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+The Project Gutenberg eBook, Photographic Amusements, Ninth Edition, by
+Walter E. Woodbury and Frank R. Fraprie
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Photographic Amusements, Ninth Edition
+       Including A Description of a Number of Novel Effects Obtainable with the Camera
+
+
+Author: Walter E. Woodbury and Frank R. Fraprie
+
+
+
+Release Date: May 14, 2012  [eBook #39691]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK PHOTOGRAPHIC AMUSEMENTS, NINTH
+EDITION***
+
+
+E-text prepared by Chris Curnow, Matthew Wheaton, and the Online
+Distributed Proofreading Team (http://www.pgdp.net) from page images
+generously made available by Internet Archive/American Libraries
+(http://archive.org/details/americana)
+
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+
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+      See 39691-h.htm or 39691-h.zip:
+      (http://www.gutenberg.org/files/39691/39691-h/39691-h.htm)
+      or
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+
+
+      Images of the original pages are available through
+      Internet Archive/American Libraries. See
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+
+
+
+
+
+PHOTOGRAPHIC AMUSEMENTS
+
+Including A Description of a Number of
+Novel Effects Obtainable with the Camera
+
+by
+
+WALTER E. WOODBURY
+
+Formerly Editor of "The Photographic Times," Author of "The
+Encyclopedic Dictionary of Photography," "Aristotypes and How to
+Make Them," etc., etc.
+
+Revised and Enlarged by
+
+FRANK R. FRAPRIE, S. M., F. R. P. S.
+
+Editor of "American Photography"
+
+NINTH EDITION
+
+
+
+
+
+
+
+American Photographic Publishing Co.
+Boston 17, Mass.
+1922
+
+Copyright 1896
+By the Scovill & Adams Co., of New York.
+
+Copyright 1905, 1909, 1914
+By the Photographic Times Publishing Association, New York.
+
+Copyright 1922
+By American Photographic Publishing Co.
+
+Printed in the U. S. A.
+
+The Plimpton Press · Norwood · Mass ·
+
+
+
+
+CONTENTS.
+
+
+    INTRODUCTION
+    THE MIRROR AND THE CAMERA
+    THE PHOTO-ANAMORPHOSIS
+    STATUETTE PORTRAITS
+    MAGIC PHOTOGRAPHS
+    SPIRIT PHOTOGRAPHY
+    PHOTOGRAPHY FOR HOUSEHOLD DECORATION
+    LEAF PRINTS
+    TO MAKE A PEN AND INK SKETCH FROM A PHOTOGRAPH
+    PHOTOGRAPHS ON SILK
+    PHOTOGRAPHING A CATASTROPHE
+    PHOTOGRAPHS ON VARIOUS FABRICS
+    SILHOUETTES
+    PHOTOGRAPHING THE INVISIBLE
+    HOW TO MAKE A PHOTOGRAPH INSIDE A BOTTLE
+    PHOTOGRAPHS IN ANY COLOR
+    THE DISAPPEARING PHOTOGRAPH
+    FREAK PICTURES WITH A BLACK BACKGROUND
+    HOW TO COPY DRAWINGS
+    SYMPATHETIC PHOTOGRAPHS
+    DRY PLATES THAT WILL DEVELOP WITH WATER
+    CARICATURE PHOTOGRAPHS
+    PHOTOGRAPHING SEAWEEDS
+    STAMP PORTRAITS
+    LUMINOUS PHOTOGRAPHS
+    FLORAL PHOTOGRAPHY
+    DISTORTED IMAGES
+    PHOTOGRAPHS WITHOUT LIGHT
+    ELECTRIC PHOTOGRAPHS
+    MAGIC VIGNETTES
+    A SIMPLE METHOD OF ENLARGING
+    MOONLIGHT EFFECTS
+    PHOTOGRAPHING SNOW AND ICE CRYSTALS
+    PHOTOGRAPHING INK CRYSTALS
+    PINHOLE PHOTOGRAPHY
+    FREAK PICTURES BY SUCCESSIVE EXPOSURES
+    WIDE-ANGLE STUDIES
+    CONICAL PORTRAITS
+    MAKING DIRECT POSITIVES IN THE CAMERA
+    INSTANTANEOUS PHOTOGRAPHY
+    ARTIFICIAL MIRAGES BY PHOTOGRAPHY
+    THE PHOTO-CHROMOSCOPE
+    COMPOSITE PHOTOGRAPHY
+    TELE-PHOTO PICTURES
+    LIGHTNING PHOTOGRAPHS
+    PHOTOGRAPHING FIREWORKS
+    DOUBLES
+    DOUBLE EXPOSURES
+    COMICAL PORTRAITS
+    THE TWO-HEADED MAN
+    DUPLICATORS AND TRIPLICATORS
+    PICTURES WITH EYES WHICH OPEN AND CLOSE
+    PHOTOGRAPHIC BOOKPLATES
+    LANDSCAPES AND GROUPS ON THE DINING-ROOM TABLE
+    NIGHT PHOTOGRAPHY
+    PHOTOGRAPHS ON APPLES AND EGGS
+
+
+
+
+INTRODUCTION
+
+
+As Mr. Woodbury stated in his introduction to the original edition of
+this book, in order to avoid misunderstanding, it would be well to
+explain at the outset that it is not intended as an instruction book
+in the art of photography in any sense of the word. It is assumed that
+the reader has already mastered the technical difficulties of
+photographic practice and is able to make a good negative or print.
+
+It was the purpose of the author to describe a number of novel and
+curious effects that can be obtained by the aid of the camera,
+together with some instructive and interesting photographic
+experiments.
+
+The contents of the work were compiled from various sources, chiefly
+from "The Photographic Times," "The Scientific American," "The
+American Annual of Photography," "La Nature," "Photographischer
+Zeitvertreib," by Herman Schnauss, and "Les Recreations
+Photographiques," by A. Bergeret et F. Drewin; and the illustrations
+were likewise taken from various sources.
+
+In conclusion the author or compiler modestly lays claim to very
+little himself, quoting the words of Montaigne, who said:--
+
+     "_I have gathered me a posie of other men's flowers, of which
+     nothing but the thread that binds them is mine own._"
+
+And yet so popular did the book prove that in the course of its first
+ten years of life, it ran through edition after edition.
+
+The publishers of "The Photographic Times" later acquired the
+copyright of the popular volume and published three editions.
+
+The publishers of AMERICAN PHOTOGRAPHY acquired the book during the
+Great War through their purchase of "The Photographic Times," but in
+spite of a steady demand for the book after the limited stock had been
+sold out, did not find it advisable to reprint it until now.
+
+In putting the book to press at this time, most of the original plates
+have been used. A number of the old pictures have been replaced by
+more modern examples and 14 pages have been added to the book,
+including several new topics.
+
+The publishers would be glad to receive manuscripts and pictures
+describing and illustrating novel and interesting photographic effects
+not mentioned in this volume, to be published in AMERICAN PHOTOGRAPHY
+and incorporated in the next edition of PHOTOGRAPHIC AMUSEMENTS. They
+also request that photographers who make photographs illustrating any
+of the topics treated in the book, and especially those illustrated by
+wood cuts, may submit them for consideration, as they are prepared to
+purchase such as may seem available for the next edition.
+
+FRANK ROY FRAPRIE.
+
+BOSTON, January, 1922.
+
+
+
+
+PHOTOGRAPHIC AMUSEMENTS
+
+
+
+
+THE MIRROR AND THE CAMERA.
+
+
+[Illustration: FIG. 1.--EFFECT OBTAINED WITH PARALLEL MIRRORS.]
+
+Quite a number of novel effects can be obtained by the aid of one or
+more mirrors. If two mirrors are taken and placed parallel to one
+another, and a person placed between, the effect obtained is as shown
+in Fig. 1, where one soldier appears as a whole regiment drawn up into
+line. To make this experiment we require two large-sized mirrors, and
+they must be so arranged that they do not reflect the camera and the
+photographer, but give only multiple images of the sitter. This will
+be found quite possible; all that is necessary is to make a few
+preliminary experiments, adjusting the mirrors at different angles
+until the desired effect is obtained.
+
+A process of multiphotography which was at one time quite popular
+consisted in posing the sitter with his back to the camera as shown in
+Figs. 2 and 3. In front of him are arranged two mirrors, set at the
+desired angle to each other, their inner edges touching. In the
+illustrations here given the mirrors are inclined at an angle of 75
+deg., and five reflected images are produced. When an exposure is made
+and the negative developed, we not only have the back view of the
+sitter but the full reflected images in profile and three-quarter
+positions as well.
+
+[Illustration: FIG. 2.--DIAGRAM OF THE PRODUCTION OF FIVE VIEWS OF ONE
+SUBJECT BY MULTIPHOTOGRAPHY.]
+
+In the diagram, Fig. 2, reproduced from "The Scientific American" the
+course taken by the rays of light, determined by the law that the
+angle of incidence is equal to the angle of reflection, is plainly
+marked out. We see here their passage from the sitter to the mirror
+and back to the camera. Provided the mirror be large enough, images of
+the full length figure can be made as shown in Fig. 4.
+
+For photographing articles where it is of advantage to secure a number
+of different views of the same object this method of photographing
+with mirrors opens up quite a wide field of possibilities. In France
+it is used for photographing criminals, and thus obtaining a number of
+different portraits with one exposure.
+
+[Illustration: FIG. 3.--GALLERY ARRANGED FOR MULTIPHOTOGRAPHY.]
+
+The use of an ordinary mirror in portrait work has enabled
+photographers to produce very pleasing results. There is often a very
+striking difference between the full and side views of a person's
+face, and by means of such a combination as this, one is enabled to
+secure a perfect representation of both at the same time. In making
+reflection portraits it has often been noted that the reflection has a
+more pleasing effect than the direct portrait. The reason of this is
+that it is softer and the facial blemishes are not so distinctly
+brought out. There is naturally a slight loss of detail, but this is
+by no means a drawback. The worst fault of the camera in portrait
+photography is the tendency to include every little detail which the
+artist would suppress. It not only includes all the detail, but often
+exaggerates it to a painful extent. By making a portrait by reflection
+this defect is avoided. Of course the image is reversed, but this is
+in most cases of little consequence; in fact, the sitter himself would
+be more likely to consider it a far more truthful likeness, for when
+we look into a mirror we do not see ourselves as others see us, but a
+reversed image. With some faces the difference is quite striking.
+
+[Illustration: FIG. 4.--MULTIPHOTOGRAPH OF A FULL-LENGTH FIGURE.]
+
+[Illustration: By H. L. Bostwick. FIG. 5.--MULTIPHOTOGRAPH OF CISSY
+FITZGERALD]
+
+[Illustration: FIG. 6.--ELONGATED REFLECTION IN A SPOON.]
+
+Very many amusing effects can be obtained by the use of a convex
+mirror. Even an ordinary, well-polished spoon may be made to give some
+curious results. (See Fig. 6.) The thin man becomes an elongated mass
+of humanity to whom Barnum would have given a big salary, while the
+fat man may be reduced to the proportions of a walking-stick.
+
+Convex mirrors for producing these ludicrous effects can be purchased
+at any mirror manufacturer's store. The advantage of the camera lies
+in the ability to secure permanently the curious images produced.
+
+Even more ridiculous-looking images can be secured by the use of a
+piece of uneven glass silvered. For a method of silvering glass we are
+indebted to the kindness of Dr. James H. Stebbins, Jr., the well-known
+analytical chemist. Dissolve pure nitrate of silver in distilled water
+in the proportion of 10 grains to 1 ounce, and add carefully, drop by
+drop, sufficient strong ammonia solution to just dissolve the brown
+precipitate at first formed, stirring constantly during the addition.
+
+Make a solution of Rochelle salt, 1 grain to the ounce of distilled
+water. Clean the plate of glass thoroughly with a little wet rouge and
+polish dry with a piece of chamois leather. Warm it before the fire or
+in the sun to about 70 to 80 deg. Fahr., and lay it on a perfectly
+level surface. Then mix 1 ounce of the silver solution with half an
+ounce of the Rochelle salt solution and pour the mixture on the glass
+so that every part of the surface will be evenly covered with it.
+
+[Illustration: FIG. 7.--CURIOUS EFFECT OBTAINED WITH A CONVEX MIRROR.]
+
+Allow this to stand in the warm sunshine from half to one hour, when
+the reduced silver will be deposited as a fine film over the surface
+of the glass. When this is done wash off the glass with distilled
+water and wipe the entire surface very gently with a little wet
+wadding, which will take off the roughness and render it easier to
+polish. When perfectly dry the silver should be polished by rubbing
+with some smooth, hard surface. The plate is then varnished by pouring
+over it a suitable varnish and is ready for use.
+
+
+
+
+THE PHOTO-ANAMORPHOSIS.
+
+
+The name anamorphosis has been given to two kinds of pictures
+distorted according to a certain law, and which are of such a
+grotesque appearance that it is often impossible to recognize the
+subject of them; while viewed with proper apparatus they appear as
+perfectly correct images. One kind is designed to be viewed by
+reflection and the other is reconstituted by means of a special rotary
+apparatus.
+
+[Illustration: FIG. 8.--ANAMORPHOSIS VIEWED IN CONVEX CYLINDRICAL
+MIRROR.[1]]
+
+[1] From "Experimental Science." Published by Munn & Co., New York.
+
+Until quite recently, these pictures were drawn approximately from the
+reflection of the object as seen in a convex mirror, the position of
+which was indicated on the drawing and which restored it to its real
+form. M. Fenant conceived the idea of employing photography for
+obtaining these pictures. Fig. 9 reproduces a photo-anamorphosis from
+a negative by M. Fenant. If a cylindrical mirror be placed on the
+black circle shown in the reproduction the photograph will appear in
+its original form. Our illustration represents a portrait, although
+the features are barely recognizable. Similar pictures may be obtained
+by photographing the drawing or subject reflected in a cylindrical
+concave mirror placed perpendicularly.
+
+[Illustration: FIG. 9.--A PHOTO-ANAMORPHOSIS.]
+
+The second kind of anamorphosis is produced by the distortion of the
+picture in the sense of one of its dimensions. To reconstruct it, it
+is caused to rotate rapidly, at the same time that a disc, perforated
+with a slit through which the picture is viewed, is rotated in front
+of it at a slightly different speed.
+
+The apparatus invented by M. Linde for producing the anamorphosis is
+shown in Figs. 10 and 11. _G_ is a camera provided with a revolving
+plate-holder, _T H_ are revolving discs the movement of which is made
+to bear a certain relation to that of the plate-holder by means of the
+band F and the pulleys _D D_. The whole is set in operation by a piece
+of clockwork and the cord _F_. _A_ is the axis of the camera, _B_ that
+of the plate-holder, and _C_ that of the revolving disc. On this disc
+is fixed the picture from which it is desired to make an anamorphosis.
+The relative motions are so regulated that when the plate-holder has
+made a complete revolution the disc has turned through an angle of 60
+to 80 degrees in the opposite direction. Between the plate-holder and
+the lens is a diaphragm pierced with a slit about 10 millimetres wide.
+The action of the light on the plate takes place through this slit.
+The negative obtained, prints are made upon plain salted paper and
+rendered transparent with wax or vaseline. These pictures can be
+viewed in the ordinary apparatus used for showing anamorphoses of this
+kind. The print is fastened to a revolving apparatus and in front of
+it is another disc painted black and provided with a number of slits.
+The latter revolves at one-fourth the speed of the picture, and the
+image when viewed through the slit resumes its normal proportions.
+
+[Illustration: FIGS. 10 AND 11.--LINDE'S APPARATUS FOR
+PHOTO-ANAMORPHOSIS.]
+
+
+
+
+STATUETTE PORTRAITS.
+
+
+These were at one time quite popular, and if properly managed can be
+rendered very effective. There are several methods of making this kind
+of picture. If the photographer possesses a pedestal large enough, all
+that is necessary is to place this on a stand and the person to be
+photographed is arranged behind.
+
+[Illustration: FIG. 12.]
+
+The breast is uncovered and some white soft material artistically
+arranged in folds over the shoulders and in such a way as to appear
+connected with the pedestal. A black background is placed behind and
+the exposure made. To give a more realistic effect the hair, face, and
+all other parts showing should be liberally powdered over with a white
+powder or rice flour. The negative produced will have a clear glass
+background, but the body of the figure will still be visible. This is
+removed by cutting away the film round the pedestal and to the arms on
+each side, leaving only those parts remaining that are required to
+produce the statuette. In printing we get a white statuette portrait
+on a dark background.
+
+If the photographer does not possess a pedestal, the next best means
+to produce these pictures is to get a large sheet of cardboard and cut
+it out to the shape shown in the figure beneath, and with white paint
+make the picture of a pedestal, shading with a little gray to give
+rotundity. The figure is stationed behind it, and a black background
+used.
+
+A third method involves still less trouble. This is to purchase a
+ready made pedestal negative. These are film negatives of a pedestal
+that can be adjusted to the negative of the subject desired to be
+produced as a statue. After the negative is taken and varnished the
+film is scraped off round the figure, cutting off the body as shown in
+the first illustration, after which the pedestal negative is adjusted,
+fastened, and then printed. The negative is reversible and can also be
+used for different subjects. The picture shown in Fig. 13 was made by
+Mr. G. B. Bradshaw, of Beach House, Altrincham, England, by means of
+one of his pedestal negatives.
+
+[Illustration: By G. B. Bradshaw. FIG. 13.--STATUETTE PORTRAIT.]
+
+
+
+
+MAGIC PHOTOGRAPHS.
+
+
+[Illustration: FIG. 14.--CIGARETTE TUBE FOR MAGIC PHOTOGRAPHS.]
+
+Take an ordinary silver print and fix it without toning. Thoroughly
+well wash it to remove all traces of the fixing solution and then
+immerse it in a saturated solution of bichloride of mercury, when the
+image will disappear. The bichloride of mercury changes the photograph
+into white chloride of silver and chloride of mercury which is also
+white. The image when on white paper is thus rendered invisible.
+
+Next soak some strong bibulous paper in a saturated solution of sodium
+hyposulphite, and, when dry, paste a piece of the paper to the back of
+the invisible print with a little starch paste, attaching it by the
+edges only. Of course the image can also be made to appear by soaking
+the invisible print, without the bibulous paper attached, in a
+solution of sodium sulphite, hypo, or water with a little ammonia
+added.
+
+[Illustration: FIG. 15.--DEVELOPING THE IMAGE.]
+
+Magic photographs made in the manner above described can also be
+developed by smoke. A novelty, introduced in Paris some time ago,
+consisted of a cigarette or cigar holder, shown in Fig. 14, containing
+in its stem a little chamber for the insertion of a small piece of
+apparently plain paper, but in reality an invisible photograph
+produced in the manner already described. The ammonia vapor in the
+smoke passing through the chamber attacked the print and developed the
+image. By blowing the smoke on the latent image it may be made to
+appear, but the operation is rather tedious, and anyone with a little
+ingenuity can easily construct a cigarette holder with an arrangement
+to hold small pictures and allow the smoke to pass through.
+
+The chamber of the cigarette or cigar holder must of course be
+sufficiently large to allow of the print being inserted in such a
+manner that the smoke can readily attack its surface, otherwise uneven
+development of the image will take place.
+
+
+
+
+SPIRIT PHOTOGRAPHY.
+
+
+[Illustration: FIG. 16.--A "SPIRIT" PHOTOGRAPH.]
+
+Many years ago, in the old wet-collodion days, a well-known
+photographer was one day surprised by the visitation of a spirit. The
+apparition did not make its appearance during the nocturnal hours, as
+is, we have been given to understand, the custom of these ladies and
+gentlemen from the other world, but, strangely enough, in broad
+daylight; and not by his bedside to disturb his peaceful slumber, but
+upon the photograph he was in the act of producing. Had this gentleman
+been of that soft-brained kind, so easily gulled by the professional
+spiritualist, it is possible that he would not have done what he did,
+which was to make a thorough and scientific examination as to the
+probable cause of the phenomenon. The case was this: A gentleman
+sitter had been taken in the usual manner upon a collodion plate. Upon
+taking a positive print from the negative, he was surprised to find a
+dim white figure of a lady apparently hovering over the unconscious
+sitter. Upon examination of the negative, the image of the figure was
+also visible, but not so plainly as in the positive. The explanation
+of the whole matter was soon discovered. In those days glass was not
+so cheap as at present, and all old or spoilt negatives were cleaned
+off and freshly prepared with collodion for further use. In this case
+the glass had previously supported the negative image of a lady
+dressed in white. Some chemical action had evidently taken place
+between the image and the glass itself, turning the latter slightly
+yellow in some parts. This faint yellow image, although hardly visible
+in the negative, had, being of a non-actinic color, given quite a
+distinct image in the positive. The case was not an isolated one, as
+these spirit photographs, as they were called, often made their
+appearance when old negatives were cleaned and the glass used again.
+The precise action producing the image has never, we think, been
+satisfactorily explained. It could often be made more distinct by
+breathing on the glass. We do not know if any enterprising humbug ever
+took advantage of this method of producing spirit photographs to
+extort money from the unwary, but about ten years ago a work was
+published, entitled "Chronicles of the Photographs of Spiritual Beings
+and Phenomena Invisible to the Material Eye," by a Miss Houghton. In
+this a number of reproductions of photographs of "spirits" were given
+with a detailed explanation of how they were obtained and the
+difficulties attending their production, the "spirits" being
+apparently of very independent natures, only making their appearance
+when they felt so inclined. It is quite possible that a person
+entirely ignorant of photographic methods might be led into the belief
+that they were actually photographic images of the dead, but we fear
+that the book is hardly well enough written to deceive the experienced
+photographer. At certain and most unfortunate periods in the process
+employed, some of the plates had a convenient habit of slipping into
+the washing tank and there, according to the author, becoming utterly
+ruined; also we learn that many were ruined by being accidentally
+smudged by the photographer's finger. We should not, we fear, have a
+very high opinion of an operator who was in the constant habit of
+"smudging" negatives with his fingers so as to entirely spoil them,
+nor can we quite understand what brand of plates was used that "got
+spoiled by falling into the water."
+
+[Illustration: From La Nature. FIG. 17.--SPIRIT PICTURE.]
+
+[Illustration: From La Nature. FIG. 18.--SPIRIT PICTURE.]
+
+It is not difficult to explain how these pictures were produced. There
+are quite a number of methods. With a weak-minded sitter, over whom
+the operator had complete control, the matter would be in no wise a
+difficult one. It would then only be necessary for the spirit,
+suitably attired for the occasion, to appear for a few seconds behind
+the sitter during the exposure and be taken slightly out of focus, so
+as not to appear too corporeal.
+
+If, however, the sitter be of another kind, anxious to discover how it
+was done and on the alert for any deceptive practices, the method
+described would be rather a risky one, as he might turn round suddenly
+at an inconvenient moment and detect the _modus operandi_. In such a
+case it becomes necessary to find some other method where it would not
+be requisite for the "spirit" to make its appearance during the
+presence of the sitter.
+
+[Illustration: FIG. 19.--SPIRIT PICTURE DISTURBED SLUMBER]
+
+The ghostly image can be prepared upon the plate, either before or
+after the exposure of the sitter. The method is this: In a darkened
+room the draped figure to represent the spirit is posed in a
+spirit-like attitude (whatever that may be) in front of a dark
+background with a suitable magnesium or other artificial light thrown
+upon the figure, which is then focused in the "fuzzy-type" style; or,
+better still, a fine piece of muslin gauze is placed close to the lens
+which gives a hazy, indistinct appearance to the image. The exposure
+is made and the latent image remains upon the sensitive plate, which
+is again used to photograph the sitter. Upon developing we get the two
+images, the "spirit" mixed up with the figure. The spirit should be as
+indistinct as possible, as it will then be less easy for the subject
+to dispute the statement that it is the spirit-form of his dead and
+gone relative. Some amount of discretion in this part of the
+performance must be used, we fancy, otherwise the same disaster might
+happen as did to a spiritualist some little time ago. An elderly
+gentleman had come for a _seance_, and, after some mysterious
+maneuvers, the gentleman was informed that the spirit of his mother
+was there. "Indeed!" replied the old gentleman, somewhat astonished.
+"What does she say?" "She says she will see you soon," informed the
+medium. "You are getting old now and must soon join her." "Quite
+right," replied the old gentleman; "I am going round to her house to
+tea to-night."--Total collapse of spiritualist.
+
+[Illustration: FIG. 20.--PHOTOGRAPH OF "SPIRITS."]
+
+Fluorescent substances, such as bisulphate of quinine, can also be
+employed. This compound, although almost invisible to the eye,
+photographs nearly black. If a white piece of paper be painted with
+the substance, except on certain parts, the latter only will appear
+white in the picture.
+
+[Illustration: FIG. 21.-PAINTING BY N. SICHEL. From which the "Spirit"
+Photograph opposite was made.]
+
+We hope that it will not be inferred that we desire to explain how to
+deceive persons with regard to photographs of spirits, for this is not
+so; we only hope that they will be made merely for amusement, and if
+possible to expose persons who practice on the gullibility of
+inexperienced persons.
+
+Fig. 20 is a reproduction of a "spirit" photograph made by a
+photographer, claiming to be a "spirit photographer," and to have the
+power to call these ladies and gentlemen from the "vasty deep" and
+make them impress their image upon the sensitive plate by the side of
+the portraits of their living relatives.
+
+Fortunately, however, we were in this case able to expose this fraud.
+Mr. W. M. Murray, a prominent member of the Society of Amateur
+Photographers of New York, called our attention to the similarity
+between one of the "spirit" images and a portrait painting by Sichel,
+the artist.
+
+A reproduction of the picture is given herewith, Fig. 21, and it will
+be seen at once that the spirit image is copied from it.
+
+In a recent number of _The Australian Photographic Journal_ we read of
+the following novel method of making so-called spirit photographs:
+"Take a negative of any supposed spirit that is to be represented, put
+it in the printing frame with the film side out; lay on the glass side
+a piece of platinotype paper with the sensitive side up; clamp in
+place the back of the printing frame and expose to the sun for half a
+minute. Now place in the printing frame the negative of another person
+to whom the spirit is to appear, and over it put the previously
+exposed sheet film side down; expose to the sun for two minutes until
+the image is faintly seen, then develop in the usual way and the
+blurred spirit photograph will appear faintly to one side or directly
+behind the distinct image. Sheets of paper with different ghost
+exposures can be prepared beforehand."
+
+Spirit photographs might easily be made by means of Prof. Roentgen's
+well-known X-ray process of impressing an image upon a photographic
+dry-plate without uncovering the shutter. The process would however
+entail considerable expense and would necessitate the use of so much
+costly apparatus that we will content ourselves with the simple
+mention of the possibility.
+
+
+
+
+PHOTOGRAPHY FOR HOUSEHOLD DECORATION
+
+
+How few amateur photographers there are who thoroughly enter into the
+enjoyment of the art-science as a pastime. Many of these, perhaps,
+must be excused for the reason that they are ignorant of its
+capabilities. Indeed, how many there are who imagine that the art of
+photography consists in making negatives and, from these,
+prints--good, bad and indifferent. All the friends and relations are
+called into requisition "to be taken." At first they do not mind,
+thinking it a fine thing to have a portrait made for nothing; but when
+they see the result they very naturally object to be caricatured, and
+the amateur loses many a friend, and the maiden aunt leaves all her
+money to the home for stray cats. If he is a married man and delights
+in a happy, cosy home, neatly and artistically decorated, photography
+can be of very great assistance to him--how much, few realize. There
+are a thousand different ways in which it can be of use, and the
+photographer has always before him some permanent record of his
+travels and skill.
+
+[Illustration: FIG. 22.]
+
+Let us take, for instance, the making of transparencies. These are
+very simply made. Any moderately rapid dry plate can be used for the
+purpose. Every amateur becomes possessed after a time of a large
+number of negatives, good, bad, and indifferent. Let him carefully go
+through these, selecting all the printable ones and the pictures that
+he most admires. From these, transparencies can be made, either by
+contact, or enlarged or reduced in the camera. Persons residing in
+cities often have a nicely furnished room utterly marred by an
+unsightly outlook. Perhaps a view of chimney pots and dirty back
+yards. In such a case all that is necessary is to fit in place of the
+lower panes some neat photographs on glass, backed with thin
+ground-glass. These can be puttied in or they can be fitted in neat
+brass frames and hung up against the windows.
+
+The craze of the present day appears to be in the direction of bright
+and gaudy colors, except with the more highly cultivated, who
+recognize the artistic value of unobtrusive colors and delicate tints.
+A photograph, provided it is a good one, is always to be preferred to
+colored pictures unless the latter are by good artists. We once
+constructed with a half dozen of transparencies a very neat lamp
+shade. Some idea of it can be obtained from Fig. 23.
+
+[Illustration: FIG. 23.]
+
+A brass frame is first constructed, and any wire worker will execute
+this so as to hold the six or eight pictures. The transparencies are
+made, cut down to the size and shape required and fitted in; then
+ground glass of the same size and shape is fitted, small brass tabs at
+the back being used to keep them in their places behind the
+transparency. The glasses should not fit too tightly in the brass
+frames or, on expanding by the heat, they will crack.
+
+A hall lamp can be treated in the same way, the colored glass removed
+and photographic transparencies substituted. Photos on glass can in
+the same way be used for a variety of other purposes, such as fire
+screens, candle shades, etc.
+
+Next look up your stock of prints, scraps, waste prints, etc.
+
+[Illustration: FIG. 24.]
+
+Often from a large, spoilt picture you can get a neat little bit about
+a couple of inches square or less; look up all these and from them a
+photographic chess-board can be made. Our illustration in Fig. 24 is
+intended to show what is meant, although our artist has not been happy
+in the selection of his material to represent photographic views and
+portraits. First mark out a square the size you wish the chess-board
+to be. Divide it into sixty-four squares and draw a neat border round
+it. Thirty-two of the squares are then neatly pasted over with
+selected photographs as varied as possible in subjects. Sixteen are
+fitted one way and sixteen the other. Our illustration is incorrect in
+this respect. The sixteen pictures should be placed the right way on
+the sixteen squares nearest to each player. When the photographs have
+all been pasted on and dried the whole is sized and varnished. If,
+however, it is desired to preserve this photographic chess-board, and
+at the same time to use it frequently, a better plan is to cover over
+with a glass plate and bind all round the edges to prevent dust from
+entering.
+
+In a similar way a neat card table can be manufactured. Fig. 25 is
+intended to illustrate the top of the table covered with photographs
+and protected by a glass plate.
+
+A little consideration will no doubt give various other similar ideas
+to the reader.
+
+Those who can work the carbon process successfully have it in their
+power to transfer photographs in various colors to all kinds of
+supports, to wood for instance. The panels of a door can be very
+considerably improved by the insertion of photographs on fine grain
+wood, varnished.
+
+[Illustration: FIG. 25.]
+
+Pictures can in this manner be transferred to plates, china and
+ornaments of every description.
+
+Various methods of printing on silk and various fabrics have from time
+to time been given. Perhaps the best for our purpose is the primuline
+process, as various colored images can be produced, with but little
+trouble, on all kinds of material. A description of the process will
+be found in another part of this work. (See Page 39.)
+
+These the amateur can hand over to his better half or female
+relations, who with the natural feminine abilities will produce all
+sorts of pretty artistic articles for decorating the room.
+
+We are well aware that we have by no means enumerated one half of the
+various means in which photography can be employed for decorating the
+house, but hope at least to have given the reader some idea of what
+its capabilities are.
+
+
+
+
+LEAF PRINTS.
+
+
+[Illustration: FIG. 26.--LEAF PRINT. BY T. GAFFIELD.]
+
+Nothing can exceed the beauty of form and structure of the leaves of
+different plants. Ruskin observes: "Leaves take all kinds of strange
+shapes, as if to invite us to examine them. Star-shaped, heart-shaped,
+spear-shaped, fretted, fringed, cleft, furrowed, serrated, sinuated;
+in whirls, in tufts, in spires, in wreaths; endlessly expressive,
+deceptive, fantastic, never the same, from footstalk to blossom, they
+seem perpetually to tempt our watchfulness and take delight in
+outstripping our wonder." Photography has placed in our hands a simple
+method of preserving facsimiles of their ever varying shapes that will
+last long after the leaf has died and crumbled to dust. Although the
+discovery of the darkening action of silver chloride when exposed to
+light was discovered by Scheele as far back as 1777, little was
+apparently known of the possibilities attending the discovery until
+1839, when Fox Talbot read a paper on "A Method of Photogenic
+Drawing," in which he described various experiments that could be made
+with paper coated with this substance, and showed many pictures of
+leaves, ferns, and pieces of lace which he had obtained.
+
+[Illustration: FIG. 27.--LEAF PRINT. BY T. GAFFIELD.]
+
+The illustrations which we reproduce herewith are reproductions from
+leaf prints made by Mr. Thomas Gaffield, who has made quite a study of
+this fascinating pastime. In a little work entitled "Photographic Leaf
+Prints," published in 1869, he describes his method. The leaves and
+ferns are first selected and pressed between the leaves of a book.
+They must not be dried, as in that state they do not so readily permit
+the light to pass through and the delicate structure of the leaf would
+not be reproduced. They should therefore only be pressed sufficiently
+to allow the excess of moisture to be extracted. A sheet of glass is
+put into the printing frame and the leaves artistically arranged. When
+the arrangement is satisfactory the leaves are attached to the glass
+with a little mucilage to prevent them from slipping out of their
+places. A sheet of sensitive paper, albumen, gaslight, or platinum is
+then inserted, the frame closed up and exposed to the light until a
+very dark print is obtained. The time required in printing must be
+found by practice; it will, of course, differ according to the
+intensity of the light. It is a good plan to employ an actinometer to
+judge the correct exposure. It is not possible to open the frame, as a
+double or blurred picture would result. The halves should be exposed
+sufficiently long to enable the light to penetrate through them and
+give a distinct image of the veins and structure.
+
+When the printing is completed the paper is removed and toned and
+fixed in the usual manner. If platinotype or gaslight paper is used,
+this, of course, requires development. The resulting picture gives us
+a light impression of the leaves on a dark background, but if so
+desired, the print thus obtained can be used as a negative. It can be
+made transparent with wax or vaseline, and prints obtained from it
+giving a dark image on a white ground. It is difficult to say which
+picture is the more beautiful. We give illustrations of pictures of
+both kinds. (Figs. 26 and 27.)
+
+Naturally enough, the beauty of these pictures lies in the careful
+selection and arrangement of the leaves. Those which are too thick
+should not be used. Delicate ones, showing all the veins by
+transmitted light, are the most suitable. They can be arranged
+artistically, in any shape or form. We prefer, however, a life-like
+arrangement to the construction of various shapes and designs.
+
+
+
+
+TO MAKE A PEN AND INK SKETCH FROM A PHOTOGRAPH.
+
+
+By the following method anyone can, without any knowledge of drawing,
+produce from a photograph a pen and ink sketch suitable for
+reproduction as an illustration. From the negative a silver print is
+made on albumen or gelatine or collodion paper. This is fixed without
+toning in a solution of hyposulphite of soda. It must then be
+thoroughly washed to remove all traces of hypo, and when dry, the
+outlines of the photograph are traced over with a fine pen and a
+waterproof ink, obtainable at any artist's material store. If the
+photographer possesses a little knowledge of drawing, some of the
+shading can also be attempted. When the ink is dry the picture is
+immersed in a saturated solution of bichloride of mercury (poison)
+when the photograph will disappear, leaving the outline sketch intact.
+The picture is again well washed and dried. Newspaper sketches are
+often made from photographs in this manner, a zincotype being quickly
+produced from the drawing. Gaslight paper can also be used.
+
+
+
+
+PHOTOGRAPHS ON SILK.
+
+
+Photographs can be very effectively printed upon silk, satin, or other
+fabrics. There are several methods of accomplishing this. A simple one
+is the following:[2] The silk best suited for the purpose is that
+known as Chinese silk, and this is first washed in warm water with
+plentiful lather of soap, then rinse in hot water, and gradually cool
+until the final washing water is quite cold. Next prepare the
+following solutions: Tannin, 4 parts; distilled water, 100 parts.
+Sodium chloride, 4 parts; arrowroot, 4 parts; acetic acid, 12 parts;
+distilled water, 100 parts.
+
+[2] From the "Encyclopaedic Dictionary of Photography," by the author.
+
+The arrowroot is mixed up into a paste with a little of the distilled
+water, and the remainder added boiling hot, with the acid and the salt
+previously dissolved in it. When the solution is quite clear the
+tannin solution is added, and the whole allowed to get fairly cool.
+The silk is then immersed for about three minutes, being kept under
+without air in the folds, and then hung up to dry, or stretched out
+with pins on a flat board. The material is then sensitized by brushing
+over with the following solution: Silver nitrate, 12 parts; distilled
+water, 100 parts; nitric acid, 2 drops to every 3 ounces. Other
+methods of sensitizing are by immersing in or floating on the silver
+solution. After sensitizing, the material is dried by pinning on to a
+board to keep flat. It is then cut up as required, and printed behind
+the negative. Every care must be taken in printing to keep the
+material flat, and without wrinkles or folds. It must also be kept
+quite straight; otherwise, the image will be distorted. Printing is
+carried on in the same manner as with printing-out paper. It is then
+washed and toned in any toning bath. The sulphocyanide gives the best
+action. Fix in a 10 per cent. solution of hyposulphite of soda for ten
+minutes; wash and dry spontaneously. When just damp, it is ironed out
+flat with a not over-heated iron. Black tones can be obtained with a
+platinum toning bath, or with the uranium and gold toning bath, made
+up as follows: Gold chloride, 1 part; uranium nitrate, 1 part.
+Dissolved and neutralized with sodium carbonate, and then added to
+sodium chloride, 16 parts; sodium acetate, 16 parts; sodium phosphate,
+16 parts; distilled water, 4,000 parts.
+
+Very effective results may be made by printing with wide white
+margins, obtained by exposing with a non-actinic mask.
+
+Another method is the following: Ammonium chloride, 100 grains;
+Iceland moss, 60 grains; water (boiling), 20 ounces.
+
+When nearly cold this is filtered, and the silk immersed in it for
+about fifteen minutes. To sensitize, immerse the silk in a 20 grain
+solution of silver nitrate for about sixteen minutes. The silver
+solution should be rather acid.
+
+Or immerse the silk in water, 1 ounce; sodium chloride, 5 grains;
+gelatine, 5 grains. When dry, float for thirty seconds on a 50 grain
+solution of silver nitrate. Dry, slightly overprint and tone in the
+following bath: Gold chloride, 4 grains; sodium acetate, 2 drachms;
+water, 29 ounces. Keep twenty-four hours before using. Fix for twenty
+minutes in hypo, 4 ounces to the pint of water.
+
+
+
+
+PHOTOGRAPHING A CATASTROPHE.
+
+
+On this page we reproduce a curious photograph by M. Bracq, which
+appeared some time ago in the _Photo Gazette_.
+
+[Illustration: By M. Bracq. From Photo Gazette. FIG. 28.--A
+CATASTROPHE.]
+
+Despite all the terrible catastrophe which it represents, carrying
+pictures along with him in his fall, the subject has not experienced
+the least uneasiness, not even so much as will certainly be felt by
+our readers at the sight of the tumble represented.
+
+The mode of operating in this case is very simple and we are indebted
+to _La Nature_ for the description of the method employed by M. Bracq.
+The photographic apparatus being suspended at a few yards from the
+floor of the room, in such a way as to render the ground-glass
+horizontal (say between the two sides of a double ladder--a
+combination that permits of easy focusing and putting the plates in
+place), there is spread upon the floor a piece of wall paper, about 6
+feet in length by 5 feet in width, at the bottom of which a wainscot
+has been drawn. A ladder, a few pictures, a statuette, and a bottle
+are so arranged as to give an observer the illusion of the wall of a
+room, that of a dining room for instance. A hammer, some nails, etc.,
+are placed at the proper points. Finally, a 5 feet by 2-1/2 feet
+board, to which a piece of carpet, a cardboard plate, etc., have been
+attached, is placed under the foot of a chair, which then seems to
+rest upon this false floor at right angles with that of the room.
+
+[Illustration: FIG. 29.]
+
+Everything being ready, the operator lies down quietly in the midst of
+these objects, assumes a frightened expression, and waits until the
+shutter announces to him that he can leave his not very painful
+position. This evidently is merely an example that our readers will be
+able to modify and vary at their will.
+
+
+
+
+PHOTOGRAPHS ON VARIOUS FABRICS.
+
+
+By means of a dye process known as the "Primuline Process," very
+pretty images in various colored dyes can be made upon silks, satins,
+cotton goods, etc. The material is first dyed in a hot solution of
+primuline, made by adding about 15 to 30 grains of the dye to a gallon
+of hot water; a little common salt should also be added. On immersing
+the fabric, and stirring it about in the solution, it becomes of a
+primrose yellow color, when it is removed and washed under a
+cold-water tap. The next process is to diazotize it by immersion for
+half a minute or so in a cold solution of sodium nitrate, one-quarter
+per cent., which has been sharply acidified with hydrochloric or other
+acid. The material is again washed in cold water, but it must be kept
+in a weak light. It can be hung up to dry, in the dark, or exposed
+while wet beneath the object of which it is required to produce a
+positive reproduction. This process gives a positive from a positive,
+so that any ordinary picture on a sufficiently translucent
+material--flowers, ferns, etc.--can be reproduced. Printing requires
+about half a minute in the direct sunlight to half an hour or more in
+dull weather, or if the material to be printed through is not very
+transparent. The high lights become of a pale yellow, so that a faint
+image is perceptible; but this is made visible in almost any color by
+development in a weak solution (about one-fourth per cent.) of a
+suitable phenol or amine. The following have been found suitable:
+
+_For Red._--An alkaline solution of [Greek: b]-napthol.
+
+_For Maroon._--An alkaline solution of [Greek: b]-napthol-disulphonic
+acid.
+
+_For Yellow._--An alkaline solution of phenol.
+
+_For Orange._--An alkaline solution of resorcin.
+
+_Brown._--A slightly alkaline solution of pyrogallol, or a solution of
+phenylene-diamine-hydrochloride.
+
+_For Purple._--A solution of [Greek: a]-napthylamine hydrochloride.
+
+_For Blue._--A slightly acid solution of amido-[Greek:
+b]-napthol-sulphonate of sodium, now better known as "eikonogen."
+
+If the design is to be made in several colors, this can be done by
+painting on the different developers, suitably thickened with starch.
+After developing, the material is well washed and dried. With the
+purple and blue developers it is necessary to wash the material
+finally in a weak solution of tartaric acid. Wool and silk require a
+longer exposure to light than other fabrics, and cannot be
+successfully developed with the maroon or blue developer.
+
+
+
+
+SILHOUETTES
+
+
+[Illustration: AA. The sky and side light. BB. Two dark backgrounds.
+C. The white screen in oblique position. D. The subject. E. The
+camera. FIG. 30.]
+
+[Illustration: FIG. 31.]
+
+Silhouette portraits were at one time very popular. They are simply
+made, and if the effect is well carried out will afford considerable
+amusement. The best description of their manufacture was given some
+time ago by Herr E. Sturmann, in _Die Photographische Korrespondenz_.
+His method is as follows:
+
+Place two dark backgrounds in parallel position about 4 feet from the
+sky and side light of the studio and distant from each other about six
+feet. Improvise a dark tunnel by drawing a black cloth, of
+non-reflecting material, over the two dark grounds, and arrange a
+white screen, somewhat larger than the distance between the two dark
+grounds, in an oblique position so as to be fully illuminated.
+
+The subject to be silhouetted must be placed in the centre of the
+tunnel, one side of the face turned towards one ground, but
+comparatively nearer to the white screen so that the side of the face
+turned towards the camera is as much as possible in the shade.
+
+[Illustration: FIG. 32.]
+
+Focus must be taken accurately, so that the outlines of the figure are
+perfectly sharp.
+
+As it is the object to obtain a perfectly transparent, glass-clear
+silhouette upon an absolutely opaque ground, but a very short time of
+exposure is required.
+
+Develop as usual and to secure perfect opacity intensify more than
+usual. Plates of lower sensitiveness invariably give the best results.
+A slow plate or one made particularly for reproduction is well adapted
+for this kind of work. With ferrous oxalate or hydrochinon developer
+there is scarcely any need of intensifying.
+
+[Illustration: FIG. 33.]
+
+[Illustration: FIG. 34.]
+
+To obviate the shadows cast upon the floor by the lower parts of the
+figure, place it upon a thick, large plate-glass, supported by props
+of five or six inches in height, and spread upon the floor under the
+glass a piece of white muslin. The muslin must be free of folds or
+wrinkles, and be so connected with the white screen, that the division
+line between is not reproduced upon the plate.
+
+The very feeble shadows of the feet can be easily touched away with
+pencil.
+
+Single persons or groups of two or three figures can be photographed
+in this peculiar style with very good effect.
+
+For heads and busts expose in the usual manner, but to obtain
+silhouettes similar to those our grandmothers had cut in black paper,
+and long before photography was thought of, cut an appropriate mask of
+black paper to cover the part not wanted during printing.
+
+[Illustration: FIG. 35.]
+
+It should be borne in mind that in this class of work the white
+background only is the object to be photographed, hence the necessity
+of but very short exposures. With longer exposures absolute blacks and
+whites are impossible.
+
+
+
+
+PHOTOGRAPHING THE INVISIBLE.
+
+
+The following is a curious and interesting experiment, based upon the
+peculiar property possessed by fluorescent substances of altering the
+refrangibility of the chemical light rays. Take a colorless solution
+of bisulphate of quinine, and write or draw with it on a piece of
+white paper. When dry the writing or design will be invisible, but a
+photograph made of it will show them very nearly black.
+
+
+
+
+HOW TO MAKE A PHOTOGRAPH INSIDE A BOTTLE.
+
+
+Get a glass-blower to make an ordinary shaped wine-bottle of very thin
+and clear glass, and clean it well. Next take the white of two eggs
+and add to it 29 grains of ammonium chloride dissolved in 1 drachm of
+spirits of wine, and one-half ounce of water. Beat this mixture into a
+thick froth and then allow it to stand and settle. Filter through a
+tuft of cotton-wool, and pour into the specially made bottle. By
+twisting the bottle round, an even layer of the solution will deposit
+itself on the sides. Pour off the remaining solution, allow the film
+in the bottle to dry, and again repeat the operation.
+
+The next operation is to sensitize the film with a solution of nitrate
+of silver, 40 grains to 1 ounce of water. Pour this in and turn the
+bottle round for a few minutes, then pour off the superfluous solution
+and again dry. Hold the neck of the bottle for a few seconds over
+another bottle containing ammonia, so as to allow the fumes to enter
+it. Printing is the next operation; this is accomplished by tying a
+film negative round the bottle, and covering up all the other parts
+from the light. Print very deeply, keeping the bottle turning round
+all the time. Toning, fixing, and washing can be done in the ordinary
+way by filling the bottle up with the different solutions. The effect
+is very curious, and can be improved by coating the inside of the
+bottle with white enamel.
+
+
+
+
+PHOTOGRAPHS IN ANY COLOR.
+
+
+These can be produced by what is known as the powder or dusting-on
+process. The principle of the process is this: An organic, tacky
+substance is sensitized with potassium bichromate, and exposed under a
+reversed positive to the action of light. All the parts acted upon
+become hard, the stickiness disappearing according to the strength of
+the light action, while those parts protected by the darker parts of
+the positive retain their adhesiveness. If a colored powder be dusted
+over, it will be understood that it will adhere to the sticky parts
+only, forming a complete reproduction of the positive printed form.
+Prepare--Dextrine, one-half ounce; grape sugar, one-half ounce;
+bichromate of potash, one-half ounce; water, one-half pint: or
+saturated solution bichromate of ammonia, 5 drachms; honey, 3
+drachms; albumen, 3 drachms; distilled water, 20 to 30 drachms.
+
+Filter, and coat clean glass plates with this solution, and dry with a
+gentle heat over a spirit lamp. While still warm the plate is exposed
+under a positive transparency for from two to five minutes in
+sunlight, or from ten to twenty minutes in diffused light. On removing
+from the printing frame, the plate is laid for a few minutes in the
+dark in a damp place to absorb a little moisture. The next process is
+the dusting on. For a black image Siberian graphite is used, spread
+over with a soft flat brush. Any colored powder can be used, giving
+images in different colors. When fully developed the excess of powder
+is dusted off and the film coated with collodion. It is then well
+washed to remove the bichromate salt. The film can, if desired, be
+detached and transferred to ivory, wood, or any other support.
+
+If a black support be used, a ferrotype plate on Japanned wood, for
+instance, pictures can be made from a negative, but in this case a
+light colored powder must be used. The Japanese have lately succeeded
+in making some very beautiful pictures in this manner. Wood is coated
+over with that black enamel for which they are so famous, and pictures
+made upon it in this manner. They use a gold or silver powder.
+
+With this process an almost endless variety of effects can be
+obtained. For instance, luminous powder can be employed and an image
+produced which is visible in the dark.
+
+Some time ago we suggested a plan of making what might be termed
+"post-mortem" photographs of cremated friends and relations. A plate
+is prepared from a negative of the dead person in the manner
+described, and the ashes dusted over. They will adhere to the parts
+unexposed to light, and a portrait is obtained composed entirely of
+the person it represents, or rather what is left of him. The idea is
+not particularly a brilliant one, nor do we desire to claim any credit
+for it, but we give it here for the benefit of those morbid
+individuals who delight in sensationalism, and who purchase and
+treasure up pieces of the rope used by the hangman.
+
+
+
+
+THE DISAPPEARING PHOTOGRAPH.
+
+
+A method of making a photograph which can be made to appear at will is
+thus described in _Les Recreations Photographiques_.
+
+Take a convex watch crystal, V, or any similar larger glass if
+desired--for instance, those used for colored photographs; clean the
+glass well, place it perfectly level, convex side down, and fill it
+even full with a mixture of white wax and hog's lard. When it has
+solidified, apply to the back a flat glass plate, P, cut exactly to
+the largest dimensions of the convex glass, secure the glasses
+together with a strip, B, of gold-beater's skin, fastened by strong
+glue as shown in the figure. Now mount a portrait, with the front
+towards the convex glass, on the plate P. The combination is now
+ready; by heating it the wax between the two glasses melts and becomes
+transparent, allowing the portrait to be seen; on cooling it will lose
+its transparence and the portrait will disappear.
+
+[Illustration: FIG. 36.]
+
+
+
+
+FREAK PICTURES WITH A BLACK BACKGROUND.
+
+
+If an object be placed against a non-actinic background and an
+exposure made, the black parts surrounding it will not have any effect
+upon the plate, and the object can be shifted to another part and
+another exposure made. In a recent article published in _La Nature_,
+and translated in the _Scientific American_, a number of
+curious effects obtained by photography by M. R. Riccart, of
+Sainte-Foix-les-Lyons, are described and illustrated.
+
+[Illustration: FIG. 37.--A DECAPITATION.]
+
+The system employed by the author of these photographs is that of the
+natural black background obtained through the open door of a dark
+room, combined with diaphragms skillfully arranged in the interior of
+the apparatus, between the objective and sensitized plate. This is the
+surest method of obtaining the desired effect with the greatest
+precision, without the junctions being visible, and with perfect
+sharpness in the cutting of the parts removed. For this effect, it is
+necessary to place the diaphragm at three or four centimeters from the
+ground glass, in the last folds of the bellows of the camera.
+
+[Illustration: FIG. 38.--ANOTHER DECAPITATION.]
+
+The following are a few data as to the manner in which the scenes that
+we reproduce were obtained. The first, representing a decapitation by
+means of a saber (Fig. 37), was taken by means of an exposure in which
+the head was placed upon the block, the subject inclining forward upon
+his knees, and a diaphragm, occupying about two-thirds of the plate,
+completely masking the body up to the neck. Then, without changing the
+position of the apparatus, the diaphragm was placed on the other side
+in order to conceal the head, and the body was photographed in the
+second position along with the person representing the executioner. It
+would have been possible, by a third exposure, to so arrange things as
+to make the executioner the decapitated person. It was by the same
+process that the three following scenes were obtained: A person with
+his head placed before him in a plate (Fig. 38); a man carrying his
+head in a wheelbarrow (Fig. 39); and a person to whom his own head is
+served in a plate (Fig. 40). Such scenes may be varied to any extent.
+Fig. 41 is a photograph of a decapitation, while Fig. 42 is made by
+two exposures of an individual at different distances but so combined
+as to give the appearance of one exposure. Fig. 43 is that of a person
+in a bottle. The individual represented was first photographed on a
+sufficiently reduced scale to allow him to enter the bottle. This
+exposure was by using a screen containing an aperture, as for the
+Russian background. But this precaution was taken merely to conceal
+the floor, and yet it would perhaps be preferable in such a case to
+have the subject stand upon a stool covered with a very black fabric.
+However this may be, when once the first impression has been made,
+there is nothing more to be done than to photograph the bottle on a
+larger scale and the result is obtained.
+
+[Illustration: FIG. 39.--THE HEAD IN THE WHEELBARROW]
+
+[Illustration: FIG. 40.--THE HEAD UPON A PLATE.]
+
+
+
+
+HOW TO COPY DRAWINGS.
+
+
+There are three principal methods of copying mechanical drawings,
+tracings, sketches, etc. These are: (1) A process to obtain white
+lines upon a blue ground; (2) a process by which blue lines upon a
+white ground are obtained; and (3) a process giving black or
+violet-black lines upon a white ground.
+
+[Illustration: FIG. 41.--THE SAWED-OFF HEAD.]
+
+The first process is undoubtedly the simplest, as after printing upon
+the paper it is developed and fixed by simple immersion in cold water;
+but, at the same time, the white lines on the blue ground are not so
+clear and effective as the other processes. The cyanotype paper, as it
+is called, can be obtained ready for use at any draughtsman's stores,
+but if you prefer to make it yourself, here is the recipe: Two
+solutions are made--20 parts of red prussiate of potash are dissolved
+in 100 parts of water, and 10 parts of ammonio-citrate of iron in 60
+parts of water. These two solutions should be mixed together
+immediately before using, and the operation must be performed in the
+dark. Paper is floated on this solution, or applied with a broad
+camels-hair brush, and hung up to dry. If it is well dried and
+carefully preserved from light, moisture and air, this paper will keep
+for some time. After printing--which, when sufficient, should show the
+lines copied of a yellow color upon a blue ground--the prints should
+be washed in several waters, and if a few drops of chlorine water or
+dilute hydrochloric acid be added to the washing water, the blue
+ground will appear much darker and the lines rendered clearer and
+whiter. The commercial paper sold is generally prepared by this
+method.
+
+[Illustration: FIG. 42.--THE REDUCTION.]
+
+[Illustration: FIG. 43.--MAN IN A BOTTLE.]
+
+Blue prints may be given a black tone by plunging them into a solution
+of 4 parts of caustic potash in 100 parts of water; then, when the
+blue color has entirely disappeared under the action of the potash,
+and a yellowish color has taken its place, they are immersed in a
+solution of 4 parts of tannin in 100 parts of water; then washing them
+again, we obtain prints whose tone may be assimilated to that of pale
+writing ink.
+
+In the process giving blue lines upon a white ground, it is necessary
+that the action of the light shall be to convert the iron compound
+into one that can be discharged from instead of being fixed on the
+paper, so that we obtain a positive from a positive. Abney describes
+the process as follows: Thirty volumes of gum solution (water 5 parts,
+gum 1 part) are mixed with 8 volumes of a citrate of iron and ammonia
+solution (water 2 parts, double citrate 1 part), and to this is added
+5 volumes of a solution of ferric chloride (water 2 parts, ferric
+chloride 1 part). This solution thus formed is limpid at first, but
+will gradually become thicker, and should be used soon after mixing.
+It is then applied with a brush to the paper (which should be well
+sized) and dried in the dark. Exposure is accomplished in a few
+minutes, the paper being placed under the drawing in the printing
+frame. It is then developed with potassium ferrocyanide, 50 grains,
+water 1 ounce, applied with a brush until all the details appear of a
+dark-blue color. The print is then rapidly rinsed, and placed in a
+dish containing the clearing solution, made of 1 ounce of hydrochloric
+acid and 10 ounces of water.
+
+The third process, which gives violet-black lines on a white ground,
+is the following: Make up the sensitive solution with water, 16
+ounces; gelatine, 4 drachms; perchloride of iron (in a syrup
+condition), 1 ounce; tartaric acid, 1 ounce; sulphate of iron, 4
+drachms. The paper is floated on or brushed over with this and dried.
+The exposure is about the same as with the last process. When
+sufficient, the greenish-yellow color will turn white, except the
+lines, which should be somewhat dark. The developing solution is
+composed of 1 part of gallic acid in 10 parts of alcohol and 50 of
+water. When immersed in this solution the lines will turn blacker. The
+finish is then made by thoroughly washing in water.
+
+
+
+
+SYMPATHETIC PHOTOGRAPHS.
+
+
+These are obtained as follows: A sheet of paper is coated with a ten
+per cent solution of gelatine, and when dry this is floated on a ten
+per cent solution of bichromate of potash. Again dry and expose
+beneath a positive transparency. The print thus obtained is then
+immersed in a ten per cent solution of chloride of cobalt. The parts
+unacted upon by light will absorb the solution. Wash and dry. We then
+have a faint image which will alter its color according to the state
+of the atmosphere. In damp weather it will be almost if not entirely
+invisible, but when the weather is fine and dry, or if the image be
+heated before a fire it will turn to a bright blue color.
+
+
+
+
+DRY-PLATES THAT WILL DEVELOP WITH WATER.
+
+
+Some time ago dry-plates were placed on the market which would
+develop, apparently, with water and a little ammonia only. The secret
+of the method was that the backs of the plates were coated with a
+soluble gum, containing the developing agents, and, of course, when
+the plate was immersed in the water, they instantly dissolved and
+formed the developer. Plates thus prepared are useful in traveling
+where it is not always possible to get the necessary developing
+solutions. To prepare them the backs are coated with the following
+mixture:
+
+    Pyrogallic acid              154 grains
+    Salicylic acid                15 grains
+    Gum or dextrine              154 grains
+    Alcohol                        1 fluid dr.
+    Water                          5 fluid dr.
+
+This is allowed to dry at an ordinary temperature. After exposure, all
+that is necessary to develop is to immerse the plates in water
+containing a small quantity of ammonia.
+
+
+
+
+CARICATURE PHOTOGRAPHS.
+
+
+There are quite a number of different methods of making caricature
+portraits. A simple one is to make two photographs of an individual,
+one of the head alone and another of the entire body on a much smaller
+scale. From these two negatives prints are made, and the larger head
+is cut out and pasted on the shoulders of the full length figure. Any
+signs of the cutting out are removed by the use of a brush and a
+little coloring matter. From this combined print another negative is
+made so that any number of these caricature prints can be made without
+extra trouble. The effect is shown in Fig. 44.
+
+[Illustration: From Tissandier's Handbook. FIG. 44.--CARICATURE
+PORTRAIT.]
+
+Foregrounds for making caricature portraits are sold in this country.
+The method of using them is shown in Fig. 45. The card containing the
+grotesque drawing is held by the sitter on his knees and arranged by
+the photographer in such a way that his head rests just above the neck
+of the painted body. A white background is arranged behind and when
+the negative is made all traces of the edges of the foreground are
+removed by careful re-touching.
+
+[Illustration: FIG. 45.--CARICATURE]
+
+[Illustration: FIG. 46.--MAKING THE CARICATURE PORTRAIT.]
+
+Another method of obtaining grotesque caricature portraits has been
+devised by M. Ducos du Hauron. His apparatus, which he calls "La
+Photographie Transformiste," is thus described by Schnauss in his
+"Photographic Pastimes." A, Fig. 47, is the front of the box, which is
+furnished with an exposing shutter formed of a simple sliding piece
+fitting into the grooves R R, R R. B P are two screens pierced with
+slits _a a_, _c c_. C is the rear end of the box where the dark slide
+is placed. D is the lid of the box, which is lifted either for placing
+the slotted screens or for putting in the sensitive plate. When not
+working direct from nature, the transparency is placed in the grooves
+R R, R R, at A.
+
+[Illustration: FIG. 47.--THE HAURON "TRANSFORMISTE."]
+
+[Illustration: FIG. 48.--PHOTOGRAPH AND DISTORTIONS WITH THE
+"TRANSFORMISTE."]
+
+According to the arrangement of the slits, the caricatures obtained
+will be different. If, for instance, the first slit be a vertical one,
+and the other, _i.e._, the one nearest the picture, a horizontal one,
+the picture, in comparison with the original, will be distorted
+lengthwise. If, however, one of the slits forms no straight line, but
+a curved one, the transformed picture will show either lengthwise or
+sideways curved lines, according to the slit being a vertical or a
+horizontal one. The form of the resulting picture will also be
+different according to which one of the slotted plates is placed more
+or less obliquely in the box.
+
+[Illustration: FIG. 49.]
+
+[Illustration: FIG. 50.]
+
+[Illustration: FIG. 51.]
+
+[Illustration: FIG. 52.]
+
+The slits must be made very exactly; above all, their edges must be
+absolutely sharp, every incorrectness being transferred to the
+picture. They may be made about one-third of a millimeter wide; if
+they are too narrow the picture will not turn out sharp. In making the
+slits it is a good plan to cut them in thin black paper, and to mount
+the latter on glass plates.
+
+[Illustration: FIG. 53.]
+
+In a later description of the apparatus we learn that the discs
+containing the slits are often made circular in shape and so arranged
+that they can be revolved as shown in Fig. 53. This, of course, allows
+of a still greater variety of positions of the two apertures in
+relation to each other and an increasing number of grotesque effects.
+Reproductions of some of the pictures obtained are given.[3] See Figs.
+48 to 52.
+
+[3] Reprinted from _La Science en Famille_.
+
+
+
+
+PHOTOGRAPHING SEAWEEDS.
+
+
+[Illustration: FIG. 54.--SEAWEED PHOTOGRAPH.]
+
+Of all the glorious creations of nature few are more beautiful than
+the delicate sea mosses to be found by the sea shore. Many delight in
+preserving them in a dry state, mounted on cards, but unfortunately
+they are usually so fragile that after a little while they fall to
+pieces. The photographer, however, is able to reproduce these
+beautiful formations and preserve them in a more permanent form by
+means of his camera. It is true that he cannot reproduce their
+delicate colorings, but the photographs can, if so desired, be lightly
+printed on platinum paper and colored as well as possible by hand.
+
+
+
+
+STAMP PORTRAITS.
+
+
+A SPECIAL camera is sold for making these little pictures.
+
+[Illustration: FIG. 55.--STAMP CAMERA.]
+
+It contains a number of lenses all of the same focus. In front is an
+easel where the portrait is attached, surrounded by a suitable border.
+The images given are about the size of postage stamps (see Fig. 56),
+and when the negative is printed on a printing out or developing
+paper, toned or developed, they can be perforated and gummed at the
+back. They are very useful for sticking to letters, envelopes, and for
+business purposes.
+
+[Illustration: FIG. 56. STAMP PHOTO.]
+
+
+
+
+LUMINOUS PHOTOGRAPHS.
+
+
+There are several different ways of making these. Obtain some
+Balmain's luminous paint, and coat a piece of cardboard with it. Place
+this in the dark until it is no longer luminous; place this behind a
+glass transparency and expose to light, either daylight or, if at
+night-time, burn a small piece of magnesium wire. Return to the dark,
+remove the transparency, and a luminous photograph is obtained on the
+prepared card. A simple plan is to merely expose a piece of the
+prepared cardboard to the light and place it behind a transparency;
+then retire to a darkened room. The luminous paint, showing through
+it, will have a very pretty effect. If no glass transparency is at
+hand, a silver print can be used, if previously oiled and rendered
+translucent by vaseline or any other means.
+
+
+
+
+FLORAL PHOTOGRAPHY.
+
+
+Perhaps the beauties of nature are nowhere better exemplified than in
+flowers, and nothing can be prettier than photographs of them
+carefully arranged. When we say carefully arranged we mean, of course,
+artistically. The secret of arranging flowers--an art in itself--is to
+hide the fact that they have been arranged.
+
+Among the best pictures of flowers which have appeared in print, are
+those by John Carpenter, an English gentleman, who has made this
+particular branch of photography his chief study, and has been awarded
+many prizes and medals for flower studies.
+
+Some time ago we wrote to him asking for a few particulars of his
+method adopted, and he has been so very kind as to send the following
+valuable notes:
+
+_Suitable Flowers._--I find that the best colors to photograph are
+pale pink, yellow, white or variegated colors. Reds, browns, and dark
+colors generally, do _not_ answer well.
+
+Flowers of irregular form are most suitable, such, for example, as
+chrysanthemums, lilies, poppies, etc. These give beautiful gradations
+of light and shade.
+
+_Grouping._--There is great scope here for artistic feeling. All
+appearance of formal arrangement must be avoided and a natural
+grouping should be aimed at. This becomes more difficult as the
+flowers must be somewhat on one plane to get them in proper focus. A
+round bunch of flowers which may appear very pretty to the eye would
+probably be utterly wrong to make a picture of.
+
+[Illustration: Fannie Cassidy. FIG. 57.--A BOWL OF ROSES.]
+
+_Lighting._--I have never worked in a studio, but have a small lean-to
+glass house in which I work. The top light is softened down by light
+shades so that the strongest light comes from the side. This gives
+solidity to the subject and is more pleasing than a flat lighting. Of
+course, the sun should never shine on the subject.
+
+_Plates and Exposure._--If colored flowers are being photographed,
+orthochromatic plates are a necessity, but for white flowers and
+light-green foliage ordinary plates may be employed. I generally use a
+medium isochromatic, stop the lens to _f_:22 and give exposure of from
+thirty to sixty seconds in summer and vary according to the season;
+sometimes twenty _minutes_ is not too much.
+
+_Development._--My usual and favorite developer is pyro-ammonia, and
+in careful hands it cannot be beaten. I commence development with a
+minimum of pyro and work tentatively.
+
+Using such a solution, for 2 ounces of developer I should commence
+with 1-1/2 grains pyro, 1 grain bromide, and 2 grains ammonia. If the
+image does not gain sufficient density add more pyro and bromide, but
+unless very fully exposed it is difficult to avoid too much density,
+especially if white flowers are being photographed.
+
+I find a plain gray or dark background most useful, and to avoid
+flatness it may be set at an angle and not too near the subject.
+
+Flowers should be photographed as soon as gathered, and if possible be
+placed in water. I have often found a plate spoiled by movement of the
+leaves or flowers, even with short exposures, although the movement
+was not perceptible to the eye. This is more especially the case in
+hot weather.
+
+
+
+
+DISTORTED IMAGES.
+
+
+Take a portrait negative that is no longer of any use, and immerse it
+in a weak solution of hydrofluoric acid. The film will leave the
+glass. It is then washed and returned to the glass support. By
+stretching the film one way or the other, and allowing it to dry in
+this position, the most amusing prints can be made. Keep your fingers
+out of the acid!
+
+
+
+
+PHOTOGRAPHS WITHOUT LIGHT.
+
+
+A curious experiment showing that a photographic dry-plate can be
+otherwise affected than by light, so as to form an image upon it, is
+the following:
+
+An image of copper in relief is necessary--a penny will do for this
+purpose. Place an unexposed dry-plate in a normal pyro developer, and
+on it lay the copper coin. After about five minutes or so, remove the
+penny, fix and wash the plate, when a perfect image of the penny will
+be found on it.
+
+
+
+
+ELECTRIC PHOTOGRAPHS.
+
+
+Similar experiments to that described above have been carried out by
+Prof. Fernando Sanford. He placed a coin on a dry-plate and connected
+it with the terminal of a small induction coil, capable of giving a
+spark of three or four millimeters, while a piece of tin foil upon the
+opposite side of the plate was connected with the other terminal of
+the coil.
+
+Several negatives were made in this way, the accompanying photograph,
+Fig. 58, being from one of them. With one exception, they all show a
+fringe around them, due to the escape of the charge from the edge of
+the coin, which accounts for the formation of the dark ring observed
+around the breath figures made upon glass.
+
+Later on he undertook to photograph in the same way objects insulated
+from the photographic plate, and has since made negatives of coins
+separated from the plate by paraffine, shellac, mica, and gutta
+percha. The accompanying photograph, Fig. 59, was made with the coin
+insulated from the photographic plate by a sheet of mica about 0.04
+mm. thick. The mica was laid directly upon the film side of the plate,
+and the coin was placed upon it and connected to one terminal of the
+small induction coil already mentioned. A circular piece of tin foil
+of the circumference of the coin was placed upon the glass side of the
+plate directly opposite the coin, and was connected to the other
+terminal of the induction coil. The little condenser thus made was
+clamped between two boards, and was covered up in a dark room. Two
+small discharging knobs were also attached to the terminals of the
+induction coil, and were separated by a space of less than a
+millimeter, so that, when a single cell was connected with the primary
+coil, the spark between the knobs seemed continuous.
+
+[Illustration: FIG. 58.]
+
+[Illustration: FIG. 59.]
+
+The plate was exposed to the action of the waves set up in this
+condenser for one hour, when it was taken out and the negative image
+developed upon it by the usual process.
+
+
+
+
+MAGIC VIGNETTES.
+
+
+These are reversed vignettes, that is to say, the margins round the
+portrait instead of being white as in the ordinary vignette are black.
+A method of making them was recently described by "Teinte" in _The
+Photogram_. This was as follows:
+
+Two methods can be adopted. The first of these about to be detailed,
+though entailing, perhaps, in the first place a trifle more trouble,
+produces the best results. We require a black background, preferably
+of black velveteen, large enough for a head and shoulders. As the
+material is not usually obtainable of a width greater than twenty
+inches or so, there will have to be a seam, and this must be very
+neatly done. The seamed velveteen is then stretched taut on a frame,
+which should preferably be covered first with calico, to prevent
+"sagging." Always, before use, dust the velveteen with a soft
+brush--say, a hat brush--to remove any adhering dust or fluff. Instead
+of velveteen, a good paper background can be used, only it must be
+seen that the surface is smooth and free from cracks or creases, and
+is _dead black_.
+
+[Illustration: FIG. 60.--MAGIC VIGNETTER.]
+
+We require also a vignetting mask suitable to the subject, with a
+serrated edge. This has to be fixed inside the camera between the lens
+and plate.[4] The proper position can be found by trial; the further
+the card is away from the plate the softer and more gradual the
+vignetting. No special arrangement for holding this is required beyond
+what can be prepared by any one who can use his fingers. We take a
+piece of stout card, the outside of which will just fit into the
+folds of the camera's bellows, and by a little twisting it can be
+sprung in between the folds which will hold it. There is an opening in
+the center, square in shape, about quarter plate size. This acts as a
+frame to hold the vignetting mask, which has the opening of proper
+size and shape. By using a frame as described the vignetter can be
+moved about up and down and from side to side, and when the correct
+position is found fixed by drawing pins. The frame and vignetter
+should be blacked all over. For this purpose take some lampblack
+ground in turps, and mix with it a little gold size sufficient (found
+by trial) to prevent the lampblack from rubbing off when dry, but not
+enough to cause the paint to dry shiny.
+
+[4] A vignetter for the purpose, as shown in Fig. 60, has been placed
+on the market.
+
+A good distance to fix the vignetter is about one-third the extension
+of the camera when the object is in focus, measuring from the lens.
+
+We adjust the camera so that the image of the figure falls in the
+correct position on the screen, and the vignette is made of such a
+size and shape as to give the amount required.
+
+The shadow of the mask protects the edges of the plate surrounding the
+image, and in development we obtain a negative in which the image is
+vignetted into clear glass, and on printing from such the margins
+print dark. The printing of such a negative should be prolonged until
+the margins of the picture are quite lost, or they are apt to show
+after toning.
+
+The sketch shows the arrangement of vignetter inside camera.
+
+The other plan consists in making an ordinary negative, using
+preferably a dark background. From this is made a vignette in the
+ordinary manner. When this comes from the frame it is placed on a
+piece of clean glass--face up--and another piece of glass free from
+flaws placed over it. Now cut a piece of card to the size and shape of
+the vignetted portion of the print, and fix this with glue to a piece
+of cork. This piece of cork must vary in thickness with various
+pictures. Now place the cork on the glass so that the mask covers the
+picture and fix with glue to prevent slipping. Place the whole out in
+diffused light, and allow the darkening of the margins to go on until
+sufficiently deep. The print is then toned.
+
+The height of the card from the print must be such that no abrupt line
+is produced between the first printing and the darkened margin, but
+that one will shade into the other without break.
+
+
+
+
+A SIMPLE METHOD OF ENLARGING.
+
+
+If we have an ordinary gelatine negative, say, of half-plate size, and
+require to enlarge it to a whole plate, the simplest plan is to
+thoroughly wash it and immerse in a solution composed of citric acid,
+2 ounces; hydrofluoric acid, 1 ounce; acetic acid (glacial), 1 ounce;
+glycerine, 1/2 ounce; water, 20 ounces. The action of the hydrofluoric
+acid will be to detach the film from the glass, while the other acids
+will cause the film to spread out considerably; the action being even
+all over, the image is completely enlarged. It is then carefully
+removed and washed in plenty of clean water, after which it can be
+transferred to a larger piece of glass. The action is sometimes to
+weaken the negative in density; it is therefore occasionally necessary
+to intensify it.
+
+
+
+
+MOONLIGHT EFFECTS.
+
+
+Curious as it sounds, very good moonlight effects can be procured on a
+bright sunshiny day. A photograph is made of a landscape in dazzling
+sunlight, a small stop and rapid exposure being given. The plate
+should, if possible, be backed with any of the substances recommended
+to prevent halation. Choose a landscape, with the reflection of the
+sun's rays in water, and include this and the sun itself on the plate.
+It is best to wait, however, until the sun just disappears behind a
+cloud. Shade the lens so that the rays do not shine on it direct, and
+expose rapidly. Use an old or weak developer. The sun and its
+reflection will, of course, make their appearance first. Continue the
+development until the detail in the under-exposed parts is just
+visible, and fix. Print very darkly, and slightly over tone. If
+printing is done upon green developing paper, and a little re-touching
+with Chinese white, the effect is very good.
+
+[Illustration: Photographed from Nature by Fred. Graf. FIG.
+61.--MOONLIGHT PHOTOGRAPH.]
+
+
+
+
+PHOTOGRAPHING SNOW AND ICE CRYSTALS.
+
+
+There are few photographers who appear to be aware of the many
+beautiful phenomena of nature that can be studied by the aid of
+photography. Under the title of "Schnee Crystalle," Dr. G. Hellmann
+has published[5] a book on this subject profusely illustrated with
+engravings and photo-micrographic collotypes from direct photographs
+by Dr. R. Neuhaus.
+
+[5] Rudolph Muckenberger, Berlin.
+
+[Illustration: FIG. 62.--SNOW CRYSTALS. PHOTO BY DR. NEUHAUS.]
+
+Dr. Neuhaus describes his method of photographing snowflakes in Dr.
+Eder's Jarbuch, from which article we extract the most important and
+interesting paragraphs: Were we to attempt to photograph snow crystals
+in a perfectly cold room, the temperature is still higher than that
+out of doors; moisture at once precipitates upon the carrier of the
+object; the crystals would melt and evaporate after a short time. The
+work must be done in the open, and perfect success can be expected
+only when the temperature is near zero.
+
+[Illustration: FIG. 63.--SNOW CRYSTALS. PHOTO BY DR. NEUHAUS.]
+
+Snow crystals evaporate rapidly even in low temperature, and the work
+requires to be done rapidly and with caution. Freshly fallen snow only
+will give a good photograph, and as we are compelled to work in the
+midst of the snow storm, the task becomes still more complicated and
+difficult. Snow crystals but a short time after falling break, the
+broken pieces freeze together and crystallization is destroyed. For
+the illumination of snow crystals, transmitted light only can be used;
+reflected light destroys the shadows, and injures the high lights,
+and the result is necessarily but a very imperfect picture of the
+object.
+
+[Illustration: Photo by Martin. FIG. 64.--A NATURAL PHENOMENON IN
+ICE.]
+
+Diffused light, especially that of a dark winter's day, and during a
+snow storm, is not fit for this kind of photo-micrographic work, and
+we must resort to artificial light, preferably to that of a petroleum
+lamp. To prevent heat action emanating from the illuminating ray cone,
+an absorptive cell of alum solution should be interposed. As alum
+solution freezes at about 20° Fahr., chloride of sodium is added. With
+Hartnark's projection system, at 31 mm. focus distance, from 5 to 7
+seconds upon an erythrosine plate is ample.
+
+[Illustration: FIG. 65.--PHOTOGRAPH OF FROST CRYSTALS. BY JAS.
+LEADBEATER.]
+
+Dr. Neuhaus has made photographs of more than 60 different ice and
+snow specimens. The pictures of ice crystals much resemble those of
+hoar frost, deposited after a cold winter's night. Of snow crystals,
+the doublets are highly interesting, two crystals merged into one, and
+those having passed through a moist stratum of air, when microscopic
+drops of water will freeze into the hexagonal form, giving the picture
+an appearance very much resembling cauliflower.
+
+[Illustration: FIG. 66.--PHOTOGRAPH OF FROST. BY JAS. LEADBEATER.]
+
+The most difficult question of all remains, the cause of the various
+forms of the hexagonal crystals, which frequently change in the same
+snowfall. Instead of advancing a new hypothesis, says Hellmann, it is
+better to acknowledge that we know nothing positively in regard to
+this. In our knowledge of the form and structure of the snow we have
+made great advance since the time of Kepler, but after nearly four
+hundred years, we cannot give a satisfactory answer to his question,
+"_Cur autem sexangula? Why six-sided?_"
+
+We do not know the special conditions which determine the formation of
+one or the other form of snow crystals. We have found that a low
+temperature favors the formation of tabular crystals; a higher
+temperature the star shaped crystals; these groups show such
+multifarious forms that it is necessary to seek for other causes which
+influence the formation of snow figures. There is offered here a broad
+field for new investigation and study.
+
+We give a reproduction (Fig. 64) of a photograph of a curious group of
+crystals. Some water had been left in a 10×8 dish on a winter day, and
+a film of ice was seen floating on the surface. The formation of the
+crystals and the floral design were so beautiful that it was taken out
+and photographed. The delicate lace-like edging of the glacial tracery
+is the result of the deposition of hoar frost while draining off the
+water from the ice leaves and flowers and fixing the image in the
+camera.
+
+Quite recently Mr. Jas. Leadbeater has favored us with some account of
+his beautiful work in this fascinating branch of photography, some
+samples of which are here given. He first makes his windows perfectly
+clear and waits for a keen frost. The camera is inside the room and a
+dark cloth-covered board is placed on the outside, leaning against a
+low balcony of wood. The exposure varies with the thickness of the
+crystals, from two to ten seconds, principally with a very small stop.
+Two reproductions of his pictures will be found on pp. 76-77.
+
+
+
+
+PHOTOGRAPHING INK CRYSTALS.
+
+
+The study of crystallization is undoubtedly an interesting and
+fascinating one, and photography may be made to play an important part
+in securing permanent records of these curious formations. If a drop
+of water containing a salt be allowed to drop upon a glass plate, it
+will, upon evaporation, deposite crystals of various kinds. In a
+recent article in _La Nature_, by Dr. E. Trouessart, a description is
+given of the beautiful crystallic forms deposited by a drop of ink on
+evaporation. The article is translated in the _Literary Digest_, from
+which we make extracts:
+
+"Take a sheet of glass, deposit on it a drop of ink and spread the
+drop a little, uniformly; let it dry for a few minutes; then examine
+with a microscope, magnifying from 50 to 200 diameters, and you will
+be able to see the flowers of ink in process of formation under your
+eyes; that is to say, regular white crystal particles which detach
+themselves from the black or violet medium, and arrange themselves so
+as to form regular figures.
+
+"If you are pressed for time, this beautiful result will easily be
+obtained by passing the sheet of glass over a spirit lamp or a candle
+to evaporate the moisture. The crystals will then be smaller and more
+numerous, presenting the appearance of a dark firmament densely
+sprinkled with bright silvery stars. But if you have patience to wait
+for evaporation without heat, you will obtain larger crystals of more
+varied forms, arranging themselves as crosses, flowers, etc.
+
+"These crystals may be varied indefinitely by modifying the
+compositions of evaporation, adding more ink, etc. But it is quite
+possible that different inks will give different results. The inks I
+use, like all the other inks in use, have a basis of sulphate of iron
+and gallic acid.
+
+[Illustration: From "The Literary Digest." FIG. 67.--INK-CRYSTALS, AS
+SEEN THROUGH A MICROSCOPE.]
+
+"By allowing the evaporation to proceed slowly, it is quite easy to
+watch the formation of the crystals. The geometrical figures are more
+or less perfect cubes, pyramids, lozenges, crosses, needles, etc., the
+pyramids being formed by cubes superposed one on the other, as in the
+pyramids of Egypt. The _flowers_ in our illustration are formed by the
+union of crystals, each of which represents the petals or sepals of a
+flower. The Maltese cross--the crucifer or four-leafed flower--is the
+normal regular form, but multiples of four frequently occur, by the
+formation of new crystals in the intervals; and also by the accidents
+of crystallization, we get flowers of three and five petals,
+resembling _Rubiaceae_, lilies, orchids, violets, etc."
+
+
+
+
+PINHOLE PHOTOGRAPHY.
+
+
+Although a lens is the most important part of the photographer's
+apparatus, it is not absolutely necessary for the production of
+photographs. Very good pictures can be made by means of a pinhole.
+Remove the lens from the camera, and insert in its place a sheet of
+thin, hard cardboard. In the centre make a tiny hole with a
+fine-pointed needle made red-hot. Another method is to make a large
+hole in the cardboard, and paste over it a piece of tinfoil and make
+the pinhole in this. The essential point is that the hole be perfectly
+round without any burring at the edges. The most perfect arrangement
+can be obtained by getting a watchmaker to drill a fine hole through a
+piece of sheet metal. The diameter of the hole should not be greater
+than one-fiftieth of an inch. Whatever is used, cardboard or metal, it
+should be blackened all over to prevent the reflection of light in the
+camera. The focusing glass should be brought within about 6 inches of
+the hole. Owing to the small amount of light admitted, focusing is
+very difficult. It can be done by pointing the camera towards the sun
+and focusing its image. For the same reason the exposure is very long,
+ranging from ten minutes to half an hour; it is, in fact, difficult to
+overexpose.
+
+[Illustration: Negative by F. C. Lambert. From Anthony's International
+Annual, 1894. FIG. 68.--PINHOLE PHOTOGRAPHY.]
+
+[Illustration: (Photograph made through a slit without a lens.) By
+Roland Briant. FIG. 69.--THE WHITE ROBE OF NATURE.]
+
+It is usually stated that no focusing is required, the larger the
+plate the wider the angle, but according to Prof. Pickering, 12 inches
+is the maximum distance for sharp work.
+
+Peculiar diffused effects can be obtained by using a fine slit in
+place of the pinhole. The picture shown on page 82 is an example.
+
+
+
+
+FREAK PICTURES BY SUCCESSIVE EXPOSURES.
+
+
+We have already described the various remarkable photographic pictures
+which may be taken by successive exposures with the same individual in
+different positions against a perfectly black and non-actinic
+background. This, however, is not easily obtained, and a French
+photographer, M. Bracq, has invented an ingenious attachment to a
+camera by which the same effects may be obtained with any background
+and under the ordinary conditions of amateur photography. The
+following description is from _La Nature_ translated in the _Popular
+Science News_.
+
+[Illustration: FIG. 70.]
+
+The apparatus, Fig. 70, is attached to the back of the camera, and
+consists of a frame suitable for holding the usual ground glass, or
+plate holder. Directly in front of the plate holder is placed an
+opaque screen perforated with a horizontal slit the width of the
+photographic plate used. By means of a screw and a crank the screen
+with its opening may be made to move up and down before the plate,
+thus allowing all parts of it to be successively exposed. A pointer
+connected with the screen shows the position of the slit at any time
+when it is covered by the plate holder.
+
+The operation of the apparatus is evident from the above description.
+To take the picture illustrated in Fig. 71, for instance, the table
+with the boy upon it is placed in the proper position and supported by
+planks, another table, or in any convenient way. After properly
+focusing it on the ground glass, the screen is screwed down till the
+opening is at the bottom of the camera, and the plate holder being
+placed in position, the slide is drawn and the handle turned till the
+indicator shows that the opening has reached a point corresponding to
+the image of the bottom of the table on the plate. The slide is then
+replaced in the plate holder, the table and its support removed, and
+the boy placed in the second position, and the exposure continued by
+screwing up the screen until the entire plate has been impressed with
+the double image, which, upon development, appears as shown in the
+illustration.
+
+[Illustration: FIG. 71.]
+
+The perforated screen may also be made to move horizontally as well as
+vertically across the plate, and by a combination of the two
+directions the same individual may be taken four or more times in
+different positions in the same photograph. Many amusing and
+astonishing effects may be obtained by the simple means which will
+readily suggest themselves to any practical photographer.
+
+
+
+
+WIDE-ANGLE STUDIES.
+
+
+[Illustration: Copyright, 1894, by W. J. Demorest. FIG. 72.--A
+PHOTOGRAPHIC FEAT.]
+
+By the use, or rather the abuse, of a lens having a very wide angle,
+say, 100 degrees, some very amusing effects can be obtained by
+apparent exaggeration of perspective. We say apparent advisedly, for
+if a view made with one of these lenses, say of 5 inches focus, be
+viewed by the observer at a distance of 5 inches from the eye, the
+perspective will appear correct; but, of course, this is never done
+under ordinary circumstances. Every person, unless extremely
+short-sighted, will hold a photograph at a distance from the eye of
+about 12 or 14 inches.
+
+[Illustration: FIG. 73.--A WIDE-ANGLE STUDY.]
+
+The effect of using a wide-angle lens under ordinary conditions is to
+make objects in the foreground appear ridiculously large, while those
+in the background have a diminished appearance. Fig. 72 is an example
+of this; it is hardly necessary to observe that the gentleman's pedal
+extremities were not so gigantic as represented in the photograph.
+Fig. 73 is another and scarcely less painful example of this
+exaggeration.
+
+In the _Practical Photographer_, some time ago, it was humorously
+suggested that sportsmen could, by means of the camera, bring home
+apparently indisputable evidence as to their skill or prowess. Thus,
+for instance, you and your friend Jones have been out fishing
+together, and realized the truth of the old saying about
+anglers--_i.e._, "a worm at one end of a rod and a fool at the other."
+You have, however, managed to catch a fish (any sort will do) about
+the dimensions of a good-sized sprat. It is the usual custom of
+anglers, I believe, to view their captures through magnifying-glasses
+before discoursing upon them. A better plan, however, is to photograph
+your fish, and then there can be no dispute whatever, because it is
+the popular belief that photography cannot lie. However, all that is
+necessary is to hang the fish in front of the camera to the bough of a
+tree, we will say, with a piece of black thread. You then retire
+several paces behind it, holding up your arm as if you were holding up
+the fish. Your friend will then adjust the camera so that the fish
+just comes under your hand, focuses, places a very small stop on, so
+as to get everything sharply defined, and makes the necessary
+exposure. Thus it is possible, with a little trouble, to obtain
+everlasting records of your marvelous day's sport, for you can
+easily make yourself appear to be holding a fish of gigantic
+proportions--say, 5 ft. long, or so. Fig. 74, 75.
+
+[Illustration: FIG. 74.]
+
+[Illustration: FIG. 75.]
+
+Our illustrations are from "Photographic Pastimes" by Herman Schauss.
+
+With a very wide-angle lens it is also possible to make a photograph
+of a little suburban garden, and it will appear to resemble a park or
+palace grounds. This is a trick often adopted by auctioneers and
+estate agents, so that in viewing photographs of property, it is
+really impossible to form any safe idea regarding the place itself.
+
+
+
+
+CONICAL PORTRAITS.
+
+
+Amusing caricatures may be obtained by deforming the sensitive surface
+of the negative. The accompanying conical portrait is one.[6]
+
+[6] From "Les Recreations Photographiques."
+
+[Illustration: FIG. 76.]
+
+To depict the features of a person on a paper cone is not an easy
+matter; whilst to obtain them by photography is a tolerably simple
+operation.
+
+[Illustration: FIG. 77.]
+
+[Illustration: FIG. 78.]
+
+Having glued on the interior face of a plate-holder (the slide being
+drawn), in the place of a sensitive plate, a cone made of strong
+cardboard, superpose on it an unexposed film which has been cut to
+the form of the development of the cone (as shown in Fig. 77). The
+film is secured by means of two or three pins. Having focused on a
+point of the subject in a middle plane, the ground glass is afterwards
+drawn back a distance equal to half the height of the cone, taking
+care not to derange either the subject or the objective. To obtain a
+sharp image a very small diaphragm must necessarily be used, but with
+a rapid plate and good light that is of little moment. The camera
+should be placed in the dark room, the lens being inserted in a hole
+in the partition just its size, and the subject in the adjoining
+apartment opposite the lens--this because the cone will not allow the
+plate-holder to be closed by the slide.
+
+Fig. 76 shows the arrangement of the camera and holder. The exposure
+made, the film is developed, as usual. The negative gives a print
+deformed as shown in Fig. 76. The original, if not grotesque
+appearance of the head disappears when the print is rolled into a
+conical form and the observer places his eye in the prolongation of
+the axis of the cone. Fig. 78 shows the head as seen under these
+conditions.
+
+
+
+
+MAKING DIRECT POSITIVES IN THE CAMERA.
+
+
+Prepare a saturated solution in water of the crystals of thiosinamine,
+and add from two to eight minims of it to an ordinary pyro or
+eikonogen developer. Expose rather less than usual. The effect of this
+addition to the developing agent is an entire reversal of the image, a
+positive instead of a negative being obtained. Ammonia will assist the
+reversal. Colonel Waterhouse, the discoverer of this process,
+recommends in some cases the plates being subjected to a bath of 5 per
+cent nitric acid and 3 per cent potassium bichromate before exposure,
+followed by a thorough washing.
+
+
+
+
+INSTANTANEOUS PHOTOGRAPHY.
+
+
+In the very earliest days of photography this term was applied to what
+would now be considered very slow work indeed. We now usually apply
+this term when the exposure does not exceed one second. In some cases
+this only amounts to the one-thousandth part of a second. This
+exceedingly brief exposure is usually given to the plate by means of a
+suitably constructed shutter.
+
+The immense strides that have recently been made in instantaneous
+photography, owing chiefly to the advent of the dry-plate process,
+have caused photography to become useful to almost every branch of
+science.
+
+To Muybridge and Anschutz we are greatly indebted for the strides made
+in instantaneous photography. These gentlemen have succeeded in
+photographing moving objects hitherto considered impossible to be
+photographed. Galloping horses, swift-flying birds, and even bullets
+and cannon balls projected from guns have been successfully
+photographed, showing even the little head of air driven along in
+front of the bullet.
+
+[Illustration: FIG. 79.]
+
+Both Muybridge and Anschutz also succeeded in making series of
+twenty-four or more photographs of a horse during the time it makes a
+single leap, and thus illustrated its every movement. The value of
+these and other possibilities with the camera for artists cannot be
+overestimated. Its aid to meteorologists in photographing the
+lightning, to astronomers in stellar, lunar and solar photography, and
+to all other sciences would require a work as large as this to
+describe.
+
+[Illustration: By Lt. Joachim Steiner. FIG. 80.--INSTANTANEOUS
+STUDIES.]
+
+For the making of instantaneous pictures a large number of suitable
+cameras have been devised. In most of these the lens is a very rapid
+one, and in some cases so arranged that all objects beyond a certain
+distance are in focus. With an instantaneous camera a secondary image
+is necessary, so that the right second can be judged for making the
+exposure. This is usually produced by a finder. In making
+instantaneous exposures the following tables may be useful:
+
+                                                Approximate distance
+                                                 feet per second
+    A man walking 3 miles per hour moves             4-1/2
+    A man walking 4 miles per hour moves                 6
+    A vessel traveling at 9 knots per hour moves        15
+    A vessel traveling at 12 knots per hour moves       19
+    A vessel traveling at 17 knots per hour moves       28
+    A torpedo boat traveling at 20 knots per hour moves 35
+    A trotting horse                                    36
+    A galloping horse (1,000 yards per minute)          50
+    An express train traveling at 38 miles an hour      59
+    Flight of a pigeon or falcon                        61
+    Waves during a storm                                65
+    Express train (60 miles an hour)                    88
+    Flight of the swiftest birds                       294
+    A cannon ball                                    1,625
+
+    An object moving--
+
+      1  mile per hour moves             1-1/2 feet per second.
+      2     "          "                 3        "        "
+      5     "          "                 7-1/2    "        "
+      6     "          "                 9        "        "
+      7     "          "                10-1/2    "        "
+      8     "          "                12        "        "
+      9     "          "                13        "        "
+     10     "          "                14-1/2    "        "
+     11     "          "                15        "        "
+     12     "          "                17-1/2    "        "
+     15     "          "                22        "        "
+     20     "          "                29        "        "
+     25     "          "                37        "        "
+     30     "          "                44        "        "
+     35     "          "                51        "        "
+     40     "          "                59        "        "
+     45     "          "                66        "        "
+     50     "          "                73        "        "
+     55     "          "                80        "        "
+     60     "          "                88        "        "
+     75     "          "               110        "        "
+    100     "          "               147        "        "
+    125     "          "               183        "        "
+    150     "          "               220        "        "
+    200     "          "               257        "        "
+
+With these tables it will be very easy to find the distance that the
+image of the object will move on the ground-glass screen of the camera.
+To do this, multiply the focus of the lens in inches by the distance
+moved by the object in the second, and divide the result by the
+distance of the object in inches.
+
+[Illustration: FIG. 81.--"A RISE IN THE WORLD." BY THE MARQUIS DE
+ALFARRAS.]
+
+Example, find the movement of the image of an object moving 50 miles
+per hour at a distance of 100 yards with a lens of 9-inch focus.
+
+    9 × 876 = 7,884 ÷ 3,600 = 2-1/5 inches per second.
+
+We must also find out the speed of the shutter required to take the
+object in motion, so that it will appear as sharply defined as
+possible under the circumstances. To do this the circle of confusion
+must not exceed 1/100th of an inch in diameter. We therefore divide
+the distance of the object by the focus of the lens multiplied by 100,
+and then divide the rapidity of the object in inches per second by the
+result obtained. This will give the longest exposure permissible in
+the fraction of a second. For example, we require to know the speed of
+a shutter required to photograph an express train travelling at the
+rate of 50 miles per hour at a distance of 50 yards with an 8-1/2-inch
+focus lens.
+
+The train moves 876 inches per second.
+
+    1,800 distance in inches ÷ (8-1/2 × 100) = 1,800 ÷ 850 = 36/17.
+
+    876 speed of object per second ÷ 36/17 = (876 × 17)/36 = 413
+                                           = 1/413 second.
+
+Given the rapidity of the shutter, and the speed of the moving object,
+we require to find the distance from the object the camera should be
+placed to give a circle of confusion less than 1/100th of an inch.
+Multiply 100 times the focus of the lens by the space through which
+the object would pass during the exposure, and the result obtained
+will be the nearest possible distance between the object and the
+camera. For example, we have a shutter working at one-fiftieth of a
+second, and the object to be photographed moves at the rate of 50
+miles per hour. How near can a camera fitted with a lens of 8-1/2-inch
+focus be placed to the moving object?
+
+Object moving 50 miles per hour moves per second 876 inches, and in
+the one-fiftieth part of a second it moves 17.52 inches, so that--
+
+    8-1/2 × 17.52 = 8.5 × 100 × 17.52 = 14,892 inches = 413 yards.
+
+Instantaneous photography can only be successfully performed in very
+bright and actinic light, and should never be attempted on dull days,
+as underexposure will be the inevitable result. In developing it is
+necessary to employ a strong developer to bring up the detail. Some
+operators make use of an accelerator for this purpose, but it is not
+to be recommended; the simplest is a few drops of hyposulphite
+solution added to about 10 ounces of water. In this the plate is
+bathed for a few seconds previous to development.
+
+The following is a table by H. E. Tolman showing displacement on
+ground glass of objects in motion:
+
+    ==============================================================
+              |         | Distance on  |              |
+              |         |Ground Glass  |              |
+              |         |  in Inches   |  Same with   | Same with
+    Miles per |Feet per |with Object 30|Object 60 Feet| Object 120
+      Hour.   | Second. | Feet Away.   |    Away.     | Feet Away.
+    ----------+---------+--------------+--------------+-----------
+         1    |   1-1/2 |      .29     |      .15     |   .073
+         2    |   3     |      .59     |      .29     |   .147
+         3    |   4-1/2 |      .88     |      .44     |   .220
+         4    |   6     |     1.17     |      .59     |   .293
+         5    |   7-1/2 |     1.47     |      .73     |   .367
+         6    |   9     |     1.76     |      .88     |   .440
+         7    |  10-1/2 |     2.05     |     1.03     |   .513
+         8    |  12     |     2.35     |     1.17     |   .587
+         9    |  13     |     2.64     |     1.32     |   .660
+        10    |  14-1/2 |     2.93     |     1.47     |   .733
+        11    |  16     |     3.23     |     1.61     |   .807
+        12    |  17-1/2 |     3.52     |     1.76     |   .880
+        13    |  19     |     3.81     |     1.91     |   .953
+        14    |  20-1/2 |     4.11     |     2.05     |  1.027
+        15    |  22     |     4.40     |     2.20     |  1.100
+        20    |  29     |     5.87     |     2.93     |  1.467
+        25    |  37     |     7.33     |     3.67     |  1.833
+        30    |  44     |     8.80     |     4.40     |  2.200
+        35    |  51     |    10.27     |     5.13     |  2.567
+        40    |  59     |    11.73     |     5.97     |  2.933
+        45    |  66     |    13.20     |     6.60     |  3.300
+        50    |  73     |    14.67     |     7.33     |  3.667
+        55    |  80     |    16.13     |     8.06     |  4.033
+        60    |  88     |    17.60     |     8.80     |  4.400
+        75    | 110     |    22.00     |    11.00     |  5.500
+       100    | 117     |    29.33     |    14.67     |  7.333
+       125    | 183     |    36.67     |    18.33     |  9.167
+       150    | 220     |    44.00     |    22.00     | 11.000
+    ----------+---------+--------------+--------------+-----------
+
+[Illustration: FIG. 82.--ARTIFICIAL REPRODUCTION AND PHOTOGRAPHING OF
+A MIRAGE]
+
+
+
+
+ARTIFICIAL MIRAGES BY PHOTOGRAPHY.
+
+
+Some time ago a photographer made quite a sensation by the publication
+of a fine photograph of a mirage, a phenomenon frequently observed on
+the plains of Egypt. The wily photographer had, however, never
+traveled away from this country. He had simply produced the effect by
+artificial means. A method of making these pictures was given some
+time ago in the _Scientific American_. A very even plate of sheet iron
+is taken and placed horizontally on two supports. The plate is heated
+uniformly and sprinkled with sand. Then a small Egyptian landscape is
+arranged at one end of the plate, and the photographic instrument is
+so placed that the visual ray shall properly graze the plate. A sketch
+of the arrangement is shown in Fig. 82.
+
+
+
+
+THE PHOTO-CHROMOSCOPE.
+
+
+This instrument was devised by M. Paul Nadar, the celebrated French
+photographer, but anyone can construct a similar apparatus. The
+arrangement is shown in Fig. 83.
+
+The slides A and B B are adjustable so that any sized picture can be
+inserted and the sides closed round it to shut out the light from
+behind. A silver print unmounted is made transparent with vaseline and
+placed on the glass. Pieces of paper of various colors are placed in
+the reflector, C, and by this means all kinds of effects can be
+obtained. A landscape can be viewed as though under the pale reflected
+light of the rising sun behind the mountains, which may be changed
+gradually to the full light of day.
+
+[Illustration: FIG. 83.--NADAR'S PHOTO-CHROMOSCOPE.]
+
+
+
+
+COMPOSITE PHOTOGRAPHY.
+
+
+This is a process of combining a number of images in such a way that
+the result obtained is an aggregate of its components. Francis Galton
+was one of the first to employ this system. In the appendix to his
+"Inquiries into Human Faculty," Galton has described the very
+elaborate and perfect form of apparatus which he has used in his
+studies; but entirely satisfactory results may be obtained with much
+more simple contrivances. The instrument used by Prof. Bowditch[7] is
+merely an old-fashioned box camera, with a hole cut in the top for the
+reception of the ground-glass plate upon which the image is to be
+reflected for purposes of adjustment. The reflection is effected by a
+mirror set at an angle of 45 degrees in the axis of the camera, and
+pivoted on its upper border so that, after the adjustment of the
+image, the mirror can be turned against the upper side of the box, and
+the image allowed to fall on the sensitive plate at the back of the
+camera. The original negatives are used as components, and are placed
+in succession in a small wooden frame which is pressed by elliptical
+springs against a sheet of glass fastened vertically in front of the
+camera. By means of this arrangement it is possible to place each
+negative in succession in any desired position in a plane
+perpendicular to the axis of the camera, and thus to adjust it so that
+the eyes and the mouth of its optical image shall fall upon the
+fiducial lines drawn upon the ground-glass plate at the top of the
+camera. An Argand gas burner with a condensing lens furnishes the
+necessary illumination.
+
+[7] From _McClure's Magazine_, September, 1894.
+
+"For our amateur photographers," writes Prof. Bowditch, "who are
+constantly seeking new worlds to conquer, the opportunity of doing
+useful work in developing the possibilities of composite photography
+ought to be very welcome. Not only will the science of ethnology
+profit by their labors, but by making composites of persons nearly
+related to each other, a new and very interesting kind of family
+portrait may be produced. The effect of occupation on the physiognomy
+may also be studied in this way. By comparing, for instance, the
+composite of a group of doctors with that of a group of lawyers, we
+may hope to ascertain whether there is such a thing as a distinct
+legal or medical physiognomy."
+
+[Illustration: By Prof. Bowditch. FIG. 84.--COMPOSITE PORTRAITS OF
+BOSTON PHYSICIANS AND SAXON SOLDIERS.]
+
+
+
+
+TELEPHOTO PICTURES.
+
+
+[Illustration: FIG. 85.--CAMERA WITH OPERA GLASS ATTACHED.]
+
+During the last few years many so-called telephotographic lenses have
+been placed upon the market. These instruments enable one to
+photograph objects in the distance and obtain images very much larger
+than those given by the ordinary photographic lens. These lenses are,
+however, very costly. In an article by Mr. O. G. Mason, published in
+_The Photographic Times_ for June, 1895, that gentleman described a
+simple method of obtaining telephoto pictures by replacing the
+ordinary lens with an opera glass. He says: "Several devices have been
+brought forward with a view of decreasing the expense of telephoto
+lenses, but I have seen no others so satisfactory, cheap and simple,
+as the utilization of the ordinary opera glass for the camera
+objective, which was described, figured and finally constructed for me
+about a year ago by Mr. Alvin Lawrence, the horologist of Lowell,
+Mass. An opera or field glass is a convenient and useful instrument in
+the kit of any touring photographer; and when he can easily and
+quickly attach it to his camera-box as an objective its great value is
+at once made apparent. Mr. Lawrence's method of doing this at little
+cost is a good illustration of Yankee ingenuity. It is not claimed
+that such a device will do all or as well as a telephotographic lens
+costing ten times as much; but it will do far more than most people
+could or would expect. Of course the field is quite limited, which, in
+fact, is the case with the most expensive telephotographic objective,
+and the sharpness of the image depends much upon the quality of the
+opera or field glass used. The accompanying views show the relative
+size and character of image by a forty-five dollar rapid rectilinear
+view lens and a four-dollar opera glass attached to the same camera
+and used at the same point. The other illustrations show the camera as
+used and the method of opera glass attachment to the lens-board. It
+will be seen that the eye end of the opera glass is placed against the
+lens-board, one eye-piece in a slight depression around the hole
+through the centre, and by a quarter turn the brace between the two
+barrels passes behind a projecting arm on the board, the focusing
+barrel resting in a slot in this arm, where it is firmly held in
+position by friction alone.
+
+[Illustration: FIG. 86.--CAMERA SHOWING ARRANGEMENT FOR OPERA GLASS.]
+
+[Illustration: FIG. 87.--VIEW TAKEN WITH OPERA GLASS.]
+
+[Illustration: FIG. 88.--VIEW TAKEN FROM SAME SPOT WITH AN ORDINARY
+VIEW LENS.]
+
+As opera glasses are usually constructed for vision only, no attempt
+is made by the optician to make correction for securing coincidence of
+foci of the visual and chemical rays of light as in the well-made
+photographic objective. Hence, it is often found that the actinic
+focus falls within, or is shorter than, the visual. When this is the
+case, the proper allowance is easily made after a few trials.
+
+
+
+
+LIGHTNING PHOTOGRAPHS.
+
+
+[Illustration: FIG. 89.--PHOTOGRAPH OF LIGHTNING MADE AT BLUE HILL.]
+
+The method of making photographs of lightning flashes is very simple.
+The camera is focused for distant objects. During a thunderstorm the
+camera is pointed in the direction of the flashes, a plate is
+inserted, the cap is removed from the lens, and as soon as a flash
+takes place the lens is covered up and the plate is ready for
+development. To avoid halation a backed or non-halation plate should
+be used.
+
+
+
+
+PHOTOGRAPHING FIREWORKS.
+
+
+Photographs of pyrotechnical displays can also be made at night. The
+method of procedure is the same as described for photographs of
+lightning. The camera is focused for distant objects and the lens
+pointed towards the place where the discharge takes place. Fig. 90.
+
+
+
+
+DOUBLES.
+
+
+[Illustration: FIG. 91.--A DOUBLE. BY H. G. READING.]
+
+Some very amusing pictures can be made by double exposure. For
+instance, Fig. 91 represents a man playing cards with himself. A
+method of making these is thus described by W. J. Hickmott in "The
+American Annual of Photography for 1894":
+
+[Illustration: By Leonard M. Davis. FIG. 90.--FAREWELL RECEPTION TO
+THE PRINCE OF WALES.]
+
+[Illustration: FIG. 91.]
+
+[Illustration: FIG. 92.]
+
+[Illustration: FIG. 93.]
+
+Fit an open square box into the back of the camera, having it fully as
+large as, or a little larger than, the negatives you wish to make. My
+attachment is made for 8 × 10 plates and under, and fits into the back
+of a 10 × 12 camera. In shape it is like Fig. 91, and I will designate
+it as A. The box is about 3 inches deep. When put into the camera it
+appears as in Fig. 92. Now have a plain strip of wood just one-half
+the size of the opening in A like B, Fig. 93. Have B fit very nicely
+in A, at the opening toward the lens, and so that it can be moved
+freely from one side to the other. It is very convenient to have a
+rabbet on the top and bottom of A so that B can be moved from side to
+side and maintained in any position.
+
+[Illustration: FIG. 94.]
+
+To make a "Double," attach A to the camera as shown, put B into its
+place in the opening in A, say on the right-hand side as you stand
+back of your camera, thus covering up the right-hand side of the plate
+when exposure is made. Pose your subject on the left hand side, which
+will give you an image on the right-hand side of your ground glass and
+plate, draw the slide and expose, immediately returning the slide.
+This finishes one half of the operation. Shift B over to the left-hand
+side of A, which will cover up that portion of the plate just exposed,
+pose your subject again, but on the left-hand side, which will give
+you the image on the right-hand side of the ground glass and plate,
+draw the slide and expose out for the exact length of time as at
+first. On development, if the exposure on both sides has been correct,
+and of equal length, a perfect negative will be the result.
+
+The camera must on no account be moved between the exposures, nor the
+focus changed. After making the first exposure the correct focus for
+the second is obtained by moving the subject backward or forward until
+an exact focus is secured, and not by moving the camera or ground
+glass. The whole apparatus should be painted a dead black.
+
+When the attachment is in place it will be noted on the ground glass
+that while the strip B is just one-half the size of the opening in A,
+it does not cut off just one-half of the ground glass, a line drawn
+through the center of which shows that a space in the center of the
+plate about one-half an inch in width receives a double exposure, but
+this is not apparent in the finished negative. The figure should be
+posed as near the center of the plate as possible in each instance.
+This apparatus, as described, is only available for making two
+figures. By making B narrower, or one-third of the width of the
+opening in A, three figures may be made, using each time a separate
+piece to cover up that portion of the plate exposed, and by changing
+the form of B to that shown in Fig. 95, four positions can be secured.
+
+[Illustration: FIG. 95.]
+
+Val Starnes describes[8] another and still simpler method. He says:
+Take a light card, mount and carefully cut from it a disc that will
+fit snugly inside the rim of the hood of your lens, resting against
+the circular interior shoulder (Fig. 96). Cut from this, in a
+straight, true line, a small segment (Fig. 97). The exact amount to
+cut off you can determine by slowly thrusting with one hand a card
+with a straight edge across the lens hood, looking the while at the
+ground glass; when the shadow has crept _almost_ to the center of the
+focusing screen, hold the card firmly in place and notice how much of
+the circle of the hood is covered by it: cut from your disc a segment
+corresponding to the amount _left uncovered_. Don't let the shadow
+creep _quite_ to the center of the ground glass, for you might go the
+least bit beyond, and an unexposed strip would result. Now paint your
+disc a dull black; loosen the hood of your lens on its threads, so
+that it will revolve easily and freely, and you are ready for
+business.
+
+[8] "American Annual for 1895."
+
+[Illustration: FIG. 96.]
+
+[Illustration: FIG. 97.]
+
+Get your focus and then place disc in hood of lens, straight edge
+perpendicular (Fig. 98). Cover lens with cap or shutter; insert
+plate-holder and draw slide; pose your figure _directly in front of
+uncovered portion of lens_; expose. Next, without touching disc,
+slide, or anything but the hood, gently revolve the hood on its
+threads one-half turn (Fig. 99), and pose your figure on opposite
+side; expose. The trick's accomplished.
+
+[Illustration: FIG. 98.]
+
+[Illustration: FIG. 99.]
+
+Another arrangement devised by Mr. Frank A. Gilmore, of Auburn, R. I.,
+is shown in Fig. 100.
+
+A black-lined box is fitted to the front of a camera. The front of the
+box is closed by two doors. On opening one door a picture may be taken
+on one side of the plate; on closing this door and opening the other,
+the other half of the plate is ready for exposure.
+
+[Illustration: FIG. 100.--CAMERA FITTED WITH ARRANGEMENT FOR DUPLEX
+PHOTOGRAPHY.]
+
+The subject poses in one position and is photographed with one door
+open, care being taken to bring the figure within the proper area of
+the negative. The finder enables this detail to be attended to. Then
+the door is closed, the other is opened and the second exposure for
+the other half of the plate is made with the subject in the other
+position. It is not necessary to touch the plate-holder between the
+exposures. The cover is withdrawn, the one door is opened and the
+shutter is sprung. The doors are then changed and the shutter is
+sprung a second time. Time exposures are rather risky, as involving
+danger of shaking. A picture made by Mr. Gilmore will be found on the
+next page.
+
+[Illustration: By F. A. Gilmore. From _Scientific American_. FIG.
+101.--SPARRING WITH HIMSELF]
+
+
+
+
+DOUBLE EXPOSURES.
+
+
+[Illustration: By C. A. Bates. FIG. 102.--RESULTS OF A DOUBLE
+EXPOSURE.]
+
+[Illustration: Copyright, 1894, by W. J. Demorest. FIG. 103.--RESULT
+OF A DOUBLE EXPOSURE.]
+
+Amateurs often obtain unexpected results from carelessness in exposing
+their plates. Some very amusing pictures can, however, be obtained by
+making two different exposures on one plate. The subject should, of
+course, be of a very different nature. Our illustrations, Figs. 102-3,
+are examples. In making these it is necessary to give a very short
+exposure in each case, about one-half the amount that would be
+ordinarily required. The negative must be carefully developed, using
+plenty of restrainer. Similar effects can, of course, be obtained by
+printing from two different negatives, but the results are, as a rule,
+inferior.
+
+
+
+
+COMICAL PORTRAITS.
+
+
+If the photographer be skilled in drawing he can make some laughable
+pictures that will amuse his friends by drawing a sketch of a comical
+body without a head, as shown in Fig. 104; a photograph of anyone is
+then cut out and the head pasted on.
+
+[Illustration: FIG. 104.]
+
+[Illustration: FIG. 105.--THE TWO-HEADED MAN. BY IVAN SOKOLOFF.]
+
+
+
+
+THE TWO-HEADED MAN.
+
+
+This picture shows a variation of the theme illustrated in Fig. 94,
+and is a type of doublet usually avoided by amateurs, who prefer to
+have one figure complete and shown in two positions. The monster is an
+amusing variation and will be new to most people. The subject sits in
+the same spot for both exposures, except that he bends his head and
+shoulders first to one side and then to the other. It is advisable to
+keep the background very simple, otherwise objects on the wall may
+show through the head, as in some of the spirit photography methods
+given on previous pages.
+
+
+
+
+DUPLICATORS AND TRIPLICATORS.
+
+
+[Illustration: FIG. 106.--MOUNTINGS FOR TRIPLICATORS.]
+
+While doubles are well known to many amateurs, the making of three
+exposures of one subject on a single plate is not so common. Mr. Chas.
+A. Barnard has furnished particulars of his method of making the
+pictures shown in Figs. 107 and 108. Fig. 106 shows two methods of
+mounting the attachment in front of the camera lens, one being
+designed to slip over, while the other screws into the lens barrel,
+the front of which is often fitted with a screw thread. Fig. 109
+shows the stops which slide in this mounting; in making them, first
+mark on each the position of the center of the lens by measuring up
+from the stud which holds the stop in place. Draw your circles for
+stops with this as a centre, and as large as diameter of lens. Leaf A
+is used for the sides of the triplicator, reversing between the
+exposures. With an inch circle, the width of this is 0.2 inch. The
+edges should be filed down as thin as possible without nicking. Leaf B
+is for the centre exposure of the triplicator, and the slot is 0.012
+inch wide and 1 inch long. Leaf C is the duplicator stop, its width
+being 0.3 inch. Leaves D1 and D2 are for top and bottom exposures of a
+vertical double, and are the same size as C. The proportions might
+have to be slightly varied for some other lens, in all these cases. A
+triplicate exposure is made as follows. First focus, using the whole
+lens, at any stop, and determine the limits of your picture spaces. As
+the leeway is small, do not get the figures too large. Pose the model
+in the centre, stop down till properly lighted, and note the stop and
+mark edges of view on ground glass. Focus on model at one side, stop
+down till edge blends into edge of previous view, and note stop. Do
+the same in third position. This may take some time, and a chair may
+be used instead of a model. Finally, put in the plate and make the
+three exposures, giving four times the exposures ordinarily required
+for the same stops. The order is immaterial. Stops recommended for a
+3-1/4 × 5-1/2 camera are as follows: For a horizontal doublet, leaf C,
+U. S. 16; for a vertical doublet, leaf D1, U. S. 54, leaf D2, U. S.
+40; for a horizontal triplet, leaf A, U. S. 16, leaf B, U. S. 90; for
+a vertical triplet (leaves not shown in drawing), leaf A for top, U.
+S. 32; for bottom, U. S. 20, leaf B, U. S. 90. Vertical pictures are
+extremely difficult to figure.
+
+[Illustration: FIG. 107.--TRIPLICATE EXPOSURE. BY CHARLES A. BARNARD.]
+
+[Illustration: FIG. 108.--FARM WORK (TRIPLICATE EXPOSURE). BY CHARLES
+A. BARNARD.]
+
+[Illustration: FIG. 109.--STOPS FOR DUPLICATORS AND TRIPLICATOR.]
+
+
+
+
+PICTURES WITH EYES WHICH OPEN AND CLOSE.
+
+
+To make a photograph with this peculiarity, it is necessary to make
+two exposures of a head in exactly the same position, one with the
+eyes closed and the other with them open. Two positives are made from
+the two negatives and bound in contact by means of lantern slide
+binders, so that the outlines coincide. If they are now held in front
+of a flickering lamp or match flame, the combined portrait will be
+seen to rapidly open and close its eyes, giving a very weird effect.
+This effect depends upon the fact that the human eye receives
+impressions slowly and has a tendency to judge that a motion is
+uniform, when rapidly varying phases of it are seen. The flickering
+flame, moving sideways, shows first one and then the other of the two
+images, which are separated by the thickness of the glass. The same
+effect can be produced by sliding the pictures slightly sideways on
+each other, but the perfection of the illusion will depend somewhat on
+the regularity of the movement, and the flame method is better. If the
+two pictures are printed on one piece of paper, the combined image may
+show the same illusion.
+
+
+
+
+PHOTOGRAPHIC BOOKPLATES.
+
+
+We have all of us seen and many of us have made collections of those
+attractive little bits of paper so frequently stuck on the front
+cover of a book to designate its ownership. Invented almost
+contemporaneously with the first printed books, they have been
+designed and engraved by artists of the highest standing and used by
+the world's greatest men and women. Who would not be proud to own a
+book containing a bookplate made by Albrecht Durer or Paul Revere, or
+one whose bookplate proved it had belonged to George Washington or
+Theodore Roosevelt, irrespective of the great money value of such
+items?
+
+The bookplate is an intensely personal possession. The first were
+heraldic, identifying the possessors by their coats of arms. Modern
+bookplates usually reflect some personal taste of the owner, his
+hobby, his house, his portrait, or the type of books he collects.
+Nothing could be more fitting than one made from a photograph taken by
+its possessor, and yet in the writer's collection of many thousand
+bookplates covering several centuries and many countries, there are
+less than a dozen photographic examples.
+
+They are easily made. The most usual method is to choose a suitable
+photograph, a view of the home or library interior, a loved landscape
+or view, a symbolical figure with a book, a genre which may be a pun
+on the owner's name, or a picture relating to his chief hobby, and
+draw a more or less ornamental frame containing the words "Ex Libris"
+or "His Book," together with the name, about it. There are other
+wordings, but the above are the commonest. The whole is then
+photographed down to the proper size, usually three or four inches
+high, and prints made either by photography or from a halftone block.
+
+The nude female figure is a frequent motive in bookplates, whether
+photographic, or etched or engraved. The example we show is the work
+of two artists, one of whom made the photograph while the other
+designed the framework.
+
+[Illustration: By A. E. Goetting and Will Ransom. FIG. 110.--A
+PHOTOGRAPHIC BOOKPLATE.]
+
+
+
+
+LANDSCAPES AND GROUPS ON THE DINING-ROOM TABLE
+
+
+Did you ever try building landscapes on the dining-room table? If not,
+learn how easy it is and try it out some evening or rainy Sunday, when
+you don't feel like tramping across country with muddy roads and flat
+lightings.
+
+The easiest kind of pictures to make in this way is an imitation of
+snow scenes. Any white material may be used, as snow, i.e., fine salt,
+powdered sugar, flour, or whatever the kitchen closet or the chemical
+shelf may produce. A range of mountains may easily be made by merely
+heaping up the material and then modeling ravines and broken slopes
+with a sharp pencil. A brilliant side lighting should be used to give
+the effect of sunrise or sunset, and clouds may be printed in from a
+cloud negative or obtained by means of a roughly painted background.
+
+Perhaps mountains are more naturally represented by the use of a few
+sharp-angled pieces of coal from the cellar, or fragments of broken
+stone from the nearest quarry or monument maker. On these, after
+arranging, the white powder may be sifted, lodging in a close
+imitation of nature. If a highly polished table is used, reflections
+may be obtained as in a lake, or a sheet of glass with a dark cloth
+under it may be used for the same purpose.
+
+More complicated landscapes may be made by using twigs as leafless
+trees, fence posts, etc., and children's toy houses may be introduced,
+particularly if well screened by brush and half buried in snow. Only
+the merest hint of the possibilities can be given, for they are
+endless.
+
+The introduction of figures, in the shape of dolls, china and metal
+animals, carts, autos, railroad trains, etc., greatly widens the scope
+of such landscape work, but of recent years these figures have been
+more frequently used for tableaux, such as the one shown opposite.
+Extremely comical pictures have been made with kewpies, billikens and
+other queer creatures and their animal friends, and with grotesque
+figures made of vegetables, fruit and eggs.
+
+[Illustration: By Clark H. Rutter. FIG. 111.--FRIEND OR FOE.]
+
+
+
+
+NIGHT PHOTOGRAPHY.
+
+
+The night photographer has to be more or less immune to criticism, and
+willing to endure all kinds of conversational interruptions, from
+friendly questions to unmannerly jeers and imputations of insanity.
+The general public knows from personal experience with hand cameras
+provided with slow lenses and small stops that picture taking can be
+done only by sunlight and in the middle of the day, and does not
+understand the setting up of a camera in a poorly-lighted place at
+night for the taking of a picture. Nevertheless, this branch of
+photography is very interesting and results are possible even in
+villages and the open fields, wherever the least artificial
+illumination or glimpse of moonlight is present.
+
+Naturally, much light means shorter exposures than are possible with
+very sparing illumination, but too many light sources do not tend to
+artistic results. One of the finest night pictures we ever saw was
+that of an old farmhouse, nearly buried in snow, with one or two
+windows showing the light of a kerosene lamp. The snow was illuminated
+by the light of the full moon, and only two or three minutes' exposure
+was given.
+
+As a matter of fact, 15 to 30 minutes' exposure on any landscape at
+_f_: 8 by the light of the full moon high in the sky will give a
+picture hardly to be distinguished from one made in daylight except by
+the softness of the shadows, and such pictures sometimes have a
+softness and wealth of detail in ordinarily shadowed parts which
+cannot be obtained by exposures in daylight.
+
+The best night pictures are perhaps those taken in city streets
+brilliantly illuminated by arc lights, especially when the pavements
+are wet. Care must be taken not to have brilliant lights shining
+directly into the lens, for even double-coated plates will not prevent
+halation and reversal of the image under such circumstances. Ghosts,
+or wheel-shaped images of the lights, in other parts of the plate, are
+sure to occur with all double lenses in such cases. The night picture
+shown opposite shows how interesting a simple subject, poorly
+illuminated, may turn out in the print. This shows typical star
+radiation about the single visible light, caused by the blades of the
+iris diaphragm, and also a slight ghost from this light on the face of
+the tower, caused by a double reflection within the lens.
+
+[Illustration: By F. A. Northrup. FIG. 112.--A GLIMPSE OF THE
+EXPOSITION.]
+
+Other forms of night photographs, treated elsewhere in this book, are
+photographs of fireworks and lightning. Very interesting and
+scientifically valuable pictures of the latter phenomenon have been
+made by swinging the camera during the exposure, thus getting a dozen
+or more paths of the same flash parallel to each other.
+
+
+
+
+PHOTOGRAPHS ON APPLES AND EGGS.
+
+
+To make a photograph in green on the red skin of an apple is a
+wonderful but simple feat. Tie up the selected fruit on a sunny bough
+in a thick yellow or black paper bag for about three weeks before
+harvest time. Immediately after taking off the bag, paste a black
+paper stencil or a very contrasty negative to the apple with white of
+egg. It should be small, to fit the curved surface quite closely.
+Clear away leaves, so the sun gets clear access to the fruit, and
+leave on the tree till it becomes red. If not then ripe, put it back
+into the opaque bag for a day or two till ready to pick. The negative
+may then be soaked off. Don't use a valuable negative, but make a
+duplicate for this experiment. A paper stencil is better, anyway.
+
+To put a photograph on an egg, take one which is perfectly clean,
+sponge it over several times with 1 to 50 solution of table salt, dry,
+then sponge over with 1 to 12 solution of silver nitrate. Keep your
+fingers out of this, or they will turn fast black. Then take a black
+paper stencil or a small contrasty film negative, cut a hole in a
+piece of black flannel somewhat smaller than the negative, and tie
+around the egg to hold the negative. Then bring into light, print out,
+wash and tone and fix like any printing-out paper. And don't eat the
+egg, for chemicals will go through the shell.
+
+[Illustration: By A. H. Blake. FIG. 113.--THE EMBANKMENT, LONDON.]
+
+
+       *       *       *       *       *
+
+
+BOOKS ON PHOTOGRAPHY
+
+
+Optics for Photographers, by Hans Harting, Ph.D. Translated by Frank
+R. Fraprie, S.M., F.R.P.S. 232 pages. Cloth, $2.50.
+
+Chemistry for Photographers, by William R. Flint. 2nd edition. 218
+pages. Cloth, $2.50.
+
+Pictorial Composition in Photography, by Arthur Hammond. 234 pages, 49
+illustrations. Cloth, $3.50.
+
+Photo-Engraving Primer, by Stephen H. Horgan. Cloth, $1.50.
+
+Cash from Your Camera. Edited by Frank R. Fraprie, S.M., F.R.P.S.
+Paper, $1.00.
+
+Pictorial Landscape Photography, by the Photo Pictorialists of
+Buffalo. 252 pages, 55 illustrations. Cloth, $3.50.
+
+Photographic Amusements, by Walter E. Woodbury. 9th edition. 128
+pages, 100 illustrations. Cloth, $1.50.
+
+Practical Color Photography by E. J. Wall, F.C.S., F.R.P.S. Cloth,
+$3.00.
+
+
+PRACTICAL PHOTOGRAPHY SERIES
+
+Edited by Frank R. Fraprie, S.M., F.R.P.S.
+
+Editor of _American Photography_
+
+    1. The Secret of Exposure.
+    2. Beginners' Troubles.
+    3. How to Choose and Use a Lens.
+    4. How to Make Prints in Color.
+    5. How to Make Enlargements.
+    6. How to Make Portraits.
+    7. How to Make Lantern Slides.
+    8. The Elements of Photography.
+    9. Practical Retouching.
+
+_Each volume sold separately._ Cloth, $1.00; paper, 50 cents.
+
+American Photography Exposure Tables, 101st thousand. Cloth, 35 cents.
+
+Thermo Development Chart. 25 cents.
+
+_American Photography_, a monthly magazine, representing all that its
+name implies. 25 cents a copy. $2.50 a year.
+
+
+    PUBLISHED BY
+
+    AMERICAN PHOTOGRAPHIC PUBLISHING CO.
+    428 Newbury St., Boston 17, Massachusetts
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+1. Figure 83.--COMPOSITE PORTRAITS OF BOSTON PHYSICIANS AND SAXON
+SOLDIERS was corrected to Figure 84.
+
+2. Figure 91.--A DOUBLE. BY H. G. READING. is out of sequence. Another
+Figure 91 comes later in the text.
+
+3. Mismatched quotation marks are as they were in the original book.
+
+
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+***END OF THE PROJECT GUTENBERG EBOOK PHOTOGRAPHIC AMUSEMENTS, NINTH
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+<body>
+<h1>The Project Gutenberg eBook, Photographic Amusements, Ninth Edition, by
+Walter E. Woodbury and Frank R. Fraprie</h1>
+<p>This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a
+href="http://www.gutenberg.org">www.gutenberg.org</a></p>
+<p>Title: Photographic Amusements, Ninth Edition</p>
+<p>       Including A Description of a Number of Novel Effects Obtainable with the Camera</p>
+<p>Author: Walter E. Woodbury and Frank R. Fraprie</p>
+<p>Release Date: May 14, 2012  [eBook #39691]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK PHOTOGRAPHIC AMUSEMENTS, NINTH EDITION***</p>
+<p>&nbsp;</p>
+<h4>E-text prepared by Chris Curnow, Matthew Wheaton,<br />
+    and the Online Distributed Proofreading Team<br />
+    (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br />
+    from page images generously made available by<br />
+    Internet Archive/American Libraries<br />
+    (<a href="http://archive.org/details/americana">http://archive.org/details/americana</a>)</h4>
+<p>&nbsp;</p>
+<table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10">
+  <tr>
+    <td valign="top">
+      Note:
+    </td>
+    <td>
+      Images of the original pages are available through
+      Internet Archive/American Libraries. See
+      <a href="http://archive.org/details/photographicamus00wood">
+      http://archive.org/details/photographicamus00wood</a>
+	</td>
+  </tr>
+</table>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<div class="figcenter">
+<img class="border2" src="images/i007.jpg" width="347" height="600" alt="" />
+</div>
+
+<h1 class="booktitle">PHOTOGRAPHIC AMUSEMENTS</h1>
+
+<p class="h3">INCLUDING A DESCRIPTION OF A NUMBER OF
+NOVEL EFFECTS OBTAINABLE WITH THE CAMERA</p>
+
+<p class="spacer">&nbsp;</p>
+
+<p class="h5">BY<br />
+<big>WALTER E. WOODBURY</big><br />
+FORMERLY EDITOR OF "THE PHOTOGRAPHIC TIMES," AUTHOR<br />
+OF "THE ENCYCLOPEDIC DICTIONARY OF PHOTOGRAPHY,"<br />
+"ARISTOTYPES AND HOW TO MAKE THEM," ETC., ETC.</p>
+
+<p class="spacer">&nbsp;</p>
+
+<p class="h5">REVISED AND ENLARGED BY<br />
+<big>FRANK R. FRAPRIE, S. M., F. R. P. S.</big><br />
+EDITOR OF "AMERICAN PHOTOGRAPHY"</p>
+
+<p class="h5 smcap">Ninth Edition</p>
+
+<p class="spacer">&nbsp;</p>
+
+<p class="h4">AMERICAN PHOTOGRAPHIC PUBLISHING CO.<br />
+BOSTON 17, MASS.<br />
+1922</p>
+
+<p class="spacer">&nbsp;</p>
+
+<p class="h5 smcap">Copyright 1896<br />
+By The Scovill &amp; Adams Co., of New York.<br />
+<br />
+Copyright 1905, 1909, 1914<br />
+By The Photographic Times Publishing Association, New York.<br />
+<br />
+Copyright 1922<br />
+By American Photographic Publishing Co.<br />
+<br />
+Printed in the U. S. A.</p>
+
+<p class="h5">THE PLIMPTON PRESS &middot; NORWOOD &middot; MASS &middot;</p>
+
+<p class="spacer">&nbsp;</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_3">3</a></span></p>
+
+<h2>CONTENTS.</h2>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Table of Contents">
+<tr>
+  <td class="tdlsc"><a href="#INTRODUCTION">Introduction</a></td>
+  <td class="tdr">5</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#THE_MIRROR_AND_THE_CAMERA">The Mirror and the Camera.</a></td>
+  <td class="tdr">7</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#THE_PHOTO-ANAMORPHOSIS">The Photo-anamorphosis.</a></td>
+  <td class="tdr">14</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#STATUETTE_PORTRAITS">Statuette Portraits.</a></td>
+  <td class="tdr">17</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#MAGIC_PHOTOGRAPHS">Magic Photographs.</a></td>
+  <td class="tdr">19</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#SPIRIT_PHOTOGRAPHY">Spirit Photography.</a></td>
+  <td class="tdr">21</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHY_FOR_HOUSEHOLD_DECORATION">Photography For Household Decoration</a></td>
+  <td class="tdr">29</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#LEAF_PRINTS">Leaf Prints.</a></td>
+  <td class="tdr">33</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#TO_MAKE_A_PEN_AND_INK_SKETCH_FROM_A_PHOTOGRAPH">To Make A Pen and Ink Sketch From A Photograph.</a></td>
+  <td class="tdr">36</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHS_ON_SILK">Photographs On Silk.</a></td>
+  <td class="tdr">36</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHING_A_CATASTROPHE">Photographing A Catastrophe.</a></td>
+  <td class="tdr">38</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHS_ON_VARIOUS_FABRICS">Photographs On Various Fabrics.</a></td>
+  <td class="tdr">39</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#SILHOUETTES">Silhouettes</a></td>
+  <td class="tdr">41</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHING_THE_INVISIBLE">Photographing the Invisible.</a></td>
+  <td class="tdr">44</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#HOW_TO_MAKE_A_PHOTOGRAPH_INSIDE_A_BOTTLE">How To Make A Photograph Inside A Bottle.</a></td>
+  <td class="tdr">44</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHS_IN_ANY_COLOR">Photographs In Any Color.</a></td>
+  <td class="tdr">45</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#THE_DISAPPEARING_PHOTOGRAPH">The Disappearing Photograph.</a></td>
+  <td class="tdr">47</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#FREAK_PICTURES_WITH_A_BLACK_BACKGROUND">Freak Pictures With A Black Background.</a></td>
+  <td class="tdr">48</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#HOW_TO_COPY_DRAWINGS">How To Copy Drawings.</a></td>
+  <td class="tdr">52</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#SYMPATHETIC_PHOTOGRAPHS">Sympathetic Photographs.</a></td>
+  <td class="tdr">56</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#DRY-PLATES_THAT_WILL_DEVELOP_WITH_WATER">Dry-plates That Will Develop With Water.</a></td>
+  <td class="tdr">56</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#CARICATURE_PHOTOGRAPHS">Caricature Photographs.</a></td>
+  <td class="tdr">57</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHING_SEAWEEDS">Photographing Seaweeds.</a></td>
+  <td class="tdr">62</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#STAMP_PORTRAITS">Stamp Portraits.</a></td>
+  <td class="tdr">63</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#LUMINOUS_PHOTOGRAPHS">Luminous Photographs.</a></td>
+  <td class="tdr">63</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#FLORAL_PHOTOGRAPHY">Floral Photography.</a></td>
+  <td class="tdr">64</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#DISTORTED_IMAGES">Distorted Images.</a></td>
+  <td class="tdr">67</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHS_WITHOUT_LIGHT">Photographs Without Light.</a></td>
+  <td class="tdr">67</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#ELECTRIC_PHOTOGRAPHS">Electric Photographs.</a></td>
+  <td class="tdr">67</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#MAGIC_VIGNETTES">Magic Vignettes.</a></td>
+  <td class="tdr">69</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#A_SIMPLE_METHOD_OF_ENLARGING">A Simple Method Of Enlarging.</a></td>
+  <td class="tdr">71</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#MOONLIGHT_EFFECTS">Moonlight Effects.</a></td>
+  <td class="tdr">71</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHING_SNOW_AND_ICE_CRYSTALS">Photographing Snow and Ice Crystals.</a></td>
+  <td class="tdr">73</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHING_INK_CRYSTALS">Photographing Ink Crystals.</a></td>
+  <td class="tdr">78</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PINHOLE_PHOTOGRAPHY">Pinhole Photography.</a></td>
+  <td class="tdr">80</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#FREAK_PICTURES_BY_SUCCESSIVE_EXPOSURES">Freak Pictures By Successive Exposures.</a></td>
+  <td class="tdr">83</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#WIDE-ANGLE_STUDIES">Wide-angle Studies.</a></td>
+  <td class="tdr">85</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#CONICAL_PORTRAITS">Conical Portraits.</a></td>
+  <td class="tdr">88</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#MAKING_DIRECT_POSITIVES_IN_THE_CAMERA">Making Direct Positives In the Camera.</a></td>
+  <td class="tdr">90</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#INSTANTANEOUS_PHOTOGRAPHY">Instantaneous Photography.</a></td>
+  <td class="tdr">91</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#ARTIFICIAL_MIRAGES_BY_PHOTOGRAPHY">Artificial Mirages By Photography.</a></td>
+  <td class="tdr">98</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#THE_PHOTO-CHROMOSCOPE">The Photo-chromoscope.</a></td>
+  <td class="tdr">98</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#COMPOSITE_PHOTOGRAPHY">Composite Photography.</a></td>
+  <td class="tdr">99</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#TELEPHOTO_PICTURES">Telephoto Pictures.</a></td>
+  <td class="tdr">101</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#LIGHTNING_PHOTOGRAPHS">Lightning Photographs.</a></td>
+  <td class="tdr">105</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHING_FIREWORKS">Photographing Fireworks.</a></td>
+  <td class="tdr">106</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#DOUBLES">Doubles.</a></td>
+  <td class="tdr">106</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#DOUBLE_EXPOSURES">Double Exposures.</a></td>
+  <td class="tdr">113</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#COMICAL_PORTRAITS">Comical Portraits.</a></td>
+  <td class="tdr">114</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#THE_TWO-HEADED_MAN">The Two-headed Man.</a></td>
+  <td class="tdr">116</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#DUPLICATORS_AND_TRIPLICATORS">Duplicators and Triplicators.</a></td>
+  <td class="tdr">116</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PICTURES_WITH_EYES_WHICH_OPEN_AND_CLOSE">Pictures With Eyes Which Open and Close.</a></td>
+  <td class="tdr">119</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHIC_BOOKPLATES">Photographic Bookplates.</a></td>
+  <td class="tdr">120</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#LANDSCAPES_AND_GROUPS_ON_THE_DINING-ROOM_TABLE">Landscapes and Groups On the Dining-room Table</a></td>
+  <td class="tdr">122</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#NIGHT_PHOTOGRAPHY">Night Photography.</a></td>
+  <td class="tdr">124</td>
+</tr>
+<tr>
+  <td class="tdlsc"><a href="#PHOTOGRAPHS_ON_APPLES_AND_EGGS">Photographs On Apples and Eggs.</a></td>
+  <td class="tdr">126</td>
+</tr>
+</table></div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_5">5</a></span></p>
+
+<h2><a id="INTRODUCTION">INTRODUCTION</a></h2>
+
+<p class="dropcap">AS Mr. Woodbury stated in his introduction to the original edition of
+this book, in order to avoid misunderstanding, it would be well to
+explain at the outset that it is not intended as an instruction book
+in the art of photography in any sense of the word. It is assumed that
+the reader has already mastered the technical difficulties of
+photographic practice and is able to make a good negative or print.</p>
+
+<p>It was the purpose of the author to describe a number of novel and
+curious effects that can be obtained by the aid of the camera,
+together with some instructive and interesting photographic
+experiments.</p>
+
+<p>The contents of the work were compiled from various sources, chiefly
+from "The Photographic Times," "The Scientific American," "The
+American Annual of Photography," "La Nature," "Photographischer
+Zeitvertreib," by Herman Schnauss, and "Les Recreations
+Photographiques," by A. Bergeret et F. Drewin; and the illustrations
+were likewise taken from various sources.</p>
+
+<p>In conclusion the author or compiler modestly lays claim to very
+little himself, quoting the words of Montaigne, who said:&mdash;</p>
+
+<blockquote><p>"<i>I have gathered me a posie of other men's flowers, of which
+nothing but the thread that binds them is mine own.</i>"</p></blockquote>
+
+<p>And yet so popular did the book prove that in the course of its first
+ten years of life, it ran through edition after edition.</p>
+
+<p>The publishers of "The Photographic Times" later acquired the
+copyright of the popular volume and published three editions.</p>
+
+<p>The publishers of <span class="smcap">American Photography</span> acquired the book during the
+Great War through their purchase of "The Photographic Times," but in
+spite of a steady demand for the book after the limited stock had been
+sold out, did not find it advisable to reprint it until now.</p><p><span class="pagenum"><a id="Page_6">6</a></span></p>
+
+<p>In putting the book to press at this time, most of the original plates
+have been used. A number of the old pictures have been replaced by
+more modern examples and 14 pages have been added to the book,
+including several new topics.</p>
+
+<p>The publishers would be glad to receive manuscripts and pictures
+describing and illustrating novel and interesting photographic effects
+not mentioned in this volume, to be published in <span class="smcap">American Photography</span>
+and incorporated in the next edition of <span class="smcap">Photographic Amusements</span>. They
+also request that photographers who make photographs illustrating any
+of the topics treated in the book, and especially those illustrated by
+wood cuts, may submit them for consideration, as they are prepared to
+purchase such as may seem available for the next edition.</p>
+
+<p class="author">Frank Roy Fraprie.</p>
+
+<p><span class="smcap">Boston</span>, January, 1922.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_7">7</a></span></p>
+
+<div class="figcenter">
+<img src="images/i013a.jpg" width="495" height="131" alt="" />
+</div>
+
+<h2><a id="PHOTOGRAPHIC_AMUSEMENTS">PHOTOGRAPHIC AMUSEMENTS</a></h2>
+
+<hr class="thin" />
+
+<h2><a id="THE_MIRROR_AND_THE_CAMERA">THE MIRROR AND THE CAMERA.</a></h2>
+
+<p>Quite a number of novel effects can be obtained by the aid of one or
+more mirrors. If two mirrors are taken and placed parallel to one
+another, and a person placed between, the effect obtained is as shown
+in Fig. 1, where one soldier appears as a whole regiment drawn up into
+line. To make this experiment we require two large-sized mirrors, and
+they must be so<span class="pagenum"><a id="Page_8">8</a></span> arranged that they do not reflect the camera and the
+photographer, but give only multiple images of the sitter. This will
+be found quite possible; all that is necessary is to make a few
+preliminary experiments, adjusting the mirrors at different angles
+until the desired effect is obtained.</p>
+
+<div class="figcenter">
+<img src="images/i013b.jpg" width="448" height="461" alt="" />
+</div>
+
+<p class="caption">FIG. 1.&mdash;EFFECT OBTAINED WITH PARALLEL MIRRORS.</p>
+
+<p>A process of multiphotography which was at one time quite popular
+consisted in posing the sitter with his back to the camera as shown in
+Figs. 2 and 3. In front of him are arranged two mirrors, set at the
+desired angle to each other, their inner edges touching. In the
+illustrations here given the mirrors are inclined at an angle of 75
+deg., and five reflected images are produced. When an exposure is made
+and the negative developed, we not only have the back view of the
+sitter but the full reflected images in profile and three-quarter
+positions as well.</p>
+
+<div class="figcenter">
+<img class="border2" src="images/i014.jpg" width="613" height="234" alt="" />
+</div>
+
+<p class="caption">FIG. 2.&mdash;DIAGRAM OF THE PRODUCTION OF FIVE VIEWS OF ONE
+SUBJECT BY MULTIPHOTOGRAPHY.</p>
+
+<p>In the diagram, Fig. 2, reproduced from "The Scientific American" the
+course taken by the rays of light, determined by the law that the
+angle of incidence is equal to the angle of reflection, is plainly
+marked out. We see here their passage from the sitter to the mirror
+and back to the camera. Provided the mirror be large enough, images of
+the full length figure can be made as shown in Fig. 4.</p>
+
+<p>For photographing articles where it is of advantage to secure a number
+of different views of the same object this method of photographing
+with mirrors opens up quite a wide field of<span class="pagenum"><a id="Page_9">9</a></span> possibilities. In France
+it is used for photographing criminals, and thus obtaining a number of
+different portraits with one exposure.</p>
+
+<div class="figcenter">
+<img src="images/i015.jpg" width="600" height="443" alt="" />
+</div>
+
+<p class="caption">FIG. 3.&mdash;GALLERY ARRANGED FOR MULTIPHOTOGRAPHY.</p>
+
+<p>The use of an ordinary mirror in portrait work has enabled
+photographers to produce very pleasing results. There is often a very
+striking difference between the full and side views of a person's
+face, and by means of such a combination as this, one is enabled to
+secure a perfect representation of both<span class="pagenum"><a id="Page_10">10</a></span> at the same time. In making
+reflection portraits it has often been noted that the reflection has a
+more pleasing effect than the direct portrait. The reason of this is
+that it is softer and the facial blemishes are not so distinctly
+brought out. There is naturally a slight loss of detail, but this is
+by no means a drawback. The worst fault of the camera in portrait
+photography is the tendency to include every little detail which the
+artist would suppress. It not only includes all the detail, but often
+exaggerates it to a painful extent. By making a portrait by reflection
+this defect is avoided. Of course the image is reversed, but this is
+in most cases of little consequence; in fact, the sitter himself would
+be more likely to consider it a far more truthful likeness, for when
+we look into a mirror we do not see ourselves as others see us, but a
+reversed image. With some faces the difference is quite striking.</p><p><span class="pagenum"><a id="Page_11">11</a></span></p>
+
+<div class="figcenter">
+<img src="images/i016.jpg" width="478" height="553" alt="" />
+</div>
+
+<p class="caption">FIG. 4.&mdash;MULTIPHOTOGRAPH OF A FULL-LENGTH FIGURE.</p>
+
+<div class="figcenter">
+<img src="images/i017.jpg" width="566" height="264" alt="" />
+</div>
+
+<p><span class="pagenum"><a id="Page_12">12</a></span></p>
+
+<p class="caption">By H. L. Bostwick. FIG. 5.&mdash;MULTIPHOTOGRAPH OF CISSY FITZGERALD</p>
+
+<div class="figcenter">
+<img src="images/i018.jpg" width="333" height="523" alt="" />
+</div>
+
+<p class="caption">FIG. 6.&mdash;ELONGATED REFLECTION IN A SPOON.</p>
+
+<p>Very many amusing effects can be obtained by the use of a convex
+mirror. Even an ordinary, well-polished spoon may be made to give some
+curious results. (See Fig. 6.) The thin man becomes an elongated mass
+of humanity to whom Barnum would have given a big salary, while the
+fat man may be reduced to the proportions of a walking-stick.</p>
+
+<p>Convex mirrors for producing these ludicrous effects can be purchased
+at any mirror manufacturer's store. The advantage of the camera lies
+in the ability to secure permanently the curious images produced.</p>
+
+<p>Even more ridiculous-looking images can be secured by the use of a
+piece of uneven glass silvered. For a method of silvering glass we are
+indebted to the kindness of Dr. James H. Stebbins, Jr., the well-known
+analytical chemist. Dissolve pure nitrate of silver in distilled water
+in the proportion of 10 grains to 1 ounce, and add carefully, drop by
+drop, sufficient strong ammonia solution to just dissolve the brown
+precipitate at first formed, stirring constantly during the addition.</p>
+
+<p>Make a solution of Rochelle salt, 1 grain to the ounce of distilled
+water. Clean the plate of glass thoroughly with a little wet rouge and
+polish dry with a piece of chamois leather. Warm it before the fire or
+in the sun to about 70 to 80 deg. Fahr., and lay it on a perfectly
+level surface. Then mix 1 ounce of the silver solution with half an
+ounce of the Rochelle<span class="pagenum"><a id="Page_13">13</a></span> salt solution and pour the mixture on the glass
+so that every part of the surface will be evenly covered with it.</p>
+
+<div class="figcenter">
+<img src="images/i019.jpg" width="476" height="720" alt="" />
+</div>
+
+<p class="caption">FIG. 7.&mdash;CURIOUS EFFECT OBTAINED WITH A CONVEX MIRROR.</p>
+
+<p>Allow this to stand in the warm sunshine from half to one hour, when
+the reduced silver will be deposited as a fine film over the surface
+of the glass. When this is done wash off the glass with distilled
+water and wipe the entire surface very gently with a little wet
+wadding, which will take off the roughness and render it easier to
+polish. When perfectly dry the<span class="pagenum"><a id="Page_14">14</a></span> silver should be polished by rubbing
+with some smooth, hard surface. The plate is then varnished by pouring
+over it a suitable varnish and is ready for use.</p>
+
+<hr class="chap" />
+
+<h2><a id="THE_PHOTO-ANAMORPHOSIS">THE PHOTO-ANAMORPHOSIS.</a></h2>
+
+<p>The name anamorphosis has been given to two kinds of pictures
+distorted according to a certain law, and which are of such a
+grotesque appearance that it is often impossible to recognize the
+subject of them; while viewed with proper apparatus they appear as
+perfectly correct images. One kind is designed to be viewed by
+reflection and the other is reconstituted by means of a special rotary
+apparatus.</p>
+
+<div class="figcenter">
+<img src="images/i020.jpg" width="395" height="449" alt="" />
+</div>
+
+<p class="caption" id="FNanchor_1_1">FIG. 8.&mdash;ANAMORPHOSIS VIEWED IN CONVEX CYLINDRICAL MIRROR.<a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<div class="footnote"><p><a id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> From "Experimental Science." Published by Munn
+&amp; Co., New York.</p></div>
+
+<p>Until quite recently, these pictures were drawn approximately from the
+reflection of the object as seen in a convex <span class="pagenum"><a id="Page_15">15</a></span>mirror, the position of
+which was indicated on the drawing and which restored it to its real
+form. M. Fenant conceived the idea of employing photography for
+obtaining these pictures. Fig. 9 reproduces a photo-anamorphosis from
+a negative by M. Fenant. If a cylindrical mirror be placed on the
+black circle shown in the reproduction the photograph will appear in
+its original form. Our illustration represents a portrait, although
+the features are barely recognizable. Similar pictures may be obtained
+by photographing the drawing or subject reflected in a cylindrical
+concave mirror placed perpendicularly.</p>
+
+<div class="figcenter">
+<img src="images/i021.jpg" width="638" height="469" alt="" />
+</div>
+
+<p class="caption">FIG. 9.&mdash;A PHOTO-ANAMORPHOSIS.</p>
+
+<p>The second kind of anamorphosis is produced by the distortion of the
+picture in the sense of one of its dimensions. To reconstruct it, it
+is caused to rotate rapidly, at the same time that a disc, perforated
+with a slit through which the picture is viewed, is rotated in front
+of it at a slightly different speed.</p>
+
+<p>The apparatus invented by M. Linde for producing the anamorphosis is
+shown in Figs. 10 and 11. <i>G</i> is a camera<span class="pagenum"><a id="Page_16">16</a></span> provided with a revolving
+plate-holder, <i>T H</i> are revolving discs the movement of which is made
+to bear a certain relation to that of the plate-holder by means of the
+band F and the pulleys <i>D D</i>. The whole is set in operation by a piece
+of clockwork and the cord <i>F</i>. <i>A</i> is the axis of the camera, <i>B</i> that
+of the plate-holder, and <i>C</i> that of the revolving disc. On this disc
+is fixed the picture from which it is desired to make an anamorphosis.
+The relative motions are so regulated that when the plate-holder has
+made a complete revolution the disc has turned through an angle of 60
+to 80 degrees in the opposite direction. Between the plate-holder and
+the lens is a diaphragm pierced with a slit about 10 millimetres wide.
+The action of the light on the plate takes place through this slit.
+The negative obtained, prints are made upon plain salted paper and
+rendered transparent with wax or vaseline. These pictures can be
+viewed in the ordinary apparatus used for showing anamorphoses of this
+kind. The print is fastened to a revolving apparatus and in front of
+it is another disc painted black and provided with a number of slits.
+The latter revolves at one-fourth the speed of the picture, and the
+image when viewed through the slit resumes its normal proportions.</p>
+
+<div class="figcenter">
+<img src="images/i022.jpg" width="680" height="345" alt="" />
+</div>
+
+<p class="caption">FIGS. 10 AND 11.&mdash;LINDE&#39;S APPARATUS FOR PHOTO-ANAMORPHOSIS.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_17">17</a></span></p>
+
+<h2><a id="STATUETTE_PORTRAITS">STATUETTE PORTRAITS.</a></h2>
+
+<p>These were at one time quite popular, and if properly managed can be
+rendered very effective. There are several methods of making this kind
+of picture. If the photographer possesses a pedestal large enough, all
+that is necessary is to place this on a stand and the person to be
+photographed is arranged behind.</p>
+
+<div class="figcenter">
+<img src="images/i023.jpg" width="391" height="283" alt="" />
+</div>
+
+<p class="caption">FIG. 12.</p>
+
+<p>The breast is uncovered and some white soft material artistically
+arranged in folds over the shoulders and in such a way as to appear
+connected with the pedestal. A black background is placed behind and
+the exposure made. To give a more realistic effect the hair, face, and
+all other parts showing should be liberally powdered over with a white
+powder or rice flour. The negative produced will have a clear glass
+background, but the body of the figure will still be visible. This is
+removed by cutting away the film round the pedestal and to the arms on
+each side, leaving only those parts remaining that are required to
+produce the statuette. In printing we get a white statuette portrait
+on a dark background.</p>
+
+<p>If the photographer does not possess a pedestal, the next best means
+to produce these pictures is to get a large sheet of cardboard and cut
+it out to the shape shown in the figure beneath, and with white paint
+make the picture of a pedestal, shading with a little gray to give
+rotundity. The figure is stationed behind it, and a black background
+used.</p>
+
+<p>A third method involves still less trouble. This is to purchase a
+ready made pedestal negative. These are film negatives of a pedestal
+that can be adjusted<span class="pagenum"><a id="Page_18">18</a></span> to the negative of the subject desired to be
+produced as a statue. After the negative is taken and varnished the
+film is scraped off round the figure, cutting off the body as shown in
+the first illustration, after which the pedestal negative is adjusted,
+fastened, and then printed. The negative is reversible and can also be
+used for different subjects. The picture shown in Fig. 13 was made by
+Mr. G. B. Bradshaw, of Beach House, Altrincham, England, by means of
+one of his pedestal negatives.</p><p><span class="pagenum"><a id="Page_19">19</a></span></p>
+
+<div class="figcenter">
+<img src="images/i024.jpg" width="460" height="624" alt="" />
+</div>
+
+<p class="caption">By G. B. Bradshaw.<br />
+FIG. 13.&mdash;STATUETTE PORTRAIT.</p>
+
+<hr class="chap" />
+
+<h2><a id="MAGIC_PHOTOGRAPHS">MAGIC PHOTOGRAPHS.</a></h2>
+
+<div class="figcenter">
+<img src="images/i025.jpg" width="600" height="256" alt="" />
+</div>
+
+<p class="caption">FIG. 14.&mdash;CIGARETTE TUBE FOR MAGIC PHOTOGRAPHS.</p>
+
+<p>Take an ordinary silver print and fix it without toning. Thoroughly
+well wash it to remove all traces of the fixing solution and then
+immerse it in a saturated solution of bichloride of mercury, when the
+image will disappear. The bichloride of mercury changes the photograph
+into white<span class="pagenum"><a id="Page_20">20</a></span> chloride of silver and chloride of mercury which is also
+white. The image when on white paper is thus rendered invisible.</p>
+
+<p>Next soak some strong bibulous paper in a saturated solution of sodium
+hyposulphite, and, when dry, paste a piece of the paper to the back of
+the invisible print with a little starch paste, attaching it by the
+edges only. Of course the image can also be made to appear by soaking
+the invisible print, without the bibulous paper attached, in a
+solution of sodium sulphite, hypo, or water with a little ammonia
+added.</p>
+
+<div>
+<img  class="wrap" src="images/i026.jpg" width="315" height="325" alt="" />
+</div>
+
+<p class="caption wrap clearleft">FIG. 15.&mdash;DEVELOPING THE IMAGE.</p>
+
+<p>Magic photographs made in the manner above described can also be
+developed by smoke. A novelty, introduced in Paris some time ago,
+consisted of a cigarette or cigar holder, shown in Fig. 14, containing
+in its stem a little chamber for the insertion of a small piece of
+apparently plain paper, but in reality an invisible photograph
+produced in the manner already described. The ammonia vapor in the
+smoke passing through the chamber attacked the print and developed the
+image. By blowing the smoke on the latent image it may be made to
+appear, but the operation is rather tedious, and anyone with a little
+ingenuity can easily construct a cigarette holder with an arrangement
+to hold small pictures and allow the smoke to pass through.</p>
+
+<p>The chamber of the cigarette or cigar holder must of course be
+sufficiently large to allow of the print being inserted in such a
+manner that the smoke can readily attack its surface, otherwise uneven
+development of the image will take place.</p><hr class="chap" /><p><span class="pagenum"><a id="Page_21">21</a></span></p>
+
+<h2><a id="SPIRIT_PHOTOGRAPHY">SPIRIT PHOTOGRAPHY.</a></h2>
+
+<div class="figcenter">
+<img src="images/i027.jpg" width="441" height="499" alt="" />
+</div>
+
+<p class="caption">FIG. 16.&mdash;A &quot;SPIRIT&quot; PHOTOGRAPH.</p>
+
+<p>Many years ago, in the old wet-collodion days, a well-known
+photographer was one day surprised by the visitation of a spirit. The
+apparition did not make its appearance during the nocturnal hours, as
+is, we have been given to understand, the custom of these ladies and
+gentlemen from the other world, but, strangely enough, in broad
+daylight; and not by his bedside to disturb his peaceful slumber, but
+upon the photograph he was in the act of producing. Had this gentleman
+been of that soft-brained kind, so easily gulled by the professional
+spiritualist, it is possible that he would not have done what he did,
+which was to make a thorough and scientific examination as to the
+probable cause of the phenomenon. The case was this: A gentleman
+sitter had been taken in the usual manner upon a collodion plate. Upon
+taking a positive print from<span class="pagenum"><a id="Page_22">22</a></span> the negative, he was surprised to find a
+dim white figure of a lady apparently hovering over the unconscious
+sitter. Upon examination of the negative, the image of the figure was
+also visible, but not so plainly as in the positive. The explanation
+of the whole matter was soon discovered. In those days glass was not
+so cheap as at present, and all old or spoilt negatives were cleaned
+off and freshly prepared with collodion for further use. In this case
+the glass had previously supported the<span class="pagenum"><a id="Page_23">23</a></span> negative image of a lady
+dressed in white. Some chemical action had evidently taken place
+between the image and the glass itself, turning the latter slightly
+yellow in some parts. This faint yellow image, although hardly visible
+in the negative, had, being of a non-actinic color, given quite a
+distinct image in the positive. The case was not an isolated one, as
+these spirit photographs, as they were called, often made their
+appearance when old negatives were cleaned and the glass<span class="pagenum"><a id="Page_24">24</a></span> used again.
+The precise action producing the image has never, we think, been
+satisfactorily explained. It could often be made more distinct by
+breathing on the glass. We do not know if any enterprising humbug ever
+took advantage of this method of producing spirit photographs to
+extort money from the unwary, but about ten years ago a work was
+published, entitled "Chronicles of the Photographs of Spiritual Beings
+and Phenomena Invisible to the Material Eye," by a Miss Houghton. In
+this a number of reproductions of photographs of "spirits" were given
+with a detailed explanation of how they were obtained and the
+difficulties attending their production, the "spirits" being
+apparently of very independent natures, only making their appearance
+when they felt so inclined. It is quite possible that a person
+entirely ignorant of photographic methods might be led into the belief
+that they were actually photographic images of the dead, but we fear
+that the book is hardly well enough written to deceive the experienced
+photographer. At certain and most unfortunate periods in the process
+employed, some of the plates had a convenient habit of slipping into
+the washing tank and there, according to the author, becoming utterly
+ruined; also we learn that many were ruined by being accidentally
+smudged by the photographer's finger. We should not, we fear, have a
+very high opinion of an operator who was in the constant habit of
+"smudging" negatives with his fingers so as to entirely spoil them,
+nor can we quite understand what brand of plates was used that "got
+spoiled by falling into the water."</p>
+
+<div class="figcenter">
+<img src="images/i028.jpg" width="464" height="689" alt="" />
+</div>
+
+<p class="caption">From La Nature.<br />
+FIG. 17.&mdash;SPIRIT PICTURE.</p>
+
+<div class="figcenter">
+<img src="images/i029.jpg" width="460" height="703" alt="" />
+</div>
+
+<p class="caption">From La Nature.<br />
+FIG. 18.&mdash;SPIRIT PICTURE.</p>
+
+<p>It is not difficult to explain how these pictures were produced. There
+are quite a number of methods. With a weak-minded sitter, over whom
+the operator had complete control, the matter would be in no wise a
+difficult one. It would then only be necessary for the spirit,
+suitably attired for the occasion, to appear for a few seconds behind
+the sitter during the exposure and be taken slightly out of focus, so
+as not to appear too corporeal.</p>
+
+<p>If, however, the sitter be of another kind, anxious to discover how it
+was done and on the alert for any deceptive practices,<span class="pagenum"><a id="Page_25">25</a></span> the method
+described would be rather a risky one, as he might turn round suddenly
+at an inconvenient moment and detect the <i>modus operandi</i>. In such a
+case it becomes necessary to find some other method where it would not
+be requisite for the "spirit" to make its appearance during the
+presence of the sitter.</p>
+
+<div>
+<img class="wrapr" src="images/i031.jpg" width="206" height="270" alt="" />
+</div>
+
+<p class="caption wrapr clearright">FIG. 19.&mdash;SPIRIT PICTURE<br />
+DISTURBED SLUMBER</p>
+
+<p>The ghostly image can be prepared upon the plate, either before or
+after the exposure of the sitter. The method is this: In a darkened
+room the draped figure to represent the spirit is posed in a
+spirit-like attitude (whatever that may be) in front of a dark
+background with a suitable magnesium or other artificial light thrown
+upon the figure, which is then focused in the "fuzzy-type" style; or,
+better still, a fine piece of muslin gauze is placed close to the lens
+which gives a hazy, indistinct appearance to the image. The exposure
+is made and the latent image remains upon the sensitive plate, which
+is again used to photograph the sitter. Upon developing we get the two
+images, the "spirit" mixed up with the figure. The spirit should be as
+indistinct as possible, as it will then be less easy for the subject
+to dispute the statement that it is the spirit-form of his dead and
+gone relative. Some amount of discretion in this part of the
+performance must be used, we fancy, otherwise the same disaster might
+happen as did to a spiritualist some little time ago. An elderly
+gentleman had come for a <i>seance</i>, and, after some mysterious
+maneuvers, the gentleman was informed that the spirit of his mother
+was there. "Indeed!" replied the old gentleman, somewhat astonished.
+"What does she say?" "She says she will see you soon," informed the
+medium. "You are getting old now and must soon join her." "Quite
+right," replied the old gentleman; "I am going round to her house to
+tea to-night."&mdash;Total collapse of spiritualist.</p><p><span class="pagenum"><a id="Page_26">26</a></span></p>
+
+<div class="figcenter">
+<img src="images/i032.jpg" width="685" height="897" alt="" />
+</div>
+
+<p class="caption">FIG. 20.&mdash;PHOTOGRAPH OF &quot;SPIRITS.&quot;</p>
+
+<p><span class="pagenum"><a id="Page_27">27</a></span></p>
+
+<p>Fluorescent substances, such as bisulphate of quinine, can also be
+employed. This compound, although almost invisible to the eye,
+photographs nearly black. If a white piece of paper be painted with
+the substance, except on certain parts, the latter only will appear
+white in the picture.</p>
+
+<div class="figcenter">
+<img src="images/i033.jpg" width="495" height="678" alt="" />
+</div>
+
+<p class="caption">FIG. 21.-PAINTING BY N. SICHEL.<br />
+From which the &quot;Spirit&quot; Photograph opposite was made.</p>
+
+<p>We hope that it will not be inferred that we desire to explain how to
+deceive persons with regard to photographs of spirits, for this is not
+so; we only hope that they will be made<span class="pagenum"><a id="Page_28">28</a></span> merely for amusement, and if
+possible to expose persons who practice on the gullibility of
+inexperienced persons.</p>
+
+<p>Fig. 20 is a reproduction of a "spirit" photograph made by a
+photographer, claiming to be a "spirit photographer," and to have the
+power to call these ladies and gentlemen from the "vasty deep" and
+make them impress their image upon the sensitive plate by the side of
+the portraits of their living relatives.</p>
+
+<p>Fortunately, however, we were in this case able to expose this fraud.
+Mr. W. M. Murray, a prominent member of the Society of Amateur
+Photographers of New York, called our attention to the similarity
+between one of the "spirit" images and a portrait painting by Sichel,
+the artist.</p>
+
+<p>A reproduction of the picture is given herewith, Fig. 21, and it will
+be seen at once that the spirit image is copied from it.</p>
+
+<p>In a recent number of <i>The Australian Photographic Journal</i> we read of
+the following novel method of making so-called spirit photographs:
+"Take a negative of any supposed spirit that is to be represented, put
+it in the printing frame with the film side out; lay on the glass side
+a piece of platinotype paper with the sensitive side up; clamp in
+place the back of the printing frame and expose to the sun for half a
+minute. Now place in the printing frame the negative of another person
+to whom the spirit is to appear, and over it put the previously
+exposed sheet film side down; expose to the sun for two minutes until
+the image is faintly seen, then develop in the usual way and the
+blurred spirit photograph will appear faintly to one side or directly
+behind the distinct image. Sheets of paper with different ghost
+exposures can be prepared beforehand."</p>
+
+<p>Spirit photographs might easily be made by means of Prof. Roentgen's
+well-known X-ray process of impressing an image upon a photographic
+dry-plate without uncovering the shutter. The process would however
+entail considerable expense and would necessitate the use of so much
+costly apparatus that we will content ourselves with the simple
+mention of the possibility.</p><hr class="chap" /><p><span class="pagenum"><a id="Page_29">29</a></span></p>
+
+<h2><a id="PHOTOGRAPHY_FOR_HOUSEHOLD_DECORATION">PHOTOGRAPHY FOR HOUSEHOLD DECORATION</a></h2>
+
+<p>How few amateur photographers there are who thoroughly enter into the
+enjoyment of the art-science as a pastime. Many of these, perhaps,
+must be excused for the reason that they are ignorant of its
+capabilities. Indeed, how many there are who imagine that the art of
+photography consists in making negatives and, from these,
+prints&mdash;good, bad and indifferent. All the friends and relations are
+called into requisition "to be taken." At first they do not mind,
+thinking it a fine thing to have a portrait made for nothing; but when
+they see the result they very naturally object to be caricatured, and
+the amateur loses many a friend, and the maiden aunt leaves all her
+money to the home for stray cats. If he is a married man and delights
+in a happy, cosy home, neatly and artistically decorated, photography
+can be of very great assistance to him&mdash;how much, few realize. There
+are a thousand different ways in which it can be of use, and the
+photographer has always before him some permanent record of his
+travels and skill.</p>
+
+<div>
+<img class="wrapr" src="images/i035.jpg" width="382" height="419" alt="" />
+</div>
+
+<p class="caption clearright wrapr pushleft">FIG. 22.</p>
+
+<p>Let us take, for instance, the making of transparencies. These are
+very simply made. Any moderately rapid dry plate can be used for the
+purpose. Every amateur becomes possessed after a time of a large
+number of negatives, good, bad, and indifferent. Let him carefully go
+through these, selecting all the printable ones and the pictures that
+he most<span class="pagenum"><a id="Page_30">30</a></span> admires. From these, transparencies can be made, either by
+contact, or enlarged or reduced in the camera. Persons residing in
+cities often have a nicely furnished room utterly marred by an
+unsightly outlook. Perhaps a view of chimney pots and dirty back
+yards. In such a case all that is necessary is to fit in place of the
+lower panes some neat photographs on glass, backed with thin
+ground-glass. These can be puttied in or they can be fitted in neat
+brass frames and hung up against the windows.</p>
+
+<p>The craze of the present day appears to be in the direction of bright
+and gaudy colors, except with the more highly cultivated, who
+recognize the artistic value of unobtrusive colors and delicate tints.
+A photograph, provided it is a good one, is always to be preferred to
+colored pictures unless the latter are by good artists. We once
+constructed with a half dozen of transparencies a very neat lamp
+shade. Some idea of it can be obtained from Fig. 23.</p>
+
+<div class="clearboth">
+<img class="wrapr" src="images/i036.jpg" width="232" height="474" alt="" />
+</div>
+
+<p class="caption wrapr clearright">
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+FIG. 23.
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+</p>
+
+<p>A brass frame is first constructed, and any wire worker will execute
+this so as to hold the six or eight pictures. The transparencies are
+made, cut down to the size and shape required and fitted in; then
+ground glass of the same size and shape is fitted, small brass tabs at
+the back being used to keep them in their places behind the
+transparency. The glasses should not fit too tightly in the brass
+frames or, on expanding by the heat, they will crack.</p>
+
+<p>A hall lamp can be treated in the same way, the colored glass removed
+and photographic transparencies substituted. Photos on glass can in
+the same way be used for a variety of other purposes, such as fire
+screens, candle shades, etc.</p>
+
+<p>Next look up your stock of prints, scraps, waste prints, etc.</p><p><span class="pagenum"><a id="Page_31">31</a></span></p>
+
+<p>Often from a large, spoilt picture you can get a neat little bit about
+a couple of inches square or less; look up all these and from them a
+photographic chess-board can be made. Our illustration in Fig. 24 is
+intended to show what is meant, although our artist has not been happy
+in the selection of his material to represent photographic views and
+portraits. First mark out a square the size you wish the chess-board
+to be. Divide it into sixty-four squares and draw a neat border round
+it. Thirty-two of the squares are then neatly pasted over with
+selected photographs as varied as possible in subjects. Sixteen are
+fitted one way and sixteen the other. Our illustration is incorrect in
+this respect. The sixteen pictures should be placed the right way on
+the sixteen squares nearest to each player. When the photographs have
+all been pasted on and dried the whole is sized and varnished. If,
+however, it is desired to preserve this photographic chess-board, and
+at the same time to use it frequently, a better plan is to cover over
+with a glass plate and bind all round the edges to prevent dust from
+entering.</p>
+
+<p><span class="pagenum"><a id="Page_32">32</a></span></p>
+
+<div class="figcenter clearboth">
+<img src="images/i037.jpg" width="422" height="424" alt="" />
+</div>
+
+<p class="caption">FIG. 24.</p>
+
+<p>In a similar way a neat card table can be manufactured. Fig. 25 is
+intended to illustrate the top of the table covered with photographs
+and protected by a glass plate.</p>
+
+<p>A little consideration will no doubt give various other similar ideas
+to the reader.</p>
+
+<p>Those who can work the carbon process successfully have it in their
+power to transfer photographs in various colors to all kinds of
+supports, to wood for instance. The panels of a door can be very
+considerably improved by the insertion of photographs on fine grain
+wood, varnished.</p>
+
+<div class="figcenter">
+<img src="images/i038.jpg" width="433" height="433" alt="" />
+</div>
+
+<p class="caption">FIG. 25.</p>
+
+<p>Pictures can in this manner be transferred to plates, china and
+ornaments of every description.</p>
+
+<p>Various methods of printing on silk and various fabrics have from time
+to time been given. Perhaps the best for our purpose is the primuline
+process, as various colored images can be produced, with but little
+trouble, on all kinds of material. A description of the process will
+be found in another part of this work. (See Page <a href="#Page_39">39</a>.)</p>
+
+<p>These the amateur can hand over to his better half or female
+relations, who with the natural feminine abilities will produce all
+sorts of pretty artistic articles for decorating the room.</p><p><span class="pagenum"><a id="Page_33">33</a></span></p>
+
+<p>We are well aware that we have by no means enumerated one half of the
+various means in which photography can be employed for decorating the
+house, but hope at least to have given the reader some idea of what
+its capabilities are.</p>
+
+<hr class="chap" />
+
+<h2><a id="LEAF_PRINTS">LEAF PRINTS.</a></h2>
+
+<div>
+<img class="wrapr" src="images/i039.jpg" width="374" height="472" alt="" />
+</div>
+
+<p class="caption wrapr clearright">FIG. 26.&mdash;LEAF PRINT. BY T. GAFFIELD.</p>
+
+<p>Nothing can exceed the beauty of form and structure of the leaves of
+different plants. Ruskin observes: "Leaves take all kinds of strange
+shapes, as if to invite us to examine them. Star-shaped, heart-shaped,
+spear-shaped, fretted, fringed, cleft, furrowed, serrated, sinuated;
+in whirls, in tufts, in spires, in wreaths; endlessly expressive,
+deceptive, fantastic, never the same, from footstalk to blossom, they
+seem perpetually to tempt our watchfulness and take delight in
+outstripping our wonder." Photography has placed in our hands a simple
+method of preserving facsimiles of their ever varying shapes that will
+last long after the leaf has died and crumbled to dust. Although the
+discovery of the darkening action of silver chloride when exposed to
+light was discovered by Scheele as far back as 1777, little was
+apparently known of the possibilities attending the discovery until
+1839, when Fox<span class="pagenum"><a id="Page_34">34</a></span> Talbot read a paper on "A Method of Photogenic
+Drawing," in which he described various experiments that could be made
+with paper coated with this substance, and showed many pictures of
+leaves, ferns, and pieces of lace which he had obtained.</p>
+
+<div class="figcenter clearboth">
+<img src="images/i040.jpg" width="492" height="636" alt="" />
+</div>
+
+<p class="caption">FIG. 27.&mdash;LEAF PRINT. BY T. GAFFIELD.</p>
+
+<p>The illustrations which we reproduce herewith are reproductions from
+leaf prints made by Mr. Thomas Gaffield, who has made quite a study of
+this fascinating pastime. In a little work entitled "Photographic Leaf
+Prints," published in 1869, he describes his method. The leaves and
+ferns are first<span class="pagenum"><a id="Page_35">35</a></span> selected and pressed between the leaves of a book.
+They must not be dried, as in that state they do not so readily permit
+the light to pass through and the delicate structure of the leaf would
+not be reproduced. They should therefore only be pressed sufficiently
+to allow the excess of moisture to be extracted. A sheet of glass is
+put into the printing frame and the leaves artistically arranged. When
+the arrangement is satisfactory the leaves are attached to the glass
+with a little mucilage to prevent them from slipping out of their
+places. A sheet of sensitive paper, albumen, gaslight, or platinum is
+then inserted, the frame closed up and exposed to the light until a
+very dark print is obtained. The time required in printing must be
+found by practice; it will, of course, differ according to the
+intensity of the light. It is a good plan to employ an actinometer to
+judge the correct exposure. It is not possible to open the frame, as a
+double or blurred picture would result. The halves should be exposed
+sufficiently long to enable the light to penetrate through them and
+give a distinct image of the veins and structure.</p>
+
+<p>When the printing is completed the paper is removed and toned and
+fixed in the usual manner. If platinotype or gaslight paper is used,
+this, of course, requires development. The resulting picture gives us
+a light impression of the leaves on a dark background, but if so
+desired, the print thus obtained can be used as a negative. It can be
+made transparent with wax or vaseline, and prints obtained from it
+giving a dark image on a white ground. It is difficult to say which
+picture is the more beautiful. We give illustrations of pictures of
+both kinds. (Figs. 26 and 27.)</p>
+
+<p>Naturally enough, the beauty of these pictures lies in the careful
+selection and arrangement of the leaves. Those which are too thick
+should not be used. Delicate ones, showing all the veins by
+transmitted light, are the most suitable. They can be arranged
+artistically, in any shape or form. We prefer, however, a life-like
+arrangement to the construction of various shapes and designs.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_36">36</a></span></p>
+
+<h2><a id="TO_MAKE_A_PEN_AND_INK_SKETCH_FROM_A_PHOTOGRAPH">TO MAKE A PEN AND INK SKETCH FROM A PHOTOGRAPH.</a></h2>
+
+<p>By the following method anyone can, without any knowledge of drawing,
+produce from a photograph a pen and ink sketch suitable for
+reproduction as an illustration. From the negative a silver print is
+made on albumen or gelatine or collodion paper. This is fixed without
+toning in a solution of hyposulphite of soda. It must then be
+thoroughly washed to remove all traces of hypo, and when dry, the
+outlines of the photograph are traced over with a fine pen and a
+waterproof ink, obtainable at any artist's material store. If the
+photographer possesses a little knowledge of drawing, some of the
+shading can also be attempted. When the ink is dry the picture is
+immersed in a saturated solution of bichloride of mercury (poison)
+when the photograph will disappear, leaving the outline sketch intact.
+The picture is again well washed and dried. Newspaper sketches are
+often made from photographs in this manner, a zincotype being quickly
+produced from the drawing. Gaslight paper can also be used.</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHS_ON_SILK">PHOTOGRAPHS ON SILK.</a></h2>
+
+<p>Photographs can be very effectively printed upon silk, satin, or other
+fabrics. There are several methods of accomplishing this. A simple one
+is the following:<a id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> The silk best suited for the purpose is that
+known as Chinese silk, and this is first washed in warm water with
+plentiful lather of soap, then rinse in hot water, and gradually cool
+until the final washing water is quite cold. Next prepare the
+following solutions: Tannin, 4 parts; distilled water, 100 parts.
+Sodium chloride, 4 parts; arrowroot, 4 parts; acetic acid, 12 parts;
+distilled water, 100 parts.</p>
+
+<div class="footnote"><p><a id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> From the "Encyclopaedic Dictionary of Photography," by
+the author.</p></div>
+
+<p>The arrowroot is mixed up into a paste with a little of the distilled
+water, and the remainder added boiling hot, with the acid and the salt
+previously dissolved in it. When the solution <span class="pagenum"><a id="Page_37">37</a></span>is quite clear the
+tannin solution is added, and the whole allowed to get fairly cool.
+The silk is then immersed for about three minutes, being kept under
+without air in the folds, and then hung up to dry, or stretched out
+with pins on a flat board. The material is then sensitized by brushing
+over with the following solution: Silver nitrate, 12 parts; distilled
+water, 100 parts; nitric acid, 2 drops to every 3 ounces. Other
+methods of sensitizing are by immersing in or floating on the silver
+solution. After sensitizing, the material is dried by pinning on to a
+board to keep flat. It is then cut up as required, and printed behind
+the negative. Every care must be taken in printing to keep the
+material flat, and without wrinkles or folds. It must also be kept
+quite straight; otherwise, the image will be distorted. Printing is
+carried on in the same manner as with printing-out paper. It is then
+washed and toned in any toning bath. The sulphocyanide gives the best
+action. Fix in a 10 per cent. solution of hyposulphite of soda for ten
+minutes; wash and dry spontaneously. When just damp, it is ironed out
+flat with a not over-heated iron. Black tones can be obtained with a
+platinum toning bath, or with the uranium and gold toning bath, made
+up as follows: Gold chloride, 1 part; uranium nitrate, 1 part.
+Dissolved and neutralized with sodium carbonate, and then added to
+sodium chloride, 16 parts; sodium acetate, 16 parts; sodium phosphate,
+16 parts; distilled water, 4,000 parts.</p>
+
+<p>Very effective results may be made by printing with wide white
+margins, obtained by exposing with a non-actinic mask.</p>
+
+<p>Another method is the following: Ammonium chloride, 100 grains;
+Iceland moss, 60 grains; water (boiling), 20 ounces.</p>
+
+<p>When nearly cold this is filtered, and the silk immersed in it for
+about fifteen minutes. To sensitize, immerse the silk in a 20 grain
+solution of silver nitrate for about sixteen minutes. The silver
+solution should be rather acid.</p>
+
+<p>Or immerse the silk in water, 1 ounce; sodium chloride, 5 grains;
+gelatine, 5 grains. When dry, float for thirty seconds on a 50 grain
+solution of silver nitrate. Dry, slightly overprint and tone in the
+following bath: Gold chloride, 4 grains; sodium<span class="pagenum"><a id="Page_38">38</a></span> acetate, 2 drachms;
+water, 29 ounces. Keep twenty-four hours before using. Fix for twenty
+minutes in hypo, 4 ounces to the pint of water.</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHING_A_CATASTROPHE">PHOTOGRAPHING A CATASTROPHE.</a></h2>
+
+<p>On this page we reproduce a curious photograph by M. Bracq, which
+appeared some time ago in the <i>Photo Gazette</i>.</p>
+
+<div class="figcenter">
+<img src="images/i044.jpg" width="437" height="642" alt="" />
+</div>
+
+<p class="caption">By M. Bracq. From Photo Gazette.<br />
+FIG. 28.&mdash;A CATASTROPHE.</p>
+
+<p>Despite all the terrible catastrophe which it represents, carrying
+pictures along with him in his fall, the subject has not experienced<span class="pagenum"><a id="Page_39">39</a></span>
+the least uneasiness, not even so much as will certainly be felt by
+our readers at the sight of the tumble represented.</p>
+
+<p>The mode of operating in this case is very simple and we are indebted
+to <i>La Nature</i> for the description of the method employed by M. Bracq.
+The photographic apparatus being suspended at a few yards from the
+floor of the room, in such a way as to render the ground-glass
+horizontal (say between the two sides of a double ladder&mdash;a
+combination that permits of easy focusing and putting the plates in
+place), there is spread upon the floor a piece of wall paper, about 6
+feet in length by 5 feet in width, at the bottom of which a wainscot
+has been drawn. A ladder, a few pictures, a statuette, and a bottle
+are so arranged as to give an observer the illusion of the wall of a
+room, that of a dining room for instance. A hammer, some nails, etc.,
+are placed at the proper points. Finally, a 5 feet by 2-1/2 feet
+board, to which a piece of carpet, a cardboard plate, etc., have been
+attached, is placed under the foot of a chair, which then seems to
+rest upon this false floor at right angles with that of the room.</p>
+
+<div>
+<img class="wrap" src="images/i045.jpg" width="276" height="288" alt="" />
+</div>
+
+<p class="caption wrap clearleft">FIG. 29.</p>
+
+<p>Everything being ready, the operator lies down quietly in the midst of
+these objects, assumes a frightened expression, and waits until the
+shutter announces to him that he can leave his not very painful
+position. This evidently is merely an example that our readers will be
+able to modify and vary at their will.</p>
+
+<hr class="chap" />
+
+<h2 class="clearboth"><a id="PHOTOGRAPHS_ON_VARIOUS_FABRICS">PHOTOGRAPHS ON VARIOUS FABRICS.</a></h2>
+
+<p>By means of a dye process known as the "Primuline Process," very
+pretty images in various colored dyes can be made upon silks, satins,
+cotton goods, etc. The material is first<span class="pagenum"><a id="Page_40">40</a></span> dyed in a hot solution of
+primuline, made by adding about 15 to 30 grains of the dye to a gallon
+of hot water; a little common salt should also be added. On immersing
+the fabric, and stirring it about in the solution, it becomes of a
+primrose yellow color, when it is removed and washed under a
+cold-water tap. The next process is to diazotize it by immersion for
+half a minute or so in a cold solution of sodium nitrate, one-quarter
+per cent., which has been sharply acidified with hydrochloric or other
+acid. The material is again washed in cold water, but it must be kept
+in a weak light. It can be hung up to dry, in the dark, or exposed
+while wet beneath the object of which it is required to produce a
+positive reproduction. This process gives a positive from a positive,
+so that any ordinary picture on a sufficiently translucent
+material&mdash;flowers, ferns, etc.&mdash;can be reproduced. Printing requires
+about half a minute in the direct sunlight to half an hour or more in
+dull weather, or if the material to be printed through is not very
+transparent. The high lights become of a pale yellow, so that a faint
+image is perceptible; but this is made visible in almost any color by
+development in a weak solution (about one-fourth per cent.) of a
+suitable phenol or amine. The following have been found suitable:</p>
+
+<p><i>For Red.</i>&mdash;An alkaline solution of &#946;-napthol.</p>
+
+<p><i>For Maroon.</i>&mdash;An alkaline solution of &#946;-napthol-disulphonic
+acid.</p>
+
+<p><i>For Yellow.</i>&mdash;An alkaline solution of phenol.</p>
+
+<p><i>For Orange.</i>&mdash;An alkaline solution of resorcin.</p>
+
+<p><i>Brown.</i>&mdash;A slightly alkaline solution of pyrogallol, or a solution of
+phenylene-diamine-hydrochloride.</p>
+
+<p><i>For Purple.</i>&mdash;A solution of &#945;-napthylamine hydrochloride.</p>
+
+<p><i>For Blue.</i>&mdash;A slightly acid solution of amido-&#946;-napthol-sulphonate of sodium, now better known as "eikonogen."</p>
+
+<p>If the design is to be made in several colors, this can be done by
+painting on the different developers, suitably thickened with starch.
+After developing, the material is well washed and dried. With the
+purple and blue developers it is necessary to wash the material
+finally in a weak solution of tartaric<span class="pagenum"><a id="Page_41">41</a></span> acid. Wool and silk require a
+longer exposure to light than other fabrics, and cannot be
+successfully developed with the maroon or blue developer.</p>
+
+<hr class="chap" />
+
+<h2><a id="SILHOUETTES">SILHOUETTES</a></h2>
+
+<div class="figcenter">
+<img src="images/i047a.jpg" width="422" height="195" alt="" />
+</div>
+
+<p class="caption">AA. The sky and side light.<br />
+BB. Two dark backgrounds.<br />
+C. The white screen in oblique position.<br />
+D. The subject.<br />
+E. The camera.<br />
+FIG. 30.</p>
+
+<div class="figcenter">
+<img src="images/i047b.jpg" width="288" height="349" alt="" />
+</div>
+
+<p class="caption">FIG. 31.</p>
+
+<p>Silhouette portraits were at one time very popular. They are simply
+made, and if the effect is well carried out will afford considerable
+amusement. The best description of their manufacture was given some
+time ago by Herr E. Sturmann, in <i>Die Photographische Korrespondenz</i>.
+His method is as follows:</p><p><span class="pagenum"><a id="Page_42">42</a></span></p>
+
+<p>Place two dark backgrounds in parallel position about 4 feet from the
+sky and side light of the studio and distant from each other about six
+feet. Improvise a dark tunnel by drawing a black cloth, of
+non-reflecting material, over the two dark grounds, and arrange a
+white screen, somewhat larger than the distance between the two dark
+grounds, in an oblique position so as to be fully illuminated.</p>
+
+<p>The subject to be silhouetted must be placed in the centre of the
+tunnel, one side of the face turned towards one ground, but
+comparatively nearer to the white screen so that the side of the face
+turned towards the camera is as much as possible in the shade.</p>
+
+<div class="figcenter">
+<img src="images/i048.jpg" width="291" height="453" alt="" />
+</div>
+
+<p class="caption">FIG. 32.</p>
+
+<p>Focus must be taken accurately, so that the outlines of the figure are
+perfectly sharp.</p>
+
+<p>As it is the object to obtain a perfectly transparent, glass-clear
+silhouette upon an absolutely opaque ground, but a very short time of
+exposure is required.</p>
+
+<p>Develop as usual and to secure perfect opacity intensify<span class="pagenum"><a id="Page_43">43</a></span> more than
+usual. Plates of lower sensitiveness invariably give the best results.
+A slow plate or one made particularly for reproduction is well adapted
+for this kind of work. With ferrous oxalate or hydrochinon developer
+there is scarcely any need of intensifying.</p>
+
+<div class="figcenter">
+<img src="images/i049a.jpg" width="208" height="375" alt="" />
+</div>
+
+<p class="caption">FIG. 33.</p>
+
+<div class="figcenter">
+<img src="images/i049b.jpg" width="264" height="413" alt="" />
+</div>
+
+<p class="caption">FIG. 34.</p>
+
+<p><span class="pagenum"><a id="Page_44">44</a></span></p>
+
+<p>To obviate the shadows cast upon the floor by the lower parts of the
+figure, place it upon a thick, large plate-glass, supported by props
+of five or six inches in height, and spread upon the floor under the
+glass a piece of white muslin. The muslin must be free of folds or
+wrinkles, and be so connected with the white screen, that the division
+line between is not reproduced upon the plate.</p>
+
+<p>The very feeble shadows of the feet can be easily touched away with
+pencil.</p>
+
+<p>Single persons or groups of two or three figures can be photographed
+in this peculiar style with very good effect.</p>
+
+<p>For heads and busts expose in the usual manner, but to obtain
+silhouettes similar to those our grandmothers had cut in black paper,
+and long before photography was thought of, cut an appropriate mask of
+black paper to cover the part not wanted during printing.</p>
+
+<div>
+<img class="wrap" src="images/i050.jpg" width="80" height="123" alt="" />
+</div>
+
+<p class="caption wrap clearleft">FIG. 35.</p>
+
+<p>It should be borne in mind that in this class of work the white
+background only is the object to be photographed, hence the necessity
+of but very short exposures. With longer exposures absolute blacks and
+whites are impossible.</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHING_THE_INVISIBLE">PHOTOGRAPHING THE INVISIBLE.</a></h2>
+
+<p>The following is a curious and interesting experiment, based upon the
+peculiar property possessed by fluorescent substances of altering the
+refrangibility of the chemical light rays. Take a colorless solution
+of bisulphate of quinine, and write or draw with it on a piece of
+white paper. When dry the writing or design will be invisible, but a
+photograph made of it will show them very nearly black.</p>
+
+<hr class="chap" />
+
+<h2><a id="HOW_TO_MAKE_A_PHOTOGRAPH_INSIDE_A_BOTTLE">HOW TO MAKE A PHOTOGRAPH INSIDE A BOTTLE.</a></h2>
+
+<p>Get a glass-blower to make an ordinary shaped wine-bottle of very thin
+and clear glass, and clean it well. Next take the white of two eggs
+and add to it 29 grains of ammonium<span class="pagenum"><a id="Page_45">45</a></span> chloride dissolved in 1 drachm of
+spirits of wine, and one-half ounce of water. Beat this mixture into a
+thick froth and then allow it to stand and settle. Filter through a
+tuft of cotton-wool, and pour into the specially made bottle. By
+twisting the bottle round, an even layer of the solution will deposit
+itself on the sides. Pour off the remaining solution, allow the film
+in the bottle to dry, and again repeat the operation.</p>
+
+<p>The next operation is to sensitize the film with a solution of nitrate
+of silver, 40 grains to 1 ounce of water. Pour this in and turn the
+bottle round for a few minutes, then pour off the superfluous solution
+and again dry. Hold the neck of the bottle for a few seconds over
+another bottle containing ammonia, so as to allow the fumes to enter
+it. Printing is the next operation; this is accomplished by tying a
+film negative round the bottle, and covering up all the other parts
+from the light. Print very deeply, keeping the bottle turning round
+all the time. Toning, fixing, and washing can be done in the ordinary
+way by filling the bottle up with the different solutions. The effect
+is very curious, and can be improved by coating the inside of the
+bottle with white enamel.</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHS_IN_ANY_COLOR">PHOTOGRAPHS IN ANY COLOR.</a></h2>
+
+<p>These can be produced by what is known as the powder or dusting-on
+process. The principle of the process is this: An organic, tacky
+substance is sensitized with potassium bichromate, and exposed under a
+reversed positive to the action of light. All the parts acted upon
+become hard, the stickiness disappearing according to the strength of
+the light action, while those parts protected by the darker parts of
+the positive retain their adhesiveness. If a colored powder be dusted
+over, it will be understood that it will adhere to the sticky parts
+only, forming a complete reproduction of the positive printed form.
+Prepare&mdash;Dextrine, one-half ounce; grape sugar, one-half ounce;
+bichromate of potash, one-half ounce; water, one-half pint: or
+saturated solution bichromate of ammonia, 5<span class="pagenum"><a id="Page_46">46</a></span> drachms; honey, 3
+drachms; albumen, 3 drachms; distilled water, 20 to 30 drachms.</p>
+
+<p>Filter, and coat clean glass plates with this solution, and dry with a
+gentle heat over a spirit lamp. While still warm the plate is exposed
+under a positive transparency for from two to five minutes in
+sunlight, or from ten to twenty minutes in diffused light. On removing
+from the printing frame, the plate is laid for a few minutes in the
+dark in a damp place to absorb a little moisture. The next process is
+the dusting on. For a black image Siberian graphite is used, spread
+over with a soft flat brush. Any colored powder can be used, giving
+images in different colors. When fully developed the excess of powder
+is dusted off and the film coated with collodion. It is then well
+washed to remove the bichromate salt. The film can, if desired, be
+detached and transferred to ivory, wood, or any other support.</p>
+
+<p>If a black support be used, a ferrotype plate on Japanned wood, for
+instance, pictures can be made from a negative, but in this case a
+light colored powder must be used. The Japanese have lately succeeded
+in making some very beautiful pictures in this manner. Wood is coated
+over with that black enamel for which they are so famous, and pictures
+made upon it in this manner. They use a gold or silver powder.</p>
+
+<p>With this process an almost endless variety of effects can be
+obtained. For instance, luminous powder can be employed and an image
+produced which is visible in the dark.</p>
+
+<p>Some time ago we suggested a plan of making what might be termed
+"post-mortem" photographs of cremated friends and relations. A plate
+is prepared from a negative of the dead person in the manner
+described, and the ashes dusted over. They will adhere to the parts
+unexposed to light, and a portrait is obtained composed entirely of
+the person it represents, or rather what is left of him. The idea is
+not particularly a brilliant one, nor do we desire to claim any credit
+for it, but we give it here for the benefit of those morbid
+individuals who delight in sensationalism, and who purchase and
+treasure up pieces of the rope used by the hangman.</p><hr class="chap" /><p><span class="pagenum"><a id="Page_47">47</a></span></p>
+
+<h2><a id="THE_DISAPPEARING_PHOTOGRAPH">THE DISAPPEARING PHOTOGRAPH.</a></h2>
+
+<p>A method of making a photograph which can be made to appear at will is
+thus described in <i>Les Recreations Photographiques</i>.</p>
+
+<p>Take a convex watch crystal, V, or any similar larger glass if
+desired&mdash;for instance, those used for colored photographs; clean the
+glass well, place it perfectly level, convex side down, and fill it
+even full with a mixture of white wax and hog's lard. When it has
+solidified, apply to the back a flat glass plate, P, cut exactly to
+the largest dimensions of the convex glass, secure the glasses
+together with a strip, B, of gold-beater's skin, fastened by strong
+glue as shown in the figure. Now mount a portrait, with the front
+towards the convex glass, on the plate P. The combination is now
+ready; by heating it the wax between the two glasses melts and becomes
+transparent, allowing the portrait to be seen; on cooling it will lose
+its transparence and the portrait will disappear.</p>
+
+<div class="figcenter">
+<img src="images/i053.jpg" width="386" height="471" alt="" />
+</div>
+
+<p class="caption">FIG. 36.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_48">48</a></span></p>
+
+<h2><a id="FREAK_PICTURES_WITH_A_BLACK_BACKGROUND">FREAK PICTURES WITH A BLACK BACKGROUND.</a></h2>
+
+<p>If an object be placed against a non-actinic background and an
+exposure made, the black parts surrounding it will not have any effect
+upon the plate, and the object can be shifted to another part and
+another exposure made. In a recent article published in <i>La Nature</i>,
+and translated in the <i>Scientific American</i>, a number of
+curious effects obtained by photography by M. R. Riccart, of
+Sainte-Foix-les-Lyons, are described and illustrated.</p>
+
+<div class="figcenter">
+<img src="images/i054.jpg" width="461" height="582" alt="" />
+</div>
+
+<p class="caption">FIG. 37.&mdash;A DECAPITATION.</p>
+
+<p>The system employed by the author of these photographs is that of the
+natural black background obtained through the open door of a dark
+room, combined with diaphragms skillfully<span class="pagenum"><a id="Page_49">49</a></span> arranged in the interior of
+the apparatus, between the objective and sensitized plate. This is the
+surest method of obtaining the desired effect with the greatest
+precision, without the junctions being visible, and with perfect
+sharpness in the cutting of the parts removed. For this effect, it is
+necessary to place the diaphragm at three or four centimeters from the
+ground glass, in the last folds of the bellows of the camera.</p>
+
+<div class="figcenter">
+<img src="images/i055.jpg" width="449" height="587" alt="" />
+</div>
+
+<p class="caption">FIG. 38.&mdash;ANOTHER DECAPITATION.</p>
+
+<p>The following are a few data as to the manner in which the scenes that
+we reproduce were obtained. The first, representing a decapitation by
+means of a saber (Fig. 37), was taken by means of an exposure in which
+the head was placed upon the block, the subject inclining forward upon
+his knees, and a<span class="pagenum"><a id="Page_50">50</a></span> diaphragm, occupying about two-thirds of the plate,
+completely masking the body up to the neck. Then, without changing the
+position of the apparatus, the diaphragm was placed on the other side
+in order to conceal the head, and the body was photographed in the
+second position along with the person representing the executioner. It
+would have been possible, by a third exposure, to so arrange things as
+to make the executioner the decapitated person. It was by the same
+process that the three following scenes were obtained: A person with
+his head placed before him in a plate (Fig. 38); a man carrying his
+head in a wheelbarrow (Fig. 39); and a person to whom his own head is
+served in a plate (Fig. 40). Such scenes may be varied to any extent.
+Fig. 41 is a photograph of a decapitation, while Fig. 42 is made by
+two exposures of an individual at different distances but so combined
+as to give the appearance of one exposure. Fig. 43 is that of a person
+in a bottle. The individual represented was<span class="pagenum"><a id="Page_51">51</a></span> first photographed on a
+sufficiently reduced scale to allow him to enter the bottle. This
+exposure was by using a screen containing an aperture, as for the
+Russian background. But this precaution was taken merely to conceal
+the floor, and yet it would perhaps be preferable in such a case to
+have the subject stand upon a stool covered with a very black fabric.
+However this may be, when once the first impression has been made,
+there is nothing more to be done than to photograph the bottle on a
+larger scale and the result is obtained.</p>
+
+<div class="figcenter">
+<img src="images/i056.jpg" width="559" height="436" alt="" />
+</div>
+
+<p class="caption">FIG. 39.&mdash;THE HEAD IN THE WHEELBARROW</p>
+
+<div class="figcenter">
+<img src="images/i057.jpg" width="449" height="570" alt="" />
+</div>
+
+<p class="caption">FIG. 40.&mdash;THE HEAD UPON A PLATE.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_52">52</a></span></p>
+
+<h2><a id="HOW_TO_COPY_DRAWINGS">HOW TO COPY DRAWINGS.</a></h2>
+
+<p>There are three principal methods of copying mechanical drawings,
+tracings, sketches, etc. These are: (1) A process to obtain white
+lines upon a blue ground; (2) a process by which blue lines upon a
+white ground are obtained; and (3) a process giving black or
+violet-black lines upon a white ground.</p>
+
+<div class="figcenter">
+<img src="images/i058.jpg" width="445" height="564" alt="" />
+</div>
+
+<p class="caption">FIG. 41.&mdash;THE SAWED-OFF HEAD.</p>
+
+<p>The first process is undoubtedly the simplest, as after printing upon
+the paper it is developed and fixed by simple immersion in cold water;
+but, at the same time, the white lines on the blue ground are not so
+clear and effective as the other processes. The cyanotype paper, as it
+is called, can be<span class="pagenum"><a id="Page_53">53</a></span> obtained ready for use at any draughtsman's stores,
+but if you prefer to make it yourself, here is the recipe: Two
+solutions are made&mdash;20 parts of red prussiate of potash are dissolved
+in 100 parts of water, and 10 parts of ammonio-citrate of iron in 60
+parts of water. These two solutions should be mixed together
+immediately before using, and the operation must be performed in the
+dark. Paper is floated on this solution, or applied with a broad
+camels-hair brush, and hung up to dry. If it is well dried and
+carefully preserved from light, moisture and air, this paper will keep
+for some time. After printing&mdash;which, when sufficient, should show the
+lines copied of a yellow color upon a blue ground&mdash;the prints should
+be washed in several waters, and if a few drops of chlorine<span class="pagenum"><a id="Page_54">54</a></span> water or
+dilute hydrochloric acid be added to the washing water, the blue
+ground will appear much darker and the lines rendered clearer and
+whiter. The commercial paper sold is generally prepared by this
+method.</p>
+
+<div class="figcenter">
+<img src="images/i059.jpg" width="448" height="569" alt="" />
+</div>
+
+<p class="caption">FIG. 42.&mdash;THE REDUCTION.</p>
+
+<div class="figcenter">
+<img src="images/i060.jpg" width="445" height="561" alt="" />
+</div>
+
+<p class="caption">FIG. 43.&mdash;MAN IN A BOTTLE.</p>
+
+<p>Blue prints may be given a black tone by plunging them into a solution
+of 4 parts of caustic potash in 100 parts of water; then, when the
+blue color has entirely disappeared under the action of the potash,
+and a yellowish color has taken its place, they are immersed in a
+solution of 4 parts of tannin in 100 parts of water; then washing them
+again, we obtain prints whose tone may be assimilated to that of pale
+writing ink.</p>
+
+<p>In the process giving blue lines upon a white ground, it is necessary
+that the action of the light shall be to convert the<span class="pagenum"><a id="Page_55">55</a></span> iron compound
+into one that can be discharged from instead of being fixed on the
+paper, so that we obtain a positive from a positive. Abney describes
+the process as follows: Thirty volumes of gum solution (water 5 parts,
+gum 1 part) are mixed with 8 volumes of a citrate of iron and ammonia
+solution (water 2 parts, double citrate 1 part), and to this is added
+5 volumes of a solution of ferric chloride (water 2 parts, ferric
+chloride 1 part). This solution thus formed is limpid at first, but
+will gradually become thicker, and should be used soon after mixing.
+It is then applied with a brush to the paper (which should be well
+sized) and dried in the dark. Exposure is accomplished in a few
+minutes, the paper being placed under the drawing in the printing
+frame. It is then developed with potassium ferrocyanide, 50 grains,
+water 1 ounce, applied with a brush until all the details appear of a
+dark-blue color. The print is then rapidly rinsed, and placed in a
+dish containing the clearing solution, made of 1 ounce of hydrochloric
+acid and 10 ounces of water.</p>
+
+<p>The third process, which gives violet-black lines on a white ground,
+is the following: Make up the sensitive solution with water, 16
+ounces; gelatine, 4 drachms; perchloride of iron (in a syrup
+condition), 1 ounce; tartaric acid, 1 ounce; sulphate of iron, 4
+drachms. The paper is floated on or brushed over with this and dried.
+The exposure is about the same as with the last process. When
+sufficient, the greenish-yellow color will turn white, except the
+lines, which should be somewhat dark. The developing solution is
+composed of 1 part of gallic acid in 10 parts of alcohol and 50 of
+water. When immersed in this solution the lines will turn blacker. The
+finish is then made by thoroughly washing in water.</p>
+
+<div class="figcenter" style="width: 476px;">
+<img src="images/i061.jpg" width="476" height="77" alt="" />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_56">56</a></span></p>
+
+<h2><a id="SYMPATHETIC_PHOTOGRAPHS">SYMPATHETIC PHOTOGRAPHS.</a></h2>
+
+<p>These are obtained as follows: A sheet of paper is coated with a ten
+per cent solution of gelatine, and when dry this is floated on a ten
+per cent solution of bichromate of potash. Again dry and expose
+beneath a positive transparency. The print thus obtained is then
+immersed in a ten per cent solution of chloride of cobalt. The parts
+unacted upon by light will absorb the solution. Wash and dry. We then
+have a faint image which will alter its color according to the state
+of the atmosphere. In damp weather it will be almost if not entirely
+invisible, but when the weather is fine and dry, or if the image be
+heated before a fire it will turn to a bright blue color.</p>
+
+<hr class="chap" />
+
+<h2><a id="DRY-PLATES_THAT_WILL_DEVELOP_WITH_WATER">DRY-PLATES THAT WILL DEVELOP WITH WATER.</a></h2>
+
+<p>Some time ago dry-plates were placed on the market which would
+develop, apparently, with water and a little ammonia only. The secret
+of the method was that the backs of the plates were coated with a
+soluble gum, containing the developing agents, and, of course, when
+the plate was immersed in the water, they instantly dissolved and
+formed the developer. Plates thus prepared are useful in traveling
+where it is not always possible to get the necessary developing
+solutions. To prepare them the backs are coated with the following
+mixture:</p>
+
+<div class="center">
+<table border="0" cellpadding="0" cellspacing="0" summary="Dry-plate Mixture">
+<tr>
+  <td class="tdlx">Pyrogallic acid</td>
+  <td class="tdr">154</td>
+  <td class="tdl">grains</td>
+</tr>
+<tr>
+  <td class="tdlx">Salicylic acid</td>
+  <td class="tdr">15</td>
+  <td class="tdl">grains</td>
+</tr>
+<tr>
+  <td class="tdlx">Gum or dextrine</td>
+  <td class="tdr">154</td>
+  <td class="tdl">grains</td>
+</tr>
+<tr>
+  <td class="tdlx">Alcohol</td>
+  <td class="tdr">1</td>
+  <td class="tdl">fluid dr.</td>
+</tr>
+<tr>
+  <td class="tdlx">Water</td>
+  <td class="tdr">5</td>
+  <td class="tdl">fluid dr.</td>
+</tr>
+</table></div>
+
+<p>This is allowed to dry at an ordinary temperature. After exposure, all
+that is necessary to develop is to immerse the plates in water
+containing a small quantity of ammonia.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_57">57</a></span></p>
+
+<h2><a id="CARICATURE_PHOTOGRAPHS">CARICATURE PHOTOGRAPHS.</a></h2>
+
+<p>There are quite a number of different methods of making caricature
+portraits. A simple one is to make two photographs of an individual,
+one of the head alone and another of the entire body on a much smaller
+scale. From these two negatives prints are made, and the larger head
+is cut out and pasted on the shoulders of the full length figure. Any
+signs of the cutting out are removed by the use of a brush and a
+little coloring matter. From this combined print another negative is
+made so that any number of these caricature prints can be made without
+extra trouble. The effect is shown in Fig. 44.</p>
+
+<div class="figcenter">
+<img src="images/i063.jpg" width="378" height="529" alt="" />
+</div>
+
+<p class="caption">From Tissandier&#39;s Handbook. FIG. 44.&mdash;CARICATURE PORTRAIT.</p>
+
+<p>Foregrounds for making caricature portraits are sold in this country.
+The method of using them is shown in Fig. 45.<span class="pagenum"><a id="Page_58">58</a></span> The card containing the
+grotesque drawing is held by the sitter on his knees and arranged by
+the photographer in such a way that his head rests just above the neck
+of the painted body. A white background is arranged behind and when
+the negative is made all traces of the edges of the foreground are
+removed by careful re-touching.</p>
+
+<div class="figcenter">
+<img src="images/i064a.jpg" width="213" height="347" alt="" />
+</div>
+
+<p class="caption">FIG. 45.&mdash;CARICATURE</p>
+
+<div class="figcenter">
+<img src="images/i064b.jpg" width="618" height="337" alt="" />
+</div>
+
+<p class="caption">FIG. 46.&mdash;MAKING THE CARICATURE PORTRAIT.</p>
+
+<p>Another method of obtaining grotesque caricature portraits has been
+devised by M. Ducos du Hauron. His apparatus, which he calls "La
+Photographie Transformiste," is thus described by Schnauss in his
+"Photographic Pastimes." A, Fig. 47, is the front of the box, which is
+furnished with an exposing shutter formed of a simple sliding piece
+fitting into the grooves R R, R R. B P are two screens pierced with
+slits <i>a a</i>, <i>c c</i>. C is the rear end of the box where the dark slide
+is placed. D is the lid of the box, which is lifted either for placing
+the slotted screens or for putting in the sensitive plate.<span class="pagenum"><a id="Page_59">59</a></span> When not
+working direct from nature, the transparency is placed in the grooves
+R R, R R, at A.</p>
+
+<div class="figcenter">
+<img src="images/i065a.jpg" width="460" height="312" alt="" />
+</div>
+
+<p class="caption">FIG. 47.&mdash;THE HAURON &quot;TRANSFORMISTE.&quot;</p>
+
+<div class="figcenter">
+<img src="images/i065b.jpg" width="618" height="406" alt="" />
+</div>
+
+<p class="caption">FIG. 48.&mdash;PHOTOGRAPH AND DISTORTIONS WITH THE &quot;TRANSFORMISTE.&quot;</p>
+
+<p>According to the arrangement of the slits, the caricatures obtained
+will be different. If, for instance, the first slit be a vertical one,
+and the other, <i>i.e.</i>, the one nearest the picture, a horizontal one,
+the picture, in comparison with the original, will<span class="pagenum"><a id="Page_60">60</a></span> be distorted
+lengthwise. If, however, one of the slits forms no straight line, but
+a curved one, the transformed picture will show either lengthwise or
+sideways curved lines, according to the slit being a vertical or a
+horizontal one. The form of the resulting picture will also be
+different according to which one of the slotted plates is placed more
+or less obliquely in the box.</p>
+
+<div class="figcenter">
+<img src="images/i066a.jpg" width="600" height="211" alt="" />
+</div>
+
+<p class="caption">FIG. 49. and FIG. 50.</p>
+
+<div class="figcenter">
+<img src="images/i066b.jpg" width="571" height="442" alt="" />
+</div>
+
+<p class="caption">FIG. 51. and FIG. 52.</p>
+
+<p>The slits must be made very exactly; above all, their edges<span class="pagenum"><a id="Page_61">61</a></span> must be
+absolutely sharp, every incorrectness being transferred to the
+picture. They may be made about one-third of a millimeter wide; if
+they are too narrow the picture will not turn out sharp. In making the
+slits it is a good plan to cut them in thin black paper, and to mount
+the latter on glass plates.</p>
+
+<div class="figcenter">
+<img src="images/i067.jpg" width="386" height="395" alt="" />
+</div>
+
+<p class="caption">FIG. 53.</p>
+
+<p>In a later description of the apparatus we learn that the discs
+containing the slits are often made circular in shape and so arranged
+that they can be revolved as shown in Fig. 53. This, of course, allows
+of a still greater variety of positions of the two apertures in
+relation to each other and an increasing number of grotesque effects.
+Reproductions of some of the pictures obtained are given.<a id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> See Figs.
+48 to 52.</p>
+
+<div class="footnote"><p><a id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Reprinted from <i>La Science en Famille</i>.</p><p><span class="pagenum"><a id="Page_62">62</a></span></p></div>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHING_SEAWEEDS">PHOTOGRAPHING SEAWEEDS.</a></h2>
+
+<div class="figcenter">
+<img src="images/i068.jpg" width="447" height="723" alt="" />
+</div>
+
+<p class="caption">FIG. 54.&mdash;SEAWEED PHOTOGRAPH.</p>
+
+<p>Of all the glorious creations of nature few are more beautiful than
+the delicate sea mosses to be found by the sea shore. Many delight in
+preserving them in a dry state, mounted on cards, but unfortunately
+they are usually so fragile that after a little while they fall to
+pieces. The photographer, however, is able to reproduce these
+beautiful formations and preserve them in a more permanent form by<span class="pagenum"><a id="Page_63">63</a></span>
+means of his camera. It is true that he cannot reproduce their
+delicate colorings, but the photographs can, if so desired, be lightly
+printed on platinum paper and colored as well as possible by hand.</p>
+
+<hr class="chap" />
+
+<h2><a id="STAMP_PORTRAITS">STAMP PORTRAITS.</a></h2>
+
+<p>A <span class="smcap">special</span> camera is sold for making these little pictures.</p>
+
+<div class="figcenter">
+<img src="images/i069a.jpg" width="512" height="230" alt="" />
+</div>
+
+<p class="caption">FIG. 55.&mdash;STAMP CAMERA.</p>
+
+<div>
+<img class="wrap" src="images/i069b.jpg" width="184" height="222" alt="" />
+</div>
+
+<p class="caption wrap clearleft">FIG. 56.<br />
+STAMP PHOTO.</p>
+
+<p>It contains a number of lenses all of the same focus. In front is an
+easel where the portrait is attached, surrounded by a suitable border.
+The images given are about the size of postage stamps (see Fig. 56),
+and when the negative is printed on a printing out or developing
+paper, toned or developed, they can be perforated and gummed at the
+back. They are very useful for sticking to letters, envelopes, and for
+business purposes.</p>
+
+<hr class="chap" />
+
+<h2><a id="LUMINOUS_PHOTOGRAPHS">LUMINOUS PHOTOGRAPHS.</a></h2>
+
+<p>There are several different ways of making these. Obtain some
+Balmain's luminous paint, and coat a piece of cardboard with it. Place
+this in the dark until it is no longer luminous; place this behind a
+glass transparency and expose to light, either daylight or, if at
+night-time, burn a small piece of magnesium wire. Return to the dark,
+remove the transparency, and a<span class="pagenum"><a id="Page_64">64</a></span> luminous photograph is obtained on the
+prepared card. A simple plan is to merely expose a piece of the
+prepared cardboard to the light and place it behind a transparency;
+then retire to a darkened room. The luminous paint, showing through
+it, will have a very pretty effect. If no glass transparency is at
+hand, a silver print can be used, if previously oiled and rendered
+translucent by vaseline or any other means.</p>
+
+<hr class="chap" />
+
+<h2><a id="FLORAL_PHOTOGRAPHY">FLORAL PHOTOGRAPHY.</a></h2>
+
+<p>Perhaps the beauties of nature are nowhere better exemplified than in
+flowers, and nothing can be prettier than photographs of them
+carefully arranged. When we say carefully arranged we mean, of course,
+artistically. The secret of arranging flowers&mdash;an art in itself&mdash;is to
+hide the fact that they have been arranged.</p>
+
+<p>Among the best pictures of flowers which have appeared in print, are
+those by John Carpenter, an English gentleman, who has made this
+particular branch of photography his chief study, and has been awarded
+many prizes and medals for flower studies.</p>
+
+<p>Some time ago we wrote to him asking for a few particulars of his
+method adopted, and he has been so very kind as to send the following
+valuable notes:</p>
+
+<p><i>Suitable Flowers.</i>&mdash;I find that the best colors to photograph are
+pale pink, yellow, white or variegated colors. Reds, browns, and dark
+colors generally, do <i>not</i> answer well.</p>
+
+<p>Flowers of irregular form are most suitable, such, for example, as
+chrysanthemums, lilies, poppies, etc. These give beautiful gradations
+of light and shade.</p>
+
+<p><i>Grouping.</i>&mdash;There is great scope here for artistic feeling. All
+appearance of formal arrangement must be avoided and a natural
+grouping should be aimed at. This becomes more difficult as the
+flowers must be somewhat on one plane to get them in proper focus. A
+round bunch of flowers which may appear very pretty to the eye would
+probably be utterly wrong to make a picture of.</p><p><span class="pagenum"><a id="Page_65">65</a></span></p>
+
+<div class="figcenter">
+<img src="images/i071.jpg" width="600" height="409" alt="" />
+</div>
+
+<p class="caption">Fannie Cassidy.<br />
+FIG. 57.&mdash;A BOWL OF ROSES.</p>
+
+<p><span class="pagenum"><a id="Page_66">66</a></span></p>
+
+<p><i>Lighting.</i>&mdash;I have never worked in a studio, but have a small lean-to
+glass house in which I work. The top light is softened down by light
+shades so that the strongest light comes from the side. This gives
+solidity to the subject and is more pleasing than a flat lighting. Of
+course, the sun should never shine on the subject.</p>
+
+<p><i>Plates and Exposure.</i>&mdash;If colored flowers are being photographed,
+orthochromatic plates are a necessity, but for white flowers and
+light-green foliage ordinary plates may be employed. I generally use a
+medium isochromatic, stop the lens to <i>f</i>:22 and give exposure of from
+thirty to sixty seconds in summer and vary according to the season;
+sometimes twenty <i>minutes</i> is not too much.</p>
+
+<p><i>Development.</i>&mdash;My usual and favorite developer is pyro-ammonia, and
+in careful hands it cannot be beaten. I commence development with a
+minimum of pyro and work tentatively.</p>
+
+<p>Using such a solution, for 2 ounces of developer I should commence
+with 1-1/2 grains pyro, 1 grain bromide, and 2 grains ammonia. If the
+image does not gain sufficient density add more pyro and bromide, but
+unless very fully exposed it is difficult to avoid too much density,
+especially if white flowers are being photographed.</p>
+
+<p>I find a plain gray or dark background most useful, and to avoid
+flatness it may be set at an angle and not too near the subject.</p>
+
+<p>Flowers should be photographed as soon as gathered, and if possible be
+placed in water. I have often found a plate spoiled by movement of the
+leaves or flowers, even with short exposures, although the movement
+was not perceptible to the eye. This is more especially the case in
+hot weather.</p>
+
+<div class="figcenter">
+<img src="images/i072.jpg" width="177" height="55" alt="" />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_67">67</a></span></p>
+
+<h2><a id="DISTORTED_IMAGES">DISTORTED IMAGES.</a></h2>
+
+<p>Take a portrait negative that is no longer of any use, and immerse it
+in a weak solution of hydrofluoric acid. The film will leave the
+glass. It is then washed and returned to the glass support. By
+stretching the film one way or the other, and allowing it to dry in
+this position, the most amusing prints can be made. Keep your fingers
+out of the acid!</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHS_WITHOUT_LIGHT">PHOTOGRAPHS WITHOUT LIGHT.</a></h2>
+
+<p>A curious experiment showing that a photographic dry-plate can be
+otherwise affected than by light, so as to form an image upon it, is
+the following:</p>
+
+<p>An image of copper in relief is necessary&mdash;a penny will do for this
+purpose. Place an unexposed dry-plate in a normal pyro developer, and
+on it lay the copper coin. After about five minutes or so, remove the
+penny, fix and wash the plate, when a perfect image of the penny will
+be found on it.</p>
+
+<hr class="chap" />
+
+<h2><a id="ELECTRIC_PHOTOGRAPHS">ELECTRIC PHOTOGRAPHS.</a></h2>
+
+<p>Similar experiments to that described above have been carried out by
+Prof. Fernando Sanford. He placed a coin on a dry-plate and connected
+it with the terminal of a small induction coil, capable of giving a
+spark of three or four millimeters, while a piece of tin foil upon the
+opposite side of the plate was connected with the other terminal of
+the coil.</p>
+
+<p>Several negatives were made in this way, the accompanying photograph,
+Fig. 58, being from one of them. With one exception, they all show a
+fringe around them, due to the escape of the charge from the edge of
+the coin, which accounts for the formation of the dark ring observed
+around the breath figures made upon glass.</p>
+
+<p>Later on he undertook to photograph in the same way objects insulated
+from the photographic plate, and has since<span class="pagenum"><a id="Page_68">68</a></span> made negatives of coins
+separated from the plate by paraffine, shellac, mica, and gutta
+percha. The accompanying photograph, Fig. 59, was made with the coin
+insulated from the photographic plate by a sheet of mica about 0.04
+mm. thick. The mica was laid directly upon the film side of the plate,
+and the coin was placed upon it and connected to one terminal of the
+small induction coil already mentioned. A circular piece of tin foil
+of the circumference of the coin was placed upon the glass side of the
+plate directly opposite the coin, and was connected to the other
+terminal of the induction coil. The little condenser thus made was
+clamped between two boards, and was covered up in a dark room. Two
+small discharging knobs were also attached to the terminals of the
+induction coil, and were separated by a space of less than a
+millimeter, so that, when a single cell was connected with the primary
+coil, the spark between the knobs seemed continuous.</p>
+
+<div class="figcenter">
+<img src="images/i074a.jpg" width="355" height="346" alt="" />
+</div>
+
+<p class="caption">FIG. 58.</p>
+
+<div class="figcenter">
+<img src="images/i074b.jpg" width="296" height="292" alt="" />
+</div>
+
+<p class="caption">FIG. 59.</p>
+
+<p>The plate was exposed to the action of the waves set up in this
+condenser for one hour, when it was taken out and the negative image
+developed upon it by the usual process.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_69">69</a></span></p>
+
+<h2><a id="MAGIC_VIGNETTES">MAGIC VIGNETTES.</a></h2>
+
+<p>These are reversed vignettes, that is to say, the margins round the
+portrait instead of being white as in the ordinary vignette are black.
+A method of making them was recently described by "Teinte" in <i>The
+Photogram</i>. This was as follows:</p>
+
+<p>Two methods can be adopted. The first of these about to be detailed,
+though entailing, perhaps, in the first place a trifle more trouble,
+produces the best results. We require a black background, preferably
+of black velveteen, large enough for a head and shoulders. As the
+material is not usually obtainable of a width greater than twenty
+inches or so, there will have to be a seam, and this must be very
+neatly done. The seamed velveteen is then stretched taut on a frame,
+which should preferably be covered first with calico, to prevent
+"sagging." Always, before use, dust the velveteen with a soft
+brush&mdash;say, a hat brush&mdash;to remove any adhering dust or fluff. Instead
+of velveteen, a good paper background can be used, only it must be
+seen that the surface is smooth and free from cracks or creases, and
+is <i>dead black</i>.</p>
+
+<div class="figcenter">
+<img src="images/i075.jpg" width="354" height="367" alt="" />
+</div>
+
+<p class="caption">FIG. 60.&mdash;MAGIC VIGNETTER.</p>
+
+<p>We require also a vignetting mask suitable to the subject, with a
+serrated edge. This has to be fixed inside the camera between the lens
+and plate.<a id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> The proper position can be found by trial; the further
+the card is away from the plate the softer and more gradual the
+vignetting. No special arrangement for holding this is required beyond
+what can be prepared by any one who can use his fingers. We take a
+piece of stout card, <span class="pagenum"><a id="Page_70">70</a></span>the outside of which will just fit into the
+folds of the camera's bellows, and by a little twisting it can be
+sprung in between the folds which will hold it. There is an opening in
+the center, square in shape, about quarter plate size. This acts as a
+frame to hold the vignetting mask, which has the opening of proper
+size and shape. By using a frame as described the vignetter can be
+moved about up and down and from side to side, and when the correct
+position is found fixed by drawing pins. The frame and vignetter
+should be blacked all over. For this purpose take some lampblack
+ground in turps, and mix with it a little gold size sufficient (found
+by trial) to prevent the lampblack from rubbing off when dry, but not
+enough to cause the paint to dry shiny.</p>
+
+<div class="footnote"><p><a id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> A vignetter for the purpose, as shown in Fig. 60, has
+been placed on the market.</p></div>
+
+<p>A good distance to fix the vignetter is about one-third the extension
+of the camera when the object is in focus, measuring from the lens.</p>
+
+<p>We adjust the camera so that the image of the figure falls in the
+correct position on the screen, and the vignette is made of such a
+size and shape as to give the amount required.</p>
+
+<p>The shadow of the mask protects the edges of the plate surrounding the
+image, and in development we obtain a negative in which the image is
+vignetted into clear glass, and on printing from such the margins
+print dark. The printing of such a negative should be prolonged until
+the margins of the picture are quite lost, or they are apt to show
+after toning.</p>
+
+<p>The sketch shows the arrangement of vignetter inside camera.</p>
+
+<p>The other plan consists in making an ordinary negative, using
+preferably a dark background. From this is made a vignette in the
+ordinary manner. When this comes from the frame it is placed on a
+piece of clean glass&mdash;face up&mdash;and another piece of glass free from
+flaws placed over it. Now cut a piece of card to the size and shape of
+the vignetted portion of the print, and fix this with glue to a piece
+of cork. This piece of cork must vary in thickness with various
+pictures. Now place the cork on the glass so that the mask covers the
+picture and fix with glue to prevent slipping. Place the<span class="pagenum"><a id="Page_71">71</a></span> whole out in
+diffused light, and allow the darkening of the margins to go on until
+sufficiently deep. The print is then toned.</p>
+
+<p>The height of the card from the print must be such that no abrupt line
+is produced between the first printing and the darkened margin, but
+that one will shade into the other without break.</p>
+
+<hr class="chap" />
+
+<h2><a id="A_SIMPLE_METHOD_OF_ENLARGING">A SIMPLE METHOD OF ENLARGING.</a></h2>
+
+<p>If we have an ordinary gelatine negative, say, of half-plate size, and
+require to enlarge it to a whole plate, the simplest plan is to
+thoroughly wash it and immerse in a solution composed of citric acid,
+2 ounces; hydrofluoric acid, 1 ounce; acetic acid (glacial), 1 ounce;
+glycerine, 1/2 ounce; water, 20 ounces. The action of the hydrofluoric
+acid will be to detach the film from the glass, while the other acids
+will cause the film to spread out considerably; the action being even
+all over, the image is completely enlarged. It is then carefully
+removed and washed in plenty of clean water, after which it can be
+transferred to a larger piece of glass. The action is sometimes to
+weaken the negative in density; it is therefore occasionally necessary
+to intensify it.</p>
+
+<hr class="chap" />
+
+<h2><a id="MOONLIGHT_EFFECTS">MOONLIGHT EFFECTS.</a></h2>
+
+<p>Curious as it sounds, very good moonlight effects can be procured on a
+bright sunshiny day. A photograph is made of a landscape in dazzling
+sunlight, a small stop and rapid exposure being given. The plate
+should, if possible, be backed with any of the substances recommended
+to prevent halation. Choose a landscape, with the reflection of the
+sun's rays in water, and include this and the sun itself on the plate.
+It is best to wait, however, until the sun just disappears behind a
+cloud. Shade the lens so that the rays do not shine on it direct, and
+expose rapidly. Use an old or weak devel<span class="pagenum"><a id="Page_72">72</a><br /><a id="Page_73">73</a></span>oper. The sun and its
+reflection will, of course, make their appearance first. Continue the
+development until the detail in the under-exposed parts is just
+visible, and fix. Print very darkly, and slightly over tone. If
+printing is done upon green developing paper, and a little re-touching
+with Chinese white, the effect is very good.</p>
+
+<div class="figcenter">
+<img src="images/i078.jpg" width="600" height="935" alt="" />
+</div>
+
+<p class="caption">Photographed from Nature by Fred. Graf.<br />
+FIG. 61.&mdash;MOONLIGHT PHOTOGRAPH.</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHING_SNOW_AND_ICE_CRYSTALS">PHOTOGRAPHING SNOW AND ICE CRYSTALS.</a></h2>
+
+<p>There are few photographers who appear to be aware of the many
+beautiful phenomena of nature that can be studied by the aid of
+photography. Under the title of "Schnee Crystalle," Dr. G. Hellmann
+has published<a id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> a book on this subject profusely illustrated with
+engravings and photo-micrographic collotypes from direct photographs
+by Dr. R. Neuhaus.</p>
+
+<div class="footnote"><p><a id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Rudolph Muckenberger, Berlin.</p></div>
+
+<div class="figcenter">
+<img src="images/i079.jpg" width="450" height="481" alt="" />
+</div>
+
+<p class="caption">FIG. 62.&mdash;SNOW CRYSTALS. PHOTO BY DR. NEUHAUS.</p>
+
+<p><span class="pagenum"><a id="Page_74">74</a></span></p><p>Dr. Neuhaus describes his method of photographing snowflakes in Dr.
+Eder's Jarbuch, from which article we extract the most important and
+interesting paragraphs: Were we to attempt to photograph snow crystals
+in a perfectly cold room, the temperature is still higher than that
+out of doors; moisture at once precipitates upon the carrier of the
+object; the crystals would melt and evaporate after a short time. The
+work must be done in the open, and perfect success can be expected
+only when the temperature is near zero.</p>
+
+<div class="figcenter">
+<img src="images/i080.jpg" width="445" height="456" alt="" />
+</div>
+
+<p class="caption">FIG. 63.&mdash;SNOW CRYSTALS. PHOTO BY DR. NEUHAUS.</p>
+
+<p>Snow crystals evaporate rapidly even in low temperature, and the work
+requires to be done rapidly and with caution. Freshly fallen snow only
+will give a good photograph, and as we are compelled to work in the
+midst of the snow storm, the task becomes still more complicated and
+difficult. Snow crystals but a short time after falling break, the
+broken pieces freeze together and crystallization is destroyed. For
+the illumination of snow crystals, transmitted light only can be used;
+reflected light destroys the shadows, and injures the high<span class="pagenum"><a id="Page_75">75</a></span> lights,
+and the result is necessarily but a very imperfect picture of the
+object.</p>
+
+<div class="figcenter">
+<img src="images/i081.jpg" width="600" height="673" alt="" />
+</div>
+
+<p class="caption">Photo by Martin.<br />
+FIG. 64.&mdash;A NATURAL PHENOMENON IN ICE.</p>
+
+<p>Diffused light, especially that of a dark winter's day, and during a
+snow storm, is not fit for this kind of photo-micrographic work, and
+we must resort to artificial light, preferably to that of a petroleum
+lamp. To prevent heat action emanating from the illuminating ray cone,
+an absorptive cell of alum<span class="pagenum"><a id="Page_76">76</a></span> solution should be interposed. As alum
+solution freezes at about 20&deg; Fahr., chloride of sodium is added. With
+Hartnark's projection system, at 31 mm. focus distance, from 5 to 7
+seconds upon an erythrosine plate is ample.</p>
+
+<div class="figcenter">
+<img src="images/i082.jpg" width="489" height="647" alt="" />
+</div>
+
+<p class="caption">FIG. 65.&mdash;PHOTOGRAPH OF FROST CRYSTALS.<br />
+BY JAS. LEADBEATER.</p>
+
+<p>Dr. Neuhaus has made photographs of more than 60 different ice and
+snow specimens. The pictures of ice crystals much resemble those of
+hoar frost, deposited after a cold winter's night. Of snow crystals,
+the doublets are highly interesting, two crystals merged into one, and
+those having passed through<span class="pagenum"><a id="Page_77">77</a></span> a moist stratum of air, when microscopic
+drops of water will freeze into the hexagonal form, giving the picture
+an appearance very much resembling cauliflower.</p>
+
+<div class="figcenter">
+<img src="images/i083.jpg" width="496" height="644" alt="" />
+</div>
+
+<p class="caption">FIG. 66.&mdash;PHOTOGRAPH OF FROST.<br />
+BY JAS. LEADBEATER.</p>
+
+<p>The most difficult question of all remains, the cause of the various
+forms of the hexagonal crystals, which frequently change in the same
+snowfall. Instead of advancing a new hypothesis, says Hellmann, it is
+better to acknowledge that we know nothing positively in regard to
+this. In our knowledge of the form and structure of the snow we have
+made great advance since the time of Kepler, but after nearly<span class="pagenum"><a id="Page_78">78</a></span> four
+hundred years, we cannot give a satisfactory answer to his question,
+"<i>Cur autem sexangula? Why six-sided?</i>"</p>
+
+<p>We do not know the special conditions which determine the formation of
+one or the other form of snow crystals. We have found that a low
+temperature favors the formation of tabular crystals; a higher
+temperature the star shaped crystals; these groups show such
+multifarious forms that it is necessary to seek for other causes which
+influence the formation of snow figures. There is offered here a broad
+field for new investigation and study.</p>
+
+<p>We give a reproduction (Fig. 64) of a photograph of a curious group of
+crystals. Some water had been left in a 10&times;8 dish on a winter day, and
+a film of ice was seen floating on the surface. The formation of the
+crystals and the floral design were so beautiful that it was taken out
+and photographed. The delicate lace-like edging of the glacial tracery
+is the result of the deposition of hoar frost while draining off the
+water from the ice leaves and flowers and fixing the image in the
+camera.</p>
+
+<p>Quite recently Mr. Jas. Leadbeater has favored us with some account of
+his beautiful work in this fascinating branch of photography, some
+samples of which are here given. He first makes his windows perfectly
+clear and waits for a keen frost. The camera is inside the room and a
+dark cloth-covered board is placed on the outside, leaning against a
+low balcony of wood. The exposure varies with the thickness of the
+crystals, from two to ten seconds, principally with a very small stop.
+Two reproductions of his pictures will be found on pp. 76-77.</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHING_INK_CRYSTALS">PHOTOGRAPHING INK CRYSTALS.</a></h2>
+
+<p>The study of crystallization is undoubtedly an interesting and
+fascinating one, and photography may be made to play an important part
+in securing permanent records of these curious formations. If a drop
+of water containing a salt be allowed to drop upon a glass plate, it
+will, upon evaporation, deposite crystals of various kinds. In a
+recent article in <i>La Nature</i>, by Dr. E. Trouessart, a description is
+given of the<span class="pagenum"><a id="Page_79">79</a></span> beautiful crystallic forms deposited by a drop of ink on
+evaporation. The article is translated in the <i>Literary Digest</i>, from
+which we make extracts:</p>
+
+<p>"Take a sheet of glass, deposit on it a drop of ink and spread the
+drop a little, uniformly; let it dry for a few minutes; then examine
+with a microscope, magnifying from 50 to 200 diameters, and you will
+be able to see the flowers of ink in process of formation under your
+eyes; that is to say, regular white crystal particles which detach
+themselves from the black or violet medium, and arrange themselves so
+as to form regular figures.</p>
+
+<p>"If you are pressed for time, this beautiful result will easily be
+obtained by passing the sheet of glass over a spirit lamp or a candle
+to evaporate the moisture. The crystals will then be smaller and more
+numerous, presenting the appearance of a dark firmament densely
+sprinkled with bright silvery stars. But if you have patience to wait
+for evaporation without heat, you will obtain larger crystals of more
+varied forms, arranging themselves as crosses, flowers, etc.</p>
+
+<p>"These crystals may be varied indefinitely by modifying the
+compositions of evaporation, adding more ink, etc. But it is quite
+possible that different inks will give different results. The inks I
+use, like all the other inks in use, have a basis of sulphate of iron
+and gallic acid.</p>
+
+<div class="figcenter">
+<img src="images/i085.jpg" width="370" height="475" alt="" />
+</div>
+
+<p class="caption">From &quot;The Literary Digest.&quot;<br />
+FIG. 67.&mdash;INK-CRYSTALS, AS SEEN THROUGH A MICROSCOPE.</p>
+
+<p><span class="pagenum"><a id="Page_80">80</a></span></p>
+
+<p>"By allowing the evaporation to proceed slowly, it is quite easy to
+watch the formation of the crystals. The geometrical figures are more
+or less perfect cubes, pyramids, lozenges, crosses, needles, etc., the
+pyramids being formed by cubes superposed one on the other, as in the
+pyramids of Egypt. The <i>flowers</i> in our illustration are formed by the
+union of crystals, each of which represents the petals or sepals of a
+flower. The Maltese cross&mdash;the crucifer or four-leafed flower&mdash;is the
+normal regular form, but multiples of four frequently occur, by the
+formation of new crystals in the intervals; and also by the accidents
+of crystallization, we get flowers of three and five petals,
+resembling <i>Rubiaceae</i>, lilies, orchids, violets, etc."</p>
+
+<hr class="chap" />
+
+<h2><a id="PINHOLE_PHOTOGRAPHY">PINHOLE PHOTOGRAPHY.</a></h2>
+
+<p>Although a lens is the most important part of the photographer's
+apparatus, it is not absolutely necessary for the production of
+photographs. Very good pictures can be made by means of a pinhole.
+Remove the lens from the camera, and insert in its place a sheet of
+thin, hard cardboard. In the centre make a tiny hole with a
+fine-pointed needle made red-hot. Another method is to make a large
+hole in the cardboard, and paste over it a piece of tinfoil and make
+the pinhole in this. The essential point is that the hole be perfectly
+round without any burring at the edges. The most perfect arrangement
+can be obtained by getting a watchmaker to drill a fine hole through a
+piece of sheet metal. The diameter of the hole should not be greater
+than one-fiftieth of an inch. Whatever is used, cardboard or metal, it
+should be blackened all over to prevent the reflection of light in the
+camera. The focusing glass should be brought within about 6 inches of
+the hole. Owing to the small amount of light admitted, focusing is
+very difficult. It can be done by pointing the camera towards the sun
+and focusing its image. For the same reason the exposure is very long,
+ranging from ten minutes to half an hour; it is, in fact, difficult to
+overexpose.</p><p><span class="pagenum"><a id="Page_81">81</a></span></p>
+
+<div class="figcenter">
+<img src="images/i087.jpg" width="593" height="781" alt="" />
+</div>
+
+<p class="caption">Negative by F. C. Lambert. From Anthony&#39;s International Annual, 1894.<br />FIG. 68.&mdash;PINHOLE PHOTOGRAPHY.</p>
+
+<p><span class="pagenum"><a id="Page_82">82</a></span></p>
+
+<div class="figcenter">
+<img src="images/i088.jpg" width="600" height="429" alt="" />
+</div>
+
+<p class="caption">(Photograph made through a slit without a lens.)<br />By Roland Briant. FIG. 69.&mdash;THE WHITE ROBE OF NATURE.</p>
+
+<p><span class="pagenum"><a id="Page_83">83</a></span></p>
+
+<p>It is usually stated that no focusing is required, the larger the
+plate the wider the angle, but according to Prof. Pickering, 12 inches
+is the maximum distance for sharp work.</p>
+
+<p>Peculiar diffused effects can be obtained by using a fine slit in
+place of the pinhole. The picture shown on page <a href="#Page_82">82</a> is an example.</p>
+
+<hr class="chap" />
+
+<h2><a id="FREAK_PICTURES_BY_SUCCESSIVE_EXPOSURES">FREAK PICTURES BY SUCCESSIVE EXPOSURES.</a></h2>
+
+<p>We have already described the various remarkable photographic pictures
+which may be taken by successive exposures with the same individual in
+different positions against a perfectly black and non-actinic
+background. This, however, is not easily obtained, and a French
+photographer, M. Bracq, has invented an ingenious attachment to a
+camera by which the same effects may be obtained with any background
+and under the ordinary conditions of amateur photography. The
+following description is from <i>La Nature</i> translated in the <i>Popular
+Science News</i>.</p>
+
+<div class="figcenter">
+<img src="images/i089.jpg" width="378" height="493" alt="" />
+</div>
+
+<p class="caption">FIG. 70.</p>
+
+<p>The apparatus, Fig. 70, is attached to the back of the camera, and
+consists of a frame suitable for holding the usual ground glass, or
+plate holder. Directly in front of the plate holder is placed an
+opaque screen perforated with a horizontal slit the width of the
+photographic plate used. By means of a screw<span class="pagenum"><a id="Page_84">84</a></span> and a crank the screen
+with its opening may be made to move up and down before the plate,
+thus allowing all parts of it to be successively exposed. A pointer
+connected with the screen shows the position of the slit at any time
+when it is covered by the plate holder.</p>
+
+<p>The operation of the apparatus is evident from the above description.
+To take the picture illustrated in Fig. 71, for instance, the table
+with the boy upon it is placed in the proper position and supported by
+planks, another table, or in any convenient way. After properly
+focusing it on the ground glass, the screen is screwed down till the
+opening is at the bottom of the camera, and the plate holder being
+placed in position, the slide is drawn and the handle turned till the
+indicator shows that the opening has reached a point corresponding to
+the image of the bottom of the table on the plate. The slide is then
+replaced in the plate holder, the table and its support removed, and
+the boy placed in the second position, and the exposure continued by
+screwing up the screen until the entire plate has been impressed with
+the double image, which, upon development, appears as shown in the
+illustration.</p>
+
+<div class="figcenter">
+<img src="images/i090.jpg" width="378" height="557" alt="" />
+</div>
+
+<p class="caption">FIG. 71.</p>
+
+<p>The perforated screen may also be made to move horizontally as well as
+vertically across the plate, and by a combination<span class="pagenum"><a id="Page_85">85</a></span> of the two
+directions the same individual may be taken four or more times in
+different positions in the same photograph. Many amusing and
+astonishing effects may be obtained by the simple means which will
+readily suggest themselves to any practical photographer.</p>
+
+<hr class="chap" />
+
+<h2><a id="WIDE-ANGLE_STUDIES">WIDE-ANGLE STUDIES.</a></h2>
+
+<div class="figcenter">
+<img src="images/i091.jpg" width="480" height="603" alt="" />
+</div>
+
+<p class="caption">Copyright, 1894, by W. J. Demorest.<br />
+FIG. 72.&mdash;A PHOTOGRAPHIC FEAT.</p>
+
+<p>By the use, or rather the abuse, of a lens having a very wide angle,
+say, 100 degrees, some very amusing effects can be obtained by
+apparent exaggeration of perspective. We say apparent advisedly, for
+if a view made with one of these<span class="pagenum"><a id="Page_86">86</a></span> lenses, say of 5 inches focus, be
+viewed by the observer at a distance of 5 inches from the eye, the
+perspective will appear correct; but, of course, this is never done
+under ordinary circumstances. Every person, unless extremely
+short-sighted, will hold a photograph at a distance from the eye of
+about 12 or 14 inches.</p>
+
+<div class="figcenter">
+<img src="images/i092.jpg" width="600" height="542" alt="" />
+</div>
+
+<p class="caption">FIG. 73.&mdash;A WIDE-ANGLE STUDY.</p>
+
+<p>The effect of using a wide-angle lens under ordinary conditions is to
+make objects in the foreground appear ridiculously large, while those
+in the background have a diminished appearance. Fig. 72 is an example
+of this; it is hardly necessary to observe that the gentleman's pedal
+extremities were not so gigantic as represented in the photograph.
+Fig. 73 is another and scarcely less painful example of this
+exaggeration.</p><p><span class="pagenum"><a id="Page_87">87</a></span></p>
+
+<p>In the <i>Practical Photographer</i>, some time ago, it was humorously
+suggested that sportsmen could, by means of the camera, bring home
+apparently indisputable evidence as to their skill or prowess. Thus,
+for instance, you and your friend Jones have been out fishing
+together, and realized the truth of the old saying about
+anglers&mdash;<i>i.e.</i>, "a worm at one end of a rod and a fool at the other."
+You have, however, managed to catch a fish (any sort will do) about
+the dimensions of a good-sized sprat. It is the usual custom of
+anglers, I believe, to view their captures through magnifying-glasses
+before discoursing upon them. A better plan, however, is to photograph
+your fish, and then there can be no dispute whatever, because it is
+the popular belief that photography cannot lie. However, all that is
+necessary is to hang the fish in front of the camera to the bough of a
+tree, we will say, with a piece of black thread. You then retire
+several paces behind it, holding up your arm as if you were holding up
+the fish. Your friend will then adjust the camera so that the fish
+just comes under your hand, focuses, places a very small stop on, so
+as to get everything sharply defined, and makes the necessary
+exposure. Thus it is possible, with a little trouble, to obtain
+everlasting records of your marvelous day's sport, for you can
+easily make yourself appear to be holding a fish of gigantic
+proportions&mdash;say, 5 ft. long, or so. Fig. 74, 75.</p>
+
+<div class="figcenter">
+<img src="images/i093.jpg" width="528" height="280" alt="" />
+</div>
+
+<p class="caption">FIG. 74. and FIG. 75.</p>
+
+<p><span class="pagenum"><a id="Page_88">88</a></span></p>
+
+<p>Our illustrations are from "Photographic Pastimes" by Herman Schauss.</p>
+
+<p>With a very wide-angle lens it is also possible to make a photograph
+of a little suburban garden, and it will appear to resemble a park or
+palace grounds. This is a trick often adopted by auctioneers and
+estate agents, so that in viewing photographs of property, it is
+really impossible to form any safe idea regarding the place itself.</p>
+
+<hr class="chap" />
+
+<h2><a id="CONICAL_PORTRAITS">CONICAL PORTRAITS.</a></h2>
+
+<p>Amusing caricatures may be obtained by deforming the sensitive surface
+of the negative. The accompanying conical portrait is one.<a id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p>
+
+<div class="footnote"><p><a id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> From "Les Recreations Photographiques."</p></div>
+
+<div class="figcenter">
+<img src="images/i094.jpg" width="405" height="400" alt="" />
+</div>
+
+<p class="caption">FIG. 76.</p>
+
+<p>To depict the features of a person on a paper cone is not an easy
+matter; whilst to obtain them by photography is a tolerably simple
+operation.</p>
+
+<p><span class="pagenum"><a id="Page_89">89</a></span></p>
+
+<div class="figcenter">
+<img src="images/i095a.jpg" width="500" height="500" alt="" />
+</div>
+
+<p class="caption">FIG. 77.</p>
+
+<div class="figcenter">
+<img src="images/i095b.jpg" width="500" height="504" alt="" />
+</div>
+
+<p class="caption">FIG. 78.</p>
+
+<p><span class="pagenum"><a id="Page_90">90</a></span></p>
+
+<p>Having glued on the interior face of a plate-holder (the slide being
+drawn), in the place of a sensitive plate, a cone made of strong
+cardboard, superpose on it an unexposed film which has been cut to
+the form of the development of the cone (as shown in Fig. 77). The
+film is secured by means of two or three pins. Having focused on a
+point of the subject in a middle plane, the ground glass is afterwards
+drawn back a distance equal to half the height of the cone, taking
+care not to derange either the subject or the objective. To obtain a
+sharp image a very small diaphragm must necessarily be used, but with
+a rapid plate and good light that is of little moment. The camera
+should be placed in the dark room, the lens being inserted in a hole
+in the partition just its size, and the subject in the adjoining
+apartment opposite the lens&mdash;this because the cone will not allow the
+plate-holder to be closed by the slide.</p>
+
+<p>Fig. 76 shows the arrangement of the camera and holder. The exposure
+made, the film is developed, as usual. The negative gives a print
+deformed as shown in Fig. 76. The original, if not grotesque
+appearance of the head disappears when the print is rolled into a
+conical form and the observer places his eye in the prolongation of
+the axis of the cone. Fig. 78 shows the head as seen under these
+conditions.</p>
+
+<hr class="chap" />
+
+<h2><a id="MAKING_DIRECT_POSITIVES_IN_THE_CAMERA">MAKING DIRECT POSITIVES IN THE CAMERA.</a></h2>
+
+<p>Prepare a saturated solution in water of the crystals of thiosinamine,
+and add from two to eight minims of it to an ordinary pyro or
+eikonogen developer. Expose rather less than usual. The effect of this
+addition to the developing agent is an entire reversal of the image, a
+positive instead of a negative being obtained. Ammonia will assist the
+reversal. Colonel Waterhouse, the discoverer of this process,
+recommends in some cases the plates being subjected to a bath of 5 per
+cent nitric acid and 3 per cent potassium bichromate before exposure,
+followed by a thorough washing.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_91">91</a></span></p>
+
+<h2><a id="INSTANTANEOUS_PHOTOGRAPHY">INSTANTANEOUS PHOTOGRAPHY.</a></h2>
+
+<p>In the very earliest days of photography this term was applied to what
+would now be considered very slow work indeed. We now usually apply
+this term when the exposure does not exceed one second. In some cases
+this only amounts to the one-thousandth part of a second. This
+exceedingly brief exposure is usually given to the plate by means of a
+suitably constructed shutter.</p>
+
+<p>The immense strides that have recently been made in instantaneous
+photography, owing chiefly to the advent of the dry-plate process,
+have caused photography to become useful to almost every branch of
+science.</p>
+
+<p>To Muybridge and Anschutz we are greatly indebted for the strides made
+in instantaneous photography. These gentlemen have succeeded in
+photographing moving objects hitherto considered impossible to be
+photographed. Galloping horses, swift-flying birds, and even bullets
+and cannon balls projected from guns have been successfully
+photographed, showing even the little head of air driven along in
+front of the bullet.</p>
+
+<div class="figcenter">
+<img src="images/i097.jpg" width="323" height="505" alt="" />
+</div>
+
+<p class="caption">FIG. 79.</p>
+
+<p>Both Muybridge and Anschutz also succeeded in making series of
+twenty-four or more photographs of a horse during the time it makes a
+single leap, and thus illustrated its every movement. The value of
+these and other possibilities with the camera for artists cannot be
+overestimated. Its aid<span class="pagenum"><a id="Page_92">92</a></span> to meteorologists in photographing the
+lightning, to astronomers in stellar, lunar and solar photography, and
+to all other sciences would require a work as large as this to
+describe.</p>
+
+<div class="figcenter">
+<img src="images/i098.jpg" width="512" height="382" alt="" />
+</div>
+
+<p class="caption">By Lt. Joachim Steiner.<br />
+FIG. 80.&mdash;INSTANTANEOUS STUDIES.</p>
+
+<p>For the making of instantaneous pictures a large number of suitable
+cameras have been devised. In most of these the lens is a very rapid
+one, and in some cases so arranged that all objects beyond a certain
+distance are in focus. With an instantaneous camera a secondary image
+is necessary, so that the right second can be judged for making the
+exposure. This is usually produced by a finder. In making
+instantaneous exposures the following tables may be useful:</p>
+
+<p class="h3">Approximate distance</p>
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="Distance per second">
+<tr>
+  <td class="tdr">A man walking 3 miles per hour moves</td>
+  <td class="tdl">4-1/2</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">A man walking 4 miles per hour moves</td>
+  <td class="tdl">6</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">A vessel traveling at 9 knots per hour moves</td>
+  <td class="tdl">15</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">A vessel traveling at 12 knots per hour moves</td>
+  <td class="tdl">19</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">A vessel traveling at 17 knots per hour moves</td>
+  <td class="tdl">28</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">A torpedo boat traveling at 20 knots per hour moves</td>
+  <td class="tdl">35</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">A trotting horse</td>
+  <td class="tdl">36</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">A galloping horse (1,000 yards per minute)</td>
+  <td class="tdl">50</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">An express train traveling at 38 miles an hour</td>
+  <td class="tdl">59</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">Flight of a pigeon or falcon
+      <span class="pagenum"><a id="Page_94">94</a></span></td>
+  <td class="tdl">61</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">Waves during a storm</td>
+  <td class="tdl">65</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">Express train (60 miles an hour)</td>
+  <td class="tdl">88</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">Flight of the swiftest birds</td>
+  <td class="tdl">294</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">A cannon ball&nbsp;</td>
+  <td class="tdl">1,625</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">&nbsp;</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdl">&nbsp;</td>
+</tr>
+<tr>
+  <td class="tdr">An object moving&mdash;</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdl">&nbsp;</td>
+</tr>
+<tr>
+  <td class="tdr">&nbsp;</td>
+  <td class="tdl">&nbsp;</td>
+  <td class="tdl">&nbsp;</td>
+</tr>
+<tr>
+  <td class="tdr">1 mile per hour</td>
+  <td class="tdl">1-1/2</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">2 miles per hour</td>
+  <td class="tdl">3</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">5 miles per hour</td>
+  <td class="tdl">7-1/2</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">6 miles per hour</td>
+  <td class="tdl">9</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">7 miles per hour</td>
+  <td class="tdl">10-1/2</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">8 miles per hour</td>
+  <td class="tdl">12</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">9 miles per hour</td>
+  <td class="tdl">13</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">10 miles per hour</td>
+  <td class="tdl">14-1/2</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">11 miles per hour</td>
+  <td class="tdl">15</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">12 miles per hour</td>
+  <td class="tdl">17-1/2</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">15 miles per hour</td>
+  <td class="tdl">22</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">20 miles per hour</td>
+  <td class="tdl">29</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">25 miles per hour</td>
+  <td class="tdl">37</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">30 miles per hour</td>
+  <td class="tdl">44</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">35 miles per hour</td>
+  <td class="tdl">51</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">40 miles per hour</td>
+  <td class="tdl">59</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">45 miles per hour</td>
+  <td class="tdl">66</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">50 miles per hour</td>
+  <td class="tdl">73</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">55 miles per hour</td>
+  <td class="tdl">80</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">60 miles per hour</td>
+  <td class="tdl">88</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">75 miles per hour</td>
+  <td class="tdl">110</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">100 miles per hour</td>
+  <td class="tdl">147</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">125 miles per hour</td>
+  <td class="tdl">183</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">150 miles per hour</td>
+  <td class="tdl">220</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+<tr>
+  <td class="tdr">200 miles per hour</td>
+  <td class="tdl">257</td>
+  <td class="tdl">Feet per second</td>
+</tr>
+</table></div>
+
+<p>With these tables it will be very easy to find the distance that the
+image of the object will move on the ground-glass screen of the camera.
+To do this, multiply the focus of the lens in inches by the distance
+moved by the object in the second, and divide the result by the
+distance of the object in inches.</p>
+
+<div class="figcenter">
+<img src="images/i099.jpg" width="600" height="871" alt="" />
+</div>
+
+<p class="caption">FIG. 81.&mdash;&quot;A RISE IN THE WORLD.&quot;<br />
+BY THE MARQUIS DE ALFARRAS.</p>
+
+<p>Example, find the movement of the image of an object<span class="pagenum"><a id="Page_95">95</a></span> moving 50 miles
+per hour at a distance of 100 yards with a lens of 9-inch focus.</p>
+
+<p>
+<span style="margin-left: 2em;">9 &times; 876 = 7,884 &divide; 3,600 = 2-1/5 inches per second.</span><br />
+</p>
+
+<p>We must also find out the speed of the shutter required to take the
+object in motion, so that it will appear as sharply defined as
+possible under the circumstances. To do this the circle of confusion
+must not exceed 1/100th of an inch in diameter. We therefore divide
+the distance of the object by the focus of the lens multiplied by 100,
+and then divide the rapidity of the object in inches per second by the
+result obtained. This will give the longest exposure permissible in
+the fraction of a second. For example, we require to know the speed of
+a shutter required to photograph an express train travelling at the
+rate of 50 miles per hour at a distance of 50 yards with an 8-1/2-inch
+focus lens.</p>
+
+<p>The train moves 876 inches per second.</p>
+
+<p>
+<span style="margin-left: 2em;">1,800 distance in inches &divide; (8-1/2 &times; 100) = 1,800 &divide; 850 = 36/17.</span><br />
+<br />
+<span style="margin-left: 2em;">876 speed of object per second &divide; 36/17
+= (876 &times; 17)/36 = 413
+= 1/413 second.</span><br />
+</p>
+
+<p>Given the rapidity of the shutter, and the speed of the moving object,
+we require to find the distance from the object the camera should be
+placed to give a circle of confusion less than 1/100th of an inch.
+Multiply 100 times the focus of the lens by the space through which
+the object would pass during the exposure, and the result obtained
+will be the nearest possible distance between the object and the
+camera. For example, we have a shutter working at one-fiftieth of a
+second, and the object to be photographed moves at the rate of 50
+miles per hour. How near can a camera fitted with a lens of 8-1/2-inch
+focus be placed to the moving object?</p>
+
+<p>Object moving 50 miles per hour moves per second 876 inches, and in
+the one-fiftieth part of a second it moves 17.52 inches, so that&mdash;</p>
+
+<p>
+<span style="margin-left: 2em;">8-1/2 &times; 17.52 = 8.5 &times; 100 &times; 17.52 = 14,892 inches = 413 yards.</span><br />
+</p>
+
+<p>Instantaneous photography can only be successfully performed in very
+bright and actinic light, and should never be<span class="pagenum"><a id="Page_96">96</a></span> attempted on dull days,
+as underexposure will be the inevitable result. In developing it is
+necessary to employ a strong developer to bring up the detail. Some
+operators make use of an accelerator for this purpose, but it is not
+to be recommended; the simplest is a few drops of hyposulphite
+solution added to about 10 ounces of water. In this the plate is
+bathed for a few seconds previous to development.</p>
+
+<p>The following is a table by H. E. Tolman showing displacement on
+ground glass of objects in motion:</p>
+
+<div class="center">
+<table border="2" cellpadding="4" cellspacing="0" summary="Ground Glass Distance">
+<tr>
+  <td class="tdc">Miles per Hour.</td>
+  <td class="tdc">Feet per<br />Second.</td>
+  <td class="tdc">Distance on<br />Ground Glass<br />in Inches<br />with Object 30<br />Feet Away.</td>
+  <td class="tdc">Same with<br />Object 60<br />Feet Away.</td>
+  <td class="tdc">Same with<br />Object 120<br />Feet Away.</td>
+</tr>
+<tr>
+  <td class="tdc">1</td>
+  <td class="tdc">1-1/2</td>
+  <td class="tdc">.29</td>
+  <td class="tdc">.15</td>
+  <td class="tdc">.073</td>
+</tr>
+<tr>
+  <td class="tdc">2</td>
+  <td class="tdc">3</td>
+  <td class="tdc">.59</td>
+  <td class="tdc">.29</td>
+  <td class="tdc">.147</td>
+</tr>
+<tr>
+  <td class="tdc">3</td>
+  <td class="tdc">4-1/2</td>
+  <td class="tdc">.88</td>
+  <td class="tdc">.44</td>
+  <td class="tdc">.220</td>
+</tr>
+<tr>
+  <td class="tdc">4</td>
+  <td class="tdc">6</td>
+  <td class="tdc">1.17</td>
+  <td class="tdc">.59</td>
+  <td class="tdc">.293</td>
+</tr>
+<tr>
+  <td class="tdc">5</td>
+  <td class="tdc">7-1/2</td>
+  <td class="tdc">1.47</td>
+  <td class="tdc">.73</td>
+  <td class="tdc">.367</td>
+</tr>
+<tr>
+  <td class="tdc">6</td>
+  <td class="tdc">9</td>
+  <td class="tdc">1.76</td>
+  <td class="tdc">.88</td>
+  <td class="tdc">.440</td>
+</tr>
+<tr>
+  <td class="tdc">7</td>
+  <td class="tdc">10-1/2</td>
+  <td class="tdc">2.05</td>
+  <td class="tdc">1.03</td>
+  <td class="tdc">.513</td>
+</tr>
+<tr>
+  <td class="tdc">8</td>
+  <td class="tdc">12</td>
+  <td class="tdc">2.35</td>
+  <td class="tdc">1.17</td>
+  <td class="tdc">.587</td>
+</tr>
+<tr>
+  <td class="tdc">9</td>
+  <td class="tdc">13</td>
+  <td class="tdc">2.64</td>
+  <td class="tdc">1.32</td>
+  <td class="tdc">.660</td>
+</tr>
+<tr>
+  <td class="tdc">10</td>
+  <td class="tdc">14-1/2</td>
+  <td class="tdc">2.93</td>
+  <td class="tdc">1.47</td>
+  <td class="tdc">.733</td>
+</tr>
+<tr>
+  <td class="tdc">11</td>
+  <td class="tdc">16</td>
+  <td class="tdc">3.23</td>
+  <td class="tdc">1.61</td>
+  <td class="tdc">.807</td>
+</tr>
+<tr>
+  <td class="tdc">12</td>
+  <td class="tdc">17-1/2</td>
+  <td class="tdc">3.52</td>
+  <td class="tdc">1.76</td>
+  <td class="tdc">.880</td>
+</tr>
+<tr>
+  <td class="tdc">13</td>
+  <td class="tdc">19</td>
+  <td class="tdc">3.81</td>
+  <td class="tdc">1.91</td>
+  <td class="tdc">.953</td>
+</tr>
+<tr>
+  <td class="tdc">14</td>
+  <td class="tdc">20-1/2</td>
+  <td class="tdc">4.11</td>
+  <td class="tdc">2.05</td>
+  <td class="tdc">1.027</td>
+</tr>
+<tr>
+  <td class="tdc">15</td>
+  <td class="tdc">22</td>
+  <td class="tdc">4.40</td>
+  <td class="tdc">2.20</td>
+  <td class="tdc">1.100</td>
+</tr>
+<tr>
+  <td class="tdc">20</td>
+  <td class="tdc">29</td>
+  <td class="tdc">5.87</td>
+  <td class="tdc">2.93</td>
+  <td class="tdc">1.467</td>
+</tr>
+<tr>
+  <td class="tdc">25</td>
+  <td class="tdc">37</td>
+  <td class="tdc">7.33</td>
+  <td class="tdc">3.67</td>
+  <td class="tdc">1.833</td>
+</tr>
+<tr>
+  <td class="tdc">30</td>
+  <td class="tdc">44</td>
+  <td class="tdc">8.80</td>
+  <td class="tdc">4.40</td>
+  <td class="tdc">2.200</td>
+</tr>
+<tr>
+  <td class="tdc">35</td>
+  <td class="tdc">51</td>
+  <td class="tdc">10.27</td>
+  <td class="tdc">5.13</td>
+  <td class="tdc">2.567</td>
+</tr>
+<tr>
+  <td class="tdc">40</td>
+  <td class="tdc">59</td>
+  <td class="tdc">11.73</td>
+  <td class="tdc">5.97</td>
+  <td class="tdc">2.933</td>
+</tr>
+<tr>
+  <td class="tdc">45</td>
+  <td class="tdc">66</td>
+  <td class="tdc">13.20</td>
+  <td class="tdc">6.60</td>
+  <td class="tdc">3.300</td>
+</tr>
+<tr>
+  <td class="tdc">50</td>
+  <td class="tdc">73</td>
+  <td class="tdc">14.67</td>
+  <td class="tdc">7.33</td>
+  <td class="tdc">3.667</td>
+</tr>
+<tr>
+  <td class="tdc">55</td>
+  <td class="tdc">80</td>
+  <td class="tdc">16.13</td>
+  <td class="tdc">8.06</td>
+  <td class="tdc">4.033</td>
+</tr>
+<tr>
+  <td class="tdc">60</td>
+  <td class="tdc">88</td>
+  <td class="tdc">17.60</td>
+  <td class="tdc">8.80</td>
+  <td class="tdc">4.400</td>
+</tr>
+<tr>
+  <td class="tdc">75</td>
+  <td class="tdc">110</td>
+  <td class="tdc">22.00</td>
+  <td class="tdc">11.00</td>
+  <td class="tdc">5.500</td>
+</tr>
+<tr>
+  <td class="tdc">100</td>
+  <td class="tdc">117</td>
+  <td class="tdc">29.33</td>
+  <td class="tdc">14.67</td>
+  <td class="tdc">7.333</td>
+</tr>
+<tr>
+  <td class="tdc">125</td>
+  <td class="tdc">183</td>
+  <td class="tdc">36.67</td>
+  <td class="tdc">18.33</td>
+  <td class="tdc">9.167</td>
+</tr>
+<tr>
+  <td class="tdc">150</td>
+  <td class="tdc">220</td>
+  <td class="tdc">44.00</td>
+  <td class="tdc">22.00</td>
+  <td class="tdc">11.000</td>
+</tr>
+</table></div>
+
+<p><span class="pagenum"><a id="Page_97">97</a></span></p>
+
+<div class="figcenter">
+<img src="images/i103.jpg" width="600" height="377" alt="" />
+</div>
+
+<p class="caption">FIG. 82.&mdash;ARTIFICIAL REPRODUCTION AND PHOTOGRAPHING OF A MIRAGE</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_98">98</a></span></p>
+
+<h2><a id="ARTIFICIAL_MIRAGES_BY_PHOTOGRAPHY">ARTIFICIAL MIRAGES BY PHOTOGRAPHY.</a></h2>
+
+<p>Some time ago a photographer made quite a sensation by the publication
+of a fine photograph of a mirage, a phenomenon frequently observed on
+the plains of Egypt. The wily photographer had, however, never
+traveled away from this country. He had simply produced the effect by
+artificial means. A method of making these pictures was given some
+time ago in the <i>Scientific American</i>. A very even plate of sheet iron
+is taken and placed horizontally on two supports. The plate is heated
+uniformly and sprinkled with sand. Then a small Egyptian landscape is
+arranged at one end of the plate, and the photographic instrument is
+so placed that the visual ray shall properly graze the plate. A sketch
+of the arrangement is shown in Fig. 82.</p>
+
+<hr class="chap" />
+
+<h2><a id="THE_PHOTO-CHROMOSCOPE">THE PHOTO-CHROMOSCOPE.</a></h2>
+
+<p>This instrument was devised by M. Paul Nadar, the celebrated French
+photographer, but anyone can construct a similar apparatus. The
+arrangement is shown in Fig. 83.</p>
+
+<p>The slides A and B B are adjustable so that any sized picture can be
+inserted and the sides closed round it to shut out the light from
+behind. A silver print unmounted is made transparent with vaseline and
+placed on the glass. Pieces of paper of various colors are placed in
+the reflector, C, and by this means all kinds of effects can be
+obtained. A landscape can be viewed as though under the pale reflected
+light of the rising sun behind the mountains, which may be changed
+gradually to the full light of day.</p>
+
+<div class="figcenter">
+<img src="images/i104.jpg" width="284" height="342" alt="" />
+</div>
+
+<p class="caption">FIG. 83.&mdash;NADAR&#39;S PHOTO-CHROMOSCOPE.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_99">99</a></span></p>
+
+<h2><a id="COMPOSITE_PHOTOGRAPHY">COMPOSITE PHOTOGRAPHY.</a></h2>
+
+<p>This is a process of combining a number of images in such a way that
+the result obtained is an aggregate of its components. Francis Galton
+was one of the first to employ this system. In the appendix to his
+"Inquiries into Human Faculty," Galton has described the very
+elaborate and perfect form of apparatus which he has used in his
+studies; but entirely satisfactory results may be obtained with much
+more simple contrivances. The instrument used by Prof. Bowditch<a id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> is
+merely an old-fashioned box camera, with a hole cut in the top for the
+reception of the ground-glass plate upon which the image is to be
+reflected for purposes of adjustment. The reflection is effected by a
+mirror set at an angle of 45 degrees in the axis of the camera, and
+pivoted on its upper border so that, after the adjustment of the
+image, the mirror can be turned against the upper side of the box, and
+the image allowed to fall on the sensitive plate at the back of the
+camera. The original negatives are used as components, and are placed
+in succession in a small wooden frame which is pressed by elliptical
+springs against a sheet of glass fastened vertically in front of the
+camera. By means of this arrangement it is possible to place each
+negative in succession in any desired position in a plane
+perpendicular to the axis of the camera, and thus to adjust it so that
+the eyes and the mouth of its optical image shall fall upon the
+fiducial lines drawn upon the ground-glass plate at the top of the
+camera. An Argand gas burner with a condensing lens furnishes the
+necessary illumination.</p>
+
+<div class="footnote"><p><a id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> From <i>McClure's Magazine</i>, September, 1894.</p></div>
+
+<p>"For our amateur photographers," writes Prof. Bowditch, "who are
+constantly seeking new worlds to conquer, the opportunity of doing
+useful work in developing the possibilities of composite photography
+ought to be very welcome. Not only will the science of ethnology
+profit by their labors, but by making composites of persons nearly
+related to each other, a new and very interesting kind of family
+portrait may be produced. The effect of occupation on the physiognomy
+may <span class="pagenum"><a id="Page_100">100</a><br /><a id="Page_101">101</a></span>also be studied in this way. By comparing, for instance, the
+composite of a group of doctors with that of a group of lawyers, we
+may hope to ascertain whether there is such a thing as a distinct
+legal or medical physiognomy."</p>
+
+<div class="figcenter">
+<img src="images/i106.jpg" width="600" height="383" alt="" />
+</div>
+
+<p class="caption">By Prof. Bowditch.<br />
+FIG. 84.&mdash;COMPOSITE PORTRAITS OF BOSTON PHYSICIANS AND SAXON SOLDIERS.</p>
+
+<hr class="chap" />
+
+<h2><a id="TELEPHOTO_PICTURES">TELEPHOTO PICTURES.</a></h2>
+
+<div class="figcenter">
+<img src="images/i107.jpg" width="477" height="353" alt="" />
+</div>
+
+<p class="caption">FIG. 85.&mdash;CAMERA WITH OPERA GLASS ATTACHED.</p>
+
+<p>During the last few years many so-called telephotographic lenses have
+been placed upon the market. These instruments enable one to
+photograph objects in the distance and obtain images very much larger
+than those given by the ordinary photographic lens. These lenses are,
+however, very costly. In an article by Mr. O. G. Mason, published in
+<i>The Photographic Times</i> for June, 1895, that gentleman described a
+simple method of obtaining telephoto pictures by replacing the
+ordinary lens with an opera glass. He says: "Several devices have been
+brought forward with a view of decreasing the expense of telephoto
+lenses, but I have seen no others so satisfactory, cheap and simple,
+as the utilization of the ordinary opera glass for the camera
+objective, which was described, figured and finally constructed for me
+about a year ago by Mr.<span class="pagenum"><a id="Page_102">102</a></span> Alvin Lawrence, the horologist of Lowell,
+Mass. An opera or field glass is a convenient and useful instrument in
+the kit of any touring photographer; and when he can easily and
+quickly attach it to his camera-box as an objective its great value is
+at once made apparent. Mr. Lawrence's method of doing this at little
+cost is a good illustration of Yankee ingenuity. It is not claimed
+that such a device will do all or as well as a telephotographic lens
+costing ten times as much; but it will do far more than most people
+could or would expect. Of course the field is quite limited, which, in
+fact, is the case with the most expensive telephotographic objective,
+and the sharpness of the image depends much upon the quality of the
+opera or field glass used. The accompanying views show the relative
+size and character of image by a forty-five dollar rapid recti<span class="pagenum"><a id="Page_103">103</a></span>linear
+view lens and a four-dollar opera glass attached to the same camera
+and used at the same point. The other illustrations show the camera as
+used and the method of opera glass attachment to the lens-board. It
+will be seen that the eye end of the opera glass is placed against the
+lens-board, one eye-piece in a slight depression around the hole
+through the centre, and by a quarter turn the brace between the two
+barrels passes behind a projecting arm on the board, the focusing<span class="pagenum"><a id="Page_104">104</a></span>
+barrel resting in a slot in this arm, where it is firmly held in
+position by friction alone.</p>
+
+<div class="figcenter">
+<img src="images/i108.jpg" width="472" height="553" alt="" />
+</div>
+
+<p class="caption">FIG. 86.&mdash;CAMERA SHOWING ARRANGEMENT FOR OPERA GLASS.</p>
+
+<div class="figcenter">
+<img src="images/i109.jpg" width="461" height="703" alt="" />
+</div>
+
+<p class="caption">FIG. 87.&mdash;VIEW TAKEN WITH OPERA GLASS.</p>
+
+<div class="figcenter">
+<img src="images/i110a.jpg" width="600" height="436" alt="" />
+</div>
+
+<p class="caption">FIG. 88.&mdash;VIEW TAKEN FROM SAME SPOT WITH AN ORDINARY VIEW LENS.</p>
+
+<p>As opera glasses are usually constructed for vision only, no attempt
+is made by the optician to make correction for securing coincidence of
+foci of the visual and chemical rays of light as in the well-made
+photographic objective. Hence, it is often found that the actinic
+focus falls within, or is shorter than, the visual. When this is the
+case, the proper allowance is easily made after a few trials.</p>
+
+<div class="figcenter">
+<img src="images/i110b.jpg" width="166" height="48" alt="" />
+</div>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_105">105</a></span></p>
+
+<h2><a id="LIGHTNING_PHOTOGRAPHS">LIGHTNING PHOTOGRAPHS.</a></h2>
+
+<div class="figcenter">
+<img src="images/i111.jpg" width="490" height="852" alt="" />
+</div>
+
+<p class="caption">FIG. 89.&mdash;PHOTOGRAPH OF LIGHTNING MADE AT BLUE HILL.</p>
+
+<p>The method of making photographs of lightning flashes is very simple.
+The camera is focused for distant objects.<span class="pagenum"><a id="Page_106">106</a></span> During a thunderstorm the
+camera is pointed in the direction of the flashes, a plate is
+inserted, the cap is removed from the lens, and as soon as a flash
+takes place the lens is covered up and the plate is ready for
+development. To avoid halation a backed or non-halation plate should
+be used.</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHING_FIREWORKS">PHOTOGRAPHING FIREWORKS.</a></h2>
+
+<p>Photographs of pyrotechnical displays can also be made at night. The
+method of procedure is the same as described for photographs of
+lightning. The camera is focused for distant objects and the lens
+pointed towards the place where the discharge takes place. Fig. 90.</p>
+
+<hr class="chap" />
+
+<h2><a id="DOUBLES">DOUBLES.</a></h2>
+
+<div class="figcenter">
+<img src="images/i112.jpg" width="490" height="391" alt="" />
+</div>
+
+<p class="caption">FIG. 91.&mdash;A DOUBLE. BY H. G. READING.</p>
+
+<p>Some very amusing pictures can be made by double exposure. For
+instance, Fig. 91 represents a man playing cards with himself. A
+method of making these is thus described by W. J. Hickmott in "The
+American Annual of Photography for 1894":</p><p><span class="pagenum"><a id="Page_107">107</a></span></p>
+
+<div class="figcenter">
+<img src="images/i113.jpg" width="600" height="743" alt="" />
+</div>
+
+<p class="caption">By Leonard M. Davis.<br />
+FIG. 90.&mdash;FAREWELL RECEPTION TO THE PRINCE OF WALES.</p>
+
+<p><span class="pagenum"><a id="Page_108">108</a></span></p>
+
+<div class="figcenter">
+<img src="images/i114a.jpg" width="600" height="193" alt="" />
+</div>
+
+<p class="caption">FIG. 91, FIG 92, and FIG 93.</p>
+
+<p>Fit an open square box into the back of the camera, having it fully as
+large as, or a little larger than, the negatives you wish to make. My
+attachment is made for 8 &times; 10 plates and under, and fits into the back
+of a 10 &times; 12 camera. In shape it is like Fig. 91, and I will designate
+it as A. The box is about 3 inches deep. When put into the camera it
+appears as in Fig. 92. Now have a plain strip of wood just one-half
+the size of the opening in A like B, Fig. 93. Have B fit very nicely
+in A, at the opening toward the lens, and so that it can be moved
+freely from one side to the other. It is very convenient to have a
+rabbet on the top and bottom of A so that B can be moved from side to
+side and maintained in any position.</p>
+
+<div>
+<img class="wrap" src="images/i114b.jpg" width="170" height="510" alt="" />
+</div>
+
+<p class="caption wrap clearleft">FIG. 94.</p>
+
+<p>To make a "Double," attach A to the camera as shown, put B into its
+place in the opening in A, say on the right-hand side as you stand
+back of your camera, thus covering up the right-hand side of the plate
+when exposure is made. Pose your subject on the left hand side, which
+will give you an image on the right-hand side of your ground glass and
+plate, draw the slide and expose, immediately returning the slide.
+This finishes one half of the operation. Shift B over to the left-hand
+side of A, which will cover up that portion of the plate just exposed,
+pose your subject again,<span class="pagenum"><a id="Page_109">109</a></span> but on the left-hand side, which will give
+you the image on the right-hand side of the ground glass and plate,
+draw the slide and expose out for the exact length of time as at
+first. On development, if the exposure on both sides has been correct,
+and of equal length, a perfect negative will be the result.</p>
+
+<p>The camera must on no account be moved between the exposures, nor the
+focus changed. After making the first exposure the correct focus for
+the second is obtained by moving the subject backward or forward until
+an exact focus is secured, and not by moving the camera or ground
+glass. The whole apparatus should be painted a dead black.</p>
+
+<p>When the attachment is in place it will be noted on the ground glass
+that while the strip B is just one-half the size of the opening in A,
+it does not cut off just one-half of the ground glass, a line drawn
+through the center of which shows that a space in the center of the
+plate about one-half an inch in width receives a double exposure, but
+this is not apparent in the finished negative. The figure should be
+posed as near the center of the plate as possible in each instance.
+This apparatus, as described, is only available for making two
+figures. By making B narrower, or one-third of the width of the
+opening in A, three figures may be made, using each time a separate
+piece to cover up that portion of the plate exposed, and by changing
+the form of B to that shown in Fig. 95, four positions can be secured.</p>
+
+<div>
+<img class="wrapr" src="images/i115.jpg" width="134" height="180" alt="" />
+</div>
+
+<p class="caption wrapr clearright">FIG. 95.</p>
+
+<p>Val Starnes describes<a id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> another and still simpler method. He says:
+Take a light card, mount and carefully cut from it a disc that will
+fit snugly inside the rim of the hood of your lens, resting against
+the circular interior shoulder (Fig. 96). Cut from this, in a
+straight, true line, a small segment (Fig. 97). The exact amount to
+cut off you can determine by slowly thrusting with one hand a card
+with a straight edge across the lens hood, looking the while at the
+ground glass; when the shadow has crept <i>almost</i> to the center of the
+<span class="pagenum"><a id="Page_110">110</a></span>focusing screen, hold the card firmly in place and notice how much of
+the circle of the hood is covered by it: cut from your disc a segment
+corresponding to the amount <i>left uncovered</i>. Don't let the shadow
+creep <i>quite</i> to the center of the ground glass, for you might go the
+least bit beyond, and an unexposed strip would result. Now paint your
+disc a dull black; loosen the hood of your lens on its threads, so
+that it will revolve easily and freely, and you are ready for
+business.</p>
+
+<div class="footnote"><p><a id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> "American Annual for 1895."</p></div>
+
+<div class="figcenter">
+<img src="images/i116a.jpg" width="530" height="196" alt="" />
+</div>
+
+<p class="caption clearboth">FIG. 96. and FIG 97.</p>
+
+<p>Get your focus and then place disc in hood of lens, straight edge
+perpendicular (Fig. 98). Cover lens with cap or shutter; insert
+plate-holder and draw slide; pose your figure <i>directly in front of
+uncovered portion of lens</i>; expose. Next, without touching disc,
+slide, or anything but the hood, gently revolve the hood on its
+threads one-half turn (Fig. 99), and pose your figure on opposite
+side; expose. The trick's accomplished.</p>
+
+<div class="figcenter">
+<img src="images/i116b.jpg" width="530" height="225" alt="" />
+</div>
+
+<p class="caption">FIG. 98. and FIG 99.</p>
+
+<p><span class="pagenum"><a id="Page_111">111</a></span></p>
+
+<p>Another arrangement devised by Mr. Frank A. Gilmore, of Auburn, R. I.,
+is shown in Fig. 100.</p>
+
+<p>A black-lined box is fitted to the front of a camera. The front of the
+box is closed by two doors. On opening one door a picture may be taken
+on one side of the plate; on closing this door and opening the other,
+the other half of the plate is ready for exposure.</p>
+
+<div class="figcenter">
+<img src="images/i117.jpg" width="540" height="404" alt="" />
+</div>
+
+<p class="caption">FIG. 100.&mdash;CAMERA FITTED WITH ARRANGEMENT FOR DUPLEX PHOTOGRAPHY.</p>
+
+<p>The subject poses in one position and is photographed with one door
+open, care being taken to bring the figure within the proper area of
+the negative. The finder enables this detail to be attended to. Then
+the door is closed, the other is opened and the second exposure for
+the other half of the plate is made with the subject in the other
+position. It is not necessary to touch the plate-holder between the
+exposures. The cover is withdrawn, the one door is opened and the
+shutter is sprung. The doors are then changed and the shutter is
+sprung a second time. Time exposures are rather risky, as involving
+danger of shaking. A picture made by Mr. Gilmore will be found on the
+next page.</p><p><span class="pagenum"><a id="Page_112">112</a></span></p>
+
+<div class="figcenter">
+<img src="images/i118.jpg" width="600" height="481" alt="" />
+</div>
+
+<p class="caption">By F. A. Gilmore. From <i>Scientific American</i>.<br />
+FIG. 101.&mdash;SPARRING WITH HIMSELF</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_113">113</a></span></p>
+
+<h2><a id="DOUBLE_EXPOSURES">DOUBLE EXPOSURES.</a></h2>
+
+<div class="figcenter">
+<img src="images/i119a.jpg" width="330" height="419" alt="" />
+</div>
+
+<p class="caption">By C. A. Bates.<br />
+FIG. 102.&mdash;RESULTS OF A DOUBLE EXPOSURE.</p>
+
+<div class="figcenter">
+<img src="images/i119b.jpg" width="334" height="304" alt="" />
+</div>
+
+<p class="caption">Copyright, 1894, by W. J. Demorest.<br />
+FIG. 103.&mdash;RESULT OF A DOUBLE EXPOSURE.</p>
+
+<p>Amateurs often obtain unexpected results from carelessness in exposing
+their plates. Some very amusing pictures can, however, be obtained by
+making two different exposures<span class="pagenum"><a id="Page_114">114</a></span> on one plate. The subject should, of
+course, be of a very different nature. Our illustrations, Figs. 102-3,
+are examples. In making these it is necessary to give a very short
+exposure in each case, about one-half the amount that would be
+ordinarily required. The negative must be carefully developed, using
+plenty of restrainer. Similar effects can, of course, be obtained by
+printing from two different negatives, but the results are, as a rule,
+inferior.</p>
+
+<hr class="chap" />
+
+<h2><a id="COMICAL_PORTRAITS">COMICAL PORTRAITS.</a></h2>
+
+<p>If the photographer be skilled in drawing he can make some laughable
+pictures that will amuse his friends by drawing a sketch of a comical
+body without a head, as shown in Fig. 104; a photograph of anyone is
+then cut out and the head pasted on.</p>
+
+<div class="figcenter">
+<img src="images/i120.jpg" width="374" height="433" alt="" />
+</div>
+
+<p class="caption">FIG. 104.</p>
+
+<p><span class="pagenum"><a id="Page_115">115</a></span></p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_116">116</a></span></p>
+
+<h2><a id="THE_TWO-HEADED_MAN">THE TWO-HEADED MAN.</a></h2>
+
+<div class="figcenter">
+<img src="images/i121.jpg" width="600" height="461" alt="" />
+</div>
+
+<p class="caption">FIG. 105.&mdash;THE TWO-HEADED MAN. BY IVAN SOKOLOFF.</p>
+
+<p>This picture shows a variation of the theme illustrated in Fig. 94,
+and is a type of doublet usually avoided by amateurs, who prefer to
+have one figure complete and shown in two positions. The monster is an
+amusing variation and will be new to most people. The subject sits in
+the same spot for both exposures, except that he bends his head and
+shoulders first to one side and then to the other. It is advisable to
+keep the background very simple, otherwise objects on the wall may
+show through the head, as in some of the spirit photography methods
+given on previous pages.</p>
+
+<hr class="chap" />
+
+<h2><a id="DUPLICATORS_AND_TRIPLICATORS">DUPLICATORS AND TRIPLICATORS.</a></h2>
+
+<div class="figcenter">
+<img src="images/i122.jpg" width="485" height="341" alt="" />
+</div>
+
+<p class="caption">FIG. 106.&mdash;MOUNTINGS FOR TRIPLICATORS.</p>
+
+<p>While doubles are well known to many amateurs, the making of three
+exposures of one subject on a single plate is not so common. Mr. Chas.
+A. Barnard has furnished particulars of his method of making the
+pictures shown in Figs. 107 and 108. Fig. 106 shows two methods of
+mounting the attachment in front of the camera lens, one being
+designed to slip over, while the other screws into the lens barrel,
+the front of which is often fitted<span class="pagenum"><a id="Page_117">117</a></span> with a screw thread. Fig. 109
+shows the stops which slide in this mounting; in making them, first
+mark on each the position of the center of the lens by measuring up
+from the stud which holds<span class="pagenum"><a id="Page_118">118</a></span> the stop in place. Draw your circles for
+stops with this as a centre, and as large as diameter of lens. Leaf A
+is used for the sides of the triplicator, reversing between the
+exposures. With an inch circle, the width of this is 0.2 inch. The
+edges should be filed down as thin as possible without nicking. Leaf B
+is for the centre exposure of the triplicator, and the slot is 0.012
+inch wide and 1 inch long. Leaf C is the duplicator stop, its width
+being 0.3 inch. Leaves D1 and D2 are for top and bottom exposures of a
+vertical double, and are the same size as C. The proportions might
+have to be slightly varied for some other lens, in all these cases. A
+triplicate exposure is made as follows. First focus, using the whole
+lens, at any stop, and determine the limits of your picture spaces. As
+the leeway is small, do not get the figures too large. Pose the model
+in the centre, stop down till properly lighted, and note the stop and
+mark edges of view on<span class="pagenum"><a id="Page_119">119</a></span> ground glass. Focus on model at one side, stop
+down till edge blends into edge of previous view, and note stop. Do
+the same in third position. This may take some time, and a chair may
+be used instead of a model. Finally, put in the plate and make the
+three exposures, giving four times the exposures ordinarily required
+for the same stops. The order is immaterial. Stops recommended for a
+3-1/4 &times; 5-1/2 camera are as follows: For a horizontal doublet, leaf C,
+U. S. 16; for a vertical doublet, leaf D1, U. S. 54, leaf D2, U. S.
+40; for a horizontal triplet, leaf A, U. S. 16, leaf B, U. S. 90; for
+a vertical triplet (leaves not shown in drawing), leaf A for top, U.
+S. 32; for bottom, U. S. 20, leaf B, U. S. 90. Vertical pictures are
+extremely difficult to figure.</p>
+
+<div class="figcenter">
+<img src="images/i123a.jpg" width="600" height="354" alt="" />
+</div>
+
+<p class="caption">FIG. 107.&mdash;TRIPLICATE EXPOSURE. BY CHARLES A. BARNARD.</p>
+
+<div class="figcenter">
+<img src="images/i123b.jpg" width="600" height="366" alt="" />
+</div>
+
+<p class="caption">FIG. 108.&mdash;FARM WORK (TRIPLICATE EXPOSURE). BY CHARLES A. BARNARD.</p>
+
+<div class="figcenter">
+<img src="images/i124.jpg" width="488" height="504" alt="" />
+</div>
+
+<p class="caption">FIG. 109.&mdash;STOPS FOR DUPLICATORS AND TRIPLICATOR.</p>
+
+<hr class="chap" />
+
+<h2><a id="PICTURES_WITH_EYES_WHICH_OPEN_AND_CLOSE">PICTURES WITH EYES WHICH OPEN AND CLOSE.</a></h2>
+
+<p>To make a photograph with this peculiarity, it is necessary to make
+two exposures of a head in exactly the same position, one with the
+eyes closed and the other with them open. Two positives are made from
+the two negatives and bound in contact by means of lantern slide
+binders, so that the outlines coincide. If they are now held in front
+of a flickering lamp or match flame, the combined portrait will be
+seen to rapidly open and close its eyes, giving a very weird effect.
+This effect depends upon the fact that the human eye receives
+impressions slowly and has a tendency to judge that a motion is
+uniform, when rapidly varying phases of it are seen. The flickering
+flame, moving sideways, shows first one and then the other of the two
+images, which are separated by the thickness of the glass. The same
+effect can be produced by sliding the pictures slightly sideways on
+each other, but the perfection of the illusion will depend somewhat on
+the regularity of the movement, and the flame method is better. If the
+two pictures are printed on one piece of paper, the combined image may
+show the same illusion.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_120">120</a></span></p>
+
+<h2><a id="PHOTOGRAPHIC_BOOKPLATES">PHOTOGRAPHIC BOOKPLATES.</a></h2>
+
+<p>We have all of us seen and many of us have made collections of those
+attractive little bits of paper so frequently stuck on the front
+cover of a book to designate its ownership. Invented almost
+contemporaneously with the first printed books, they have been
+designed and engraved by artists of the highest standing and used by
+the world's greatest men and women. Who would not be proud to own a
+book containing a bookplate made by Albrecht Durer or Paul Revere, or
+one whose bookplate proved it had belonged to George Washington or
+Theodore Roosevelt, irrespective of the great money value of such
+items?</p>
+
+<p>The bookplate is an intensely personal possession. The first were
+heraldic, identifying the possessors by their coats of arms. Modern
+bookplates usually reflect some personal taste of the owner, his
+hobby, his house, his portrait, or the type of books he collects.
+Nothing could be more fitting than one made from a photograph taken by
+its possessor, and yet in the writer's collection of many thousand
+bookplates covering several centuries and many countries, there are
+less than a dozen photographic examples.</p>
+
+<p>They are easily made. The most usual method is to choose a suitable
+photograph, a view of the home or library interior, a loved landscape
+or view, a symbolical figure with a book, a genre which may be a pun
+on the owner's name, or a picture relating to his chief hobby, and
+draw a more or less ornamental frame containing the words "Ex Libris"
+or "His Book," together with the name, about it. There are other
+wordings, but the above are the commonest. The whole is then
+photographed down to the proper size, usually three or four inches
+high, and prints made either by photography or from a halftone block.</p>
+
+<p>The nude female figure is a frequent motive in bookplates, whether
+photographic, or etched or engraved. The example we show is the work
+of two artists, one of whom made the photograph while the other
+designed the framework.</p><p><span class="pagenum"><a id="Page_121">121</a></span></p>
+
+<div class="figcenter">
+<img src="images/i127.jpg" width="575" height="854" alt="" />
+</div>
+
+<p class="caption">By A. E. Goetting and Will Ransom.<br />
+FIG. 110.&mdash;A PHOTOGRAPHIC BOOKPLATE.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_122">122</a></span></p>
+
+<h2><a id="LANDSCAPES_AND_GROUPS_ON_THE_DINING-ROOM_TABLE">LANDSCAPES AND GROUPS ON THE DINING-ROOM TABLE</a></h2>
+
+<p>Did you ever try building landscapes on the dining-room table? If not,
+learn how easy it is and try it out some evening or rainy Sunday, when
+you don't feel like tramping across country with muddy roads and flat
+lightings.</p>
+
+<p>The easiest kind of pictures to make in this way is an imitation of
+snow scenes. Any white material may be used, as snow, i.e., fine salt,
+powdered sugar, flour, or whatever the kitchen closet or the chemical
+shelf may produce. A range of mountains may easily be made by merely
+heaping up the material and then modeling ravines and broken slopes
+with a sharp pencil. A brilliant side lighting should be used to give
+the effect of sunrise or sunset, and clouds may be printed in from a
+cloud negative or obtained by means of a roughly painted background.</p>
+
+<p>Perhaps mountains are more naturally represented by the use of a few
+sharp-angled pieces of coal from the cellar, or fragments of broken
+stone from the nearest quarry or monument maker. On these, after
+arranging, the white powder may be sifted, lodging in a close
+imitation of nature. If a highly polished table is used, reflections
+may be obtained as in a lake, or a sheet of glass with a dark cloth
+under it may be used for the same purpose.</p>
+
+<p>More complicated landscapes may be made by using twigs as leafless
+trees, fence posts, etc., and children's toy houses may be introduced,
+particularly if well screened by brush and half buried in snow. Only
+the merest hint of the possibilities can be given, for they are
+endless.</p>
+
+<p>The introduction of figures, in the shape of dolls, china and metal
+animals, carts, autos, railroad trains, etc., greatly widens the scope
+of such landscape work, but of recent years these figures have been
+more frequently used for tableaux, such as the one shown opposite.
+Extremely comical pictures have been made with kewpies, billikens and
+other queer creatures and their animal friends, and with grotesque
+figures made of vegetables, fruit and eggs.</p><p><span class="pagenum"><a id="Page_123">123</a></span></p>
+
+<div class="figcenter">
+<img src="images/i129.jpg" width="600" height="473" alt="" />
+</div>
+
+<p class="caption">By Clark H. Rutter. FIG. 111.&mdash;FRIEND OR FOE.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_124">124</a></span></p>
+
+<h2><a id="NIGHT_PHOTOGRAPHY">NIGHT PHOTOGRAPHY.</a></h2>
+
+<p>The night photographer has to be more or less immune to criticism, and
+willing to endure all kinds of conversational interruptions, from
+friendly questions to unmannerly jeers and imputations of insanity.
+The general public knows from personal experience with hand cameras
+provided with slow lenses and small stops that picture taking can be
+done only by sunlight and in the middle of the day, and does not
+understand the setting up of a camera in a poorly-lighted place at
+night for the taking of a picture. Nevertheless, this branch of
+photography is very interesting and results are possible even in
+villages and the open fields, wherever the least artificial
+illumination or glimpse of moonlight is present.</p>
+
+<p>Naturally, much light means shorter exposures than are possible with
+very sparing illumination, but too many light sources do not tend to
+artistic results. One of the finest night pictures we ever saw was
+that of an old farmhouse, nearly buried in snow, with one or two
+windows showing the light of a kerosene lamp. The snow was illuminated
+by the light of the full moon, and only two or three minutes' exposure
+was given.</p>
+
+<p>As a matter of fact, 15 to 30 minutes' exposure on any landscape at
+<i>f</i>: 8 by the light of the full moon high in the sky will give a
+picture hardly to be distinguished from one made in daylight except by
+the softness of the shadows, and such pictures sometimes have a
+softness and wealth of detail in ordinarily shadowed parts which
+cannot be obtained by exposures in daylight.</p>
+
+<p>The best night pictures are perhaps those taken in city streets
+brilliantly illuminated by arc lights, especially when the pavements
+are wet. Care must be taken not to have brilliant lights shining
+directly into the lens, for even double-coated plates will not prevent
+halation and reversal of the image under such circumstances. Ghosts,
+or wheel-shaped images of the lights, in other parts of the plate, are
+sure to occur with all double lenses in such cases. The night picture
+shown opposite shows how interesting a simple subject, poorly
+illuminated, may turn<span class="pagenum"><a id="Page_125">125</a></span> <span class="pagenum"><a id="Page_126">126</a></span>out in the print. This shows typical star
+radiation about the single visible light, caused by the blades of the
+iris diaphragm, and also a slight ghost from this light on the face of
+the tower, caused by a double reflection within the lens.</p>
+
+<div class="figcenter">
+<img src="images/i131.jpg" width="600" height="811" alt="" />
+</div>
+
+<p class="caption">By F. A. Northrup.<br />
+FIG. 112.&mdash;A GLIMPSE OF THE EXPOSITION.</p>
+
+<p>Other forms of night photographs, treated elsewhere in this book, are
+photographs of fireworks and lightning. Very interesting and
+scientifically valuable pictures of the latter phenomenon have been
+made by swinging the camera during the exposure, thus getting a dozen
+or more paths of the same flash parallel to each other.</p>
+
+<hr class="chap" />
+
+<h2><a id="PHOTOGRAPHS_ON_APPLES_AND_EGGS">PHOTOGRAPHS ON APPLES AND EGGS.</a></h2>
+
+<p>To make a photograph in green on the red skin of an apple is a
+wonderful but simple feat. Tie up the selected fruit on a sunny bough
+in a thick yellow or black paper bag for about three weeks before
+harvest time. Immediately after taking off the bag, paste a black
+paper stencil or a very contrasty negative to the apple with white of
+egg. It should be small, to fit the curved surface quite closely.
+Clear away leaves, so the sun gets clear access to the fruit, and
+leave on the tree till it becomes red. If not then ripe, put it back
+into the opaque bag for a day or two till ready to pick. The negative
+may then be soaked off. Don't use a valuable negative, but make a
+duplicate for this experiment. A paper stencil is better, anyway.</p>
+
+<p>To put a photograph on an egg, take one which is perfectly clean,
+sponge it over several times with 1 to 50 solution of table salt, dry,
+then sponge over with 1 to 12 solution of silver nitrate. Keep your
+fingers out of this, or they will turn fast black. Then take a black
+paper stencil or a small contrasty film negative, cut a hole in a
+piece of black flannel somewhat smaller than the negative, and tie
+around the egg to hold the negative. Then bring into light, print out,
+wash and tone and fix like any printing-out paper. And don't eat the
+egg, for chemicals will go through the shell.</p><p><span class="pagenum"><a id="Page_127">127</a></span></p>
+
+<div class="figcenter">
+<img src="images/i133.jpg" width="600" height="457" alt="" />
+</div>
+
+<p class="caption">By A. H. Blake. FIG. 113.&mdash;THE EMBANKMENT, LONDON.</p>
+
+<hr class="chap" />
+
+<p><span class="pagenum"><a id="Page_128">128</a></span></p>
+
+<div class="figcenter">
+<img src="images/i134.jpg" width="600" height="1003" alt="" />
+</div>
+
+<p>&nbsp;</p>
+<hr class="chap" />
+<p>&nbsp;</p>
+
+<div class="trnote">
+<p class="h4">Transcriber's note:</p>
+
+<p>1. Figure 83.&mdash;COMPOSITE PORTRAITS OF BOSTON PHYSICIANS AND SAXON
+SOLDIERS was corrected to Figure 84.</p>
+
+<p>2. Figure 91.&mdash;A DOUBLE. BY H. G. READING. is out of sequence. Another
+Figure 91 comes later in the text.</p>
+
+<p>3. Mismatched quotation marks are as they were in the original book.</p>
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK PHOTOGRAPHIC AMUSEMENTS, NINTH EDITION***</p>
+<p>******* This file should be named 39691-h.txt or 39691-h.zip *******</p>
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+The Project Gutenberg eBook, Photographic Amusements, Ninth Edition, by
+Walter E. Woodbury and Frank R. Fraprie
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Photographic Amusements, Ninth Edition
+       Including A Description of a Number of Novel Effects Obtainable with the Camera
+
+
+Author: Walter E. Woodbury and Frank R. Fraprie
+
+
+
+Release Date: May 14, 2012  [eBook #39691]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK PHOTOGRAPHIC AMUSEMENTS, NINTH
+EDITION***
+
+
+E-text prepared by Chris Curnow, Matthew Wheaton, and the Online
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+
+
+PHOTOGRAPHIC AMUSEMENTS
+
+Including A Description of a Number of
+Novel Effects Obtainable with the Camera
+
+by
+
+WALTER E. WOODBURY
+
+Formerly Editor of "The Photographic Times," Author of "The
+Encyclopedic Dictionary of Photography," "Aristotypes and How to
+Make Them," etc., etc.
+
+Revised and Enlarged by
+
+FRANK R. FRAPRIE, S. M., F. R. P. S.
+
+Editor of "American Photography"
+
+NINTH EDITION
+
+
+
+
+
+
+
+American Photographic Publishing Co.
+Boston 17, Mass.
+1922
+
+Copyright 1896
+By the Scovill & Adams Co., of New York.
+
+Copyright 1905, 1909, 1914
+By the Photographic Times Publishing Association, New York.
+
+Copyright 1922
+By American Photographic Publishing Co.
+
+Printed in the U. S. A.
+
+The Plimpton Press . Norwood . Mass .
+
+
+
+
+CONTENTS.
+
+
+    INTRODUCTION
+    THE MIRROR AND THE CAMERA
+    THE PHOTO-ANAMORPHOSIS
+    STATUETTE PORTRAITS
+    MAGIC PHOTOGRAPHS
+    SPIRIT PHOTOGRAPHY
+    PHOTOGRAPHY FOR HOUSEHOLD DECORATION
+    LEAF PRINTS
+    TO MAKE A PEN AND INK SKETCH FROM A PHOTOGRAPH
+    PHOTOGRAPHS ON SILK
+    PHOTOGRAPHING A CATASTROPHE
+    PHOTOGRAPHS ON VARIOUS FABRICS
+    SILHOUETTES
+    PHOTOGRAPHING THE INVISIBLE
+    HOW TO MAKE A PHOTOGRAPH INSIDE A BOTTLE
+    PHOTOGRAPHS IN ANY COLOR
+    THE DISAPPEARING PHOTOGRAPH
+    FREAK PICTURES WITH A BLACK BACKGROUND
+    HOW TO COPY DRAWINGS
+    SYMPATHETIC PHOTOGRAPHS
+    DRY PLATES THAT WILL DEVELOP WITH WATER
+    CARICATURE PHOTOGRAPHS
+    PHOTOGRAPHING SEAWEEDS
+    STAMP PORTRAITS
+    LUMINOUS PHOTOGRAPHS
+    FLORAL PHOTOGRAPHY
+    DISTORTED IMAGES
+    PHOTOGRAPHS WITHOUT LIGHT
+    ELECTRIC PHOTOGRAPHS
+    MAGIC VIGNETTES
+    A SIMPLE METHOD OF ENLARGING
+    MOONLIGHT EFFECTS
+    PHOTOGRAPHING SNOW AND ICE CRYSTALS
+    PHOTOGRAPHING INK CRYSTALS
+    PINHOLE PHOTOGRAPHY
+    FREAK PICTURES BY SUCCESSIVE EXPOSURES
+    WIDE-ANGLE STUDIES
+    CONICAL PORTRAITS
+    MAKING DIRECT POSITIVES IN THE CAMERA
+    INSTANTANEOUS PHOTOGRAPHY
+    ARTIFICIAL MIRAGES BY PHOTOGRAPHY
+    THE PHOTO-CHROMOSCOPE
+    COMPOSITE PHOTOGRAPHY
+    TELE-PHOTO PICTURES
+    LIGHTNING PHOTOGRAPHS
+    PHOTOGRAPHING FIREWORKS
+    DOUBLES
+    DOUBLE EXPOSURES
+    COMICAL PORTRAITS
+    THE TWO-HEADED MAN
+    DUPLICATORS AND TRIPLICATORS
+    PICTURES WITH EYES WHICH OPEN AND CLOSE
+    PHOTOGRAPHIC BOOKPLATES
+    LANDSCAPES AND GROUPS ON THE DINING-ROOM TABLE
+    NIGHT PHOTOGRAPHY
+    PHOTOGRAPHS ON APPLES AND EGGS
+
+
+
+
+INTRODUCTION
+
+
+As Mr. Woodbury stated in his introduction to the original edition of
+this book, in order to avoid misunderstanding, it would be well to
+explain at the outset that it is not intended as an instruction book
+in the art of photography in any sense of the word. It is assumed that
+the reader has already mastered the technical difficulties of
+photographic practice and is able to make a good negative or print.
+
+It was the purpose of the author to describe a number of novel and
+curious effects that can be obtained by the aid of the camera,
+together with some instructive and interesting photographic
+experiments.
+
+The contents of the work were compiled from various sources, chiefly
+from "The Photographic Times," "The Scientific American," "The
+American Annual of Photography," "La Nature," "Photographischer
+Zeitvertreib," by Herman Schnauss, and "Les Recreations
+Photographiques," by A. Bergeret et F. Drewin; and the illustrations
+were likewise taken from various sources.
+
+In conclusion the author or compiler modestly lays claim to very
+little himself, quoting the words of Montaigne, who said:--
+
+     "_I have gathered me a posie of other men's flowers, of which
+     nothing but the thread that binds them is mine own._"
+
+And yet so popular did the book prove that in the course of its first
+ten years of life, it ran through edition after edition.
+
+The publishers of "The Photographic Times" later acquired the
+copyright of the popular volume and published three editions.
+
+The publishers of AMERICAN PHOTOGRAPHY acquired the book during the
+Great War through their purchase of "The Photographic Times," but in
+spite of a steady demand for the book after the limited stock had been
+sold out, did not find it advisable to reprint it until now.
+
+In putting the book to press at this time, most of the original plates
+have been used. A number of the old pictures have been replaced by
+more modern examples and 14 pages have been added to the book,
+including several new topics.
+
+The publishers would be glad to receive manuscripts and pictures
+describing and illustrating novel and interesting photographic effects
+not mentioned in this volume, to be published in AMERICAN PHOTOGRAPHY
+and incorporated in the next edition of PHOTOGRAPHIC AMUSEMENTS. They
+also request that photographers who make photographs illustrating any
+of the topics treated in the book, and especially those illustrated by
+wood cuts, may submit them for consideration, as they are prepared to
+purchase such as may seem available for the next edition.
+
+FRANK ROY FRAPRIE.
+
+BOSTON, January, 1922.
+
+
+
+
+PHOTOGRAPHIC AMUSEMENTS
+
+
+
+
+THE MIRROR AND THE CAMERA.
+
+
+[Illustration: FIG. 1.--EFFECT OBTAINED WITH PARALLEL MIRRORS.]
+
+Quite a number of novel effects can be obtained by the aid of one or
+more mirrors. If two mirrors are taken and placed parallel to one
+another, and a person placed between, the effect obtained is as shown
+in Fig. 1, where one soldier appears as a whole regiment drawn up into
+line. To make this experiment we require two large-sized mirrors, and
+they must be so arranged that they do not reflect the camera and the
+photographer, but give only multiple images of the sitter. This will
+be found quite possible; all that is necessary is to make a few
+preliminary experiments, adjusting the mirrors at different angles
+until the desired effect is obtained.
+
+A process of multiphotography which was at one time quite popular
+consisted in posing the sitter with his back to the camera as shown in
+Figs. 2 and 3. In front of him are arranged two mirrors, set at the
+desired angle to each other, their inner edges touching. In the
+illustrations here given the mirrors are inclined at an angle of 75
+deg., and five reflected images are produced. When an exposure is made
+and the negative developed, we not only have the back view of the
+sitter but the full reflected images in profile and three-quarter
+positions as well.
+
+[Illustration: FIG. 2.--DIAGRAM OF THE PRODUCTION OF FIVE VIEWS OF ONE
+SUBJECT BY MULTIPHOTOGRAPHY.]
+
+In the diagram, Fig. 2, reproduced from "The Scientific American" the
+course taken by the rays of light, determined by the law that the
+angle of incidence is equal to the angle of reflection, is plainly
+marked out. We see here their passage from the sitter to the mirror
+and back to the camera. Provided the mirror be large enough, images of
+the full length figure can be made as shown in Fig. 4.
+
+For photographing articles where it is of advantage to secure a number
+of different views of the same object this method of photographing
+with mirrors opens up quite a wide field of possibilities. In France
+it is used for photographing criminals, and thus obtaining a number of
+different portraits with one exposure.
+
+[Illustration: FIG. 3.--GALLERY ARRANGED FOR MULTIPHOTOGRAPHY.]
+
+The use of an ordinary mirror in portrait work has enabled
+photographers to produce very pleasing results. There is often a very
+striking difference between the full and side views of a person's
+face, and by means of such a combination as this, one is enabled to
+secure a perfect representation of both at the same time. In making
+reflection portraits it has often been noted that the reflection has a
+more pleasing effect than the direct portrait. The reason of this is
+that it is softer and the facial blemishes are not so distinctly
+brought out. There is naturally a slight loss of detail, but this is
+by no means a drawback. The worst fault of the camera in portrait
+photography is the tendency to include every little detail which the
+artist would suppress. It not only includes all the detail, but often
+exaggerates it to a painful extent. By making a portrait by reflection
+this defect is avoided. Of course the image is reversed, but this is
+in most cases of little consequence; in fact, the sitter himself would
+be more likely to consider it a far more truthful likeness, for when
+we look into a mirror we do not see ourselves as others see us, but a
+reversed image. With some faces the difference is quite striking.
+
+[Illustration: FIG. 4.--MULTIPHOTOGRAPH OF A FULL-LENGTH FIGURE.]
+
+[Illustration: By H. L. Bostwick. FIG. 5.--MULTIPHOTOGRAPH OF CISSY
+FITZGERALD]
+
+[Illustration: FIG. 6.--ELONGATED REFLECTION IN A SPOON.]
+
+Very many amusing effects can be obtained by the use of a convex
+mirror. Even an ordinary, well-polished spoon may be made to give some
+curious results. (See Fig. 6.) The thin man becomes an elongated mass
+of humanity to whom Barnum would have given a big salary, while the
+fat man may be reduced to the proportions of a walking-stick.
+
+Convex mirrors for producing these ludicrous effects can be purchased
+at any mirror manufacturer's store. The advantage of the camera lies
+in the ability to secure permanently the curious images produced.
+
+Even more ridiculous-looking images can be secured by the use of a
+piece of uneven glass silvered. For a method of silvering glass we are
+indebted to the kindness of Dr. James H. Stebbins, Jr., the well-known
+analytical chemist. Dissolve pure nitrate of silver in distilled water
+in the proportion of 10 grains to 1 ounce, and add carefully, drop by
+drop, sufficient strong ammonia solution to just dissolve the brown
+precipitate at first formed, stirring constantly during the addition.
+
+Make a solution of Rochelle salt, 1 grain to the ounce of distilled
+water. Clean the plate of glass thoroughly with a little wet rouge and
+polish dry with a piece of chamois leather. Warm it before the fire or
+in the sun to about 70 to 80 deg. Fahr., and lay it on a perfectly
+level surface. Then mix 1 ounce of the silver solution with half an
+ounce of the Rochelle salt solution and pour the mixture on the glass
+so that every part of the surface will be evenly covered with it.
+
+[Illustration: FIG. 7.--CURIOUS EFFECT OBTAINED WITH A CONVEX MIRROR.]
+
+Allow this to stand in the warm sunshine from half to one hour, when
+the reduced silver will be deposited as a fine film over the surface
+of the glass. When this is done wash off the glass with distilled
+water and wipe the entire surface very gently with a little wet
+wadding, which will take off the roughness and render it easier to
+polish. When perfectly dry the silver should be polished by rubbing
+with some smooth, hard surface. The plate is then varnished by pouring
+over it a suitable varnish and is ready for use.
+
+
+
+
+THE PHOTO-ANAMORPHOSIS.
+
+
+The name anamorphosis has been given to two kinds of pictures
+distorted according to a certain law, and which are of such a
+grotesque appearance that it is often impossible to recognize the
+subject of them; while viewed with proper apparatus they appear as
+perfectly correct images. One kind is designed to be viewed by
+reflection and the other is reconstituted by means of a special rotary
+apparatus.
+
+[Illustration: FIG. 8.--ANAMORPHOSIS VIEWED IN CONVEX CYLINDRICAL
+MIRROR.[1]]
+
+[1] From "Experimental Science." Published by Munn & Co., New York.
+
+Until quite recently, these pictures were drawn approximately from the
+reflection of the object as seen in a convex mirror, the position of
+which was indicated on the drawing and which restored it to its real
+form. M. Fenant conceived the idea of employing photography for
+obtaining these pictures. Fig. 9 reproduces a photo-anamorphosis from
+a negative by M. Fenant. If a cylindrical mirror be placed on the
+black circle shown in the reproduction the photograph will appear in
+its original form. Our illustration represents a portrait, although
+the features are barely recognizable. Similar pictures may be obtained
+by photographing the drawing or subject reflected in a cylindrical
+concave mirror placed perpendicularly.
+
+[Illustration: FIG. 9.--A PHOTO-ANAMORPHOSIS.]
+
+The second kind of anamorphosis is produced by the distortion of the
+picture in the sense of one of its dimensions. To reconstruct it, it
+is caused to rotate rapidly, at the same time that a disc, perforated
+with a slit through which the picture is viewed, is rotated in front
+of it at a slightly different speed.
+
+The apparatus invented by M. Linde for producing the anamorphosis is
+shown in Figs. 10 and 11. _G_ is a camera provided with a revolving
+plate-holder, _T H_ are revolving discs the movement of which is made
+to bear a certain relation to that of the plate-holder by means of the
+band F and the pulleys _D D_. The whole is set in operation by a piece
+of clockwork and the cord _F_. _A_ is the axis of the camera, _B_ that
+of the plate-holder, and _C_ that of the revolving disc. On this disc
+is fixed the picture from which it is desired to make an anamorphosis.
+The relative motions are so regulated that when the plate-holder has
+made a complete revolution the disc has turned through an angle of 60
+to 80 degrees in the opposite direction. Between the plate-holder and
+the lens is a diaphragm pierced with a slit about 10 millimetres wide.
+The action of the light on the plate takes place through this slit.
+The negative obtained, prints are made upon plain salted paper and
+rendered transparent with wax or vaseline. These pictures can be
+viewed in the ordinary apparatus used for showing anamorphoses of this
+kind. The print is fastened to a revolving apparatus and in front of
+it is another disc painted black and provided with a number of slits.
+The latter revolves at one-fourth the speed of the picture, and the
+image when viewed through the slit resumes its normal proportions.
+
+[Illustration: FIGS. 10 AND 11.--LINDE'S APPARATUS FOR
+PHOTO-ANAMORPHOSIS.]
+
+
+
+
+STATUETTE PORTRAITS.
+
+
+These were at one time quite popular, and if properly managed can be
+rendered very effective. There are several methods of making this kind
+of picture. If the photographer possesses a pedestal large enough, all
+that is necessary is to place this on a stand and the person to be
+photographed is arranged behind.
+
+[Illustration: FIG. 12.]
+
+The breast is uncovered and some white soft material artistically
+arranged in folds over the shoulders and in such a way as to appear
+connected with the pedestal. A black background is placed behind and
+the exposure made. To give a more realistic effect the hair, face, and
+all other parts showing should be liberally powdered over with a white
+powder or rice flour. The negative produced will have a clear glass
+background, but the body of the figure will still be visible. This is
+removed by cutting away the film round the pedestal and to the arms on
+each side, leaving only those parts remaining that are required to
+produce the statuette. In printing we get a white statuette portrait
+on a dark background.
+
+If the photographer does not possess a pedestal, the next best means
+to produce these pictures is to get a large sheet of cardboard and cut
+it out to the shape shown in the figure beneath, and with white paint
+make the picture of a pedestal, shading with a little gray to give
+rotundity. The figure is stationed behind it, and a black background
+used.
+
+A third method involves still less trouble. This is to purchase a
+ready made pedestal negative. These are film negatives of a pedestal
+that can be adjusted to the negative of the subject desired to be
+produced as a statue. After the negative is taken and varnished the
+film is scraped off round the figure, cutting off the body as shown in
+the first illustration, after which the pedestal negative is adjusted,
+fastened, and then printed. The negative is reversible and can also be
+used for different subjects. The picture shown in Fig. 13 was made by
+Mr. G. B. Bradshaw, of Beach House, Altrincham, England, by means of
+one of his pedestal negatives.
+
+[Illustration: By G. B. Bradshaw. FIG. 13.--STATUETTE PORTRAIT.]
+
+
+
+
+MAGIC PHOTOGRAPHS.
+
+
+[Illustration: FIG. 14.--CIGARETTE TUBE FOR MAGIC PHOTOGRAPHS.]
+
+Take an ordinary silver print and fix it without toning. Thoroughly
+well wash it to remove all traces of the fixing solution and then
+immerse it in a saturated solution of bichloride of mercury, when the
+image will disappear. The bichloride of mercury changes the photograph
+into white chloride of silver and chloride of mercury which is also
+white. The image when on white paper is thus rendered invisible.
+
+Next soak some strong bibulous paper in a saturated solution of sodium
+hyposulphite, and, when dry, paste a piece of the paper to the back of
+the invisible print with a little starch paste, attaching it by the
+edges only. Of course the image can also be made to appear by soaking
+the invisible print, without the bibulous paper attached, in a
+solution of sodium sulphite, hypo, or water with a little ammonia
+added.
+
+[Illustration: FIG. 15.--DEVELOPING THE IMAGE.]
+
+Magic photographs made in the manner above described can also be
+developed by smoke. A novelty, introduced in Paris some time ago,
+consisted of a cigarette or cigar holder, shown in Fig. 14, containing
+in its stem a little chamber for the insertion of a small piece of
+apparently plain paper, but in reality an invisible photograph
+produced in the manner already described. The ammonia vapor in the
+smoke passing through the chamber attacked the print and developed the
+image. By blowing the smoke on the latent image it may be made to
+appear, but the operation is rather tedious, and anyone with a little
+ingenuity can easily construct a cigarette holder with an arrangement
+to hold small pictures and allow the smoke to pass through.
+
+The chamber of the cigarette or cigar holder must of course be
+sufficiently large to allow of the print being inserted in such a
+manner that the smoke can readily attack its surface, otherwise uneven
+development of the image will take place.
+
+
+
+
+SPIRIT PHOTOGRAPHY.
+
+
+[Illustration: FIG. 16.--A "SPIRIT" PHOTOGRAPH.]
+
+Many years ago, in the old wet-collodion days, a well-known
+photographer was one day surprised by the visitation of a spirit. The
+apparition did not make its appearance during the nocturnal hours, as
+is, we have been given to understand, the custom of these ladies and
+gentlemen from the other world, but, strangely enough, in broad
+daylight; and not by his bedside to disturb his peaceful slumber, but
+upon the photograph he was in the act of producing. Had this gentleman
+been of that soft-brained kind, so easily gulled by the professional
+spiritualist, it is possible that he would not have done what he did,
+which was to make a thorough and scientific examination as to the
+probable cause of the phenomenon. The case was this: A gentleman
+sitter had been taken in the usual manner upon a collodion plate. Upon
+taking a positive print from the negative, he was surprised to find a
+dim white figure of a lady apparently hovering over the unconscious
+sitter. Upon examination of the negative, the image of the figure was
+also visible, but not so plainly as in the positive. The explanation
+of the whole matter was soon discovered. In those days glass was not
+so cheap as at present, and all old or spoilt negatives were cleaned
+off and freshly prepared with collodion for further use. In this case
+the glass had previously supported the negative image of a lady
+dressed in white. Some chemical action had evidently taken place
+between the image and the glass itself, turning the latter slightly
+yellow in some parts. This faint yellow image, although hardly visible
+in the negative, had, being of a non-actinic color, given quite a
+distinct image in the positive. The case was not an isolated one, as
+these spirit photographs, as they were called, often made their
+appearance when old negatives were cleaned and the glass used again.
+The precise action producing the image has never, we think, been
+satisfactorily explained. It could often be made more distinct by
+breathing on the glass. We do not know if any enterprising humbug ever
+took advantage of this method of producing spirit photographs to
+extort money from the unwary, but about ten years ago a work was
+published, entitled "Chronicles of the Photographs of Spiritual Beings
+and Phenomena Invisible to the Material Eye," by a Miss Houghton. In
+this a number of reproductions of photographs of "spirits" were given
+with a detailed explanation of how they were obtained and the
+difficulties attending their production, the "spirits" being
+apparently of very independent natures, only making their appearance
+when they felt so inclined. It is quite possible that a person
+entirely ignorant of photographic methods might be led into the belief
+that they were actually photographic images of the dead, but we fear
+that the book is hardly well enough written to deceive the experienced
+photographer. At certain and most unfortunate periods in the process
+employed, some of the plates had a convenient habit of slipping into
+the washing tank and there, according to the author, becoming utterly
+ruined; also we learn that many were ruined by being accidentally
+smudged by the photographer's finger. We should not, we fear, have a
+very high opinion of an operator who was in the constant habit of
+"smudging" negatives with his fingers so as to entirely spoil them,
+nor can we quite understand what brand of plates was used that "got
+spoiled by falling into the water."
+
+[Illustration: From La Nature. FIG. 17.--SPIRIT PICTURE.]
+
+[Illustration: From La Nature. FIG. 18.--SPIRIT PICTURE.]
+
+It is not difficult to explain how these pictures were produced. There
+are quite a number of methods. With a weak-minded sitter, over whom
+the operator had complete control, the matter would be in no wise a
+difficult one. It would then only be necessary for the spirit,
+suitably attired for the occasion, to appear for a few seconds behind
+the sitter during the exposure and be taken slightly out of focus, so
+as not to appear too corporeal.
+
+If, however, the sitter be of another kind, anxious to discover how it
+was done and on the alert for any deceptive practices, the method
+described would be rather a risky one, as he might turn round suddenly
+at an inconvenient moment and detect the _modus operandi_. In such a
+case it becomes necessary to find some other method where it would not
+be requisite for the "spirit" to make its appearance during the
+presence of the sitter.
+
+[Illustration: FIG. 19.--SPIRIT PICTURE DISTURBED SLUMBER]
+
+The ghostly image can be prepared upon the plate, either before or
+after the exposure of the sitter. The method is this: In a darkened
+room the draped figure to represent the spirit is posed in a
+spirit-like attitude (whatever that may be) in front of a dark
+background with a suitable magnesium or other artificial light thrown
+upon the figure, which is then focused in the "fuzzy-type" style; or,
+better still, a fine piece of muslin gauze is placed close to the lens
+which gives a hazy, indistinct appearance to the image. The exposure
+is made and the latent image remains upon the sensitive plate, which
+is again used to photograph the sitter. Upon developing we get the two
+images, the "spirit" mixed up with the figure. The spirit should be as
+indistinct as possible, as it will then be less easy for the subject
+to dispute the statement that it is the spirit-form of his dead and
+gone relative. Some amount of discretion in this part of the
+performance must be used, we fancy, otherwise the same disaster might
+happen as did to a spiritualist some little time ago. An elderly
+gentleman had come for a _seance_, and, after some mysterious
+maneuvers, the gentleman was informed that the spirit of his mother
+was there. "Indeed!" replied the old gentleman, somewhat astonished.
+"What does she say?" "She says she will see you soon," informed the
+medium. "You are getting old now and must soon join her." "Quite
+right," replied the old gentleman; "I am going round to her house to
+tea to-night."--Total collapse of spiritualist.
+
+[Illustration: FIG. 20.--PHOTOGRAPH OF "SPIRITS."]
+
+Fluorescent substances, such as bisulphate of quinine, can also be
+employed. This compound, although almost invisible to the eye,
+photographs nearly black. If a white piece of paper be painted with
+the substance, except on certain parts, the latter only will appear
+white in the picture.
+
+[Illustration: FIG. 21.-PAINTING BY N. SICHEL. From which the "Spirit"
+Photograph opposite was made.]
+
+We hope that it will not be inferred that we desire to explain how to
+deceive persons with regard to photographs of spirits, for this is not
+so; we only hope that they will be made merely for amusement, and if
+possible to expose persons who practice on the gullibility of
+inexperienced persons.
+
+Fig. 20 is a reproduction of a "spirit" photograph made by a
+photographer, claiming to be a "spirit photographer," and to have the
+power to call these ladies and gentlemen from the "vasty deep" and
+make them impress their image upon the sensitive plate by the side of
+the portraits of their living relatives.
+
+Fortunately, however, we were in this case able to expose this fraud.
+Mr. W. M. Murray, a prominent member of the Society of Amateur
+Photographers of New York, called our attention to the similarity
+between one of the "spirit" images and a portrait painting by Sichel,
+the artist.
+
+A reproduction of the picture is given herewith, Fig. 21, and it will
+be seen at once that the spirit image is copied from it.
+
+In a recent number of _The Australian Photographic Journal_ we read of
+the following novel method of making so-called spirit photographs:
+"Take a negative of any supposed spirit that is to be represented, put
+it in the printing frame with the film side out; lay on the glass side
+a piece of platinotype paper with the sensitive side up; clamp in
+place the back of the printing frame and expose to the sun for half a
+minute. Now place in the printing frame the negative of another person
+to whom the spirit is to appear, and over it put the previously
+exposed sheet film side down; expose to the sun for two minutes until
+the image is faintly seen, then develop in the usual way and the
+blurred spirit photograph will appear faintly to one side or directly
+behind the distinct image. Sheets of paper with different ghost
+exposures can be prepared beforehand."
+
+Spirit photographs might easily be made by means of Prof. Roentgen's
+well-known X-ray process of impressing an image upon a photographic
+dry-plate without uncovering the shutter. The process would however
+entail considerable expense and would necessitate the use of so much
+costly apparatus that we will content ourselves with the simple
+mention of the possibility.
+
+
+
+
+PHOTOGRAPHY FOR HOUSEHOLD DECORATION
+
+
+How few amateur photographers there are who thoroughly enter into the
+enjoyment of the art-science as a pastime. Many of these, perhaps,
+must be excused for the reason that they are ignorant of its
+capabilities. Indeed, how many there are who imagine that the art of
+photography consists in making negatives and, from these,
+prints--good, bad and indifferent. All the friends and relations are
+called into requisition "to be taken." At first they do not mind,
+thinking it a fine thing to have a portrait made for nothing; but when
+they see the result they very naturally object to be caricatured, and
+the amateur loses many a friend, and the maiden aunt leaves all her
+money to the home for stray cats. If he is a married man and delights
+in a happy, cosy home, neatly and artistically decorated, photography
+can be of very great assistance to him--how much, few realize. There
+are a thousand different ways in which it can be of use, and the
+photographer has always before him some permanent record of his
+travels and skill.
+
+[Illustration: FIG. 22.]
+
+Let us take, for instance, the making of transparencies. These are
+very simply made. Any moderately rapid dry plate can be used for the
+purpose. Every amateur becomes possessed after a time of a large
+number of negatives, good, bad, and indifferent. Let him carefully go
+through these, selecting all the printable ones and the pictures that
+he most admires. From these, transparencies can be made, either by
+contact, or enlarged or reduced in the camera. Persons residing in
+cities often have a nicely furnished room utterly marred by an
+unsightly outlook. Perhaps a view of chimney pots and dirty back
+yards. In such a case all that is necessary is to fit in place of the
+lower panes some neat photographs on glass, backed with thin
+ground-glass. These can be puttied in or they can be fitted in neat
+brass frames and hung up against the windows.
+
+The craze of the present day appears to be in the direction of bright
+and gaudy colors, except with the more highly cultivated, who
+recognize the artistic value of unobtrusive colors and delicate tints.
+A photograph, provided it is a good one, is always to be preferred to
+colored pictures unless the latter are by good artists. We once
+constructed with a half dozen of transparencies a very neat lamp
+shade. Some idea of it can be obtained from Fig. 23.
+
+[Illustration: FIG. 23.]
+
+A brass frame is first constructed, and any wire worker will execute
+this so as to hold the six or eight pictures. The transparencies are
+made, cut down to the size and shape required and fitted in; then
+ground glass of the same size and shape is fitted, small brass tabs at
+the back being used to keep them in their places behind the
+transparency. The glasses should not fit too tightly in the brass
+frames or, on expanding by the heat, they will crack.
+
+A hall lamp can be treated in the same way, the colored glass removed
+and photographic transparencies substituted. Photos on glass can in
+the same way be used for a variety of other purposes, such as fire
+screens, candle shades, etc.
+
+Next look up your stock of prints, scraps, waste prints, etc.
+
+[Illustration: FIG. 24.]
+
+Often from a large, spoilt picture you can get a neat little bit about
+a couple of inches square or less; look up all these and from them a
+photographic chess-board can be made. Our illustration in Fig. 24 is
+intended to show what is meant, although our artist has not been happy
+in the selection of his material to represent photographic views and
+portraits. First mark out a square the size you wish the chess-board
+to be. Divide it into sixty-four squares and draw a neat border round
+it. Thirty-two of the squares are then neatly pasted over with
+selected photographs as varied as possible in subjects. Sixteen are
+fitted one way and sixteen the other. Our illustration is incorrect in
+this respect. The sixteen pictures should be placed the right way on
+the sixteen squares nearest to each player. When the photographs have
+all been pasted on and dried the whole is sized and varnished. If,
+however, it is desired to preserve this photographic chess-board, and
+at the same time to use it frequently, a better plan is to cover over
+with a glass plate and bind all round the edges to prevent dust from
+entering.
+
+In a similar way a neat card table can be manufactured. Fig. 25 is
+intended to illustrate the top of the table covered with photographs
+and protected by a glass plate.
+
+A little consideration will no doubt give various other similar ideas
+to the reader.
+
+Those who can work the carbon process successfully have it in their
+power to transfer photographs in various colors to all kinds of
+supports, to wood for instance. The panels of a door can be very
+considerably improved by the insertion of photographs on fine grain
+wood, varnished.
+
+[Illustration: FIG. 25.]
+
+Pictures can in this manner be transferred to plates, china and
+ornaments of every description.
+
+Various methods of printing on silk and various fabrics have from time
+to time been given. Perhaps the best for our purpose is the primuline
+process, as various colored images can be produced, with but little
+trouble, on all kinds of material. A description of the process will
+be found in another part of this work. (See Page 39.)
+
+These the amateur can hand over to his better half or female
+relations, who with the natural feminine abilities will produce all
+sorts of pretty artistic articles for decorating the room.
+
+We are well aware that we have by no means enumerated one half of the
+various means in which photography can be employed for decorating the
+house, but hope at least to have given the reader some idea of what
+its capabilities are.
+
+
+
+
+LEAF PRINTS.
+
+
+[Illustration: FIG. 26.--LEAF PRINT. BY T. GAFFIELD.]
+
+Nothing can exceed the beauty of form and structure of the leaves of
+different plants. Ruskin observes: "Leaves take all kinds of strange
+shapes, as if to invite us to examine them. Star-shaped, heart-shaped,
+spear-shaped, fretted, fringed, cleft, furrowed, serrated, sinuated;
+in whirls, in tufts, in spires, in wreaths; endlessly expressive,
+deceptive, fantastic, never the same, from footstalk to blossom, they
+seem perpetually to tempt our watchfulness and take delight in
+outstripping our wonder." Photography has placed in our hands a simple
+method of preserving facsimiles of their ever varying shapes that will
+last long after the leaf has died and crumbled to dust. Although the
+discovery of the darkening action of silver chloride when exposed to
+light was discovered by Scheele as far back as 1777, little was
+apparently known of the possibilities attending the discovery until
+1839, when Fox Talbot read a paper on "A Method of Photogenic
+Drawing," in which he described various experiments that could be made
+with paper coated with this substance, and showed many pictures of
+leaves, ferns, and pieces of lace which he had obtained.
+
+[Illustration: FIG. 27.--LEAF PRINT. BY T. GAFFIELD.]
+
+The illustrations which we reproduce herewith are reproductions from
+leaf prints made by Mr. Thomas Gaffield, who has made quite a study of
+this fascinating pastime. In a little work entitled "Photographic Leaf
+Prints," published in 1869, he describes his method. The leaves and
+ferns are first selected and pressed between the leaves of a book.
+They must not be dried, as in that state they do not so readily permit
+the light to pass through and the delicate structure of the leaf would
+not be reproduced. They should therefore only be pressed sufficiently
+to allow the excess of moisture to be extracted. A sheet of glass is
+put into the printing frame and the leaves artistically arranged. When
+the arrangement is satisfactory the leaves are attached to the glass
+with a little mucilage to prevent them from slipping out of their
+places. A sheet of sensitive paper, albumen, gaslight, or platinum is
+then inserted, the frame closed up and exposed to the light until a
+very dark print is obtained. The time required in printing must be
+found by practice; it will, of course, differ according to the
+intensity of the light. It is a good plan to employ an actinometer to
+judge the correct exposure. It is not possible to open the frame, as a
+double or blurred picture would result. The halves should be exposed
+sufficiently long to enable the light to penetrate through them and
+give a distinct image of the veins and structure.
+
+When the printing is completed the paper is removed and toned and
+fixed in the usual manner. If platinotype or gaslight paper is used,
+this, of course, requires development. The resulting picture gives us
+a light impression of the leaves on a dark background, but if so
+desired, the print thus obtained can be used as a negative. It can be
+made transparent with wax or vaseline, and prints obtained from it
+giving a dark image on a white ground. It is difficult to say which
+picture is the more beautiful. We give illustrations of pictures of
+both kinds. (Figs. 26 and 27.)
+
+Naturally enough, the beauty of these pictures lies in the careful
+selection and arrangement of the leaves. Those which are too thick
+should not be used. Delicate ones, showing all the veins by
+transmitted light, are the most suitable. They can be arranged
+artistically, in any shape or form. We prefer, however, a life-like
+arrangement to the construction of various shapes and designs.
+
+
+
+
+TO MAKE A PEN AND INK SKETCH FROM A PHOTOGRAPH.
+
+
+By the following method anyone can, without any knowledge of drawing,
+produce from a photograph a pen and ink sketch suitable for
+reproduction as an illustration. From the negative a silver print is
+made on albumen or gelatine or collodion paper. This is fixed without
+toning in a solution of hyposulphite of soda. It must then be
+thoroughly washed to remove all traces of hypo, and when dry, the
+outlines of the photograph are traced over with a fine pen and a
+waterproof ink, obtainable at any artist's material store. If the
+photographer possesses a little knowledge of drawing, some of the
+shading can also be attempted. When the ink is dry the picture is
+immersed in a saturated solution of bichloride of mercury (poison)
+when the photograph will disappear, leaving the outline sketch intact.
+The picture is again well washed and dried. Newspaper sketches are
+often made from photographs in this manner, a zincotype being quickly
+produced from the drawing. Gaslight paper can also be used.
+
+
+
+
+PHOTOGRAPHS ON SILK.
+
+
+Photographs can be very effectively printed upon silk, satin, or other
+fabrics. There are several methods of accomplishing this. A simple one
+is the following:[2] The silk best suited for the purpose is that
+known as Chinese silk, and this is first washed in warm water with
+plentiful lather of soap, then rinse in hot water, and gradually cool
+until the final washing water is quite cold. Next prepare the
+following solutions: Tannin, 4 parts; distilled water, 100 parts.
+Sodium chloride, 4 parts; arrowroot, 4 parts; acetic acid, 12 parts;
+distilled water, 100 parts.
+
+[2] From the "Encyclopaedic Dictionary of Photography," by the author.
+
+The arrowroot is mixed up into a paste with a little of the distilled
+water, and the remainder added boiling hot, with the acid and the salt
+previously dissolved in it. When the solution is quite clear the
+tannin solution is added, and the whole allowed to get fairly cool.
+The silk is then immersed for about three minutes, being kept under
+without air in the folds, and then hung up to dry, or stretched out
+with pins on a flat board. The material is then sensitized by brushing
+over with the following solution: Silver nitrate, 12 parts; distilled
+water, 100 parts; nitric acid, 2 drops to every 3 ounces. Other
+methods of sensitizing are by immersing in or floating on the silver
+solution. After sensitizing, the material is dried by pinning on to a
+board to keep flat. It is then cut up as required, and printed behind
+the negative. Every care must be taken in printing to keep the
+material flat, and without wrinkles or folds. It must also be kept
+quite straight; otherwise, the image will be distorted. Printing is
+carried on in the same manner as with printing-out paper. It is then
+washed and toned in any toning bath. The sulphocyanide gives the best
+action. Fix in a 10 per cent. solution of hyposulphite of soda for ten
+minutes; wash and dry spontaneously. When just damp, it is ironed out
+flat with a not over-heated iron. Black tones can be obtained with a
+platinum toning bath, or with the uranium and gold toning bath, made
+up as follows: Gold chloride, 1 part; uranium nitrate, 1 part.
+Dissolved and neutralized with sodium carbonate, and then added to
+sodium chloride, 16 parts; sodium acetate, 16 parts; sodium phosphate,
+16 parts; distilled water, 4,000 parts.
+
+Very effective results may be made by printing with wide white
+margins, obtained by exposing with a non-actinic mask.
+
+Another method is the following: Ammonium chloride, 100 grains;
+Iceland moss, 60 grains; water (boiling), 20 ounces.
+
+When nearly cold this is filtered, and the silk immersed in it for
+about fifteen minutes. To sensitize, immerse the silk in a 20 grain
+solution of silver nitrate for about sixteen minutes. The silver
+solution should be rather acid.
+
+Or immerse the silk in water, 1 ounce; sodium chloride, 5 grains;
+gelatine, 5 grains. When dry, float for thirty seconds on a 50 grain
+solution of silver nitrate. Dry, slightly overprint and tone in the
+following bath: Gold chloride, 4 grains; sodium acetate, 2 drachms;
+water, 29 ounces. Keep twenty-four hours before using. Fix for twenty
+minutes in hypo, 4 ounces to the pint of water.
+
+
+
+
+PHOTOGRAPHING A CATASTROPHE.
+
+
+On this page we reproduce a curious photograph by M. Bracq, which
+appeared some time ago in the _Photo Gazette_.
+
+[Illustration: By M. Bracq. From Photo Gazette. FIG. 28.--A
+CATASTROPHE.]
+
+Despite all the terrible catastrophe which it represents, carrying
+pictures along with him in his fall, the subject has not experienced
+the least uneasiness, not even so much as will certainly be felt by
+our readers at the sight of the tumble represented.
+
+The mode of operating in this case is very simple and we are indebted
+to _La Nature_ for the description of the method employed by M. Bracq.
+The photographic apparatus being suspended at a few yards from the
+floor of the room, in such a way as to render the ground-glass
+horizontal (say between the two sides of a double ladder--a
+combination that permits of easy focusing and putting the plates in
+place), there is spread upon the floor a piece of wall paper, about 6
+feet in length by 5 feet in width, at the bottom of which a wainscot
+has been drawn. A ladder, a few pictures, a statuette, and a bottle
+are so arranged as to give an observer the illusion of the wall of a
+room, that of a dining room for instance. A hammer, some nails, etc.,
+are placed at the proper points. Finally, a 5 feet by 2-1/2 feet
+board, to which a piece of carpet, a cardboard plate, etc., have been
+attached, is placed under the foot of a chair, which then seems to
+rest upon this false floor at right angles with that of the room.
+
+[Illustration: FIG. 29.]
+
+Everything being ready, the operator lies down quietly in the midst of
+these objects, assumes a frightened expression, and waits until the
+shutter announces to him that he can leave his not very painful
+position. This evidently is merely an example that our readers will be
+able to modify and vary at their will.
+
+
+
+
+PHOTOGRAPHS ON VARIOUS FABRICS.
+
+
+By means of a dye process known as the "Primuline Process," very
+pretty images in various colored dyes can be made upon silks, satins,
+cotton goods, etc. The material is first dyed in a hot solution of
+primuline, made by adding about 15 to 30 grains of the dye to a gallon
+of hot water; a little common salt should also be added. On immersing
+the fabric, and stirring it about in the solution, it becomes of a
+primrose yellow color, when it is removed and washed under a
+cold-water tap. The next process is to diazotize it by immersion for
+half a minute or so in a cold solution of sodium nitrate, one-quarter
+per cent., which has been sharply acidified with hydrochloric or other
+acid. The material is again washed in cold water, but it must be kept
+in a weak light. It can be hung up to dry, in the dark, or exposed
+while wet beneath the object of which it is required to produce a
+positive reproduction. This process gives a positive from a positive,
+so that any ordinary picture on a sufficiently translucent
+material--flowers, ferns, etc.--can be reproduced. Printing requires
+about half a minute in the direct sunlight to half an hour or more in
+dull weather, or if the material to be printed through is not very
+transparent. The high lights become of a pale yellow, so that a faint
+image is perceptible; but this is made visible in almost any color by
+development in a weak solution (about one-fourth per cent.) of a
+suitable phenol or amine. The following have been found suitable:
+
+_For Red._--An alkaline solution of [Greek: b]-napthol.
+
+_For Maroon._--An alkaline solution of [Greek: b]-napthol-disulphonic
+acid.
+
+_For Yellow._--An alkaline solution of phenol.
+
+_For Orange._--An alkaline solution of resorcin.
+
+_Brown._--A slightly alkaline solution of pyrogallol, or a solution of
+phenylene-diamine-hydrochloride.
+
+_For Purple._--A solution of [Greek: a]-napthylamine hydrochloride.
+
+_For Blue._--A slightly acid solution of amido-[Greek:
+b]-napthol-sulphonate of sodium, now better known as "eikonogen."
+
+If the design is to be made in several colors, this can be done by
+painting on the different developers, suitably thickened with starch.
+After developing, the material is well washed and dried. With the
+purple and blue developers it is necessary to wash the material
+finally in a weak solution of tartaric acid. Wool and silk require a
+longer exposure to light than other fabrics, and cannot be
+successfully developed with the maroon or blue developer.
+
+
+
+
+SILHOUETTES
+
+
+[Illustration: AA. The sky and side light. BB. Two dark backgrounds.
+C. The white screen in oblique position. D. The subject. E. The
+camera. FIG. 30.]
+
+[Illustration: FIG. 31.]
+
+Silhouette portraits were at one time very popular. They are simply
+made, and if the effect is well carried out will afford considerable
+amusement. The best description of their manufacture was given some
+time ago by Herr E. Sturmann, in _Die Photographische Korrespondenz_.
+His method is as follows:
+
+Place two dark backgrounds in parallel position about 4 feet from the
+sky and side light of the studio and distant from each other about six
+feet. Improvise a dark tunnel by drawing a black cloth, of
+non-reflecting material, over the two dark grounds, and arrange a
+white screen, somewhat larger than the distance between the two dark
+grounds, in an oblique position so as to be fully illuminated.
+
+The subject to be silhouetted must be placed in the centre of the
+tunnel, one side of the face turned towards one ground, but
+comparatively nearer to the white screen so that the side of the face
+turned towards the camera is as much as possible in the shade.
+
+[Illustration: FIG. 32.]
+
+Focus must be taken accurately, so that the outlines of the figure are
+perfectly sharp.
+
+As it is the object to obtain a perfectly transparent, glass-clear
+silhouette upon an absolutely opaque ground, but a very short time of
+exposure is required.
+
+Develop as usual and to secure perfect opacity intensify more than
+usual. Plates of lower sensitiveness invariably give the best results.
+A slow plate or one made particularly for reproduction is well adapted
+for this kind of work. With ferrous oxalate or hydrochinon developer
+there is scarcely any need of intensifying.
+
+[Illustration: FIG. 33.]
+
+[Illustration: FIG. 34.]
+
+To obviate the shadows cast upon the floor by the lower parts of the
+figure, place it upon a thick, large plate-glass, supported by props
+of five or six inches in height, and spread upon the floor under the
+glass a piece of white muslin. The muslin must be free of folds or
+wrinkles, and be so connected with the white screen, that the division
+line between is not reproduced upon the plate.
+
+The very feeble shadows of the feet can be easily touched away with
+pencil.
+
+Single persons or groups of two or three figures can be photographed
+in this peculiar style with very good effect.
+
+For heads and busts expose in the usual manner, but to obtain
+silhouettes similar to those our grandmothers had cut in black paper,
+and long before photography was thought of, cut an appropriate mask of
+black paper to cover the part not wanted during printing.
+
+[Illustration: FIG. 35.]
+
+It should be borne in mind that in this class of work the white
+background only is the object to be photographed, hence the necessity
+of but very short exposures. With longer exposures absolute blacks and
+whites are impossible.
+
+
+
+
+PHOTOGRAPHING THE INVISIBLE.
+
+
+The following is a curious and interesting experiment, based upon the
+peculiar property possessed by fluorescent substances of altering the
+refrangibility of the chemical light rays. Take a colorless solution
+of bisulphate of quinine, and write or draw with it on a piece of
+white paper. When dry the writing or design will be invisible, but a
+photograph made of it will show them very nearly black.
+
+
+
+
+HOW TO MAKE A PHOTOGRAPH INSIDE A BOTTLE.
+
+
+Get a glass-blower to make an ordinary shaped wine-bottle of very thin
+and clear glass, and clean it well. Next take the white of two eggs
+and add to it 29 grains of ammonium chloride dissolved in 1 drachm of
+spirits of wine, and one-half ounce of water. Beat this mixture into a
+thick froth and then allow it to stand and settle. Filter through a
+tuft of cotton-wool, and pour into the specially made bottle. By
+twisting the bottle round, an even layer of the solution will deposit
+itself on the sides. Pour off the remaining solution, allow the film
+in the bottle to dry, and again repeat the operation.
+
+The next operation is to sensitize the film with a solution of nitrate
+of silver, 40 grains to 1 ounce of water. Pour this in and turn the
+bottle round for a few minutes, then pour off the superfluous solution
+and again dry. Hold the neck of the bottle for a few seconds over
+another bottle containing ammonia, so as to allow the fumes to enter
+it. Printing is the next operation; this is accomplished by tying a
+film negative round the bottle, and covering up all the other parts
+from the light. Print very deeply, keeping the bottle turning round
+all the time. Toning, fixing, and washing can be done in the ordinary
+way by filling the bottle up with the different solutions. The effect
+is very curious, and can be improved by coating the inside of the
+bottle with white enamel.
+
+
+
+
+PHOTOGRAPHS IN ANY COLOR.
+
+
+These can be produced by what is known as the powder or dusting-on
+process. The principle of the process is this: An organic, tacky
+substance is sensitized with potassium bichromate, and exposed under a
+reversed positive to the action of light. All the parts acted upon
+become hard, the stickiness disappearing according to the strength of
+the light action, while those parts protected by the darker parts of
+the positive retain their adhesiveness. If a colored powder be dusted
+over, it will be understood that it will adhere to the sticky parts
+only, forming a complete reproduction of the positive printed form.
+Prepare--Dextrine, one-half ounce; grape sugar, one-half ounce;
+bichromate of potash, one-half ounce; water, one-half pint: or
+saturated solution bichromate of ammonia, 5 drachms; honey, 3
+drachms; albumen, 3 drachms; distilled water, 20 to 30 drachms.
+
+Filter, and coat clean glass plates with this solution, and dry with a
+gentle heat over a spirit lamp. While still warm the plate is exposed
+under a positive transparency for from two to five minutes in
+sunlight, or from ten to twenty minutes in diffused light. On removing
+from the printing frame, the plate is laid for a few minutes in the
+dark in a damp place to absorb a little moisture. The next process is
+the dusting on. For a black image Siberian graphite is used, spread
+over with a soft flat brush. Any colored powder can be used, giving
+images in different colors. When fully developed the excess of powder
+is dusted off and the film coated with collodion. It is then well
+washed to remove the bichromate salt. The film can, if desired, be
+detached and transferred to ivory, wood, or any other support.
+
+If a black support be used, a ferrotype plate on Japanned wood, for
+instance, pictures can be made from a negative, but in this case a
+light colored powder must be used. The Japanese have lately succeeded
+in making some very beautiful pictures in this manner. Wood is coated
+over with that black enamel for which they are so famous, and pictures
+made upon it in this manner. They use a gold or silver powder.
+
+With this process an almost endless variety of effects can be
+obtained. For instance, luminous powder can be employed and an image
+produced which is visible in the dark.
+
+Some time ago we suggested a plan of making what might be termed
+"post-mortem" photographs of cremated friends and relations. A plate
+is prepared from a negative of the dead person in the manner
+described, and the ashes dusted over. They will adhere to the parts
+unexposed to light, and a portrait is obtained composed entirely of
+the person it represents, or rather what is left of him. The idea is
+not particularly a brilliant one, nor do we desire to claim any credit
+for it, but we give it here for the benefit of those morbid
+individuals who delight in sensationalism, and who purchase and
+treasure up pieces of the rope used by the hangman.
+
+
+
+
+THE DISAPPEARING PHOTOGRAPH.
+
+
+A method of making a photograph which can be made to appear at will is
+thus described in _Les Recreations Photographiques_.
+
+Take a convex watch crystal, V, or any similar larger glass if
+desired--for instance, those used for colored photographs; clean the
+glass well, place it perfectly level, convex side down, and fill it
+even full with a mixture of white wax and hog's lard. When it has
+solidified, apply to the back a flat glass plate, P, cut exactly to
+the largest dimensions of the convex glass, secure the glasses
+together with a strip, B, of gold-beater's skin, fastened by strong
+glue as shown in the figure. Now mount a portrait, with the front
+towards the convex glass, on the plate P. The combination is now
+ready; by heating it the wax between the two glasses melts and becomes
+transparent, allowing the portrait to be seen; on cooling it will lose
+its transparence and the portrait will disappear.
+
+[Illustration: FIG. 36.]
+
+
+
+
+FREAK PICTURES WITH A BLACK BACKGROUND.
+
+
+If an object be placed against a non-actinic background and an
+exposure made, the black parts surrounding it will not have any effect
+upon the plate, and the object can be shifted to another part and
+another exposure made. In a recent article published in _La Nature_,
+and translated in the _Scientific American_, a number of
+curious effects obtained by photography by M. R. Riccart, of
+Sainte-Foix-les-Lyons, are described and illustrated.
+
+[Illustration: FIG. 37.--A DECAPITATION.]
+
+The system employed by the author of these photographs is that of the
+natural black background obtained through the open door of a dark
+room, combined with diaphragms skillfully arranged in the interior of
+the apparatus, between the objective and sensitized plate. This is the
+surest method of obtaining the desired effect with the greatest
+precision, without the junctions being visible, and with perfect
+sharpness in the cutting of the parts removed. For this effect, it is
+necessary to place the diaphragm at three or four centimeters from the
+ground glass, in the last folds of the bellows of the camera.
+
+[Illustration: FIG. 38.--ANOTHER DECAPITATION.]
+
+The following are a few data as to the manner in which the scenes that
+we reproduce were obtained. The first, representing a decapitation by
+means of a saber (Fig. 37), was taken by means of an exposure in which
+the head was placed upon the block, the subject inclining forward upon
+his knees, and a diaphragm, occupying about two-thirds of the plate,
+completely masking the body up to the neck. Then, without changing the
+position of the apparatus, the diaphragm was placed on the other side
+in order to conceal the head, and the body was photographed in the
+second position along with the person representing the executioner. It
+would have been possible, by a third exposure, to so arrange things as
+to make the executioner the decapitated person. It was by the same
+process that the three following scenes were obtained: A person with
+his head placed before him in a plate (Fig. 38); a man carrying his
+head in a wheelbarrow (Fig. 39); and a person to whom his own head is
+served in a plate (Fig. 40). Such scenes may be varied to any extent.
+Fig. 41 is a photograph of a decapitation, while Fig. 42 is made by
+two exposures of an individual at different distances but so combined
+as to give the appearance of one exposure. Fig. 43 is that of a person
+in a bottle. The individual represented was first photographed on a
+sufficiently reduced scale to allow him to enter the bottle. This
+exposure was by using a screen containing an aperture, as for the
+Russian background. But this precaution was taken merely to conceal
+the floor, and yet it would perhaps be preferable in such a case to
+have the subject stand upon a stool covered with a very black fabric.
+However this may be, when once the first impression has been made,
+there is nothing more to be done than to photograph the bottle on a
+larger scale and the result is obtained.
+
+[Illustration: FIG. 39.--THE HEAD IN THE WHEELBARROW]
+
+[Illustration: FIG. 40.--THE HEAD UPON A PLATE.]
+
+
+
+
+HOW TO COPY DRAWINGS.
+
+
+There are three principal methods of copying mechanical drawings,
+tracings, sketches, etc. These are: (1) A process to obtain white
+lines upon a blue ground; (2) a process by which blue lines upon a
+white ground are obtained; and (3) a process giving black or
+violet-black lines upon a white ground.
+
+[Illustration: FIG. 41.--THE SAWED-OFF HEAD.]
+
+The first process is undoubtedly the simplest, as after printing upon
+the paper it is developed and fixed by simple immersion in cold water;
+but, at the same time, the white lines on the blue ground are not so
+clear and effective as the other processes. The cyanotype paper, as it
+is called, can be obtained ready for use at any draughtsman's stores,
+but if you prefer to make it yourself, here is the recipe: Two
+solutions are made--20 parts of red prussiate of potash are dissolved
+in 100 parts of water, and 10 parts of ammonio-citrate of iron in 60
+parts of water. These two solutions should be mixed together
+immediately before using, and the operation must be performed in the
+dark. Paper is floated on this solution, or applied with a broad
+camels-hair brush, and hung up to dry. If it is well dried and
+carefully preserved from light, moisture and air, this paper will keep
+for some time. After printing--which, when sufficient, should show the
+lines copied of a yellow color upon a blue ground--the prints should
+be washed in several waters, and if a few drops of chlorine water or
+dilute hydrochloric acid be added to the washing water, the blue
+ground will appear much darker and the lines rendered clearer and
+whiter. The commercial paper sold is generally prepared by this
+method.
+
+[Illustration: FIG. 42.--THE REDUCTION.]
+
+[Illustration: FIG. 43.--MAN IN A BOTTLE.]
+
+Blue prints may be given a black tone by plunging them into a solution
+of 4 parts of caustic potash in 100 parts of water; then, when the
+blue color has entirely disappeared under the action of the potash,
+and a yellowish color has taken its place, they are immersed in a
+solution of 4 parts of tannin in 100 parts of water; then washing them
+again, we obtain prints whose tone may be assimilated to that of pale
+writing ink.
+
+In the process giving blue lines upon a white ground, it is necessary
+that the action of the light shall be to convert the iron compound
+into one that can be discharged from instead of being fixed on the
+paper, so that we obtain a positive from a positive. Abney describes
+the process as follows: Thirty volumes of gum solution (water 5 parts,
+gum 1 part) are mixed with 8 volumes of a citrate of iron and ammonia
+solution (water 2 parts, double citrate 1 part), and to this is added
+5 volumes of a solution of ferric chloride (water 2 parts, ferric
+chloride 1 part). This solution thus formed is limpid at first, but
+will gradually become thicker, and should be used soon after mixing.
+It is then applied with a brush to the paper (which should be well
+sized) and dried in the dark. Exposure is accomplished in a few
+minutes, the paper being placed under the drawing in the printing
+frame. It is then developed with potassium ferrocyanide, 50 grains,
+water 1 ounce, applied with a brush until all the details appear of a
+dark-blue color. The print is then rapidly rinsed, and placed in a
+dish containing the clearing solution, made of 1 ounce of hydrochloric
+acid and 10 ounces of water.
+
+The third process, which gives violet-black lines on a white ground,
+is the following: Make up the sensitive solution with water, 16
+ounces; gelatine, 4 drachms; perchloride of iron (in a syrup
+condition), 1 ounce; tartaric acid, 1 ounce; sulphate of iron, 4
+drachms. The paper is floated on or brushed over with this and dried.
+The exposure is about the same as with the last process. When
+sufficient, the greenish-yellow color will turn white, except the
+lines, which should be somewhat dark. The developing solution is
+composed of 1 part of gallic acid in 10 parts of alcohol and 50 of
+water. When immersed in this solution the lines will turn blacker. The
+finish is then made by thoroughly washing in water.
+
+
+
+
+SYMPATHETIC PHOTOGRAPHS.
+
+
+These are obtained as follows: A sheet of paper is coated with a ten
+per cent solution of gelatine, and when dry this is floated on a ten
+per cent solution of bichromate of potash. Again dry and expose
+beneath a positive transparency. The print thus obtained is then
+immersed in a ten per cent solution of chloride of cobalt. The parts
+unacted upon by light will absorb the solution. Wash and dry. We then
+have a faint image which will alter its color according to the state
+of the atmosphere. In damp weather it will be almost if not entirely
+invisible, but when the weather is fine and dry, or if the image be
+heated before a fire it will turn to a bright blue color.
+
+
+
+
+DRY-PLATES THAT WILL DEVELOP WITH WATER.
+
+
+Some time ago dry-plates were placed on the market which would
+develop, apparently, with water and a little ammonia only. The secret
+of the method was that the backs of the plates were coated with a
+soluble gum, containing the developing agents, and, of course, when
+the plate was immersed in the water, they instantly dissolved and
+formed the developer. Plates thus prepared are useful in traveling
+where it is not always possible to get the necessary developing
+solutions. To prepare them the backs are coated with the following
+mixture:
+
+    Pyrogallic acid              154 grains
+    Salicylic acid                15 grains
+    Gum or dextrine              154 grains
+    Alcohol                        1 fluid dr.
+    Water                          5 fluid dr.
+
+This is allowed to dry at an ordinary temperature. After exposure, all
+that is necessary to develop is to immerse the plates in water
+containing a small quantity of ammonia.
+
+
+
+
+CARICATURE PHOTOGRAPHS.
+
+
+There are quite a number of different methods of making caricature
+portraits. A simple one is to make two photographs of an individual,
+one of the head alone and another of the entire body on a much smaller
+scale. From these two negatives prints are made, and the larger head
+is cut out and pasted on the shoulders of the full length figure. Any
+signs of the cutting out are removed by the use of a brush and a
+little coloring matter. From this combined print another negative is
+made so that any number of these caricature prints can be made without
+extra trouble. The effect is shown in Fig. 44.
+
+[Illustration: From Tissandier's Handbook. FIG. 44.--CARICATURE
+PORTRAIT.]
+
+Foregrounds for making caricature portraits are sold in this country.
+The method of using them is shown in Fig. 45. The card containing the
+grotesque drawing is held by the sitter on his knees and arranged by
+the photographer in such a way that his head rests just above the neck
+of the painted body. A white background is arranged behind and when
+the negative is made all traces of the edges of the foreground are
+removed by careful re-touching.
+
+[Illustration: FIG. 45.--CARICATURE]
+
+[Illustration: FIG. 46.--MAKING THE CARICATURE PORTRAIT.]
+
+Another method of obtaining grotesque caricature portraits has been
+devised by M. Ducos du Hauron. His apparatus, which he calls "La
+Photographie Transformiste," is thus described by Schnauss in his
+"Photographic Pastimes." A, Fig. 47, is the front of the box, which is
+furnished with an exposing shutter formed of a simple sliding piece
+fitting into the grooves R R, R R. B P are two screens pierced with
+slits _a a_, _c c_. C is the rear end of the box where the dark slide
+is placed. D is the lid of the box, which is lifted either for placing
+the slotted screens or for putting in the sensitive plate. When not
+working direct from nature, the transparency is placed in the grooves
+R R, R R, at A.
+
+[Illustration: FIG. 47.--THE HAURON "TRANSFORMISTE."]
+
+[Illustration: FIG. 48.--PHOTOGRAPH AND DISTORTIONS WITH THE
+"TRANSFORMISTE."]
+
+According to the arrangement of the slits, the caricatures obtained
+will be different. If, for instance, the first slit be a vertical one,
+and the other, _i.e._, the one nearest the picture, a horizontal one,
+the picture, in comparison with the original, will be distorted
+lengthwise. If, however, one of the slits forms no straight line, but
+a curved one, the transformed picture will show either lengthwise or
+sideways curved lines, according to the slit being a vertical or a
+horizontal one. The form of the resulting picture will also be
+different according to which one of the slotted plates is placed more
+or less obliquely in the box.
+
+[Illustration: FIG. 49.]
+
+[Illustration: FIG. 50.]
+
+[Illustration: FIG. 51.]
+
+[Illustration: FIG. 52.]
+
+The slits must be made very exactly; above all, their edges must be
+absolutely sharp, every incorrectness being transferred to the
+picture. They may be made about one-third of a millimeter wide; if
+they are too narrow the picture will not turn out sharp. In making the
+slits it is a good plan to cut them in thin black paper, and to mount
+the latter on glass plates.
+
+[Illustration: FIG. 53.]
+
+In a later description of the apparatus we learn that the discs
+containing the slits are often made circular in shape and so arranged
+that they can be revolved as shown in Fig. 53. This, of course, allows
+of a still greater variety of positions of the two apertures in
+relation to each other and an increasing number of grotesque effects.
+Reproductions of some of the pictures obtained are given.[3] See Figs.
+48 to 52.
+
+[3] Reprinted from _La Science en Famille_.
+
+
+
+
+PHOTOGRAPHING SEAWEEDS.
+
+
+[Illustration: FIG. 54.--SEAWEED PHOTOGRAPH.]
+
+Of all the glorious creations of nature few are more beautiful than
+the delicate sea mosses to be found by the sea shore. Many delight in
+preserving them in a dry state, mounted on cards, but unfortunately
+they are usually so fragile that after a little while they fall to
+pieces. The photographer, however, is able to reproduce these
+beautiful formations and preserve them in a more permanent form by
+means of his camera. It is true that he cannot reproduce their
+delicate colorings, but the photographs can, if so desired, be lightly
+printed on platinum paper and colored as well as possible by hand.
+
+
+
+
+STAMP PORTRAITS.
+
+
+A SPECIAL camera is sold for making these little pictures.
+
+[Illustration: FIG. 55.--STAMP CAMERA.]
+
+It contains a number of lenses all of the same focus. In front is an
+easel where the portrait is attached, surrounded by a suitable border.
+The images given are about the size of postage stamps (see Fig. 56),
+and when the negative is printed on a printing out or developing
+paper, toned or developed, they can be perforated and gummed at the
+back. They are very useful for sticking to letters, envelopes, and for
+business purposes.
+
+[Illustration: FIG. 56. STAMP PHOTO.]
+
+
+
+
+LUMINOUS PHOTOGRAPHS.
+
+
+There are several different ways of making these. Obtain some
+Balmain's luminous paint, and coat a piece of cardboard with it. Place
+this in the dark until it is no longer luminous; place this behind a
+glass transparency and expose to light, either daylight or, if at
+night-time, burn a small piece of magnesium wire. Return to the dark,
+remove the transparency, and a luminous photograph is obtained on the
+prepared card. A simple plan is to merely expose a piece of the
+prepared cardboard to the light and place it behind a transparency;
+then retire to a darkened room. The luminous paint, showing through
+it, will have a very pretty effect. If no glass transparency is at
+hand, a silver print can be used, if previously oiled and rendered
+translucent by vaseline or any other means.
+
+
+
+
+FLORAL PHOTOGRAPHY.
+
+
+Perhaps the beauties of nature are nowhere better exemplified than in
+flowers, and nothing can be prettier than photographs of them
+carefully arranged. When we say carefully arranged we mean, of course,
+artistically. The secret of arranging flowers--an art in itself--is to
+hide the fact that they have been arranged.
+
+Among the best pictures of flowers which have appeared in print, are
+those by John Carpenter, an English gentleman, who has made this
+particular branch of photography his chief study, and has been awarded
+many prizes and medals for flower studies.
+
+Some time ago we wrote to him asking for a few particulars of his
+method adopted, and he has been so very kind as to send the following
+valuable notes:
+
+_Suitable Flowers._--I find that the best colors to photograph are
+pale pink, yellow, white or variegated colors. Reds, browns, and dark
+colors generally, do _not_ answer well.
+
+Flowers of irregular form are most suitable, such, for example, as
+chrysanthemums, lilies, poppies, etc. These give beautiful gradations
+of light and shade.
+
+_Grouping._--There is great scope here for artistic feeling. All
+appearance of formal arrangement must be avoided and a natural
+grouping should be aimed at. This becomes more difficult as the
+flowers must be somewhat on one plane to get them in proper focus. A
+round bunch of flowers which may appear very pretty to the eye would
+probably be utterly wrong to make a picture of.
+
+[Illustration: Fannie Cassidy. FIG. 57.--A BOWL OF ROSES.]
+
+_Lighting._--I have never worked in a studio, but have a small lean-to
+glass house in which I work. The top light is softened down by light
+shades so that the strongest light comes from the side. This gives
+solidity to the subject and is more pleasing than a flat lighting. Of
+course, the sun should never shine on the subject.
+
+_Plates and Exposure._--If colored flowers are being photographed,
+orthochromatic plates are a necessity, but for white flowers and
+light-green foliage ordinary plates may be employed. I generally use a
+medium isochromatic, stop the lens to _f_:22 and give exposure of from
+thirty to sixty seconds in summer and vary according to the season;
+sometimes twenty _minutes_ is not too much.
+
+_Development._--My usual and favorite developer is pyro-ammonia, and
+in careful hands it cannot be beaten. I commence development with a
+minimum of pyro and work tentatively.
+
+Using such a solution, for 2 ounces of developer I should commence
+with 1-1/2 grains pyro, 1 grain bromide, and 2 grains ammonia. If the
+image does not gain sufficient density add more pyro and bromide, but
+unless very fully exposed it is difficult to avoid too much density,
+especially if white flowers are being photographed.
+
+I find a plain gray or dark background most useful, and to avoid
+flatness it may be set at an angle and not too near the subject.
+
+Flowers should be photographed as soon as gathered, and if possible be
+placed in water. I have often found a plate spoiled by movement of the
+leaves or flowers, even with short exposures, although the movement
+was not perceptible to the eye. This is more especially the case in
+hot weather.
+
+
+
+
+DISTORTED IMAGES.
+
+
+Take a portrait negative that is no longer of any use, and immerse it
+in a weak solution of hydrofluoric acid. The film will leave the
+glass. It is then washed and returned to the glass support. By
+stretching the film one way or the other, and allowing it to dry in
+this position, the most amusing prints can be made. Keep your fingers
+out of the acid!
+
+
+
+
+PHOTOGRAPHS WITHOUT LIGHT.
+
+
+A curious experiment showing that a photographic dry-plate can be
+otherwise affected than by light, so as to form an image upon it, is
+the following:
+
+An image of copper in relief is necessary--a penny will do for this
+purpose. Place an unexposed dry-plate in a normal pyro developer, and
+on it lay the copper coin. After about five minutes or so, remove the
+penny, fix and wash the plate, when a perfect image of the penny will
+be found on it.
+
+
+
+
+ELECTRIC PHOTOGRAPHS.
+
+
+Similar experiments to that described above have been carried out by
+Prof. Fernando Sanford. He placed a coin on a dry-plate and connected
+it with the terminal of a small induction coil, capable of giving a
+spark of three or four millimeters, while a piece of tin foil upon the
+opposite side of the plate was connected with the other terminal of
+the coil.
+
+Several negatives were made in this way, the accompanying photograph,
+Fig. 58, being from one of them. With one exception, they all show a
+fringe around them, due to the escape of the charge from the edge of
+the coin, which accounts for the formation of the dark ring observed
+around the breath figures made upon glass.
+
+Later on he undertook to photograph in the same way objects insulated
+from the photographic plate, and has since made negatives of coins
+separated from the plate by paraffine, shellac, mica, and gutta
+percha. The accompanying photograph, Fig. 59, was made with the coin
+insulated from the photographic plate by a sheet of mica about 0.04
+mm. thick. The mica was laid directly upon the film side of the plate,
+and the coin was placed upon it and connected to one terminal of the
+small induction coil already mentioned. A circular piece of tin foil
+of the circumference of the coin was placed upon the glass side of the
+plate directly opposite the coin, and was connected to the other
+terminal of the induction coil. The little condenser thus made was
+clamped between two boards, and was covered up in a dark room. Two
+small discharging knobs were also attached to the terminals of the
+induction coil, and were separated by a space of less than a
+millimeter, so that, when a single cell was connected with the primary
+coil, the spark between the knobs seemed continuous.
+
+[Illustration: FIG. 58.]
+
+[Illustration: FIG. 59.]
+
+The plate was exposed to the action of the waves set up in this
+condenser for one hour, when it was taken out and the negative image
+developed upon it by the usual process.
+
+
+
+
+MAGIC VIGNETTES.
+
+
+These are reversed vignettes, that is to say, the margins round the
+portrait instead of being white as in the ordinary vignette are black.
+A method of making them was recently described by "Teinte" in _The
+Photogram_. This was as follows:
+
+Two methods can be adopted. The first of these about to be detailed,
+though entailing, perhaps, in the first place a trifle more trouble,
+produces the best results. We require a black background, preferably
+of black velveteen, large enough for a head and shoulders. As the
+material is not usually obtainable of a width greater than twenty
+inches or so, there will have to be a seam, and this must be very
+neatly done. The seamed velveteen is then stretched taut on a frame,
+which should preferably be covered first with calico, to prevent
+"sagging." Always, before use, dust the velveteen with a soft
+brush--say, a hat brush--to remove any adhering dust or fluff. Instead
+of velveteen, a good paper background can be used, only it must be
+seen that the surface is smooth and free from cracks or creases, and
+is _dead black_.
+
+[Illustration: FIG. 60.--MAGIC VIGNETTER.]
+
+We require also a vignetting mask suitable to the subject, with a
+serrated edge. This has to be fixed inside the camera between the lens
+and plate.[4] The proper position can be found by trial; the further
+the card is away from the plate the softer and more gradual the
+vignetting. No special arrangement for holding this is required beyond
+what can be prepared by any one who can use his fingers. We take a
+piece of stout card, the outside of which will just fit into the
+folds of the camera's bellows, and by a little twisting it can be
+sprung in between the folds which will hold it. There is an opening in
+the center, square in shape, about quarter plate size. This acts as a
+frame to hold the vignetting mask, which has the opening of proper
+size and shape. By using a frame as described the vignetter can be
+moved about up and down and from side to side, and when the correct
+position is found fixed by drawing pins. The frame and vignetter
+should be blacked all over. For this purpose take some lampblack
+ground in turps, and mix with it a little gold size sufficient (found
+by trial) to prevent the lampblack from rubbing off when dry, but not
+enough to cause the paint to dry shiny.
+
+[4] A vignetter for the purpose, as shown in Fig. 60, has been placed
+on the market.
+
+A good distance to fix the vignetter is about one-third the extension
+of the camera when the object is in focus, measuring from the lens.
+
+We adjust the camera so that the image of the figure falls in the
+correct position on the screen, and the vignette is made of such a
+size and shape as to give the amount required.
+
+The shadow of the mask protects the edges of the plate surrounding the
+image, and in development we obtain a negative in which the image is
+vignetted into clear glass, and on printing from such the margins
+print dark. The printing of such a negative should be prolonged until
+the margins of the picture are quite lost, or they are apt to show
+after toning.
+
+The sketch shows the arrangement of vignetter inside camera.
+
+The other plan consists in making an ordinary negative, using
+preferably a dark background. From this is made a vignette in the
+ordinary manner. When this comes from the frame it is placed on a
+piece of clean glass--face up--and another piece of glass free from
+flaws placed over it. Now cut a piece of card to the size and shape of
+the vignetted portion of the print, and fix this with glue to a piece
+of cork. This piece of cork must vary in thickness with various
+pictures. Now place the cork on the glass so that the mask covers the
+picture and fix with glue to prevent slipping. Place the whole out in
+diffused light, and allow the darkening of the margins to go on until
+sufficiently deep. The print is then toned.
+
+The height of the card from the print must be such that no abrupt line
+is produced between the first printing and the darkened margin, but
+that one will shade into the other without break.
+
+
+
+
+A SIMPLE METHOD OF ENLARGING.
+
+
+If we have an ordinary gelatine negative, say, of half-plate size, and
+require to enlarge it to a whole plate, the simplest plan is to
+thoroughly wash it and immerse in a solution composed of citric acid,
+2 ounces; hydrofluoric acid, 1 ounce; acetic acid (glacial), 1 ounce;
+glycerine, 1/2 ounce; water, 20 ounces. The action of the hydrofluoric
+acid will be to detach the film from the glass, while the other acids
+will cause the film to spread out considerably; the action being even
+all over, the image is completely enlarged. It is then carefully
+removed and washed in plenty of clean water, after which it can be
+transferred to a larger piece of glass. The action is sometimes to
+weaken the negative in density; it is therefore occasionally necessary
+to intensify it.
+
+
+
+
+MOONLIGHT EFFECTS.
+
+
+Curious as it sounds, very good moonlight effects can be procured on a
+bright sunshiny day. A photograph is made of a landscape in dazzling
+sunlight, a small stop and rapid exposure being given. The plate
+should, if possible, be backed with any of the substances recommended
+to prevent halation. Choose a landscape, with the reflection of the
+sun's rays in water, and include this and the sun itself on the plate.
+It is best to wait, however, until the sun just disappears behind a
+cloud. Shade the lens so that the rays do not shine on it direct, and
+expose rapidly. Use an old or weak developer. The sun and its
+reflection will, of course, make their appearance first. Continue the
+development until the detail in the under-exposed parts is just
+visible, and fix. Print very darkly, and slightly over tone. If
+printing is done upon green developing paper, and a little re-touching
+with Chinese white, the effect is very good.
+
+[Illustration: Photographed from Nature by Fred. Graf. FIG.
+61.--MOONLIGHT PHOTOGRAPH.]
+
+
+
+
+PHOTOGRAPHING SNOW AND ICE CRYSTALS.
+
+
+There are few photographers who appear to be aware of the many
+beautiful phenomena of nature that can be studied by the aid of
+photography. Under the title of "Schnee Crystalle," Dr. G. Hellmann
+has published[5] a book on this subject profusely illustrated with
+engravings and photo-micrographic collotypes from direct photographs
+by Dr. R. Neuhaus.
+
+[5] Rudolph Muckenberger, Berlin.
+
+[Illustration: FIG. 62.--SNOW CRYSTALS. PHOTO BY DR. NEUHAUS.]
+
+Dr. Neuhaus describes his method of photographing snowflakes in Dr.
+Eder's Jarbuch, from which article we extract the most important and
+interesting paragraphs: Were we to attempt to photograph snow crystals
+in a perfectly cold room, the temperature is still higher than that
+out of doors; moisture at once precipitates upon the carrier of the
+object; the crystals would melt and evaporate after a short time. The
+work must be done in the open, and perfect success can be expected
+only when the temperature is near zero.
+
+[Illustration: FIG. 63.--SNOW CRYSTALS. PHOTO BY DR. NEUHAUS.]
+
+Snow crystals evaporate rapidly even in low temperature, and the work
+requires to be done rapidly and with caution. Freshly fallen snow only
+will give a good photograph, and as we are compelled to work in the
+midst of the snow storm, the task becomes still more complicated and
+difficult. Snow crystals but a short time after falling break, the
+broken pieces freeze together and crystallization is destroyed. For
+the illumination of snow crystals, transmitted light only can be used;
+reflected light destroys the shadows, and injures the high lights,
+and the result is necessarily but a very imperfect picture of the
+object.
+
+[Illustration: Photo by Martin. FIG. 64.--A NATURAL PHENOMENON IN
+ICE.]
+
+Diffused light, especially that of a dark winter's day, and during a
+snow storm, is not fit for this kind of photo-micrographic work, and
+we must resort to artificial light, preferably to that of a petroleum
+lamp. To prevent heat action emanating from the illuminating ray cone,
+an absorptive cell of alum solution should be interposed. As alum
+solution freezes at about 20 deg. Fahr., chloride of sodium is added.
+With Hartnark's projection system, at 31 mm. focus distance, from 5 to
+7 seconds upon an erythrosine plate is ample.
+
+[Illustration: FIG. 65.--PHOTOGRAPH OF FROST CRYSTALS. BY JAS.
+LEADBEATER.]
+
+Dr. Neuhaus has made photographs of more than 60 different ice and
+snow specimens. The pictures of ice crystals much resemble those of
+hoar frost, deposited after a cold winter's night. Of snow crystals,
+the doublets are highly interesting, two crystals merged into one, and
+those having passed through a moist stratum of air, when microscopic
+drops of water will freeze into the hexagonal form, giving the picture
+an appearance very much resembling cauliflower.
+
+[Illustration: FIG. 66.--PHOTOGRAPH OF FROST. BY JAS. LEADBEATER.]
+
+The most difficult question of all remains, the cause of the various
+forms of the hexagonal crystals, which frequently change in the same
+snowfall. Instead of advancing a new hypothesis, says Hellmann, it is
+better to acknowledge that we know nothing positively in regard to
+this. In our knowledge of the form and structure of the snow we have
+made great advance since the time of Kepler, but after nearly four
+hundred years, we cannot give a satisfactory answer to his question,
+"_Cur autem sexangula? Why six-sided?_"
+
+We do not know the special conditions which determine the formation of
+one or the other form of snow crystals. We have found that a low
+temperature favors the formation of tabular crystals; a higher
+temperature the star shaped crystals; these groups show such
+multifarious forms that it is necessary to seek for other causes which
+influence the formation of snow figures. There is offered here a broad
+field for new investigation and study.
+
+We give a reproduction (Fig. 64) of a photograph of a curious group of
+crystals. Some water had been left in a 10x8 dish on a winter day, and
+a film of ice was seen floating on the surface. The formation of the
+crystals and the floral design were so beautiful that it was taken out
+and photographed. The delicate lace-like edging of the glacial tracery
+is the result of the deposition of hoar frost while draining off the
+water from the ice leaves and flowers and fixing the image in the
+camera.
+
+Quite recently Mr. Jas. Leadbeater has favored us with some account of
+his beautiful work in this fascinating branch of photography, some
+samples of which are here given. He first makes his windows perfectly
+clear and waits for a keen frost. The camera is inside the room and a
+dark cloth-covered board is placed on the outside, leaning against a
+low balcony of wood. The exposure varies with the thickness of the
+crystals, from two to ten seconds, principally with a very small stop.
+Two reproductions of his pictures will be found on pp. 76-77.
+
+
+
+
+PHOTOGRAPHING INK CRYSTALS.
+
+
+The study of crystallization is undoubtedly an interesting and
+fascinating one, and photography may be made to play an important part
+in securing permanent records of these curious formations. If a drop
+of water containing a salt be allowed to drop upon a glass plate, it
+will, upon evaporation, deposite crystals of various kinds. In a
+recent article in _La Nature_, by Dr. E. Trouessart, a description is
+given of the beautiful crystallic forms deposited by a drop of ink on
+evaporation. The article is translated in the _Literary Digest_, from
+which we make extracts:
+
+"Take a sheet of glass, deposit on it a drop of ink and spread the
+drop a little, uniformly; let it dry for a few minutes; then examine
+with a microscope, magnifying from 50 to 200 diameters, and you will
+be able to see the flowers of ink in process of formation under your
+eyes; that is to say, regular white crystal particles which detach
+themselves from the black or violet medium, and arrange themselves so
+as to form regular figures.
+
+"If you are pressed for time, this beautiful result will easily be
+obtained by passing the sheet of glass over a spirit lamp or a candle
+to evaporate the moisture. The crystals will then be smaller and more
+numerous, presenting the appearance of a dark firmament densely
+sprinkled with bright silvery stars. But if you have patience to wait
+for evaporation without heat, you will obtain larger crystals of more
+varied forms, arranging themselves as crosses, flowers, etc.
+
+"These crystals may be varied indefinitely by modifying the
+compositions of evaporation, adding more ink, etc. But it is quite
+possible that different inks will give different results. The inks I
+use, like all the other inks in use, have a basis of sulphate of iron
+and gallic acid.
+
+[Illustration: From "The Literary Digest." FIG. 67.--INK-CRYSTALS, AS
+SEEN THROUGH A MICROSCOPE.]
+
+"By allowing the evaporation to proceed slowly, it is quite easy to
+watch the formation of the crystals. The geometrical figures are more
+or less perfect cubes, pyramids, lozenges, crosses, needles, etc., the
+pyramids being formed by cubes superposed one on the other, as in the
+pyramids of Egypt. The _flowers_ in our illustration are formed by the
+union of crystals, each of which represents the petals or sepals of a
+flower. The Maltese cross--the crucifer or four-leafed flower--is the
+normal regular form, but multiples of four frequently occur, by the
+formation of new crystals in the intervals; and also by the accidents
+of crystallization, we get flowers of three and five petals,
+resembling _Rubiaceae_, lilies, orchids, violets, etc."
+
+
+
+
+PINHOLE PHOTOGRAPHY.
+
+
+Although a lens is the most important part of the photographer's
+apparatus, it is not absolutely necessary for the production of
+photographs. Very good pictures can be made by means of a pinhole.
+Remove the lens from the camera, and insert in its place a sheet of
+thin, hard cardboard. In the centre make a tiny hole with a
+fine-pointed needle made red-hot. Another method is to make a large
+hole in the cardboard, and paste over it a piece of tinfoil and make
+the pinhole in this. The essential point is that the hole be perfectly
+round without any burring at the edges. The most perfect arrangement
+can be obtained by getting a watchmaker to drill a fine hole through a
+piece of sheet metal. The diameter of the hole should not be greater
+than one-fiftieth of an inch. Whatever is used, cardboard or metal, it
+should be blackened all over to prevent the reflection of light in the
+camera. The focusing glass should be brought within about 6 inches of
+the hole. Owing to the small amount of light admitted, focusing is
+very difficult. It can be done by pointing the camera towards the sun
+and focusing its image. For the same reason the exposure is very long,
+ranging from ten minutes to half an hour; it is, in fact, difficult to
+overexpose.
+
+[Illustration: Negative by F. C. Lambert. From Anthony's International
+Annual, 1894. FIG. 68.--PINHOLE PHOTOGRAPHY.]
+
+[Illustration: (Photograph made through a slit without a lens.) By
+Roland Briant. FIG. 69.--THE WHITE ROBE OF NATURE.]
+
+It is usually stated that no focusing is required, the larger the
+plate the wider the angle, but according to Prof. Pickering, 12 inches
+is the maximum distance for sharp work.
+
+Peculiar diffused effects can be obtained by using a fine slit in
+place of the pinhole. The picture shown on page 82 is an example.
+
+
+
+
+FREAK PICTURES BY SUCCESSIVE EXPOSURES.
+
+
+We have already described the various remarkable photographic pictures
+which may be taken by successive exposures with the same individual in
+different positions against a perfectly black and non-actinic
+background. This, however, is not easily obtained, and a French
+photographer, M. Bracq, has invented an ingenious attachment to a
+camera by which the same effects may be obtained with any background
+and under the ordinary conditions of amateur photography. The
+following description is from _La Nature_ translated in the _Popular
+Science News_.
+
+[Illustration: FIG. 70.]
+
+The apparatus, Fig. 70, is attached to the back of the camera, and
+consists of a frame suitable for holding the usual ground glass, or
+plate holder. Directly in front of the plate holder is placed an
+opaque screen perforated with a horizontal slit the width of the
+photographic plate used. By means of a screw and a crank the screen
+with its opening may be made to move up and down before the plate,
+thus allowing all parts of it to be successively exposed. A pointer
+connected with the screen shows the position of the slit at any time
+when it is covered by the plate holder.
+
+The operation of the apparatus is evident from the above description.
+To take the picture illustrated in Fig. 71, for instance, the table
+with the boy upon it is placed in the proper position and supported by
+planks, another table, or in any convenient way. After properly
+focusing it on the ground glass, the screen is screwed down till the
+opening is at the bottom of the camera, and the plate holder being
+placed in position, the slide is drawn and the handle turned till the
+indicator shows that the opening has reached a point corresponding to
+the image of the bottom of the table on the plate. The slide is then
+replaced in the plate holder, the table and its support removed, and
+the boy placed in the second position, and the exposure continued by
+screwing up the screen until the entire plate has been impressed with
+the double image, which, upon development, appears as shown in the
+illustration.
+
+[Illustration: FIG. 71.]
+
+The perforated screen may also be made to move horizontally as well as
+vertically across the plate, and by a combination of the two
+directions the same individual may be taken four or more times in
+different positions in the same photograph. Many amusing and
+astonishing effects may be obtained by the simple means which will
+readily suggest themselves to any practical photographer.
+
+
+
+
+WIDE-ANGLE STUDIES.
+
+
+[Illustration: Copyright, 1894, by W. J. Demorest. FIG. 72.--A
+PHOTOGRAPHIC FEAT.]
+
+By the use, or rather the abuse, of a lens having a very wide angle,
+say, 100 degrees, some very amusing effects can be obtained by
+apparent exaggeration of perspective. We say apparent advisedly, for
+if a view made with one of these lenses, say of 5 inches focus, be
+viewed by the observer at a distance of 5 inches from the eye, the
+perspective will appear correct; but, of course, this is never done
+under ordinary circumstances. Every person, unless extremely
+short-sighted, will hold a photograph at a distance from the eye of
+about 12 or 14 inches.
+
+[Illustration: FIG. 73.--A WIDE-ANGLE STUDY.]
+
+The effect of using a wide-angle lens under ordinary conditions is to
+make objects in the foreground appear ridiculously large, while those
+in the background have a diminished appearance. Fig. 72 is an example
+of this; it is hardly necessary to observe that the gentleman's pedal
+extremities were not so gigantic as represented in the photograph.
+Fig. 73 is another and scarcely less painful example of this
+exaggeration.
+
+In the _Practical Photographer_, some time ago, it was humorously
+suggested that sportsmen could, by means of the camera, bring home
+apparently indisputable evidence as to their skill or prowess. Thus,
+for instance, you and your friend Jones have been out fishing
+together, and realized the truth of the old saying about
+anglers--_i.e._, "a worm at one end of a rod and a fool at the other."
+You have, however, managed to catch a fish (any sort will do) about
+the dimensions of a good-sized sprat. It is the usual custom of
+anglers, I believe, to view their captures through magnifying-glasses
+before discoursing upon them. A better plan, however, is to photograph
+your fish, and then there can be no dispute whatever, because it is
+the popular belief that photography cannot lie. However, all that is
+necessary is to hang the fish in front of the camera to the bough of a
+tree, we will say, with a piece of black thread. You then retire
+several paces behind it, holding up your arm as if you were holding up
+the fish. Your friend will then adjust the camera so that the fish
+just comes under your hand, focuses, places a very small stop on, so
+as to get everything sharply defined, and makes the necessary
+exposure. Thus it is possible, with a little trouble, to obtain
+everlasting records of your marvelous day's sport, for you can
+easily make yourself appear to be holding a fish of gigantic
+proportions--say, 5 ft. long, or so. Fig. 74, 75.
+
+[Illustration: FIG. 74.]
+
+[Illustration: FIG. 75.]
+
+Our illustrations are from "Photographic Pastimes" by Herman Schauss.
+
+With a very wide-angle lens it is also possible to make a photograph
+of a little suburban garden, and it will appear to resemble a park or
+palace grounds. This is a trick often adopted by auctioneers and
+estate agents, so that in viewing photographs of property, it is
+really impossible to form any safe idea regarding the place itself.
+
+
+
+
+CONICAL PORTRAITS.
+
+
+Amusing caricatures may be obtained by deforming the sensitive surface
+of the negative. The accompanying conical portrait is one.[6]
+
+[6] From "Les Recreations Photographiques."
+
+[Illustration: FIG. 76.]
+
+To depict the features of a person on a paper cone is not an easy
+matter; whilst to obtain them by photography is a tolerably simple
+operation.
+
+[Illustration: FIG. 77.]
+
+[Illustration: FIG. 78.]
+
+Having glued on the interior face of a plate-holder (the slide being
+drawn), in the place of a sensitive plate, a cone made of strong
+cardboard, superpose on it an unexposed film which has been cut to
+the form of the development of the cone (as shown in Fig. 77). The
+film is secured by means of two or three pins. Having focused on a
+point of the subject in a middle plane, the ground glass is afterwards
+drawn back a distance equal to half the height of the cone, taking
+care not to derange either the subject or the objective. To obtain a
+sharp image a very small diaphragm must necessarily be used, but with
+a rapid plate and good light that is of little moment. The camera
+should be placed in the dark room, the lens being inserted in a hole
+in the partition just its size, and the subject in the adjoining
+apartment opposite the lens--this because the cone will not allow the
+plate-holder to be closed by the slide.
+
+Fig. 76 shows the arrangement of the camera and holder. The exposure
+made, the film is developed, as usual. The negative gives a print
+deformed as shown in Fig. 76. The original, if not grotesque
+appearance of the head disappears when the print is rolled into a
+conical form and the observer places his eye in the prolongation of
+the axis of the cone. Fig. 78 shows the head as seen under these
+conditions.
+
+
+
+
+MAKING DIRECT POSITIVES IN THE CAMERA.
+
+
+Prepare a saturated solution in water of the crystals of thiosinamine,
+and add from two to eight minims of it to an ordinary pyro or
+eikonogen developer. Expose rather less than usual. The effect of this
+addition to the developing agent is an entire reversal of the image, a
+positive instead of a negative being obtained. Ammonia will assist the
+reversal. Colonel Waterhouse, the discoverer of this process,
+recommends in some cases the plates being subjected to a bath of 5 per
+cent nitric acid and 3 per cent potassium bichromate before exposure,
+followed by a thorough washing.
+
+
+
+
+INSTANTANEOUS PHOTOGRAPHY.
+
+
+In the very earliest days of photography this term was applied to what
+would now be considered very slow work indeed. We now usually apply
+this term when the exposure does not exceed one second. In some cases
+this only amounts to the one-thousandth part of a second. This
+exceedingly brief exposure is usually given to the plate by means of a
+suitably constructed shutter.
+
+The immense strides that have recently been made in instantaneous
+photography, owing chiefly to the advent of the dry-plate process,
+have caused photography to become useful to almost every branch of
+science.
+
+To Muybridge and Anschutz we are greatly indebted for the strides made
+in instantaneous photography. These gentlemen have succeeded in
+photographing moving objects hitherto considered impossible to be
+photographed. Galloping horses, swift-flying birds, and even bullets
+and cannon balls projected from guns have been successfully
+photographed, showing even the little head of air driven along in
+front of the bullet.
+
+[Illustration: FIG. 79.]
+
+Both Muybridge and Anschutz also succeeded in making series of
+twenty-four or more photographs of a horse during the time it makes a
+single leap, and thus illustrated its every movement. The value of
+these and other possibilities with the camera for artists cannot be
+overestimated. Its aid to meteorologists in photographing the
+lightning, to astronomers in stellar, lunar and solar photography, and
+to all other sciences would require a work as large as this to
+describe.
+
+[Illustration: By Lt. Joachim Steiner. FIG. 80.--INSTANTANEOUS
+STUDIES.]
+
+For the making of instantaneous pictures a large number of suitable
+cameras have been devised. In most of these the lens is a very rapid
+one, and in some cases so arranged that all objects beyond a certain
+distance are in focus. With an instantaneous camera a secondary image
+is necessary, so that the right second can be judged for making the
+exposure. This is usually produced by a finder. In making
+instantaneous exposures the following tables may be useful:
+
+                                                Approximate distance
+                                                 feet per second
+    A man walking 3 miles per hour moves             4-1/2
+    A man walking 4 miles per hour moves                 6
+    A vessel traveling at 9 knots per hour moves        15
+    A vessel traveling at 12 knots per hour moves       19
+    A vessel traveling at 17 knots per hour moves       28
+    A torpedo boat traveling at 20 knots per hour moves 35
+    A trotting horse                                    36
+    A galloping horse (1,000 yards per minute)          50
+    An express train traveling at 38 miles an hour      59
+    Flight of a pigeon or falcon                        61
+    Waves during a storm                                65
+    Express train (60 miles an hour)                    88
+    Flight of the swiftest birds                       294
+    A cannon ball                                    1,625
+
+    An object moving--
+
+      1  mile per hour moves             1-1/2 feet per second.
+      2     "          "                 3        "        "
+      5     "          "                 7-1/2    "        "
+      6     "          "                 9        "        "
+      7     "          "                10-1/2    "        "
+      8     "          "                12        "        "
+      9     "          "                13        "        "
+     10     "          "                14-1/2    "        "
+     11     "          "                15        "        "
+     12     "          "                17-1/2    "        "
+     15     "          "                22        "        "
+     20     "          "                29        "        "
+     25     "          "                37        "        "
+     30     "          "                44        "        "
+     35     "          "                51        "        "
+     40     "          "                59        "        "
+     45     "          "                66        "        "
+     50     "          "                73        "        "
+     55     "          "                80        "        "
+     60     "          "                88        "        "
+     75     "          "               110        "        "
+    100     "          "               147        "        "
+    125     "          "               183        "        "
+    150     "          "               220        "        "
+    200     "          "               257        "        "
+
+With these tables it will be very easy to find the distance that the
+image of the object will move on the ground-glass screen of the camera.
+To do this, multiply the focus of the lens in inches by the distance
+moved by the object in the second, and divide the result by the
+distance of the object in inches.
+
+[Illustration: FIG. 81.--"A RISE IN THE WORLD." BY THE MARQUIS DE
+ALFARRAS.]
+
+Example, find the movement of the image of an object moving 50 miles
+per hour at a distance of 100 yards with a lens of 9-inch focus.
+
+    9 x 876 = 7,884 / 3,600 = 2-1/5 inches per second.
+
+We must also find out the speed of the shutter required to take the
+object in motion, so that it will appear as sharply defined as
+possible under the circumstances. To do this the circle of confusion
+must not exceed 1/100th of an inch in diameter. We therefore divide
+the distance of the object by the focus of the lens multiplied by 100,
+and then divide the rapidity of the object in inches per second by the
+result obtained. This will give the longest exposure permissible in
+the fraction of a second. For example, we require to know the speed of
+a shutter required to photograph an express train travelling at the
+rate of 50 miles per hour at a distance of 50 yards with an 8-1/2-inch
+focus lens.
+
+The train moves 876 inches per second.
+
+    1,800 distance in inches / (8-1/2 x 100) = 1,800 / 850 = 36/17.
+
+    876 speed of object per second / 36/17 = (876 x 17)/36 = 413
+                                           = 1/413 second.
+
+Given the rapidity of the shutter, and the speed of the moving object,
+we require to find the distance from the object the camera should be
+placed to give a circle of confusion less than 1/100th of an inch.
+Multiply 100 times the focus of the lens by the space through which
+the object would pass during the exposure, and the result obtained
+will be the nearest possible distance between the object and the
+camera. For example, we have a shutter working at one-fiftieth of a
+second, and the object to be photographed moves at the rate of 50
+miles per hour. How near can a camera fitted with a lens of 8-1/2-inch
+focus be placed to the moving object?
+
+Object moving 50 miles per hour moves per second 876 inches, and in
+the one-fiftieth part of a second it moves 17.52 inches, so that--
+
+    8-1/2 x 17.52 = 8.5 x 100 x 17.52 = 14,892 inches = 413 yards.
+
+Instantaneous photography can only be successfully performed in very
+bright and actinic light, and should never be attempted on dull days,
+as underexposure will be the inevitable result. In developing it is
+necessary to employ a strong developer to bring up the detail. Some
+operators make use of an accelerator for this purpose, but it is not
+to be recommended; the simplest is a few drops of hyposulphite
+solution added to about 10 ounces of water. In this the plate is
+bathed for a few seconds previous to development.
+
+The following is a table by H. E. Tolman showing displacement on
+ground glass of objects in motion:
+
+    ==============================================================
+              |         | Distance on  |              |
+              |         |Ground Glass  |              |
+              |         |  in Inches   |  Same with   | Same with
+    Miles per |Feet per |with Object 30|Object 60 Feet| Object 120
+      Hour.   | Second. | Feet Away.   |    Away.     | Feet Away.
+    ----------+---------+--------------+--------------+-----------
+         1    |   1-1/2 |      .29     |      .15     |   .073
+         2    |   3     |      .59     |      .29     |   .147
+         3    |   4-1/2 |      .88     |      .44     |   .220
+         4    |   6     |     1.17     |      .59     |   .293
+         5    |   7-1/2 |     1.47     |      .73     |   .367
+         6    |   9     |     1.76     |      .88     |   .440
+         7    |  10-1/2 |     2.05     |     1.03     |   .513
+         8    |  12     |     2.35     |     1.17     |   .587
+         9    |  13     |     2.64     |     1.32     |   .660
+        10    |  14-1/2 |     2.93     |     1.47     |   .733
+        11    |  16     |     3.23     |     1.61     |   .807
+        12    |  17-1/2 |     3.52     |     1.76     |   .880
+        13    |  19     |     3.81     |     1.91     |   .953
+        14    |  20-1/2 |     4.11     |     2.05     |  1.027
+        15    |  22     |     4.40     |     2.20     |  1.100
+        20    |  29     |     5.87     |     2.93     |  1.467
+        25    |  37     |     7.33     |     3.67     |  1.833
+        30    |  44     |     8.80     |     4.40     |  2.200
+        35    |  51     |    10.27     |     5.13     |  2.567
+        40    |  59     |    11.73     |     5.97     |  2.933
+        45    |  66     |    13.20     |     6.60     |  3.300
+        50    |  73     |    14.67     |     7.33     |  3.667
+        55    |  80     |    16.13     |     8.06     |  4.033
+        60    |  88     |    17.60     |     8.80     |  4.400
+        75    | 110     |    22.00     |    11.00     |  5.500
+       100    | 117     |    29.33     |    14.67     |  7.333
+       125    | 183     |    36.67     |    18.33     |  9.167
+       150    | 220     |    44.00     |    22.00     | 11.000
+    ----------+---------+--------------+--------------+-----------
+
+[Illustration: FIG. 82.--ARTIFICIAL REPRODUCTION AND PHOTOGRAPHING OF
+A MIRAGE]
+
+
+
+
+ARTIFICIAL MIRAGES BY PHOTOGRAPHY.
+
+
+Some time ago a photographer made quite a sensation by the publication
+of a fine photograph of a mirage, a phenomenon frequently observed on
+the plains of Egypt. The wily photographer had, however, never
+traveled away from this country. He had simply produced the effect by
+artificial means. A method of making these pictures was given some
+time ago in the _Scientific American_. A very even plate of sheet iron
+is taken and placed horizontally on two supports. The plate is heated
+uniformly and sprinkled with sand. Then a small Egyptian landscape is
+arranged at one end of the plate, and the photographic instrument is
+so placed that the visual ray shall properly graze the plate. A sketch
+of the arrangement is shown in Fig. 82.
+
+
+
+
+THE PHOTO-CHROMOSCOPE.
+
+
+This instrument was devised by M. Paul Nadar, the celebrated French
+photographer, but anyone can construct a similar apparatus. The
+arrangement is shown in Fig. 83.
+
+The slides A and B B are adjustable so that any sized picture can be
+inserted and the sides closed round it to shut out the light from
+behind. A silver print unmounted is made transparent with vaseline and
+placed on the glass. Pieces of paper of various colors are placed in
+the reflector, C, and by this means all kinds of effects can be
+obtained. A landscape can be viewed as though under the pale reflected
+light of the rising sun behind the mountains, which may be changed
+gradually to the full light of day.
+
+[Illustration: FIG. 83.--NADAR'S PHOTO-CHROMOSCOPE.]
+
+
+
+
+COMPOSITE PHOTOGRAPHY.
+
+
+This is a process of combining a number of images in such a way that
+the result obtained is an aggregate of its components. Francis Galton
+was one of the first to employ this system. In the appendix to his
+"Inquiries into Human Faculty," Galton has described the very
+elaborate and perfect form of apparatus which he has used in his
+studies; but entirely satisfactory results may be obtained with much
+more simple contrivances. The instrument used by Prof. Bowditch[7] is
+merely an old-fashioned box camera, with a hole cut in the top for the
+reception of the ground-glass plate upon which the image is to be
+reflected for purposes of adjustment. The reflection is effected by a
+mirror set at an angle of 45 degrees in the axis of the camera, and
+pivoted on its upper border so that, after the adjustment of the
+image, the mirror can be turned against the upper side of the box, and
+the image allowed to fall on the sensitive plate at the back of the
+camera. The original negatives are used as components, and are placed
+in succession in a small wooden frame which is pressed by elliptical
+springs against a sheet of glass fastened vertically in front of the
+camera. By means of this arrangement it is possible to place each
+negative in succession in any desired position in a plane
+perpendicular to the axis of the camera, and thus to adjust it so that
+the eyes and the mouth of its optical image shall fall upon the
+fiducial lines drawn upon the ground-glass plate at the top of the
+camera. An Argand gas burner with a condensing lens furnishes the
+necessary illumination.
+
+[7] From _McClure's Magazine_, September, 1894.
+
+"For our amateur photographers," writes Prof. Bowditch, "who are
+constantly seeking new worlds to conquer, the opportunity of doing
+useful work in developing the possibilities of composite photography
+ought to be very welcome. Not only will the science of ethnology
+profit by their labors, but by making composites of persons nearly
+related to each other, a new and very interesting kind of family
+portrait may be produced. The effect of occupation on the physiognomy
+may also be studied in this way. By comparing, for instance, the
+composite of a group of doctors with that of a group of lawyers, we
+may hope to ascertain whether there is such a thing as a distinct
+legal or medical physiognomy."
+
+[Illustration: By Prof. Bowditch. FIG. 84.--COMPOSITE PORTRAITS OF
+BOSTON PHYSICIANS AND SAXON SOLDIERS.]
+
+
+
+
+TELEPHOTO PICTURES.
+
+
+[Illustration: FIG. 85.--CAMERA WITH OPERA GLASS ATTACHED.]
+
+During the last few years many so-called telephotographic lenses have
+been placed upon the market. These instruments enable one to
+photograph objects in the distance and obtain images very much larger
+than those given by the ordinary photographic lens. These lenses are,
+however, very costly. In an article by Mr. O. G. Mason, published in
+_The Photographic Times_ for June, 1895, that gentleman described a
+simple method of obtaining telephoto pictures by replacing the
+ordinary lens with an opera glass. He says: "Several devices have been
+brought forward with a view of decreasing the expense of telephoto
+lenses, but I have seen no others so satisfactory, cheap and simple,
+as the utilization of the ordinary opera glass for the camera
+objective, which was described, figured and finally constructed for me
+about a year ago by Mr. Alvin Lawrence, the horologist of Lowell,
+Mass. An opera or field glass is a convenient and useful instrument in
+the kit of any touring photographer; and when he can easily and
+quickly attach it to his camera-box as an objective its great value is
+at once made apparent. Mr. Lawrence's method of doing this at little
+cost is a good illustration of Yankee ingenuity. It is not claimed
+that such a device will do all or as well as a telephotographic lens
+costing ten times as much; but it will do far more than most people
+could or would expect. Of course the field is quite limited, which, in
+fact, is the case with the most expensive telephotographic objective,
+and the sharpness of the image depends much upon the quality of the
+opera or field glass used. The accompanying views show the relative
+size and character of image by a forty-five dollar rapid rectilinear
+view lens and a four-dollar opera glass attached to the same camera
+and used at the same point. The other illustrations show the camera as
+used and the method of opera glass attachment to the lens-board. It
+will be seen that the eye end of the opera glass is placed against the
+lens-board, one eye-piece in a slight depression around the hole
+through the centre, and by a quarter turn the brace between the two
+barrels passes behind a projecting arm on the board, the focusing
+barrel resting in a slot in this arm, where it is firmly held in
+position by friction alone.
+
+[Illustration: FIG. 86.--CAMERA SHOWING ARRANGEMENT FOR OPERA GLASS.]
+
+[Illustration: FIG. 87.--VIEW TAKEN WITH OPERA GLASS.]
+
+[Illustration: FIG. 88.--VIEW TAKEN FROM SAME SPOT WITH AN ORDINARY
+VIEW LENS.]
+
+As opera glasses are usually constructed for vision only, no attempt
+is made by the optician to make correction for securing coincidence of
+foci of the visual and chemical rays of light as in the well-made
+photographic objective. Hence, it is often found that the actinic
+focus falls within, or is shorter than, the visual. When this is the
+case, the proper allowance is easily made after a few trials.
+
+
+
+
+LIGHTNING PHOTOGRAPHS.
+
+
+[Illustration: FIG. 89.--PHOTOGRAPH OF LIGHTNING MADE AT BLUE HILL.]
+
+The method of making photographs of lightning flashes is very simple.
+The camera is focused for distant objects. During a thunderstorm the
+camera is pointed in the direction of the flashes, a plate is
+inserted, the cap is removed from the lens, and as soon as a flash
+takes place the lens is covered up and the plate is ready for
+development. To avoid halation a backed or non-halation plate should
+be used.
+
+
+
+
+PHOTOGRAPHING FIREWORKS.
+
+
+Photographs of pyrotechnical displays can also be made at night. The
+method of procedure is the same as described for photographs of
+lightning. The camera is focused for distant objects and the lens
+pointed towards the place where the discharge takes place. Fig. 90.
+
+
+
+
+DOUBLES.
+
+
+[Illustration: FIG. 91.--A DOUBLE. BY H. G. READING.]
+
+Some very amusing pictures can be made by double exposure. For
+instance, Fig. 91 represents a man playing cards with himself. A
+method of making these is thus described by W. J. Hickmott in "The
+American Annual of Photography for 1894":
+
+[Illustration: By Leonard M. Davis. FIG. 90.--FAREWELL RECEPTION TO
+THE PRINCE OF WALES.]
+
+[Illustration: FIG. 91.]
+
+[Illustration: FIG. 92.]
+
+[Illustration: FIG. 93.]
+
+Fit an open square box into the back of the camera, having it fully as
+large as, or a little larger than, the negatives you wish to make. My
+attachment is made for 8 x 10 plates and under, and fits into the back
+of a 10 x 12 camera. In shape it is like Fig. 91, and I will designate
+it as A. The box is about 3 inches deep. When put into the camera it
+appears as in Fig. 92. Now have a plain strip of wood just one-half
+the size of the opening in A like B, Fig. 93. Have B fit very nicely
+in A, at the opening toward the lens, and so that it can be moved
+freely from one side to the other. It is very convenient to have a
+rabbet on the top and bottom of A so that B can be moved from side to
+side and maintained in any position.
+
+[Illustration: FIG. 94.]
+
+To make a "Double," attach A to the camera as shown, put B into its
+place in the opening in A, say on the right-hand side as you stand
+back of your camera, thus covering up the right-hand side of the plate
+when exposure is made. Pose your subject on the left hand side, which
+will give you an image on the right-hand side of your ground glass and
+plate, draw the slide and expose, immediately returning the slide.
+This finishes one half of the operation. Shift B over to the left-hand
+side of A, which will cover up that portion of the plate just exposed,
+pose your subject again, but on the left-hand side, which will give
+you the image on the right-hand side of the ground glass and plate,
+draw the slide and expose out for the exact length of time as at
+first. On development, if the exposure on both sides has been correct,
+and of equal length, a perfect negative will be the result.
+
+The camera must on no account be moved between the exposures, nor the
+focus changed. After making the first exposure the correct focus for
+the second is obtained by moving the subject backward or forward until
+an exact focus is secured, and not by moving the camera or ground
+glass. The whole apparatus should be painted a dead black.
+
+When the attachment is in place it will be noted on the ground glass
+that while the strip B is just one-half the size of the opening in A,
+it does not cut off just one-half of the ground glass, a line drawn
+through the center of which shows that a space in the center of the
+plate about one-half an inch in width receives a double exposure, but
+this is not apparent in the finished negative. The figure should be
+posed as near the center of the plate as possible in each instance.
+This apparatus, as described, is only available for making two
+figures. By making B narrower, or one-third of the width of the
+opening in A, three figures may be made, using each time a separate
+piece to cover up that portion of the plate exposed, and by changing
+the form of B to that shown in Fig. 95, four positions can be secured.
+
+[Illustration: FIG. 95.]
+
+Val Starnes describes[8] another and still simpler method. He says:
+Take a light card, mount and carefully cut from it a disc that will
+fit snugly inside the rim of the hood of your lens, resting against
+the circular interior shoulder (Fig. 96). Cut from this, in a
+straight, true line, a small segment (Fig. 97). The exact amount to
+cut off you can determine by slowly thrusting with one hand a card
+with a straight edge across the lens hood, looking the while at the
+ground glass; when the shadow has crept _almost_ to the center of the
+focusing screen, hold the card firmly in place and notice how much of
+the circle of the hood is covered by it: cut from your disc a segment
+corresponding to the amount _left uncovered_. Don't let the shadow
+creep _quite_ to the center of the ground glass, for you might go the
+least bit beyond, and an unexposed strip would result. Now paint your
+disc a dull black; loosen the hood of your lens on its threads, so
+that it will revolve easily and freely, and you are ready for
+business.
+
+[8] "American Annual for 1895."
+
+[Illustration: FIG. 96.]
+
+[Illustration: FIG. 97.]
+
+Get your focus and then place disc in hood of lens, straight edge
+perpendicular (Fig. 98). Cover lens with cap or shutter; insert
+plate-holder and draw slide; pose your figure _directly in front of
+uncovered portion of lens_; expose. Next, without touching disc,
+slide, or anything but the hood, gently revolve the hood on its
+threads one-half turn (Fig. 99), and pose your figure on opposite
+side; expose. The trick's accomplished.
+
+[Illustration: FIG. 98.]
+
+[Illustration: FIG. 99.]
+
+Another arrangement devised by Mr. Frank A. Gilmore, of Auburn, R. I.,
+is shown in Fig. 100.
+
+A black-lined box is fitted to the front of a camera. The front of the
+box is closed by two doors. On opening one door a picture may be taken
+on one side of the plate; on closing this door and opening the other,
+the other half of the plate is ready for exposure.
+
+[Illustration: FIG. 100.--CAMERA FITTED WITH ARRANGEMENT FOR DUPLEX
+PHOTOGRAPHY.]
+
+The subject poses in one position and is photographed with one door
+open, care being taken to bring the figure within the proper area of
+the negative. The finder enables this detail to be attended to. Then
+the door is closed, the other is opened and the second exposure for
+the other half of the plate is made with the subject in the other
+position. It is not necessary to touch the plate-holder between the
+exposures. The cover is withdrawn, the one door is opened and the
+shutter is sprung. The doors are then changed and the shutter is
+sprung a second time. Time exposures are rather risky, as involving
+danger of shaking. A picture made by Mr. Gilmore will be found on the
+next page.
+
+[Illustration: By F. A. Gilmore. From _Scientific American_. FIG.
+101.--SPARRING WITH HIMSELF]
+
+
+
+
+DOUBLE EXPOSURES.
+
+
+[Illustration: By C. A. Bates. FIG. 102.--RESULTS OF A DOUBLE
+EXPOSURE.]
+
+[Illustration: Copyright, 1894, by W. J. Demorest. FIG. 103.--RESULT
+OF A DOUBLE EXPOSURE.]
+
+Amateurs often obtain unexpected results from carelessness in exposing
+their plates. Some very amusing pictures can, however, be obtained by
+making two different exposures on one plate. The subject should, of
+course, be of a very different nature. Our illustrations, Figs. 102-3,
+are examples. In making these it is necessary to give a very short
+exposure in each case, about one-half the amount that would be
+ordinarily required. The negative must be carefully developed, using
+plenty of restrainer. Similar effects can, of course, be obtained by
+printing from two different negatives, but the results are, as a rule,
+inferior.
+
+
+
+
+COMICAL PORTRAITS.
+
+
+If the photographer be skilled in drawing he can make some laughable
+pictures that will amuse his friends by drawing a sketch of a comical
+body without a head, as shown in Fig. 104; a photograph of anyone is
+then cut out and the head pasted on.
+
+[Illustration: FIG. 104.]
+
+[Illustration: FIG. 105.--THE TWO-HEADED MAN. BY IVAN SOKOLOFF.]
+
+
+
+
+THE TWO-HEADED MAN.
+
+
+This picture shows a variation of the theme illustrated in Fig. 94,
+and is a type of doublet usually avoided by amateurs, who prefer to
+have one figure complete and shown in two positions. The monster is an
+amusing variation and will be new to most people. The subject sits in
+the same spot for both exposures, except that he bends his head and
+shoulders first to one side and then to the other. It is advisable to
+keep the background very simple, otherwise objects on the wall may
+show through the head, as in some of the spirit photography methods
+given on previous pages.
+
+
+
+
+DUPLICATORS AND TRIPLICATORS.
+
+
+[Illustration: FIG. 106.--MOUNTINGS FOR TRIPLICATORS.]
+
+While doubles are well known to many amateurs, the making of three
+exposures of one subject on a single plate is not so common. Mr. Chas.
+A. Barnard has furnished particulars of his method of making the
+pictures shown in Figs. 107 and 108. Fig. 106 shows two methods of
+mounting the attachment in front of the camera lens, one being
+designed to slip over, while the other screws into the lens barrel,
+the front of which is often fitted with a screw thread. Fig. 109
+shows the stops which slide in this mounting; in making them, first
+mark on each the position of the center of the lens by measuring up
+from the stud which holds the stop in place. Draw your circles for
+stops with this as a centre, and as large as diameter of lens. Leaf A
+is used for the sides of the triplicator, reversing between the
+exposures. With an inch circle, the width of this is 0.2 inch. The
+edges should be filed down as thin as possible without nicking. Leaf B
+is for the centre exposure of the triplicator, and the slot is 0.012
+inch wide and 1 inch long. Leaf C is the duplicator stop, its width
+being 0.3 inch. Leaves D1 and D2 are for top and bottom exposures of a
+vertical double, and are the same size as C. The proportions might
+have to be slightly varied for some other lens, in all these cases. A
+triplicate exposure is made as follows. First focus, using the whole
+lens, at any stop, and determine the limits of your picture spaces. As
+the leeway is small, do not get the figures too large. Pose the model
+in the centre, stop down till properly lighted, and note the stop and
+mark edges of view on ground glass. Focus on model at one side, stop
+down till edge blends into edge of previous view, and note stop. Do
+the same in third position. This may take some time, and a chair may
+be used instead of a model. Finally, put in the plate and make the
+three exposures, giving four times the exposures ordinarily required
+for the same stops. The order is immaterial. Stops recommended for a
+3-1/4 x 5-1/2 camera are as follows: For a horizontal doublet, leaf C,
+U. S. 16; for a vertical doublet, leaf D1, U. S. 54, leaf D2, U. S.
+40; for a horizontal triplet, leaf A, U. S. 16, leaf B, U. S. 90; for
+a vertical triplet (leaves not shown in drawing), leaf A for top, U.
+S. 32; for bottom, U. S. 20, leaf B, U. S. 90. Vertical pictures are
+extremely difficult to figure.
+
+[Illustration: FIG. 107.--TRIPLICATE EXPOSURE. BY CHARLES A. BARNARD.]
+
+[Illustration: FIG. 108.--FARM WORK (TRIPLICATE EXPOSURE). BY CHARLES
+A. BARNARD.]
+
+[Illustration: FIG. 109.--STOPS FOR DUPLICATORS AND TRIPLICATOR.]
+
+
+
+
+PICTURES WITH EYES WHICH OPEN AND CLOSE.
+
+
+To make a photograph with this peculiarity, it is necessary to make
+two exposures of a head in exactly the same position, one with the
+eyes closed and the other with them open. Two positives are made from
+the two negatives and bound in contact by means of lantern slide
+binders, so that the outlines coincide. If they are now held in front
+of a flickering lamp or match flame, the combined portrait will be
+seen to rapidly open and close its eyes, giving a very weird effect.
+This effect depends upon the fact that the human eye receives
+impressions slowly and has a tendency to judge that a motion is
+uniform, when rapidly varying phases of it are seen. The flickering
+flame, moving sideways, shows first one and then the other of the two
+images, which are separated by the thickness of the glass. The same
+effect can be produced by sliding the pictures slightly sideways on
+each other, but the perfection of the illusion will depend somewhat on
+the regularity of the movement, and the flame method is better. If the
+two pictures are printed on one piece of paper, the combined image may
+show the same illusion.
+
+
+
+
+PHOTOGRAPHIC BOOKPLATES.
+
+
+We have all of us seen and many of us have made collections of those
+attractive little bits of paper so frequently stuck on the front
+cover of a book to designate its ownership. Invented almost
+contemporaneously with the first printed books, they have been
+designed and engraved by artists of the highest standing and used by
+the world's greatest men and women. Who would not be proud to own a
+book containing a bookplate made by Albrecht Durer or Paul Revere, or
+one whose bookplate proved it had belonged to George Washington or
+Theodore Roosevelt, irrespective of the great money value of such
+items?
+
+The bookplate is an intensely personal possession. The first were
+heraldic, identifying the possessors by their coats of arms. Modern
+bookplates usually reflect some personal taste of the owner, his
+hobby, his house, his portrait, or the type of books he collects.
+Nothing could be more fitting than one made from a photograph taken by
+its possessor, and yet in the writer's collection of many thousand
+bookplates covering several centuries and many countries, there are
+less than a dozen photographic examples.
+
+They are easily made. The most usual method is to choose a suitable
+photograph, a view of the home or library interior, a loved landscape
+or view, a symbolical figure with a book, a genre which may be a pun
+on the owner's name, or a picture relating to his chief hobby, and
+draw a more or less ornamental frame containing the words "Ex Libris"
+or "His Book," together with the name, about it. There are other
+wordings, but the above are the commonest. The whole is then
+photographed down to the proper size, usually three or four inches
+high, and prints made either by photography or from a halftone block.
+
+The nude female figure is a frequent motive in bookplates, whether
+photographic, or etched or engraved. The example we show is the work
+of two artists, one of whom made the photograph while the other
+designed the framework.
+
+[Illustration: By A. E. Goetting and Will Ransom. FIG. 110.--A
+PHOTOGRAPHIC BOOKPLATE.]
+
+
+
+
+LANDSCAPES AND GROUPS ON THE DINING-ROOM TABLE
+
+
+Did you ever try building landscapes on the dining-room table? If not,
+learn how easy it is and try it out some evening or rainy Sunday, when
+you don't feel like tramping across country with muddy roads and flat
+lightings.
+
+The easiest kind of pictures to make in this way is an imitation of
+snow scenes. Any white material may be used, as snow, i.e., fine salt,
+powdered sugar, flour, or whatever the kitchen closet or the chemical
+shelf may produce. A range of mountains may easily be made by merely
+heaping up the material and then modeling ravines and broken slopes
+with a sharp pencil. A brilliant side lighting should be used to give
+the effect of sunrise or sunset, and clouds may be printed in from a
+cloud negative or obtained by means of a roughly painted background.
+
+Perhaps mountains are more naturally represented by the use of a few
+sharp-angled pieces of coal from the cellar, or fragments of broken
+stone from the nearest quarry or monument maker. On these, after
+arranging, the white powder may be sifted, lodging in a close
+imitation of nature. If a highly polished table is used, reflections
+may be obtained as in a lake, or a sheet of glass with a dark cloth
+under it may be used for the same purpose.
+
+More complicated landscapes may be made by using twigs as leafless
+trees, fence posts, etc., and children's toy houses may be introduced,
+particularly if well screened by brush and half buried in snow. Only
+the merest hint of the possibilities can be given, for they are
+endless.
+
+The introduction of figures, in the shape of dolls, china and metal
+animals, carts, autos, railroad trains, etc., greatly widens the scope
+of such landscape work, but of recent years these figures have been
+more frequently used for tableaux, such as the one shown opposite.
+Extremely comical pictures have been made with kewpies, billikens and
+other queer creatures and their animal friends, and with grotesque
+figures made of vegetables, fruit and eggs.
+
+[Illustration: By Clark H. Rutter. FIG. 111.--FRIEND OR FOE.]
+
+
+
+
+NIGHT PHOTOGRAPHY.
+
+
+The night photographer has to be more or less immune to criticism, and
+willing to endure all kinds of conversational interruptions, from
+friendly questions to unmannerly jeers and imputations of insanity.
+The general public knows from personal experience with hand cameras
+provided with slow lenses and small stops that picture taking can be
+done only by sunlight and in the middle of the day, and does not
+understand the setting up of a camera in a poorly-lighted place at
+night for the taking of a picture. Nevertheless, this branch of
+photography is very interesting and results are possible even in
+villages and the open fields, wherever the least artificial
+illumination or glimpse of moonlight is present.
+
+Naturally, much light means shorter exposures than are possible with
+very sparing illumination, but too many light sources do not tend to
+artistic results. One of the finest night pictures we ever saw was
+that of an old farmhouse, nearly buried in snow, with one or two
+windows showing the light of a kerosene lamp. The snow was illuminated
+by the light of the full moon, and only two or three minutes' exposure
+was given.
+
+As a matter of fact, 15 to 30 minutes' exposure on any landscape at
+_f_: 8 by the light of the full moon high in the sky will give a
+picture hardly to be distinguished from one made in daylight except by
+the softness of the shadows, and such pictures sometimes have a
+softness and wealth of detail in ordinarily shadowed parts which
+cannot be obtained by exposures in daylight.
+
+The best night pictures are perhaps those taken in city streets
+brilliantly illuminated by arc lights, especially when the pavements
+are wet. Care must be taken not to have brilliant lights shining
+directly into the lens, for even double-coated plates will not prevent
+halation and reversal of the image under such circumstances. Ghosts,
+or wheel-shaped images of the lights, in other parts of the plate, are
+sure to occur with all double lenses in such cases. The night picture
+shown opposite shows how interesting a simple subject, poorly
+illuminated, may turn out in the print. This shows typical star
+radiation about the single visible light, caused by the blades of the
+iris diaphragm, and also a slight ghost from this light on the face of
+the tower, caused by a double reflection within the lens.
+
+[Illustration: By F. A. Northrup. FIG. 112.--A GLIMPSE OF THE
+EXPOSITION.]
+
+Other forms of night photographs, treated elsewhere in this book, are
+photographs of fireworks and lightning. Very interesting and
+scientifically valuable pictures of the latter phenomenon have been
+made by swinging the camera during the exposure, thus getting a dozen
+or more paths of the same flash parallel to each other.
+
+
+
+
+PHOTOGRAPHS ON APPLES AND EGGS.
+
+
+To make a photograph in green on the red skin of an apple is a
+wonderful but simple feat. Tie up the selected fruit on a sunny bough
+in a thick yellow or black paper bag for about three weeks before
+harvest time. Immediately after taking off the bag, paste a black
+paper stencil or a very contrasty negative to the apple with white of
+egg. It should be small, to fit the curved surface quite closely.
+Clear away leaves, so the sun gets clear access to the fruit, and
+leave on the tree till it becomes red. If not then ripe, put it back
+into the opaque bag for a day or two till ready to pick. The negative
+may then be soaked off. Don't use a valuable negative, but make a
+duplicate for this experiment. A paper stencil is better, anyway.
+
+To put a photograph on an egg, take one which is perfectly clean,
+sponge it over several times with 1 to 50 solution of table salt, dry,
+then sponge over with 1 to 12 solution of silver nitrate. Keep your
+fingers out of this, or they will turn fast black. Then take a black
+paper stencil or a small contrasty film negative, cut a hole in a
+piece of black flannel somewhat smaller than the negative, and tie
+around the egg to hold the negative. Then bring into light, print out,
+wash and tone and fix like any printing-out paper. And don't eat the
+egg, for chemicals will go through the shell.
+
+[Illustration: By A. H. Blake. FIG. 113.--THE EMBANKMENT, LONDON.]
+
+
+       *       *       *       *       *
+
+
+BOOKS ON PHOTOGRAPHY
+
+
+Optics for Photographers, by Hans Harting, Ph.D. Translated by Frank
+R. Fraprie, S.M., F.R.P.S. 232 pages. Cloth, $2.50.
+
+Chemistry for Photographers, by William R. Flint. 2nd edition. 218
+pages. Cloth, $2.50.
+
+Pictorial Composition in Photography, by Arthur Hammond. 234 pages, 49
+illustrations. Cloth, $3.50.
+
+Photo-Engraving Primer, by Stephen H. Horgan. Cloth, $1.50.
+
+Cash from Your Camera. Edited by Frank R. Fraprie, S.M., F.R.P.S.
+Paper, $1.00.
+
+Pictorial Landscape Photography, by the Photo Pictorialists of
+Buffalo. 252 pages, 55 illustrations. Cloth, $3.50.
+
+Photographic Amusements, by Walter E. Woodbury. 9th edition. 128
+pages, 100 illustrations. Cloth, $1.50.
+
+Practical Color Photography by E. J. Wall, F.C.S., F.R.P.S. Cloth,
+$3.00.
+
+
+PRACTICAL PHOTOGRAPHY SERIES
+
+Edited by Frank R. Fraprie, S.M., F.R.P.S.
+
+Editor of _American Photography_
+
+    1. The Secret of Exposure.
+    2. Beginners' Troubles.
+    3. How to Choose and Use a Lens.
+    4. How to Make Prints in Color.
+    5. How to Make Enlargements.
+    6. How to Make Portraits.
+    7. How to Make Lantern Slides.
+    8. The Elements of Photography.
+    9. Practical Retouching.
+
+_Each volume sold separately._ Cloth, $1.00; paper, 50 cents.
+
+American Photography Exposure Tables, 101st thousand. Cloth, 35 cents.
+
+Thermo Development Chart. 25 cents.
+
+_American Photography_, a monthly magazine, representing all that its
+name implies. 25 cents a copy. $2.50 a year.
+
+
+    PUBLISHED BY
+
+    AMERICAN PHOTOGRAPHIC PUBLISHING CO.
+    428 Newbury St., Boston 17, Massachusetts
+
+
+
+
+       *       *       *       *       *
+
+
+
+
+Transcriber's note:
+
+1. Figure 83.--COMPOSITE PORTRAITS OF BOSTON PHYSICIANS AND SAXON
+SOLDIERS was corrected to Figure 84.
+
+2. Figure 91.--A DOUBLE. BY H. G. READING. is out of sequence. Another
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