
And on the other side we see the old bach- elor indulging in his meditations, and listen to his song :
"Funny and free are a bachelor's reveries,
Cheerily, merrily passes his life; Nothing knows he of connubial devilries,
Troublesome children and clamorous wife. Free from satiety, care and anxiety,
Charms in variety fall to his share ; Bacchus's blisses and Venus's kisses,
This, boys, this is the bachelor's fare."
26
THE PHILADELPHIA PHOTOGEAPHEE.
But as Goethe says, " Life outweighs all things if love lies within/'
And such parties as this, it must he said, are often productive of much love.
" In the meanest hut is a romance, if you knew the hearts there;"
And we do not know how many romances we may he responsible for in suggesting such a group as this for our picture. Let us hope that it may he said of each fair maiden and master, too, who are given to such pleasures as are here depicted, that on some such oc- casion or other as this,
" Her heart hath found a home, and freshly all Its beautiful affections overgrew Their rugged prop. As o'er some granite wall Soft vine leaves open to the moistening dew, A warm bright sun, the love of that young wife, Found on a hard, cold breast, the dew and warmth of life."
But as all things earthly must end, so must such happy occasions as this always termi- nate. Whittier must have had that in mind when he wrote his touching poem of "The Huskers," which he ends thus:
" Half hidden in the quiet nook, serene of look and heart,
Talking their old times over, the old men sat apart ;
While up and down the unhusked pile, or nest- ling in the shade,
At hide and seek, with laugh and shout, the happy children played.
" Urged by the good host's daughter, a maiden young and fair,
Lifting to light her sweet blue eyes, and pride of soft brown hair,
The master of the village school, sleek of hair and smooth of tongue,
To the quaint tune of some old psalm a husk- ing ballad sung."
As a photograph, this group has a matter or two of interest to our readers concerning it. It was taken in front of a little log cahin, as will be seen, out in the air where the sun- shine had full play upon it, and where the light could not be well managed. Therefore a huge muslin screen some forty or fifty feet square, was stretched over the group, in- clining towards the source of light, and thus a very excellent modification of the light
was obtained, giving, as will be seen, a re- markably good out-of-the-skylight picture. The likenesses of the parties are all said to be excellent, and the light was almost as manageable as under a skylight. This make- shift was due to the ingenuity of one of our assistants, Mr. Kobert J. Chute. We bope it may prove an interesting subject to our readers. Next month we will present a por- trait of the Hon. John Welsh, our new Min- ister to Great Britain, and then will follow, we trust, some of the prize pictures.
OUR ADVERTISERS.
OUB readers will rind upon referring to our advertising pages that they are considerably freshened up. We believe that they are quite as interesting, and sometimes as valuable, as are the pages of our letter- press ; and at this season of the year it is usual for us to call attention especially to them.
As an evidence of returning good times you will notice particularly that a number of our old advertisers have commenced busi- ness again (the business of advertising), and we hope they will succeed.
Let us first call attention to the display of Messrs. Benjamin French & Co., 317 Wash- ington Street, Boston, who are so well known as dealers in photographic requisites, and as agents of Voigtlander and Darlot lenses. They have increased their space this month, and occupy two pages ; both should be read.
Our old friend, Mr. Charles W. Stevens, comes with his right-hand man, Mr. G. A. Douglass, to the front again, and presents a very shapely advertisement of the novelties which are for sale at the " Great Central." No doubt our readers who are convenient will flock around their standard very exten- sively.
Mr. J. C. Sommerville represents the life and backbone of the South and Southwest in our advertising pages, and brings two or three novelties to our attention, among which is Hall & Co.'s varnish, which expe- rience has proven to be one of the most ex- cellent things of its kind ever offered to the consumer. Mr. Sommerville has kindly sent us a sample of it, which we have tried with perfect satisfaction, since which time
THE PHILADELPHIA PHOTOGEAPHEE.
27
we believe lie has made further improve- ment in its production. No doubt all who need such an article will avail themselves of this opportunity. It will doubtless be s:dd by all stockdealers.
• Professor D. A. Woodward continues to bring to the mind of those who have en- larged ideas, or photographs to enlarge, the unrivalled solar camera, both for reflection and direct printing. It will be noticed that he obtained a medal at the Centennial Ex- hibition, as he deserved.
Messrs. Wilson, Hood & Co., 822 Arch Street, Philadelphia, are among the most enterprising of our stockdealers, and are special agents for the Koss and Steinheil lenses, the merits of which they display to advantage. They are so well known that it is needless for us to say anything in their praise. Try them once.
Messrs. A. M. Collins, Son & Co., 18 South Sixth Street, Philadelphia, are about the only manufacturers of cardboard worth con- sidering, and although they have, as it were, a monopoly, so satisfactory is their method of conducting business, that no one is ever made to feel that there is any monopoly about it. They are always obliging and prompt, and the quality of their work is now unrivalled by any in the world, at home or abroad. There is no excuse for slovenly and bad quality of cardmounts now.
The Centennial Photographic Company should not be forgotten in the search for novelties, as no one perhaps is able to supply a greater number of beautiful things than they are. If photographers would try to sell these views, and push them, there is no doubt but what they could realize consider- able for themselves.
Mr. G-. Gennert, 38 Maiden Lane, New York, by persistent pushing of the S. & M. Dresden albumen-papers, single and extra brilliant, has secured an immense demand for them. It will be seen that Mr. Gennert's is also the headquarters for other important products useful in photography, and which are detailed in his advertisement.
Scovill Manufacturing Company, 419 and 421 Broome Street, New York, have made several important changes in their cata- logues, prices, etc., recently, and as is well known, are headquarters for everything in
the line of staple and fancy articles used in photography. They are, without doubt, the largest house of the kind in the world, and if all their factories and branches were concentrated, it would make a tremendous establishment. Their goods go everywhere, and, as we saw by a foreign paper the other day, the American Optical Company's ap- paratus is greatly preferred abroad. over any other.
Mr. C. Faser, 822 Arch Street, Philadel- phia, is undoubtedly the headquarters for gilt frames. We have personally dealt with Mr. Paser for many years, and believe the quality of his goods to be unequalled. His patterns are tasteful and rich, and at the same time the best.
Mr. John L. Gihon still finds that his Opaque and cut-outs are very largely sold everywhere ; and truly, two more useful articles among the lot of nick-nacks that are required for photographic production are not to be found. His Opaque should be found in every room of the studio, where light is liable to get in wrongly, and his cut-outs are indispensable in the printing- room.
Mr. Charles W. Hearn's Studies in Ar- tistic Printing, and Mr. Bigelow's Artistic Photography, make companion volumes, which should be in every photographic op- erator's hands, and well studied. We com- mend them heartily.
Professor Robinson's straight-cut and re- volving trimmers are praised wherever they go. Their price seems to be a little in their way, but the demand does not seem large enough yet to enable it to be reduced. This is not so essential, however, when we know that they are worth their weight in gold, and save their price once at least every week in an ordinary business.
Messrs. James F. Magee & Co., 108 North Fifth Street, Philadelphia, have ever since the birth of our magazine kept a standing advertisement in its pages, and have re- newed for the year 1878. We have so often recommended their chemicals that we can- not do more now, unless it be to say that they were used entirety by the Centennial Photographic Company during last year, and are still.
Mr. Joseph Zentmayer continues to make
28
THE PHILADELPHIA PHOTOGEAPHEE.
claim to the excellencies of his lenses for views and copying. His optical works, as is well known, are at 147 South Fourth Street, Philadelphia.
Hance's photographic specialties, are now used very largely everj^where, and are for sale generally by dealers. A list of them is detailed on the first page of our advertising sheets, and those who have not tried them should do so.
Mr. G. Sauter, Philadelphia, attends to the wants admirably of those who need articles of taste and use in the way of passe- partouts. His depot and factory are 138 South Eighth Street, Philadelphia,
Seavey, the background painter, last though not least, stands alone, unrivalled and unexcelled. It is wonderful to see what a business that man has built up by careful attention and good taste and prudent man- agement. It is almost incredible that he should sell as many backgrounds as he does abroad, and that the imitations cannot reach him in style and quality. He con- tinues at No. 8 Lafayette Place, New York, where, notwithstanding the mild weather, he is busily engaged in making snow scenes.
Added to all this comes the dealers' direc- tory, which will be found to contain a list of those dealers in the various cities who are most prominent and most reliable, and with whom it will be found to your best advan- tage to deal. We recommend them all to you.
Please read our book advertisement.
PHOTOGRAPHIC NEWS.
THE Kussian photographers, and others, are making effort to devise some means of prosecuting aerial photography. One great difficulty in the way seems to be to properly preserve the principles of aerial perspective.
A correspondent of the News says : " Never filter a negative-bath solution ; in- stead, first sun it, and when clear draw off by means of a siphon, the short leg of which should be sufficiently clear of sediment as not to allow it to flow up."
The same correspondent says : " Hypo, when used for fixing prints, should, when dissolved, be neutralized with carbonate of lime (chalk) in powder, in preference to
either potash, soda, or ammonia, and very carefully filtered. Small spots of non-fixa- tion are very often caused by little particles of undissolved substances, which being held in suspension, fix themselves upon the surface of the prints when placed in the solution, and so wherever that is the case, prevent, the action of the hypo upon the silver."
A complaint is made in the News that the present disposition of photographers is to print too darkly. We think there is a tendency to this fault in our own country, and photographers mistake a rich tone for a dark print, or vice versa. It is possible to secure plenty of richness of tone, and all of the qualities of the negative without over- printing, by printing more slowly under
Mr. J. K. Johnson, the indefatigable carbon worker, has patented a long list of further " improvements." This process seems to be fading in the old country as well as in this ; in one it is dying a natural death, and in the other it is being strangled to death by patents.
The "Peripatetic Photographer," in the British Journal, recommends the use of yel- low instead of white powder, for doing away with the effects of freckles on the face. The beneficent effect upon red noses of this yel- lowish powder is commended in the highest terms.
Dr. E. Stebbing discontinues his corre- spondence with the British Journal on ac- count of his health. Eor the same reason his letters to us are not as frequent as we would like, though we still expect to receive them occasionally. Mr. W. K. Harrison, an old correspondent of the Journal, takes Professor Stebbing's place.
The British Journal gives the following method for mounting photographs upon thin mounts without cockling : " After washing, the prints are dried, and the albumen surface rubbed slightly with wax. This may be conveniently done by using a mixture of wax and methylated ether of the consistency of butter ; it should be soft enough to rub easily without penetrating the print, and rendering it transparent. After waxing, the print is immersed in clean water until thoroughly swelled, when the albumen side is pressed
THE PHILADELPHIA PHOTOGEAPHEE.
29
into close contact with the washed glass by means of the squeegee, and placed under slight pressure till thoroughly dry, and it will then leave the glass in a perfectly smooth state, and with a high gloss. If the gloss be an objection, instead of using glass let two prints be pressed into contact, face to face, by means of the squeegee or a warm, smooth iron, and placed under pressure between folds of clean, dry blotting-paper. When dry they may be separated, as in the other case, and will be found to be perfectly flat. Prints so treated can be attached to mounts by the edges only, with india-rubber, and will pre- sent as even an appearance as if mounted on cardboard."
Mr. Andrew Bowman, in the British Journal, discussing the claims of photogra- phy to be considered a fine art, says : " It is objected that there is no individuality in a photograph. There is individuality in good photography. If you put three good opera- tors into the same glass house, with the same chemicals, the same lens, the same subject, and the same conditions of light, they will each produce pictures, it may be, equally meritorious, but distinctive of their indi- vidual modes of manipulation, just the same as painters form a distinctive mode of manip- ulation ; or you can point to a picture on the walls of an exhibition, and say that it is done by so-and-so. It is markedly so in landscape. Photographers who are familiar with the style of the artist, can distinguish "Wilson 's from Braun's, Braun's from Bedford's, and Bedford's from England's, and the more photographers study art principles, the dis- tinctiveness and individuality of their work will become more and more manifest than they are at present."
Simple Expedient for Securing Dia- phragms.— " An annoyance I have often experienced when working outdoors with lenses having loose stops, has been the ten- dency of the latter to drop out of their place in moving the camera from one point of view to another. This accident is more likely to occur if the lens is so screwed into its flange that the opening for the stop is inclined from its proper position. With lenses screwed into their proper flanges this should not be the case, as the latter are fitted to the camera
front with a view to the perpendicular posi- tion of the diaphragms. When, however, an adapter is employed, the lens, if screwed home, often does not assume the proper posi- tion with reference to the stop. This defect might be remedied by screwing the lens a portion of the turn ; but a better plan is to employ an india-rubber band as a safeguard. A slit in the band allows it to be drawn over the projection of the stop and round the tube of the lens. This band answers a double purpose. It screws the stop in its place, in any position of the lens, and prevents the access of diffused light to float through the opening of the diaphragm. Kecently I had a number of plates fog from this cause, which I detected when examining the inte- rior of the camera for cracks in a bellows — the suspected part." — I. T>. Lysaght, B. J.
A very interesting meeting of the Pho- tographic Society of Great Britain was held a short time ago, the principal business of which was the distribution of the medals to the respective exhibitors to whom they had been awarded by the jurors appointed for that purpose. The addresses made by the President, who delivered the medals, and re- sponses by the different recipients, were very interesting and pleasurable. The competi- tion was very satisfactory, and those who re- ceived the medals won them not without some little contest, which of course adds to their value.
Sig. Scotellari seems to be gaining repu- tation in England. A correspondent of the British Journal says, that recently Scotellari paid him a visit, and experimented with his auxiliary light. The half-double plate was exposed fourteen seconds, with the usual cap the other half, under the same conditions, was fully exposed seven seconds, and after the sitter had left his position, an exposure of four seconds through the violet medium took place ; the negatives produced in this manner were developed, fixed, and printed without retouching in the ordinary way, and those from the negatives exposed the shortest time, were in no way inferior to the others, thus proving very successfully a gain of fifty per cent, in time of exposure.
At a late meeting of the Manchester Pho- tographic Society, the Secretary read the
30
THE PHILADELPHIA PHOTOGKAPHEK.
following very interesting letter from Mr. J. B. Payne, as follows :
" Dear Mr. Adin : I herewith send you two prints as promised. I have long been interested in the matter of fading photo- graphic prints, and had come to the conclu- sion that all conditions being properly ful- filled, a silver print was just as permanent as any other, but these conditions imply that you must begin with the manufacture of plain paper, and go right through the various pro- cesses from beginning to end with the great- est possible care.
" Then again I believe there is some sort of an unexplainable influence on the part of the negative ; some negatives, although ap- pearing very good ones, do not produce such prints ; and again, I have oftentimes thought that a print taken from a weak negative faded soon. In the matter of toning solu- tions I had pet ideas, and as regards ' washing after fixing,' I am sure that it is possible to, and that operators very often do wash too long. A great deal depends also upon the quality of the solution that a print is mounted with, and the materials it is mounted upon. I was very much interested by a paper given by Mr. Brothers, at one of the Society's meetings sometime ago ; and, reasoning from what I saw and heard on that occasion, and also from my own experience, and from the large amount of information which I have obtained from photographers, both profes- sional and amateur, I had come to the con- clusion that the permanent silver print de- pended upon the purity of the materials employed and the careful manipulation of the operator ; but the two prints I send you herewith completely upset my theories. They were printed by Mr. Dickson, and on his as- surance that he used extraordinary care with them. Mr. Dickson is a gentleman of considerable experience, and is a most pains- taking operator. He was interested in what I had mentioned to him from time to time regarding the remarks I made to him not long ago, he kindly printed these two pic- tures for me. In a note sent to me this week, Mr. Dickson says : ' I should have expected a long tenure for at least the toned one.' I inclose details of the particulars. " I am, yours faithfully,
"J. Buxton Payne."
Particulars relating to the two prints : " They are printed from the same nega- tive, on the same album enized paper. It was pink-tinted. Both floated on the same sensitized bath ; printed to exactly the same depth ; washed together ; fixed and washed together. In fact they agree in every par- ticular with each other as precisely as possi- ble, except that one is toned and the other is not toned. The one that is toned is No. 1, and it was toned with chloride of gold and carbonate of lime. They were printed in the second week of July of this year. They were both mounted in precisely the same manner ; that is by touching the mar- gin only a quarter of an inch all around the mounting solution, and being on the same mount have consequently been exposed to the same conditions of atmosphere and light."
A Model Catalogue. — At the exhibi- tion of photographic art recently held in Nu- remberg, each visitor received upon enter- ing a catalogue, of which we are told that it was a work of art, illustrated by good specimens of every kind of printing that was shown in the exhibition, and the pro- cesses exhibited there in active oj^eration appear to have been numerous. No exhibi- tion (says Dr. Vogel), has ever been pro- vided with such a catalogue, which was illustrated by an Aubeldruck ; by the views of Nuremberg by Hahn, Biede, and Schmidt ; by genre pictures, by Leyde and Muschler ; by views by Pruden, and other artists, of Nu- remberg; by a relief print by Bruckmann, of Munich ; by a Lichtdruck by Arnold & Zettler ; and by quite a variety of pictures by other and non-photographic processes, such as steel and copper-plate engraving, wood engraving, and lithography.
The Turkish government has had photo- graphed a number of the victims, and groups of victims, survivors of the late outrages in the district of Yani-Zaghra, Kezanlikact, consisting chiefly of women and children, and the photographs display the sword- gashes, lance-thrusts, and bullet wounds, which these unfortunates have received. A collection of them is said to be very horri- ble. Another argument against the abomi- nations of war.
THE PHILADELPHIA PHOTOGRAPHER
31
Pictures Received. — From some mysterious person, too modest to put his name upon his ele- gant work, we have received five very beautiful stereographic pictures of river scenery, which are charming. They are accompanied by two portraits of a gentleman cutting out prints in some peculiar manner. If the author of these pictures would kindly make himself known to us we should be obliged, as we have something to say to him. He ought not to be ashamed to ac- knowledge such work as this.
From Mr. Alexander Martin, Boulder City, Colorado, we have received some very interest- ing views of Rocky Mountain scenery, which are as fine as Braun's or England's Alpine views, not only as photographs but as careful se- lections of such delightful scenery.
From Mr. T. N. Gates, Westboro', Mass., some very excellent examples of photographs made in his new studio. Mr. Gates retains all of his old vigor and skill, and his tramps in Europe and elsewhere, during which time he forsook photog- raphy, seem to have done him no harm ; his pic- tures of children are particularly fine.
From Mrs. Lydia J. Cadwell, successor to Gentile, in Chicago, we have received some cabinet size pictures, showing very excellent judgment in posing. Mrs. Cadwell, we under- stand, is one of the most prosperous photogra- phers in Chicago.
From Mr. Frank Jewell, Seranton, Pa., some cabinet size pictures of skating scenes. We have never seen any pictures of this style which show more action than these figures do. One repre- sents a young lady under full sail along the ice ; another a young man in the act of throwing a snow-ball, while the snow is falling; and a third, of a group entitled "Fastening on the Skates." They are all excellent, and we suppose are a forerunner of what Mr. Jewell intends to send in competition for the gold medal prize.
We also have specimens of their work from the following : J. Paul Martin, Boone, Iowa; E. P. Libby, Keokuk, Iowa ; B. W. Boss, Mechanics- burg, Pa.; and J. P. Brown, Tecumseh, Michi- gan. All of the gentlemen make far better work than they did but a few years ago.
One of the pleasantest surprises we have had for a good while, was caused a few days ago by the reception from Mr. G. M. Elton, of Palmyra, N. Y., of some exquisite Promenade photographs of quite an original style. The albumen paper
occupies the usual space upon the card, but the actual picture, the photograph, all being full standing, occupies only the limits of about 2x 5£ inches. Within this space a pretty figure, and tasteful background, and choice accessories, are all admirably arranged and artistically lighted, so as to get the most charming effects. The re- maining portion of the print is delicately tinted or flashed in the sun, and the whole effect is as pretty as anything we have seen for a long time. We understand that Mr. Elton also intends to compete for our prize, and that our readers will sooner or later have an opportunity to see a sam- ple of this original and beautifully designed pic- ture of his. He certainly is entitled to the highest rjraise for their production.
From Mr. Julius Hall, Great Barrington, Mass., we have received some interior and exte- rior views from negatives, we believe, made for our prize competition of last year, but which fell through on account of the want of competitors. Among them is one of the loveliest river views, and another of a little house, which makes us want to give up business and retire to its shades forever more. It is one of those tasteful exam- ples of architecture which American wood and woodbinery, with tasteful painting, make up ; and its likeness has been caught in the most beautiful light, and is splendid throughout. Mr. Hall is one of our best landscape photogra- phers.
Items op News. — Mr. Henry Howson, the eminent patent lawyer, so well known to our readers, has issued a very interesting pamphlet on the all-important question, " Shall the Patent Office Models be dispensed with ?" His argu- ment is very apt, and fully against the use of models.
Mr. Charles D. Mosher, of Chicago, held a very elegant holiday reception at his studio on Saturday afternoon and evening, December 15th. Among the chief attractions were some paintings by Professor Gregori, who is now painting for Mr. Mosher.
Mr. C. S. Roshon has returned to Harrisburg, and occupies the Keet gallery at 408 Market St.
Messrs. Moore Bros., of Springfield, Mass., have a long article in the Journal of Commerce devoted to their studio, which speaks in the high- est praise, and deservedly so, of these gentlemen.
Mr. A. M. Allen, of Pottstown, Pa., comes in
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THE PHILADELPHIA PHOTOGEAPHEE.
for a good share of commendation of his work in a recent issue of the Miners' Journal and the Pottstown Chronicle. Mr. Allen, we believe, has struggled with silver in that city for over twenty years ; we hope he has his pockets full of gold by this time.
Mr. H. R. Marks, Austin, Texas, obtained five prizes at the recent State fair held in that city, for his display of work.
Mr. George B. Reiman, as we predicted, has returned to his old love, and assumed his former position with Messrs. Bradley & Rulofson, San Francisco, California.
We have a copy of a little advertising sheet, devoted to photography, called the Skylight, pub- lished by M. Olivier, New Brunswick, N. J.
Gratifying. — Mr. G. W. Chase, of Newark, Ohio, in sending for Mosaics for 1878, says : " I have regularly purchased Mosaics, and always find in it some good item worth more than the cost of it." Mosaics is unusually good this year.
Mosaics, 1878, has been sent, cloth bound, to all contributors whose addresses we have. Will the author of the valued article on " Photograph- ing Interiors" please send us his address?
Photographic Souvenir of the Centennial Exhibition. — -Under the above general title, J. B. Lippincott & Co., Publishers, Philadelphia, in connection with the Centennial Photo- graphic Company, have issued a Series of Four Portfolios, containing a choice selection of elegant photographs of the exteriors and in- teriors of the Exhibition Buildings, and of the most striking objects, in groups and separately, of the Exhibition. There are two sets of a large size (17 x 14), one embracing twenty views, the other fifteen, at $1.00 each; and two sets of a smaller size (14x11^ inches), one embracing twenty and the other fifteen views, at 50 cents each. No subject is duplicated in the four sets. In themselves they are works of art, besides being valuable and interesting souvenirs of our great Centennial celebration.
Photographers who desire to purchase these souvenirs can be supplied by us at trade discount, which will be made known to applicants.
Outlines of Chemistry. — We have pleasure in announcing that we have arranged with Prof. Henry McIntire, of Lafayette College, Easton, Pa., to supply our readers with a series of articles on this subject. We believe these articles will
be in a direction in which our photographers need information, and that the gentleman who has undertaken the work is eminently able. We commend a careful reading of his contributions from month to month by all those who are wil- ling to be informed.
From Scovill Manufacturing Company we have a revised price-list of stereoscopes and gra- pho-stereoscopes, the exclusive right to manufac- ture which they have purchased, under reissued letters-patent, dated April 24th, 1877, and the claims of which are as follows :
"1. The combination of a lens-holder hinged to the bed-plate of a stereoscopic instrument, with a diaphragm hinged to the said bed-plate, substantially as described.
"2. In combination with a stereoscope and its bed-plate, a movable, adjustable, sliding pic- ture-holder, and a separate friction-clutch or clamp, substantially as described.
" 3. In combination with a stereoscope and its bed-plate, a movable, adjustable, sliding pic- ture-holder, and an adjustable clutch, consisting of a set-screw or equivalent mechanism, sub- stantially as described.
"4. In combination with a stereoscope and its bed-plate, a movable, adjustable, sliding pic- ture-holder, and a handle whereby said picture- holder may be readily adjusted, substantially as described.
" 5. In combination with a stereoscope and its bed-plate, a movable, adjustable, sliding pic- ture-holder, a handle, and an adjustable friction- clutch or clamp, substantially as described.
" 6. In combination with a stereoscope and its bed-plate, a movable, adjustable, sliding picture- holder, a handle, and the vertical picture-sup- porting wires, N, substantially as described.
" 7. The combination, in a stereoscopic in- strument, of a movable lens-holder, a movable diaphragm, and a sliding picture-holder, whereby the stereoscope can readily be packed in a narrow compass for transportation, substantially as de- scribed."
Any friction-clutch or any apparatus bearing against the bed-plate of a stereoscope or grapho- scope, and attached to the picture-holder, will be an infringement of this patent.
We can personally speak in commendation of the excellent quality of the grajDho-stereoscopes produced by those gentlemen, not only from ac- tual use, but from the inspection of a great many of them ; they are substantial, and at the same time beautifully made, and should be pre- ferred.
THE PHILADELPHIA PHOTOGEAPHEE. 1
Hance's Photographic Specialties
Hance's Bath Preservative.
A sure preventive of pinholes, stains, &c. It preserves the bath in good working condition, and will be found worth its weight in gold. $1.00 per bottle.
Hance's Double Iodized Collodion.
The peculiarities of this Collodion are good keeping qualities, its improvement by age, and the rich- ness of effect produced in the negative, the film being perfectly structureless. $1.50 per lb. ; 80 cts. per \ lb.
Elbert Anderson's Portrait Collodion
Is made according to the formula used by Mr. Anderson in Mr. Kurtz's gallery in New York. It is especially adapted to portrait work. $1.75 per lb. ; 90 cts per \ lb.
Hance's White Mountain Collodion
Is adapted more especially to outdoor work, and for quick working, delineating foliage, frost-work, or sky, it stands unrivalled. It is. made after the private formula used by that celebrated mountain artist, B. W. Kilburn, of Littleton, N. H. $1.50 per R>. ; 80 cts. per J lb.
Curtis' Niagara Falls Collodion
Is another used for landscapes. The wonderfully beautiful views made by Mr. Curtis, of the great cataract, with this collodion, have a world-wide reputation. $1.50 per lb. ; 80 cts. per § R>.
Trask's Ferrotype Collodion
Is made especially for positive pictures. Mr. Trask has no superior in this class of work, and this collodion is made after his formula. $1.50 per ft>. ; 80 cts. per i lb.
Hance's Peculiar Portrait Collodion
Is peculiar in that it is prepared without bromides, and is adapted for use with Black's acid bath. Formula on the bottle. $1.50 per lb. ; 80 cts. per i lb.
Cummings' Grit Varnish
Gives a very fine surface for retouching. 40 cts. per 6 oz. bottle.
Hance's Silver Spray Gun Cotton.
Prepared with great care, and free from acid, very soluble, gives good intensity so that no redevelop- ment is necessary, gives perfect detail, and a film pure and structureless. 50 cts. per oz.
Hance's Delicate Cream Gun Cotton
Is adapted to those who like a very delicate, soft-working collodion, giving all the modelling, especially in the Rembrandt style, and with light drapery. Its sensitiveness renders it particularly adapted for children, or any work that requires short exposure. 80 cts. per oz.
Gill's Concentrated Chromo Intensifier
Is intended to strengthen the negative. It imparts a beautiful tone and gives excellent printing qualities. 50 cts. per bottle.
Hance's Ground-Glass Substitute
Is simply what its name implies, a substitute for ground-glass for any purpose that is used for in the gallery — for vignette glasses, for a retouching varnish, for softening strong negatives, for the celebrated Berlin process, for ground-glass for cameras, for glazing sky and side lights, for obscuring studio and office doors, for printing weak negatives. 50 cts. per bottle.
(READ SUCCEEDING PAGE.) 1
THE PHILADELPHIA PHOTOGRAPHER.
Photographic Specialties
AHEAD!
HIGHEST PREMIUM AWARDED
AT THE CENTENNIAL EXPOSITION
Having received the Highest Award for Photographic Specialties, I feel more confidence than ever in offering my manufactures to the Photographic fraternity . My exhibit was an extremely modest one, being taken from stock, put up in original packages without any attempt at display. Yet it carried off the prize over all the exhibits put up in cut glass decanters with ribbon-tied stoppers, proving that the medal ivas awarded for MERIT ALONE.
S GROUND-GLASS SUBSTITUTE. ;;
ONE OF THE MOST USEFUL THING'S MADE.
READ THE FOLLOWING: '
MR. A. L. HANCE.
Dear Sir: I am pleased to inform you that the gallon of Ground-Glass Substitute came safely and is just what I wanted. The surface for retouching which it gives is superb.
1 shall want more of the same sort when this supply is exhausted.
Very truly yours,
W. G. 0. KIMBALL,
Concord, N. H. FOR SALE BY ALL STOCK-DEALERS.
NO RETAIL ORDERS PILLED. ORDER OF YOUR DEALER.
ALFRED L HANCE, Philadelphia.
THE PHILADELPHIA PHOTOGKAPHEK. 3
PHOTOGRAPHIC WAREHOUSE,
229 & 231 State Street,
Z=> CHIC AGO.<=ZI
SEND for our CATALOGUES, PRICE LISTS and INSTRUCTORS.
Chas. W. Stevens. G. A. Douglass.
THE
Beatrice miniature
FULL REVISED
INSTRUCTIONS
SENT FREE.
Webster's
Liquid Concentrated
WATER COLORS,
For the BEATRICE MINIATURE. PRICE, $1.50 PER BOX.
Convex Glass. Oval Velvet Cases.
SILK VELVET PASSEPARTOUTS. FIRE-GILT EASELS,
LARGEST STOCK. LOWEST PRICES.
THE PHILADELPHIA PHOTOGKAPHEK.
"For Utility and Fitness!'
AWARDED A MEDAL
At the Centennial Exhibition, 1876.
Do not Waste Time with a Knife and Glass, but try Prof. Robinson's invention.
Robinson's Photograph Trimmer
IS A SUBSTITUTE FOB A KNIFE
FOR TRIMMING PHOTOGRAPHS, AND DOES THE "WORK MUCH MORE EXPEDITIOUSLY AND ELEGANTLY
THAN A KNIFE.
IT SAVES TIME, SAVES PRINTS, AND SAVES MONEY.
It does not cut but pinches off the waste paper, and leaves the print with a neatly beveled edge which facilitates the adherence of the print to the mount. Try one, and you will discard the knife and punch at once. For ovals and rounded corners it is worth its weight in gold.
A Trimmer and Ten Inches of Guides Mailed for $3.50.
(Oil the Wheel Bearings with Sewing Machine Oil.)
Robinson's Metallic Guides,
FOR USE with the ROBINSON PRINT-TRIMMER.
These Guides are Made of Stout Iron and are Turned in a Lathe, so that they are Mathematically True.
OVAL, ROUND, ELLIPTIC, and SQUARE, of all sizes; various shapes for Stereoscopic work. Drug Labels, etc., etc.
We have the following regular sizes always on hand at 10 cents per inch, the longest way of the aperture, the fractions counting as one inch.
Special sizes made to order at 15 cents per inch, the longest way of the aperture.
OVALS.
REGULAR SIZES:
Square or Round-Cornered.
|
2x2£ |
3Jx41 |
5|x7|- |
|
2|x3£ |
3|x5£ |
6x8 |
|
2^x3^- |
4x5f |
6Jx8J |
|
2gX 3g |
4|x6f |
6£x8J |
|
2fx3f |
5x7 |
7x9 |
|
2Ix4J |
5£x7J |
1\ x 9i |
|
3« x 4^ |
5Jx 7^ |
7|x9£ |
|
3|x4§ |
5*x7f |
7|x9| |
2A x n
2} x3| 2^ x3}
2-5- x S3-
2^x31 2| x4| 2| x 4} 21 x4|
x5J-
X Og
3
4
4sx5| 31 x 6 4 x6£
For Stereographs.
Arch Tops. Round-Cornered. Round
3TVx3| 3rVx3| 3x3
3x3 3x3
The above sizes suit the Collins Card Mounts, and photographers knowing that they can always be 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 is required to make special sizes.
EDWARD L. WILSON, Manufacturer's Agent,
PHILADELPHIA, PA. FOR SALE BY ALL DEALERS.
THE PHILADELPHIA PHOTOGKAPHER.
LONDON, 1851.
LONDON", 1862.
PARIS, 1867.
Centennial, 1876.
Centennial, 1876.
' Portrait and View Lenses
"We have now successfully introduced to the Amerioan Photographers the Ross Lenses, and by our increased sales we know they are appreciated. At the Centennial Exhibition many fine photographs were exhibited by photographers, and ourselves, made with the Ross Lenses, which attracted great attention.
While Ross & Co. are the oldest manufacturers of Photographic Lenses in existence, they also keep up with the requirements of the fraternity, by constantly manufacturing new combinations and im- proving on those already in existence. They have lately perfected, and will soon furnish us stock of, a new series of Card Lenses, extra rapid, peculiarly adapted for babies, and people who will not be quiet. "We will give notice of their arrival.
WE HAVE NOW IN STOCK
Portrait Lenses, from 1-4 to 15 x 18. Instantaneous Doublets, all sizes.
Cabinet Lenses, Nos. 1, 2, and 3. Medium Angle Doublets, all sizes.
Card Lenses, Nos. 1, 2, and 3. Large Angle Doublets, all sizes.
Triplets, Nos. 1, 2, 3, 4, 5, 6, and 7. Stereographic Lenses, all sizes.
Symmetricals. Rapid Symmetricals. New Universal Lens.
Numerous testimonials pronounce them to be the best, as well as the cheapest Foreign Lenses ever offered to the American Photographer. We will mail price-list on application, and promptly fill all orders.
PART OF THE ROSS CENTENNIAL LENSES ARE STILL UNSOLD.
Steinheil's Sons'
NEW APLANATIC
Lenses.
We now have a full stock of these Celebrated Lenses, at the following prices .
|
No. 1 — 1-4 size, . |
. 3£ inch focus, |
|
2—1-2 " . |
. 5i " " |
|
3—4-4 " . |
. 1 " |
|
4—8-10 " . |
. 10i " " |
. $25 00 . 30 00 . 45 00 . 60 00
No. 5—10-12 size, . 6—13-16 " ,
7 18-22 " ,
8—20-24 " ,
13J inch focus, 16i " " .
$70 00 110 00 200 00 350 00
Nos. 1 and 2 are in matched pairs for Stereoscopic Work.
"We feel sure that at least one of these lenses is needful for the successful prosecution of your business, and so solicit your orders.
Wilson,Hood&Co.
SOLE AGENTS FOR THE UNITED STAT
U2UrcI St JtilaMpMaJa.
THE PHILADELPHIA P.HOTOGEAPHEE.
WAYMOUTH'S
Vignetting Papers
ARE MADE OF TWO SHAPES, as shown in the drawing above. They consist of finely gradated lithographed designs, mounted on protecting sheets of non-actinic paper, and are the lightest, neatest, and best means of producing vignette pictures ever offered.
The quality of the " papers " has been much improvd by the substitution of a peculiar French, fibrous, hard calendered paper, which is not only less opaque but has other qualities which produce quickly the most lovely and soft vignettes possible. AVe consider this a great improvement, as do others to whom we have sent samples. Below we give a testimonial from Mr. Ormsby, who has sent us also some exquisite vignettes.
The package of Vignette Papers has been received and tried ; they are just the thing. They are a great improvement over the others ; they will print in a little more than half the time required for the others, and the results are everything that can be desired, as you can see by samples inclosed. Please fill my order and send bill. I like the pear-shape best. Send them all that shape. E. D, ORMSBY, Chicago.
FROM PROFESSIONAL AND AMATEUR PHOTOGRAPHERS.
"First-class.'" — "The sample sent answers perfectly." — "I consider them first-rate articles." — "They answer the purpose admirably."—" They are the best vignetters I have ever had, and as you can print in full sunlight, they are a great saving of time." — " They could not be better, oblige me with another packet." — "I find them excellent, giving much softer pictures than the old way." — "I have tried one of the Vignette Papers, and like it much; send me packets two and three." — "I am much pleased with them, and shall thank you to send me another packet." — "I did not need any copies of testimonials, having well-known by experience that your Vignette Papers were superior to anything I have ever used." — " I found those you sent before excellent." — "Vignetting Papers received and tested; can't be beat. I use by cutting an opening in a piece of cardboard and tacking to the printing-frame, when I am ready f >r printing vignettes in the very best manner." — " Waymouth's Vignette Papers I have tried, and they a.'e just what I have been wanting for years."
Any number sent on receipt of price, by any stockdealer, or by
EDWARD L. WILSON", Manufacturer, (See opposite page.) PHILADELPHIA.
ASK YOUR DEALER FOR THEM.
THE PHILADELPHIA PHOTOGEAPHEE,
WAYMOUT
VIGNETT
PAPERS.
(DESIGNS COPYRIGHTED.
OF ALL PICTURES THE
i%wtte
IS THE MOST ARTISTIC
When properly printed. But the clumsy devices generally in use for printing them, or rather for blending the shading about the figure, produce but very few really artistic vignette pictures. Either the shading is too intensely dark, not gradated in tint at all, or it shows an ugly direct, decided line,
which is very repulsive, The shading should blend gradually from, the dark tint nearest to the figure off into the •white background. The results are then soft,
artistic, and beautiful. The easiest and best way to secure them is by the use of
WAY MOUTH'S VIGNETTE PAPERS.
THEY ARE NOT CLUMSY; DO NOT BREAK; ARE ALWAYS READY; COST BUT LITTLE, AND ARE EASY OE APPLICATION TO ANY NEGATIVE.
They need but one adjustment to print any quantity.
They entirely do away with all the old and troublesome methods, either wood, metal, or cotton.
Eighteen sizes are now made, suiting all dimensions of pictures from a small carte figure to Whole- size, Victorias, Cabinets, &c. They are printed in black for ordinary negatives, yellow bronze for thin negatives, and red bronze for still weaker ones. Directions fur use accompany each parcel.
PRICES:
In parcels containing one of each size, Nos. 1 to 15, assorted colors, • $1 00
Assorted sizes and colors, by numbers, per package of fifteen, 1 00
Nos. 1, 2, 3, 4, and 5, assorted sizes and colors, for Cartes, by number, per dozen, ..... 50 " 6, 7, 11, 12, and 13 " " " Large Cartes and Victorias, by number, per doz., 75
" 8, 9, 10, 14, and 15 " " " Cabinets and AVhole-size, " " . . 1 00
" 16, 17, and IS, " " « Half " " " " . . 1. 25
(SEE OPPOSITE PAGE.)
When ordering, state the number and color you want.
EDWARD L. WILS0I, Manufacturer,
116 North Seventh Street, Philadelphia. m^ASR YOUR DEALER FOR THEMrm,
8 THE PHILADELPHIA PHOTOGKAPHEE.
WE STILL HAVE
FOR SALE LOW, THE FOLLOWLJVG USED GOODS.
Hermagis Lenses.
Three Cabinet size, extra quick, . $100 00 Two Card size, extra quick, . . . $50 00
Two " " quick, . . . , 90 00 Two " " quick, 40 00
At 38^ per cent, discount.
Bergner's Stereo. Print Cutters.
One Centennial size, and one ordinary size.
Printing Frames,
A lot of 5-8, 8-10, 10-12, 18-16, 20-24 Printing Frames, American Optical Co.'s make, very
low, in lots. Also, our
Surplus Morrison Lenses.
A. L !_■ GOKT E3.
Peerless Lenses.
.A.
Ju_a &3> C_-^
American Optical Co.'s Boxes and Holders.
Imperial Boxes, 8-10, double swing. Portrait Boxes, 8-10, 10-12 and 14-17. Venus Boxes, 8-10 and 10-12, double-swing.
View Boxes, stereo., 8-10, 10-12, 14-17, 20-24, double-swine:.
As most of our boxes were supplied with two holders, we also have a quantity of single holders for the above boxes for sale cheap.
The lenses were made especially for us and we will guarantee every one of them. Witness our own work done with them.
The apparatus is all in good working order, some of the boxes are but slightly stained, and bear no other evidence of having been used.
All these instruments and apparatus for sale aH 25 per cent, discount from manufacturers' regular prices. Better price when a lot is taken.
Sent C. O. D., with permission to examine and try, if partial remittance accompanies order.
CENTENNIAL PHOTOGRAPHIC CO.,
Belmont Avenue, International Exhibition, Philadelphia, Pa.
ADVEBTISrN G KATES FOB SPECIALTIES— It will be understood that matter under this head is not to be considered as always having editorial sanction, though we shall endeavor to clear it of anything tending to deceive or mislead. Stock-dealers will find this a beneficial mode of advertising, and sure to pay largely. Six lines, one insertion, $2.00, and 25 cents for each additional line, seven words to a line — in advance. Operators desiring situations , no charge. . Matter must be received by the 23d to secure insertion. Advertisers will please not ask us for recommendations. jB®3" We cannot undertake to mail answers to parties who advertise. Please always add your address to the advertisement.
For Sale. — A line gallery, in a town of 2500 inhabitants, and no opposition within twelve miles. First-class trade. Good reasons for sell- ing. Address F. H. Clark,
Minonk, Ills.
The Wonderful Euryscopic Lens. See Advertisement.
BURYSOOPB.
A. C. North, Toledo, Ohio, writes, Oct. 1st, 1877 : " I consider .the Euryscope Lens you sent us the finest for the purpose you claim it for to be used. I have just tried it ; it works quick, sharp, and gives no flare or marginal aberration. The finest lines are rendered with the greatest distinctness and accuracy, it covers sharp to the edge larger plates than it is listed for."
Wm. H. Roads, Philadelphia, Pa., writes, Nov. 30th, 1877 : " I send you by mail to-day a 14 x 17 photograph made with the new No. C. Euryscope, which will speak for itself. We have not done much work with new Lens, but what work we have done with it gives great satisfaction, and I can cheerfully recommend it to any one desiring a good instrument for general work."
L. Moberly, McKinney, Texas, writes, Nov. 23d, 1877 : " The No. 2 Euryscope Lens received. I have just made an 8 x 10 group of seven rjer- sons with it ; time twenty seconds, at half-past three in the afternoon, and cloudy at that, but all is perfectly sharp and crisp. I have tried a great many lenses, but this surpasses them all, and I could not ask a lens to do more. I feel under many obligations to Voigtlander & Son for the introduction of so valuable a Lens."
We have just received a good supply of all sizes of the Euryscope Lenses.
Benj. French & Co.,
Boston, Mass.
Waymouth's Vignette Papers.
For Sale. — The Lake Shore Studio, in the beautiful village and summer resort of Skanea- teles, New York; only gallery in town. Rent low ; good north-light ; rich farming country ; will be sold cheap for cash. Main reason for selling is poor health. For further particulars address the proprietor.
0. H. Wildey, Box 43, Skaneateles, Onondaga Co., N. Y.
Hance?s Photographic Special- ties. See Advertisement.
Voigtlander & Son's new Euryscope will be found the most useful Lens any one can have for groups.
Photograph Gallery for Sale. — First class, only $300; nicely furnished; first floor; rent low; gas, and running water; 4000 negatives; population, 10,000. Also for sale, 6-inch Entre- kin Burnisher, $15.00 ; 8x10 Am. Op. Co.'s Imp. Box, $35.00; 19x24 Dry R. Dish, $6.00. Rare chance.
Address, with stamp, Artist, Box 723,
Middletown, Orange Co., New York.
The Wonderful Euryscopic Lens. See Advertisement.
Burrel's Chart and Hints to Patrons. — Your gallery is not complete without them. For particulars, see advertisement in January, Feb- ruary, and March, 1876, issues of this journal. Price, $1.25, unmounted, by mail, or by express, mounted.
Lantern Slides, $5 per dozen.
USE WAYMOUTH'S VIGNETTE PAPERS.
34
THE PHILADELPHIA PHOTOGRAPHEE.
SEAVEY'S
NEW
BACKGKOUNDS AND ACCESSOEIES
FOR THE
1877— PALL AND WINTER OAMPAI GN.-1878
The newest fashionable Backgrounds intro- duced by New York Photographers, are
Seavey's Snow Landscapes,
Price, per square foot, 25 cents. Novel and superb pictures produced by using the above, in conjunction with our Winter Fore- grounds. Sure to attract customers.
Seavey's New Interiors.
Rich in design and fine in execution, at from
25 to 30 cents per square foot.
Seavey's Antique Cabinets, never before
offered to the public. Rich in design, . $40 00
Seavey's Fireplace and Cabinet, com- bined, an invaluable accessory, . . . 50 00
Seavey's Antique Chairs, 12 00
SARONY, KURTZ, MORA,
use no Backgrounds but Seavey's. Designs copyrighted.
Headquarters for leading styles in Photo- graphic Backgrounds and Accessories, L. W. Seavey's Scenic Studio,
8 Lafayette Place, New York City.
Waymouth's Vignette Papers.
There is a sign on one of the stores in New York that reads thus :
" The poorest goods sold, The highest prices charged. Oh, how this world Is given to lying !"
I agree entirely with these sentiments. Andrew H. Baldwin, Dealer in Photographic Materials, No. 1 Chambers Street, New York. Send for my Price List of 48 pages.
Wilson's Lantern Journeys. See Advertisement.
The undersigned is open for engagement, and as is well known, is capable of undertaking any branch of the business. Twenty years of expe- rience in painting, posing, operating, and print- ing.
John L. Gihon,
116 N. Seventh St., Phila.
USE WAYMOUTH'S
PORTRAIT LENSES AT THE CENTENNIAL.
Office of Wilson, Hood & Co., 822 Arch Street,
Philadelphia, Dec. 27, 1876. Centennial Photo. Co.
Gents : In Anthony's Bulletin for December, we see a communication from Mr. Notman, stating that the Dallmeyer Lenses were used ex- clusively by your Company for portraiture. If such is the case, will you kindly inform us as to what use you made of the numerous Ross Lenses we had the pleasure of selling you? We are
Very truly, Wilson, Hood & Co.
Office Centennial Photo. Co.,
Exhibition Grounds, Dec. 27, 1876. Messrs. Wilson, Hood & Co. :
Dear Sirs : In reply to your favor of this date, I beg to say that I personally superintended the works of this Company during the past summer, and to my knowledge the lenses used for por- traiture by our Company were by no means all of Mr. Dallmeyer's make. In fact all the Dall- meyer lenses in the establishment were returned to Messrs. Anthony & Co., in October, and since then, and previous to that time both the Ross lenses obtained from you, and " Hermagis " were used, as well as a large number of " Peer- less " lenses. A number of the Dallmeyer lenses sent for our use were never opened from their original packages. They were kindly loaned to Mr. Notman, but those of other makes were pur- chased because of our preference for them.
Very respectfully yours, .
Edward L. Wilson.
[We also call attention to the following unso- licited testimonial from Mr. Seaver, one of the photographers of the Centennial Photo. Co., as to the Ross Rapid Symmetricals supplied by us. — W., H. & Co.]
Office Centennial Photo. Co.,
Centennial Grounds, Nov. 6, 187"6.
Messrs. Wilson, Hood & Co. :
The Rapid Symmetricals (stereo.) are splen- did. In all my experience with lenses, and I have used nearly all the first-class lenses in the market, I have never found any to equal these. Such depth, sharpness, and softness I have never met with before. You can bet that I am going to keep the stereos, and enclose sixty dollars (check) on account. Have not had time to test
VIGNETTE PAPERS.
THE PHILADELPHIA PHOTOGEAPHEE.
35
the 64 x 8J as much as I would like. I think it is as good as the small ones, but would like to try it a little before I decide ; will decide next week. All the operators are loud in their praise of the Little Jokers, and if you had another pair I think I know of some one who would take them. Yours truly, C. Seaver, Jr.
Hance's Photographic Special- ties. See Advertisements.
60LD.
Great chance to make money. If you can't get gold you can get greenbacks. We need a person in every town to take subscriptions for the largest cheapest, and best illustrated family publication in the world. Any one can become a successful agent. The most elegant works of art given free to subscribers. The price is so low that almost everybody subscribes. One agent reports making over $150 in a week. A lady agent reports taking over 400 subscribers in ten days. All who engage make money fast. You can devote all your time to the business, or only your spare time. You need not be away from home over night. You can do it as well as others. Full particulars, di- rections and terms free. Elegant and expensive outfit free. If you want profitable work send us your address at once. It costs nothing to try the business. No one who engages fails to make great pay. Address
" The People's Journal,"
Portland, Maine.
Lantern Slides, $5 per doz.
SITUATIONS WANTED.
No chargefor advertisements under this head ; H?nited to four lines. Inserted once only, unless by request.
A good steady operator desires a situation. Can print and retouch ; had some carbon expe- rience. Address W. H. Dunwick, Port Edward, New York.
As retoucher ; can print and tone ; has also had some experience in oil and water colors, India-ink, plain and colored crayons. Salary moderate. Address Chas. Schneukir, Berlin, On- tario, Canada.
USE WAYMOUTH'S
By a young man of good address, who has had two years' experience in photography and ferro- typing, in a gallery producing fine work. Salary low. Best of references furnished. Photo, sent if desired. Address A. M. Hammers, Indiana, Pa.
As retoucher. Address, care of Frank Jewell, Scranton, Pa., by whom I am now employed, and to whom I can refer you as to work, etc. Jim Pease.
By a young man of steady habits, who under- stands principally retouching, and can render general assistance in a gallery. Address Gr. L. Rosenberger, Selma, Ala.
As operator, by a steady, intelligent man, hav- ing fifteen years' experience; understands carbon printing, and will give the use of a complete landscape apjDaratus if desired. Terms moderate. Southern States preferred. Address K. W. An- derson, 427 Yonge Street, Toronto, Canada.
By a first-class operator ; understands all branches of the business. Address A. G., care Anthony, No. 591 Broadway, N..Y.
To take charge of a gallei-y, or to operate. Specimens of work furnished on application. Address "Pose," care N. II. Busey, N. W. corner Charles and Fayette Streets, Baltimore, Md.
By an A No. 1 operator and good general workman. Is steady, sober, and honest, and has had over fifteen years' experience. Address J. R. Devere, 37 Broome St., Brooklyn, E. D., Long Island, N. Y.
By a good operator, of five years' experience; can take entire charge of gallery, and can give good references. Address J. Y. Wise, Milton, Pa., P. 0. Box 45.
A lady who can retouch and color in oil, water colors and ink, desires a salaried situation for one year, after which, if agreeable to all con- cerned, would like to buy an interest in the busi- ness. Address P. 0. Box 234, Mt. Vernon, Iowa.
By a young man who has had four years' ex- perience as printer and toner, or could operate if necessary. Address Fred. II. Peck, 8 Cypress Street, Rochester, N. Y.
VIGNETTE PAPERS.
36 THE PHILADELPHIA PHOTOGRAPHER.
G< GENN^
38 Maiden Lane, New York
IMPORTER OF THE CELEBRATED
S. &. M. DRESDEN
Albumen Papers
SINGLE OR EXTRA BRILLIANT.
This paper has been imported by me to the great satis- faction of photographers for the last eight years, and has not been surpassed by the many different brands sprung up since.
^ ALSO,
Hyposulphite of Soda,
Sulphate of Iron,
Solid German Glass Baths,
Saxe Evaporating Dishes,
French Filter Paper,
Porcelain Trays.
Ferrotype Plates.
I ALSO IMPORT EXTRA BRILLIANT
CROSS-SWORD PAPER.
For sale by all Stock-Dealers in the United States and Canada.
THE PHILADELPHIA PHOTOGEAPHEB. 37
REDUCTION IN PRICE!
THE CENTENNIAL PHOTOGRAPHIC CO.
BEG TO ANNOUNCE THAT THEITt
UNRIVALLED STEREOSCOPIC VIEWS
OF -
Statuary, Interiors, Exteriors,
Fancy Groups, Works of Art,
Machinery, etc.
Making the most unrivalled collection ever published, have been
REDUCED TO $2.00 PER DOZEN.
THE FOLLOWING SIZES ARE ALSO MADE:
Card, Cabinet, 5x8,
8x10, 13x16, and 17x21.
Liberal Discount to the Trade. Catalogues supplied on receipt of a three-cent stamp.
Every Photographer Can Sell Them.
ALSO,
Magic Lantern Slides
Over 500 subjects of greater interest than any other class of subjects in this line
FOR SALE BY THE
CENTENNIAL PHOTOGRAPHIC CO.,
Studio— Belmont Av., Exhibition Grounds, Philadelphia.
EDWAED L. WILSON, Prop'r. City Office, 116 North Seventh St.
Dealers Supplied at the Best Rates.
38 THE PHILADELPHIA PHOTOGEAPHEE.
1878— THE LATEST IMPROVEMENT IN PHOTOGRAPHY.— 1878
HALLS
Transparent Crystal Varnish,
I^or Ferrotypes.
A combination of volatile solvents and soluble gums, forming a
clear, transparent, colorless varnish, specially
suitable for Ferrotypes.
After many careful experiments, we have succeeded in making what we consider to be the best varnish for Ferrotypes yet made, as it combines all the necessary qualities required in a good varnish, and has none of the objections which other (otherwise good) varnishes have.
A good varnish for Ferrotypes should be colorless, so that the high-lights, half-tones, and deep shadows shall remain brilliant — and pure in tone. It should dry clear without heat, thus saving the expense of gas or burning-fluid ; and it should have no offensive odor to annoy the delicate senses of your customers and yourselves. All of these objections we have over- come, and combined in our varnish all the good qualities requisite. As, for instance, this varnish is perfectly colorless, and as clear and brilliant as distilled water. It dries clear in a few moments, without heat, and gives a fine, glossy, transparent film, and has no offensive odor. As a test, we would ask you to order a bottle of your stock-dealer, and try it, feeling assured that you will continue to use it in preference to all others. Each bottle bears our signature. SOLD BY ALL STOCK-DEALEKS.
HALL & CO, ST. LOUIS, MO.
GK SAUTE R,
No. 138 SOUTH EIGHTH STREET, PHILADELPHIA,
MANUFACTURER AND WHOLESALE DEALER IN
:f>-£lss:e3:f>-a.:r_totjts.
The attention of the trade is particularly called to the superior quality of our Glass and materials, and neatness of finish. A large assortment constantly on hand.
BULLOCK & CRENSHAW,
No. 528 Arch Street, Philadelphia,
MANUFACTURERS AND IMPORTERS OF PURE CHEMICALS FOR PHOTOGRAPHY. IMPORTERS OF GLASS AND PORCELAIN, APPARATUS, ETC.
Lantern Slides
GREATLY REDUCED PRICES!
jgfggrSEND FOR CATALOGUES. ~©a FURTHER REDUCTIONS JANUARY 1st.
EDW. L. WILSON, Largest Dealer in America, 116 N. 7th St. Phila.
THE PHILADELPHIA PHOTOGRAPHER, 39
BENJ. FRENCH & CO.,
No. 319 Washington St., — — — BOSTON, MASS. — =_=
IMPOKTERS AND SOLE AGENTS IN THE UNITED STATES EOll
TUBES AND LENSES.
CONDENSING LENSES FOR MAGIC LANTERNS
4£, 4£, and 5 inch diameter of superior quality. Also, a great variety of
FOREIGN AND AMERICAN SLIDES.
Our Stereoscopic Lenses are the Best in the Market.
DARLOT HEMISPHERICAL WIDE-ANGLE VIEW LENSES.
Length of back focus. Size of Views. Price. Length of back focus. Size of Views. Price.
No. 1— 2£ inch, Stereoscopic, per pair, $27 00 I No. 5— 12 inch 14x17 $40 00
2—3 " " " 33 00 6—16 " 17x20 56 00
3—5 " 6^x8i 22 50 I 7—40 " 32x42 275 00
4—8 " 10x12 28 50
For Sale at Great Bargains :
A FEW OF DARLOT PORTRAIT LENSES
With View Attachment from 1-4 size up to Mammoth size. Also few
Large Size C. C. HARRISON and HOLMES, BOOTH & HAYDEN, Second hand.
SEND FOR PRICE LISTS.
40
THE PHILADELPHIA PHOTOGRAPHER.
J. O. SOMERVILLE
No. 8 South Fifth Street.
OUTFITS A. SPECIALTY!
THE BEST GOODS AT THE VERY LOWEST PEIOES TOR OASH.
SomerviUe's Extra Negative Collodion. Tilford's Collodion. SomerviUe's Extra Ferrotype CoUodion. P. & W. Chemicals.
SomerviUe's New Diamond Varnish. Frames and Matts of
SomerviUe's Retouching Varnish. every Description.
PHOTO-CHROME OUTFITS COMPLETE, $2.50.
Convex Glass, Cotton and Silk Velvet Passepartouts, and all goods for the Photo-Chrome Picture kept in stock and sold at the lowest market prices.
Seventeen years' experience. Cash prices and prompt shipment. New packing boxes of the right size at cost. Send a trial order. jjg©*- Send for new Illustrated Price List and Budget for 1878.
Improved Solar Cameras.
PATENTED.
Feb. 24, 1857,
July 10, 1866,
Feb. 23, 1871,
May 26, 1874,
Aug. 4, 1874,
Sep. 18, 1877.
|p«
D. A. WOODWARD, Maryland Institute, Baltimore, Maryland.
4SF" All persons are warned not to infringe the Letters Patents.
SEND FOR PRICE LIST.
THE PHILADELPHIA PHOTOGEAPHEE, 41
scoviLlT
Manufacturing Company,
419 & 421 BROOME STREET,
PIS* * m %m
MERCHANTS IN
ALL ARTICLES PHOTOGRAPHIC
FOREIGN AND DOMESTIC.
PROPRIETORS OF THE WORKS OF
THE AMERICAN OPTICAL CO. NEW YORK,
S. PECK & CO., NEW HAVEN, CONN. SCOVILL MANUF'G CO.,WATERBURY, CONN.
SOLE AGENTS FOR
MORRISON'S VIEW LENSES,
"PEERLESS" PORTRAIT LENSES, ENGLISH PORCELAIN WARE,
FRENCH AND ENGLISH GLASS,
ALBUMENIZED PAPER-ALL MAKES, HANCE'S "PHOTO. SPECIALTIES,"
CENTENNIAL PHOTO. CO.'S VIEWS,
GRAPHOSCOPES, STEREOSCOPES, &c.
The Greatest Stoct in tie World ! Dealers Eyeryw tare Supplied Low!
419 -BROOME 421
SCOVILL MANUF'G CO., NEW YORK.
42
THE PHILADELPHIA PHOTOGK APHEE.
AMERICA
Contains no Larger Stock and Variety of
LANTERN SLIDES
' • — l THAN OURS! \ — •
FOR SEVERAL YEARS WE HAVE MADE THEM
a
Our Specialty /' '
AND WE ABE NO UNDOUBTEDLY
Ahead!
BOTH IN QUANTITY AND BBICES.
MAGIC LANTERNS
Of ALL KINDS, and CHEMICALS, also Supplied.
Our FALL STOCK has arrived, and by ordering NOW, you can have the best selections. Special inducements to large buyers.
Parties who wish to buy such goods should, before purchasing, examine our FOUR CATALOGUES, which we mail for twenty-five cents.
WE PUBLISH
WILSON'S
THE
||AMM JOURNEYS,
A Lecture Book describing graphically, as
an eye-witness, 800 beautiful places and
things in all parts of the world, including two Centennial Journeys.
HJtalC JANTERN.
A Monthly Journal devoted to interests of Lantern Lovers.
$1.00 per Year, post-paid.
Special Estimates and otter information £iyen gladly. Promptness onr rule.
EDWARD L. WILSON, Photo. Publisher,
116 North Seventh St., Philadelphia.
THE PHILADELPHIA PHOTOGEAPHEE.
43
THE TRADE WILL ALWAYS FIND THE LARGEST ASSORTMENT OF
GOLD Si&S&S FRAMES
Velvet Mats-English, Black & Display Nats. Salesroom: No. 822 ARCH STREET, second floor.
PHILADELPHIA.
44
THE PHILADELPHIA PHO.TOGEAPHEE.
"A Delightful Book of Travels." Has a Wonderful Sale.
WILSON'S Lantern Journeys.
By EDWARD L. WILSON,
Editor of the "Philadelphia Photographer."
fourth edition ! — Now Ready ! — FOURTH EDITION !
This work will be found entertaining to all who like to read about the beau- tiful places and things of this world .
The contents are divided into eight "Journeys," each one including a visit to ioo places, making 800 places in all, as follows :
JOURNEY A. Havre, Rouen,
Paris, Fontainbleau,
"Versailles, Switzerland.
JOURNEY B. Compiegne, Vienna,
Brussels, The Vienna Ex-
Aix la Chapelle, position, Cologne, The Semmering
Up the Rhine, Pass,
Potsdam, Saxony,
Berlin, Munich,
Dresden, Southwest Germany.
JOURNEY O. Italy, Rome,
Lake Maggiore, Naples, Lake Oomo, Pompeii,
Milan, The Ascent of
Verona, Vesuvius,
Venice, Puteoli,
Florence, Italian Art Galleries.
Pisa,
Holland, Denmark,
Norway,
Egypt,
Palestine,
Syria,
JOURNEY D.
Sweden,
Russia,
Spain.
JOURNEY E.
Turkey, Greece, India.
JOURNEY P.
England, Scotland, and the U. S. of
America.
JOURNEY G. The Centennial Exhibition at Philadelphia.
JOURNEY H. The Centennial Exhibition at Philadelphia.
It has been carefully prepared, and will be found amusing, very entertaining and instructive.
It contains 277 pages. Cloth bound, Gilt. Price, $2. EDW. L. WILSON, Photo. Publisher,
PHILADELPHIA, PENNA. FOR SALE BY ALL DEALERS.
THE PHILADELPHIA PHOTOGEAPHEE.
45
Charles Cooper & Co.
191 WORTH ST., NEW YORK,
OFFER AT WHOLESALE
PHOTOGRAPHIC CHEMICALS, strictly pure and of full weight.
CROSS-SWORD DRESDEN ALBUMEN PAPER, Single and Extra Brilliant.
EVAPORATING DISHES.
GERMAN SOLID GLASS BATHS.
PORTRAIT LENSES— C. F. Usener's Celebrated.
The largest and most reliable house for Refining Waste and Residues.
The Universal
This Press will cameo all sizes, from cards to cabinets, and is sold lower than any other that will do the same work. It has been greatly improved and made very complete in all its parts. We furnish a card, victoria and cabinet size.
PRICE, $20.00.
MANUFACTURED AND SOLD WHOLESALE AND RETAIL BY
WILSON, HOOD & CO., 822 Arch Street, Philadelphia.
j^*- CAUTION. — Photographers are cautioned against buying other presses that may use an elastic embossing substance, as they are an infringement on tiie above. R. J. Chute, Patentee.
46
THE PHILADELPHIA PHOTOGEAPHEE.
•S&OSAICs 1878=
NOW READY.
NOW READY.
As regular as the old year goes out, photographers all over the world look for the issue of that unrivalled annual,
PHOTOGRAPHIC MOSAICS.
Edited by EDWAED L. WILSON, Editor of the " Philadelphia Photographer," etc.
In the Thirteenth Issue, now ready for purchasers, it is believed that more real gems are contained than in any former volume ; so that as a book of refer- ence, as a guide, a friend, a helper in photographic practice, it is invaluable and you cannot afford to do without its assistance. Read the
CONTENTS.
Last Year.
The Language of Art. E. K. Hough.
Besetting Troubles. C. A. Zimmerman.
How to make Gold. I. B. Webster.
To the Struggling Ones. A. N. Hardy.
Developing Solutions. E. M. Estabrooke. •
Something more about the Negative Bath. F. M. Spencer.
Negative Varnishes and Retouching Surfaces. J.
Babies. W. C. Tuttle. [G. Vail.
Admitted to the Bar. J. Pitcher Spooner.
Negative Retouching. H. B. Hillyer.
If You do Not. J. H. Reuvers.
Dark-room Experience. W. B. Critchfield.
Art in Photography. M. H. Albee.
Mosaics. E. T. Whitney.
Another Difficulty Conquered. J. S. Hovey.
Items from Actual Experience. Garvey Donald- Darkness vs. Light. Forester Clark. [son.
How to Photograph the Arteries and Veins of any Viscus in the Body in its natural con- dition and position. Prof. J. Towler, M. D.
Photographing Interiors. Homo.
Forgotten Friends. George W. Wallace.
A Simple and Reliable Dry Process. C. F. Rich- Photographic Preserves. Old Argentum. [ardson.
Photographic Albums. John L. Gihon.
Old Things in New Dresses. Young Chloride.
Backgrounds. C. Alfred Garrett.
A Rod in Pickle. Obscuro. [French.
A Few Things Learned By Experience. C. M.
A Rattler. Jonas F. Brown. [B. Clench.
Do not get your Customers into Bad Habits. F.
How to restore Exposed Plates. W. H. Sherman.
Collocin as a Restrainer. John Carbutt.
Burnishing of Photo. Prints. Wm. W. Seeler.
Fraternity. A. W. Kimball.
The necessity of Art Culture. W. J. Baker.
Copying and Enlarging. Pyro.
Fog vs. Sunshine. R. R. Thompson.
Old Grannyisms. Frank F. Currier.
A new use for Petroleum. Frank Robbins.
Overiodizing. George Sperry.
Photographic Operators. C. T. Stuart.
An Improved Washing-Tank. F. A. Wenderoth.
More about Prices. Robert J. Chute.
Trimming and Mounting. Irving Saunders.
Odds and Ends. E. P. Libby.
How to keep a Burnisher in Order. W. F. Stinson.
Backgrounds : A Review. Lafayette W. Seavey.
Light and Chemicals. James 0. Merrill.
Photographic Grouping. W. D. Gatchel.
Dodge Hash. F. C. Phillips.
Useful Chips That Pay to Use. A. Hesler.
The Fading of Albumen Prints. J. R. Clemons.
On the Production of Reverse Negatives. Alfred
Pumphrey. Simple Way to work a Neutral Bath. R. Benecke. Important Trifles. E. Z. Webster. Photographing Groups of Persons of Different
Complexions. F. N. Blake. How to do a Successful Business In Dull Times.
L. W. Crawford. The Photography of the Future. An Unfading
Photographer. Dirt. H. R. Farr. [ling.
Excellent Methods of Lichtdruck. Joseph Lem- Many Mites From Many Minds. E. L. Wilson.
The whole will include 144 splendid pages.
Cloth bound, $1.00 per copy; paper cover, 50 cents.
WORTH ITS WEIGHT IN GOLD.
EDWARD L, WILSON, PMoppliic Publisher, 116 Nortn Seventh St, PhiMelpliia.
THE PHILADELPHIA PHOTOGEAPHEK. 47
GIHON'S
CUT-OUTS
Are the very best that are made, and are now without a rival in the market. They are clean cut, most desirable shapes and sizes, and made of non-actinic paper, manufactured specially for the purpose. Each package contains 30 Cut-Outs, or Masks, with corresponding Insides, assorted for five differently sized ovals and one arch-top.
PRICE $1.00 PER PACKAGE. Sent by mail on receipt of price.
Parties wishing special sizes, or large lots of a few sizes, may have them cut to order promptly, by addressing the manufacturer. No lot costing less than $1.00 made at a time.
^SS" No printer should attempt to make medallion pictures without them.
THEY HAVE NO EQUAL FOR QUALITY.
Beware of spurious imitations made of common paper, full of holes, badly cut, and odd shapes and sizes. Ask your stock-dealer for GIHON'S CUT-OUTS, and see that they are in his envelopes with instruction circular included.
PROMENADE SIZE NOW READY! sokS ctEs!£vll%n?T
GIHON'S
OPAQUE.
IS DESIGNED FOR
COMPLETELY OBSCURING THE IMPERFECT BACKGROUNDS OF COPIES, RETOUCHING NEGATIVES,
FAULTY SKIES IN LANDSCAPES,
COATING THE INSIDE OF LENSES OR CAMERA BOXES, BACKING SOLAR NEGATIVES,
COVERING VIGNETTING BOARDS,
^ AND FOR ANSWERING
ALL THE REQUIREMENTS OF THE INTELLIGENT PHOTOGRAPHER IN THE PRODUCTION OF ARTISTIC RESULTS IN PRINTING.
WHEREVER YOU WANT TO KEEP OUT LIGHT, USE OPAQUE.
It is applied with a brush, dries quickly and sticks.
CUT-OUTS (thirty), $1.00. OPAQUE, 50 CENTS.
FOR SALE BY ALL DEALERS.
Address all orders to
Scovill Manufacturing Co.,
Or, JOHN L. GfflON, Inventor, NEW YORK.
116 N Seventh St., Philadelphia, Pa
48 THE PHILADELPHIA PHOTOGBAPHER.
ARTISTIC PHOTOGRAPHY.
A NEW WORK on PHOTOGRAPHY and ART.
ILLUSTRATED WITH 12 BEAUTIFUL PROMENADE PHOTOGRAPHS.
By LYMAN C. BICELOW,
Anthor of " Bigelow's Album of Lighting and Posing,''
This is a beautifully gotten up work, and contains full instructions in every department of Photography.
* — • Price, $5.00. i — ►:
EDWARD L. WILSON, Photo. Publisher, For Sale by all Dealers. 116 North Seventh St., Philadelphia.
IMPROVED
Photograph Covers
Frequent inquiries for something at a much lower price than an album, for the holding together and preservation of photographs, has induced us to manufacture an article which we think will meet the want.
IT SERVES ALL THE PURPOSES OF AN ALBUM.
The covers are made with expanding backs, so that from six to twenty-four pictures may be inserted in one cover. The pictures are mounted in the usual way, and then strips of linen, or strong paper, of the proper width, are pasted on one edge, by which the picture is inserted and held in place in the cover by a paper fastener.
The following is a list of sizes and prices, without cards :
. For Photograph Per dozen. Per hundred.
Card Size, $1 50 ..... . $10 OO
Cabinet Size, .... 225 13 50
EXTRA HEAVY COVERS.
5-8 Size, 4 50 33 00
4-4 " 6 00 40 OO
8-10" ...... 800 56 50
11-14" 9 OO 65 00
Larger or special sizes made to order. Furnished with card board at best rates. Samples